(Troyes, 1612 - Parigi, 1695) Madonna con il Bambino Olio su tela, cm 90X70 Pierre Mignard, artista francese che soggiornò a Roma tra 1635 e il 1656, si formò in Francia nella bottega di Simon Vouet e l'opera in esame è partecipe di quella cultura classicista capitolina di gusto neo-raffaellesco diffusa da Giovanni Battista Salvi detto il Sassoferrato (Sassoferrato, 1609 - Roma, 1685; cfr. S. C. Boyer ; F. Macé de Lépinay, The Mignardes, Sassoferrato and Roman classicism during the 1650s, in The Burlington Magazine, vol. CXXIII, n. 935, feb. 1981, pp. 69-74). La produzione dell'artista di origini marchigiane fu particolarmente apprezzata verso la metà del Seicento, in virtù delle sue opere desunte da Perugino e Raffaello, ma intorno alla metà degli anni Cinquanta, Salvi imitò le Madonne di Pierre Mignard servendosi probabilmente delle stampe di François de Poilly. Infatti, la tela in esame recava un'attribuzione collezionistica al Salvi ma, in questo caso, non manifesta quella tipica veste cromatica smaltata, sia pur partecipando al programmatico 'purismo'. Detto ciò, come dimostrano le soventi confusioni attributive, stabilire le reali condizioni di dare e avere tra questi artisti è quanto mai difficile, ma a supporto dell'ipotesi attributiva qui proposta può essere il simile dipinto appartenente al Museo di Rouen, riferito al Salvi nel 1924 dal Voss e oggi assegnato a un seguace dell'artista francese attivo nel XVII secolo.
Pierre MIGNARD (Troyes, 1612 - Paris, 1695) Sainte Catherine d’Alexandrie Huile sur toile Porte une inscription ‘Constantin Pujade’ au crayon au verso sur la barre supérieure du châssis Dans un cadre en chêne sculpté et doré, travail français d'époque Louis XVI Saint Catherine of Alexandria, oil on canvas, by P. Mignard 28.94 x 23.46 in. 73.5 x 59.6 cm Provenance : Vente anonyme ; Toulouse, Marambat de Malafosse, 18 octobre 2023, n° 197 (comme Ecole française du XIXe) ; Acquis lors de cette vente par l'actuel propriétaire Levant les yeux au ciel, sainte Catherine tient la palme de son martyre et s’appuie sur la roue, instrument de son supplice. Ayant passé plus de vingt ans en Italie, le peintre originaire de Troyes Pierre Mignard demeure profondément marqué par les maîtres bolonais et plus particulièrement par les travaux du Dominiquin et de Guido Reni 1. Dans sa facture, cette œuvre n’est pas sans évoquer les saintes peintes par ces artistes tout particulièrement prisés du public français du milieu du XVII e siècle. Le catalogue de vente de Jean-Baptiste-Pierre Lebrun mentionne d’ailleurs une ‘Sainte-Catherine, de grandeur naturelle, vue en buste. Tableau dans le style du Dominicain’ (vente du 11 avril au 8 mai 1791, n o 189, hauteur : 26 pouces ; largeur, 21 pouces) qui pourrait être notre tableau. Une autre sainte Catherine par Pierre Mignard est signalée dans les collections du chanoine et prévôt de l’Abbaye Saint-Martin de Tours, J.B. Guyot, dont la vente est organisée le 8 mars 1809 : “Buste de Sainte-Catherine, de grandeur naturelle, ayant la tête tournée presque de face, et le regard vers le ciel, porte une expression religieuse, tenant de la main droite la palme du martyr” (lot 151, hauteur : 27 pouces ; largeur, 22 pouces). L’inventaire après décès de l’artiste mentionne en outre une étude de sainte Catherine: “Item unne esbauche d’unne Ste Chaterine de quatre pieds et demie sur trois et demy no 224 (en fait 225) prisé 800 livres tournois”, peut-être préparatoire à notre tableau 2. De format similaire, une autre version de notre tableau, provenant des collections de Louis La Caze, se trouve déposée dans les collections du Musée d’Art, d’Archéologie et de Sciences naturelles de Troyes (MAH.D.872.7). Aussi il demeure difficile d’affirmer que les sources mentionnent bien notre tableau et non celui de Troyes. Pour composer sa sainte Catherine, le peintre s’est peut-être inspiré des traits de sa fille bien-aimée Catherine-Marguerite Mignard (1652-1742), comtesse de Feuquières, dont il réalise plusieurs portraits 3. 1. Les sources font d’ailleurs mention à plusieurs reprises de copies réalisées d’après les peintres bolonais actifs au début du XVII e siècle. On peut ainsi lire dans son testament rédigé à Rome le 22 octobre 1653 parmi les œuvres qu’il laisse à Monsieur Du Fresnoy : “touttes les testes que j’ay desseignee au pastels d’apres le Guide”, voir Chiara Parisi et Giuseppe Scalia, « Testament scellé de Pierre Mignard », sous la dir. de Jean-Claude Boyer, Pierre Mignard “le Romain”, actes du colloque organisé au musée du Louvre par le service culturel le 29 septembre 1995, Paris, 1997, p. 30. 2. Liasse 410 de l’étude Caillet (LXXV), 5 septembre 1695, voir Antoine Schnapper, « Etat des tableaux de la communauté de feu monsieur Mignard et de madame sa veuve », sous la dir. de Jean-Claude Boyer, Pierre Mignard “le Romain”, actes du colloque organisé au musée du Louvre par le service culturel le 29 septembre 1995, Paris, 1997, p. 234 3. Songeons par exemple au portrait de cette dernière tenant le portrait peint de son père conservé au musée des châteaux de Versailles et de Trianon, inv. MV3677 Pierre MIGNARD (Troyes, 1612 - Paris, 1695) 73.5 x 59.6 cm Levant les yeux au ciel, sainte Catherine tient la palme de son martyre et s’appuie sur la roue, instrument de son supplice. Ayant passé plus de vingt ans en Italie, le peintre originaire de Troyes Pierre Mignard demeure profondément marqué par les maîtres bolonais et plus particulièrement par les travaux du Dominiquin et de Guido Reni1. Dans sa facture, cette œuvre n’est pas sans évoquer les saintes peintes par ces artistes tout particulièrement prisés du public français du milieu du XVIIe siècle. Le catalogue de vente de Jean-Baptiste-Pierre Lebrun mentionne d’ailleurs une ‘Sainte-Catherine, de grandeur naturelle, vue en buste. Tableau dans le style du Dominicain’ (vente du 11 avril au 8 mai 1791, no 189, hauteur : 26 pouces ; largeur, 21 pouces) qui pourrait être notre tableau. Une autre sainte Catherine par Pierre Mignard est signalée dans les collections du chanoine et prévôt de l’Abbaye Saint-Martin de Tours, J.B. Guyot, dont la vente est organisée le 8 mars 1809 : “Buste de Sainte-Catherine, de grandeur naturelle, ayant la tête tournée presque de face, et le regard vers le ciel, porte une expression religieuse, tenant de la main droite la palme du martyr” (lot 151, hauteur : 27 pouces ; largeur, 22 pouces). L’inventaire après décès de l’artiste mentionne en outre une étude de sainte Catherine: “Item unne esbauche d’unne Ste Chaterine de quatre pieds et demie sur trois et demy no 224 (en fait 225) prisé 800 livres tournois”, peut-être préparatoire à notre tableau2. De format similaire, une autre version de notre tableau, provenant des collections de Louis La Caze, se trouve déposée dans les collections du Musée d’Art, d’Archéologie et de Sciences naturelles de Troyes (MAH.D.872.7). Aussi il demeure difficile d’affirmer que les sources mentionnent bien notre tableau et non celui de Troyes. Pour composer sa sainte Catherine, le peintre s’est peut-être inspiré des traits de sa fille bien-aimée Catherine-Marguerite Mignard (1652-1742), comtesse de Feuquières, dont il réalise plusieurs portraits3. 1. Les sources font d’ailleurs mention à plusieurs reprises de copies réalisées d’après les peintres bolonais actifs au début du XVIIe siècle. On peut ainsi lire dans son testament rédigé à Rome le 22 octobre 1653 parmi les œuvres qu’il laisse à Monsieur Du Fresnoy : “touttes les testes que j’ay desseignee au pastels d’apres le Guide”, voir Chiara Parisi et Giuseppe Scalia, « Testament scellé de Pierre Mignard », sous la dir. de Jean-Claude Boyer, Pierre Mignard “le Romain”, actes du colloque organisé au musée du Louvre par le service culturel le 29 septembre 1995, Paris, 1997, p. 30. 2. Liasse 410 de l’étude Caillet (LXXV), 5 septembre 1695, voir Antoine Schnapper, « Etat des tableaux de la communauté de feu monsieur Mignard et de madame sa veuve », sous la dir. de Jean-Claude Boyer, Pierre Mignard “le Romain”, actes du colloque organisé au musée du Louvre par le service culturel le 29 septembre 1995, Paris, 1997, p. 234 3. Songeons par exemple au portrait de cette dernière tenant le portrait peint de son père conservé au musée des châteaux de Versailles et de Trianon, inv. MV3677
Pierre Mignard (French, 1612-1695), portrait, identified verso as that of "Messire Adrien Norel" circa 1665, oil on canvas, bearing stamp on canvas verso of Abel Terral (French artist and restorer, 1811-1886), 29" x 23", in original frame 35" x 30". Good condition. Provenance: Palm Beach, Florida estate. PLEASE NOTE: On KaminskiLIVE, lots valued at over $3,000 are designated as Premier Lots in the auction descriptions. Bidding on these lots requires pre-approval. Existing customers with a history of completed payments will be automatically pre-approved. New customers must either call Kaminski Auctions at 978-927-2223 Ext 507 with a credit card to obtain pre-approval or have a credit card on file with our auction house.
PIERRE MIGNARD DER ÄLTERE, gen. LE ROMAIN - zugeschrieben Troyes/Aube 1612 - 1695 Paris Bacchus. Rötelzeichnung mit Bleistift. Verso alt zugeschrieben. Auf kräftigem chamoisfarbenem Bütten. 35,5 x 18,5 cm. Schwach angestaubt und vereinzelt fleckig. Unterrand gering unregelmäßig. Obere Ecken verso mit durchscheinenden Kleberesten. Sammlung Adalbert von Lanna, Prag (Lugt 2773). [bg]
DAMENBILDNIS Öl auf Leinwand. 59 x 50 cm. Ovalrahmen. Zeitgemäß im Oval vor dunklem Hintergrund gezeigt, mit betontem, gerüschtem Dekolleté, wobei die rechte Hand mit einem Pelzbesatz den Ausschnitt verdeckt. Der ansprechende Blick ist auf den Betrachter gerichtet. Die sehr hohe Malqualität des Gesichts, die sich von der Behandlung des Stofflichen abhebt, lässt die Zusammenarbeit im Atelier eines Malers von Rang mit Gehilfen erkennen. Die Vorbesitzertradition nennt den Namen Francois d´Aubigné, marquise de Maintenon (1635-1719), die Mätresse und morganatische Gemahlin Ludwigs XIV. Ähnlichkeit im Vergleich mit weiteren Bildnissen stützt diese Vermutung. (1401072) (11)
HEILIGE CÄCILIA Öl auf Holzplatte. 84 x 61,5 cm. Verso begonnenes Portrait eines Mannes mit angedeutetem Vatermörderkragen. In vergoldetem Prunkrahmen. Auf einer steinernen Veranda mit Rundsäulen und einem zur linken Seite gerafften Vorhang eine sitzende junge Frau in langem, antiken Gewand mit Kopfbedeckung, auf einer großen Harfe spielend. Rechts neben ihr stehend ein geflügelter Putto mit Notenheft und geöffnetem Mund, sie wohl gesanglich begleitend. Links an einen Tisch mit Decke gelehnt ein kleiner Bass, am Boden zudem über Notenheften zwei Flöten. Feine Malerei in überwiegend monochromer beiger Farbigkeit. Anmerkung: Das Original aus dem Jahr 1691 findet sich heute im Louvre, Paris. (13808214) (18)
French school, ca. 1690. Circle of PIERRE MIGNARD (Troyes, 1612-Paris, 1695). "Alleged portrait of Mme. Soubise as Fame". Oil on canvas. Relined. Unsigned. Good state of conservation. Another identical piece attributed to Pierre Mignard is in the Museo De Cidade "Quiñones de León" in Vigo, and comes from the legacy of Policarpo Sanz. Measurements: 58 x 50 cm; 79 x 70 cm (frame). This female portrait is resolved in a precious language characteristic of Pierre Mignard, great portrait painter of the seventeenth century. The protagonist, a young lady conceived as Mme. Soubise as Fame, is represented half-length, in a dynamic attitude, holding a musical instrument in her left hand. Because of its delicate chromaticism and subtle brushwork, this work can be related to the circle of the painter Pierre Mignard. Mignard's first training took place with Jean Boucher in Bourges and then, in 1633, he moved to Simon Vouet's studio in Paris. Two years later he took the road to Rome, where he arrived in 1636 and where he would remain for more than twenty years, until October 1657. There he became acquainted with the greatest standard-bearers of classical idealism, such as Domenichino or Nicolas Poussin, whose painting was based on the study of the sculptures of Antiquity and the works of Raphael passed through the sieve of Annibale Carracci. However, Mignard did not fail to be attentive to other novelties in the trends of Roman painting of his time, such as neo-Venetianism. His interest in the great Venetian masters of the previous century was so strong that it prompted him to make a trip to the lake city and northern Italy in 1654 and 1655. In 1657 he returned to France, passing through Avignon and Fontainebleau - where he portrayed Louis XIV - before arriving in Paris. Portraiture was the genre in which he excelled, and he gained a great reputation with the representations of prominent court figures in elegant allegorical compositions. Nor did he disdain historical painting, the most honorable genre according to contemporary academic postulates; at the same time he carried out works of great commitment, such as the decoration of the dome of the abbey of Val-de-Grâce (Paris) for Anne of Austria in 1663, where he was able to apply the teachings of Giovanni Lanfranco that he had received in Rome. The death of the minister Colbert caused the undisputed fortune that the first painter Charles Le Brun had enjoyed until then to decline, and the rise to power of Louvois, Mignard's protector, placed him in an ideal position to obtain royal rewards. From then on, his courtly success only increased and Le Brun's death in 1690 made him the king's first painter and director of the Academy. The Prado Museum preserves several works related to Pierre Mignard, all from the royal collections. Good state of preservation. Another identical piece attributed to Pierre Mignard is in the Museo De Cidade "Quiñones de León" in Vigo, and comes from the legacy of Policarpo Sanz.
(French, 1612-1695) Portrait of a Young Gentleman Wearing a Blue Trimmed Brocaded Jacket, unsigned, oil on canvas, 29-3/8 x 24 in.; 18th century carved and gilt wood frame, 37 x 31-7/8 x 2-1/2 in. Provenance: Christie's East, February 26, 1997, Lot 57, sold for 9,775; Private Collection, Chapel Hill, North Carolina
Anonymous French copyist of the 19th century, the Madonna with the Grapes after Pierre Mignard (1612-1695), fine watercolor on paper, unsigned, 20 x 17 cm, framed behind glass 27 x 25 cm
Pierre Mignard (1612-1695), Succession, Portrait of a Lady, unsigned, verso inscribed on label Pierre Mignard 1612-95, 31 x 25.5 cm, minimally retouched/restored, framed 40.5 x 35 cm
PIERRE MIGNARD (cerchia di) (Troyes 1612 ; Parigi 1695) Tre ritratti di gentiluomini Olio su tela ovale, cm 71X57 (3) Per cifra stilistica i ritratti si riconducono a un artista della cerchia di Pierre Mignard, fratello di Nicolas e allievo di Vouet. Autore di opere di soggetto storico-religioso, raffinate decorazioni a fresco in importanti complessi architettonici e ritrattista di talento. Prima di tornare in patria e divenire pittore di corte, Mignard completò la propria formazione artistica in Italia, dove risiedette per oltre un ventennio acquisendo lo stile dei pittori bolognesi e l'influenza del classicismo romano.
ENTOURAGE DE PIERRE MIGNARD (1612-1695) Portraits des Mancini Deux huiles sur cuivre H: 23 x L: 17,5 cm Provenance : Porte une inscription au dos "Frederic Deronet" et "1864" Portraits of the Mancinis Two oils on copper H: 23 x W: 17.5 cm Provenance : Inscribed on the back "Frederic Deronet" and "1864". Collection of Monsieur Delvaux, Brussels
Large oil painting on canvas, measurements: 240 x 170 cm, unframed. This spectacular composition, preserved in very good original condition, which stands out for its meticulous and careful details, as well as the mastery in the use of light, is linked to the French school and the style of the famous French Baroque painter Pierre Mignard. and it is worth highlighting its good state of conservation, which, after professional cleaning, will offer the viewer even more vivid colors than those we see in the present work. Pierre Mignard (Troyes, November 7, 1612 - Paris, May 30, 1695). Mignard divided his career between portraits – he was the favorite of the ladies of the kingdom – and large decorative compositions; he painted for the Palace of Versailles. In June 1687 the king granted him a title of nobility and, in 1690, after the death of Charles Le Brun he was appointed first painter, in fact the director of the royal manufactures and entered the Royal Academy of Painting and Sculpture as director of the same. In Spain, Mignard's works are scarce. The Prado Museum preserves one of his works of certain authorship, Saint John the Baptist, oil on canvas from 1688, and two courtly portraits that could be workshop replicas. The Museum of Sacred Art in Bilbao exhibits a Vision of Saint Augustine assigned to the French master. Works in comparison: it is worth highlighting another Saint, possibly part of a series, in this case a Saint Cecilia playing the Harp, where the model used is the same, and of very similar make and size preserved in the Louvre Museum, Paris. Provenance: important private collection, Madrid.
(Troyes 1612 ; Parigi 1695) Tre ritratti di gentiluomini Olio su tela ovale, cm 71X57 (3) Per cifra stilistica i ritratti si riconducono a un artista della cerchia di Pierre Mignard, fratello di Nicolas e allievo di Vouet. Autore di opere di soggetto storico-religioso, raffinate decorazioni a fresco in importanti complessi architettonici e ritrattista di talento. Prima di tornare in patria e divenire pittore di corte, Mignard completò la propria formazione artistica in Italia, dove risiedette per oltre un ventennio acquisendo lo stile dei pittori bolognesi e l'influenza del classicismo romano.
HEILIGE CÄCILIA Öl auf Holzplatte. 84 x 61,5 cm. Verso begonnenes Portrait eines Mannes mit angedeutetem Vatermörderkragen. In vergoldetem Prunkrahmen. Auf einer steinernen Veranda mit Rundsäulen und einem zur linken Seite gerafftem Vorhang eine sitzende junge Frau in langem, antiken Gewand mit Kopfbedeckung, auf einer großen Harfe spielend. Rechts neben ihr stehend ein geflügelter Putto mit Notenheft und geöffnetem Mund, sie wohl gesanglich begleitend. Links an einen Tisch mit Decke gelehnt ein kleiner Bass, am Boden zudem über Notenheften zwei Flöten. Feine Malerei in überwiegend monochromer beiger Farbigkeit. Kl. Rest. Anmerkung: Das Original aus dem Jahr 1691 findet sich heute im Louvre, Paris. (13808214) (18)
Pierre Mignard detto Le Romain (Troyes 1612 - Parigi 1695) cerchia di Madonna con bambino e San Giovannino Olio su tela 132 x 94 cm La tela nasce dal prototipo perduto del maestro francese oggi conosciuto grazie a diverse incisioni, tra cui una conservata al Museo di Belle Arti di Rennes e un'altra in controparte al Museo Boucher di Perth. Allievo di Simon Vouet, lasciò lo studio del maestro per trasferirsi a Roma dove soggiornò dal 1635 al 1657. Il suo intento era di studiare le opere dei Carracci e Raffaello. Probabilmente, vista la sua pittura raffinata, conobbe e sentì l'influenza di Giovanni Batista Salvi, detto il Sassoferato. Tornò a Parigi dove, succeduto a Charles Lebrun, divenne primo pittore del re dal 1690 e direttore dell'Accademia. La sua pittura intrisa di grazia ed eleganza gli rese possibile essere uno dei più importanti e riconosciuti pittori del suo tempo. Pierre Mignard aslo called Le Romain (Troyes 1612 - Paris 1695) circle of Madonna With Child and Infant Saint John Oil on canvas 132 x 94 cm The canvas was born from the lost prototype of the French master known today thanks to several engravings, including one preserved at the Museum of Fine Arts in Rennes and another in counterpart at the Boucher Museum in Perth.
oil painting on canvas Attributed to Pierre Mignard (Troyes, 1612–Paris, 1695) Mignard's artistic training lies between France and Italy. During the years spent on the Italian peninsula he learned the mannered grace of the Bolognese style, studying above all the works of the Carracci. His career reached its peak when he was appointed first painter to the French king Louis XIV in 1690 and later director of the Academy. His professional achievements, affirmed by the mastery of his brush, made him one of the most admired painters of the time. His works are today preserved in famous museums around the world, including that of the prestigious palace of Versailles. Illustrious figures such as Molière and Descartes, as well as most of the most attractive women of seventeenth-century France, turned to to him to be portrayed. His talent and pictorial skill, accompanied by an instinct for graceful composition, were his distinctive traits. Man with a wig, Louis Charles De Levis brings together on the canvas the peculiarities of Mignard's art, with the elegant ease of touch combined with a very accurate chiaroscuro rendering. Works similar to this painting in style and composition I am a Portrait of a young gentleman now preserved in the Richard Philp Private Collection or the Portrait of Edouard Colbert, Marquis de Villacerf. ASOR Studio
Large oil painting on canvas, measurements: 240 x 170 cm, unframed. This spectacular composition, preserved in very good original condition, which stands out for its meticulous and careful details, as well as the mastery in the use of light, is linked to the French school and the style of the famous French Baroque painter Pierre Mignard. and it is worth highlighting its good state of conservation, which, after professional cleaning, will offer the viewer even more vivid colors than those we see in the present work. Pierre Mignard (Troyes, November 7, 1612 - Paris, May 30, 1695). Mignard divided his career between portraits – he was the favorite of the ladies of the kingdom – and large decorative compositions; he painted for the Palace of Versailles. In June 1687 the king granted him a title of nobility and, in 1690, after the death of Charles Le Brun he was appointed first painter, in fact the director of the royal manufactures and entered the Royal Academy of Painting and Sculpture as director of the same. In Spain, Mignard's works are scarce. The Prado Museum preserves one of his works of certain authorship, Saint John the Baptist, oil on canvas from 1688, and two courtly portraits that could be workshop replicas. The Museum of Sacred Art in Bilbao exhibits a Vision of Saint Augustine assigned to the French master. Works in comparison: it is worth highlighting another Saint, possibly part of a series, in this case a Saint Cecilia playing the Harp, where the model used is the same, and of very similar make and size preserved in the Louvre Museum, Paris. Provenance: important private collection, Madrid.
PIERRE MIGNARD (Troyes 1612–1695 Paris) Portrait of Edouard Colbert, Marquis de Villacerf (1628–1699). Oil on canvas. Inscribed upper left: [d'] aumalle. 73.5 × 64 cm. Certificate: Jean-Claude Boyer, 2.8.2023. Provenance: - Probably collection of Marie-Jeanne D'Aumalle (1683–1756). - Private collection, Switzerland. Our thanks to Jean-Claude Boyer who has confirmed the authenticity of this work having examined it in the original. --------------- PIERRE MIGNARD (Troyes 1612–1695 Paris) Bildnis Edouard Colbert, Marquis de Villacerf (1628–1699). Öl auf Leinwand. Oben links bezeichnet: [d'] aumalle. 73,5 × 64 cm. Gutachten: Jean-Claude Boyer, 2.8.2023. Provenienz: - Sammlung wohl Marie-Jeanne D'Aumalle (1683–1756). - Schweizer Privatbesitz. Edouard Colbert, Marquis de Villacerf war ein hochrangiger Beamter in der Regierung von Ludwig XIV. Der Neffe des berühmten Finanzministers des Königs, Jean-Baptiste Colbert, wurde am 28. Juli 1691 zum Surintendant et Ordonnateur Général des Bâtiments, Arts, Tapisseries et Manufactures de France (Hauptbeauftragte für Bauten, Kunst und Manufakturen) ernannt. In dieser Funktion war er für die Koordinierung und den Bau aller offiziellen Gebäude und Projekte im Auftrag des Throns zuständig. Ausserdem fielen in seinen Zuständigkeitsbereich die Bestellung aller offiziellen Wandteppiche sowie die Aufsicht über die königlichen Akademien für Malerei, Bildhauerei und Architektur in Frankreich. Pierre Mignard, erster Maler des Königs und seit 1690 Direktor der Académie Royale, malte 1693 ein Dreiviertelporträt von Villacerf für die Académie, welches sich heute in Versailles befindet (Inv.-Nr. 3531). Mignard hat für dieses Bildnis mehrere vorbereitende Zeichnungen geschaffen, die nach seinem Tod in die königliche Sammlung gelangten und sich heute im Louvre befinden. Unser Gemälde ist im Vergleich zur Versailler Version von reduziertem Format und konzentriert sich auf den Oberkörper des Porträtierten. Während die Physiognomie des Gesichts detailreich gemalt ist, erscheint das Gewand eher schnell behandelt. Aus diesen Gründen geht Jean-Claude Boyer nach Prüfung im Original davon aus, dass unser unveröffentlichtes Porträt von Mignard ad vivum gemalt wurde und als Grundlage für die Version in Versailles diente. Eine etwas später ausgeführte, grössere Version wurde bei Sotheby’s 2013 versteigert (Sotheby’s, New York, 31.1.2013, Los 267). Unser Gemälde diente zudem als Vorlage für einen Stich von Gérard Edelinck (1640–1707), der wohl um 1696 entstanden ist (Abb. 1, Versailles, Inv.-Nr. INV.GRAV 1493). Die Inschrift "[d']aumalle" oben links könnte sich auf Marie-Jeanne d'Aumale (1683–1756) beziehen, eine zentrale Figur im Kreis um Madame de Maintenon, deren Sekretärin sie ab 1705 war. Jean-Claude Boyer bestätigt die Eigenhändigkeit nach Prüfung des Originals, wofür wir ihm danken. ---------------
Circle of Pierre Mignard (Troyes 1612-1695 Paris) Portrait of a young lady as Diana, seated in a landscape with her dog oil on canvas 66.5 x 55.6cm (26 3/16 x 21 7/8in).
(1612-1695). Maria auf Wolken reicht den Jesusknaben an die hl. Scholastica, der (Zwillings-) Schwester von Benedikt von Nursia. Kupferstich bei G.G.Rossi, Rom. Blgr. 35,7 x 24 cm. Mit den Namnesz. u. Titel "... Canonico Stae. Eccclesiae Barchinonen...". Innerhalb der Plattenkante, ob. auf Halbrund geschnitten mit etw. Darst.-Verlust. - Etw. gebr. u. fleckig, Mittelfalz, tls. Randein- u. kl. Randausrisse. Aus einer Slg. "Bekrönte Buchstaben". R
MADONNA MIT JESUSKNABEN Öl auf Leinwand. Doubliert. 47 x 33 cm. In vergoldetem Rahmen. Die Madonna in rot-blauem Gewand auf einem hohen Sessel sitzend, mit ihrem rechten Arm den auf ihrem Schoß stehenden nackten Jesusknaben haltend, der zusammen mit seiner Mutter aus dem Bild herausschaut. Der Sessel auf einem Absatz stehend, auf dessen vorderer linker Ecke ein kleiner ovaler Korb mit Blüten steht. Hinterfangen wird die Darstellung von einer Wand mit nach rechts hängendem dunklem Velum, nach links eine weiße Mauer und dahinter erstreckt sich der Blick auf eine Landschaft unter hohem blauen Himmel mit Wolkenformationen. Harmonische Malerei, bei der durch die Beleuchtung Gesicht und Hände der Gottesmutter sowie der Korpus des Jesuskindes besonders hervorgehoben werden. Teils rest. (1361752) (18)
(1612-1695). Maria auf Wolken reicht den Jesusknaben an die hl. Scholastica, der (Zwillings-) Schwester von Benedikt von Nursia. Kupferstich bei G.G.Rossi, Rom. Blgr. 35,7 x 24 cm. Mit den Namnesz. u. Titel "... Canonico Stae. Eccclesiae Barchinonen...". Innerhalb der Plattenkante, ob. auf Halbrund geschnitten mit etw. Darst.-Verlust. - Etw. gebr. u. fleckig, Mittelfalz, tls. Randein- u. kl. Randausrisse. Aus einer Slg. "Bekrönte Buchstaben". R
Tableaux MIGNARD Pierre (1612 - 1695). Entourage de. Huile sur toile ovale marouflée sur toile "Portrait d'une dame de qualité". Entourage de Pierre Mignard. Ecole française. Epoque: fin XVIIème. Dim.:+/-40x32cm.
Oil on canvas portrait of a lady, attributed to Pierre Mignard (French, 1612-1695). [Art: 23" H x 34 1/2" W; Frame: 29" H x 39 3/4" W]. Significant restoration in the shape of an oval around subject. Portrait itself in better original condition. Gilt frame with losses and damages.
Portrait eines Kindes mit Schaf Öl auf Leinwand. 63,5 x 49,5 cm. Ungerahmt. In weiter Landschaft im Licht der untergehenden Sonne vor einem Baum sitzend ein Kind mit lockigen Haaren, einem Blütenkranz über der linken Schulter nach unten hängend, in einem leuchtend blauen Umhang aus Samt, auf einem roten Samtkissen mit goldener Quaste sitzend. Es hat gerötete Wangen, einen kleinen roten Mund und mit seinen leuchtenden blauen Augen schaut es voller Neugierde aus dem Bild heraus. Ihm zur Seite sitzend ein kleines Schaf, das von dem Kind behutsam gestreichelt wird. Feine harmonische Darstellung eines Kindes eines höheren Standes oder aus dem Adel. Wenige kleine Retuschen. (1341083) (18)
Pair of bust length French School portraits, in the manner of PIERRE MIGNARD (French, 1612-1695), oil on canvas, unsigned, 18th century. Lined, craquelure, flaking, losses, repairs. Canvases 16''h, 13''w.
MIGNARD, PIERRE (MÖGLICHERWEISE NACH) 1612 Troyes - 1695 Paris Porträt einer Dame Öl auf Lwd. L. u. bezeichnet und datiert 1650. Restauriert, min. beschädigt, doubliert. 74,5 x 60 cm (im Oval). Rahmen. Provenienz: Dr. Chahri.
Circle of Pierre Mignard I (French, 1612-1695) Portrait of a lady with a spaniel Oil on canvas, oval 86.5 x 66.4cm (34 1/16 x 26 1/8in). For further information on this lot please visit the Bonhams website
Attributed to Pierre Mignard (1612-1695, French), "Portrait of a Lady," 18th c., oil on canvas, unsigned with "Mignard" artist plaque attribution on frame, presented in a gilt and gesso frame, H.- 27 1/2 in., W.- 21 1/2 in., Framed- H.- 35 7/8 in., W.- 29 7/8 in.
Antique French engraving: portrait of Marie of Lorraine, Duchess of Guise, Paris, France, 1684. Engraving after Pierre Mignard (1612 1695). Marie de Lorraine (15 August 1615 3 March 1688) was the daughter of Charles de Lorraine, Duke of Guise and Henriette Catherine de Joyeuse and the last member of the House of Guise, a branch of the House of Lorraine.Size of the engraving: 9.75 x 14 = 24.4 cm x 35 cm. Size of the frame: 22.5 x 17.5 inches = 56 cm x 44 cm. Weight of the framed engraving: 7 lb. = 3.15 kg. Condition: Good, except that there is a small tear (10x22 mm) in the region of the upper part of her dress.Provenance: from private collection of one lady in Florida.BiographyMarie de Lorraine de Guise was a "foreign princess naturalized in France" (that is, the daughter of a foreign prince of the House of Lorraine). After the death of the last male of the House of Guise in 1675, Marie became duchess of Guise, duchess of Joyeuse, and princess of Joinville and enjoyed the vast revenues from these duchies and principalities.[1] People addressed her formally as "Your Highness"; she herself signed legal documents as "Marie de Lorraine"; and after 1675, as "Marie de Lorraine de Guise," but she ended personal letters with, simply, "Guise."Exiled to Florence with her family, 163443,[2] Marie (whom the French knew as "Mademoiselle de Guise") became close to the Medicis and came to love Italy and especially Italian music. For over forty years scarcely a week passed that she did not write to her Medici friends in Florence, or receive word from them through the Tuscan resident in Paris. Circa 1650 she morganatically married Claude de Bourdeille, count of Montrsor [3] by whom she had several children whose existence was never acknowledged publicly.Starting in 1670, Marc-Antoine Charpentier composed for her and sang haute-contre in her service. She protected her loyal servant by soliciting commissions for him from people or establishments who were seeking her continued patronage. For example, she was probably one of the "enraged virgins" and "heroines" who swooped down on Molire in late 1672 and forced him to give Charpentier the chance to write the music for Molire's the forthcoming theatrical spectacle, the Malade Imaginaire. For eighteen years her patronage fostered a number of major works, most of them devotional and strongly influenced by Italian music.[4][5]Successively guardian of her nephew, Louis Joseph, Duke of Guise (d. 1671) and of her grand nephew Francis Joseph, Duke of Guise (d. 1675), as the last member of the senior branch of the House of Guise, she used her vast wealth not only to live splendidly but for projects dear to her heart.[6]After these two closely spaced deaths, Marie turned to devotion. With the help of Father Nicolas Barr, Minim, she founded a teachers' training institute and created schools for girls and hospitals for the poor in her Parisian parish and in her provincial lands. In her vast Parisian residence known as the "Htel de Guise," she presided "magnificently" over a select little "court" composed chiefly of members of the House of Lorraine, clergy, learned protgs, and Italians passing through Paris. Music (often Italian and Italian-style music) was the principal entertainment at these events.Although her relations with Louis Joseph's widow, Lisabeth Marguerite d'Orlans, were often frosty, the two women continued to see one another, both in Paris and at the abbey of Saint Pierre de Montmartre, where Marie's sister Rene was abbess and where Lisabeth's sister, Marguerite Louise d'Orlans, the erstwhile Grand Duchess of Tuscany, resided after 1675.In the early 1670s, Marie had begun to assemble a small ensemble of household musicians to perform the pieces being written by her in-house composer, Marc-Antoine Charpentier.[7] Then, in the early 1680s she enlarged the group, until it rivaled both in size and quality of ensembles maintained by "several sovereigns." Over the years Marie made her composer and her musicians available to her nephew's widow lisabeth, for performances in churches and at the royal court. Both women had private apartments at Montmartre.In a will intended to disinherit her niece,[8] la Grande Mademoiselle (that is, Anne Marie Louise d'Orlans, Duchess of Montpensier [9]) she chose Charles Francois de Stainville as beneficiary in 1688; but on the urging of her heirs, the will was broken by the Parliament of Paris in 1689...[10][11]In 1700, her trustees sold her home in Paris, the Hotel de Guise, was sold to Francois, Prince of Soubise and his wife Anne de Rohan-Chabot and became the Hotel de Soubise. Low Estimate: 1500; High Estimate: 5000; Circa: 1684; Style: Classicism;
PIERRE MIGNARD (TROYES 1612-1695 PARIS) Portrait of a lady, seated full-length, in a silver gown oil on canvas, unframed 64 5/8 x 45 ¼ in. (161.5 x 115 cm.)
Pierre Mignard (Attr.), portrait of Jean-Baptiste Poquelin (so-called Molière), 17thC, 78 x 99 cm Attributed to Pierre Mignard (1612-1695), portrait of Jean-Baptiste Poquelin (so-called Molière), 17thC, oil on canvas, 78 x 99 cm Portrait of Molière in three-quarter profile, writing a letter on his desk addressed 'Monsieur', while looking at us, the spectator.
Attributed to Pierre Mignard (French, 1612-1695) Madame de Montespan (1640-1707) as Diana oil on canvas inscribed Francoise-Athenaes de Rochechouart - Marquise de Montespan - Par Mignard (lower center, in a later hand) and SEMPER ARDENTES/ ACVUENS SAGITTAS/ COTE CRVENTA (lower right) 46 3/8 x 63 1/2 inches. Property from the Estate of Charles and Lorraine Janda, Hinsdale, Illinois Provenance: Althorp House, Northampton, England Clifford Ellison, Northampton, England, acquired directly from the above, 1986 (with image of invoice) Note: Clifford Ellison (1920-2015) was a prominent fine art restorer who was a founding member and President of the British Association of Picture Restorers (now the British Association of Paintings Conservator-Restorers). In 1970, he was appointed as the picture restorer to Queen Elizabeth II, a position he held until 1979. Throughout his career, Ellison carried out restoration work for the National Trust and the National Portrait Gallery, the private collection of Charles Spencer, 9th Earl Spencer, and renowned London dealers Thomas Agnew & Sons and Colnaghi, among others. Lot Essay: The present lot is attributed to Pierre Mignard, a prominent court painter during the reign of Louis XIV, in the fine art catalogues of the Althorp House collection published in 1851 and 1974, and is almost certainly the same painting described by Kenneth J. Garlick in his inventory, which describes the subject, Madame de Montespan, as follows: "Dressed as a huntress, she proceeds towards the left, with her hounds, across a landscape. Cupids attend her, and others, at the right, are whetting arrows on anvil and grindstone, near which is an inscription: SEMPER ARDENTES ACVENS SAGITTAS COTE CRVENTA ('For ever whetting burning arrows on the cruel grindstone.') It is inscribed in a later hand: Francoise-Athenaes de Rochechouart, Marquise de Montespan, par Mignard . Canvas: 45 x 58 in. (enlarged from an oval)." Francoise-Athenaes de Rochechouart de Mortemart, Marquise de Montespan (1640-1707), better known as Madame de Montespan, was a renowned maitresse-en-titre , or chief Royal mistress, of King Louis XIV of France, with whom she had numerous children. Throughout her tenure as maitresse-en-titre , she was known for her audacious wit and robust patronage of the arts. de Rochechouart was born into one of the oldest noble families in France, the House of Rochechouart, which was established during the Carolingian Empire. Gabriel de Rochechouart de Mortemart (1600-1675), her father, was a childhood friend of King Louis XIII, and was later appointed as his First Gentleman of the Bedchamber; Louis XIV further promoted him to the title of Duke of Mortemart and governor of Paris in 1669. Her mother, Diane de Grandseigne (1610-1666), was a lady-in-waiting to Anne of Austria, Queen consort of Louis XIII and mother of Louis XIV. The Althorp estate in Northampton, England is the official seat of the aristocratic Spencer family, which was purchased by Sir John Spencer in 1508. Over the course of the ensuing centuries, the Spencer family amassed a large collection of art, furniture and objets d'art. Althorp House was the childhood home of Diana, Princess of Wales, and her brother Charles Spencer, 9th Earl of Spencer, is the current owner. Literature: Catalogue of Paintings at Althorp House, in the County of Northampton, with Occasional Notices, Biographical or Historical , London, 1851, p. 77, no. 309 Garlick, K. J. "A Catalogue of Pictures at Althorp." The Volume of the Walpole Society , vol. 45, 1974, pp. 58-59, no. 454 (309)
Antique French engraving: portrait of Marie of Lorraine, Duchess of Guise, Paris, France, 1684. Engraving after Pierre Mignard (1612 1695). Marie de Lorraine (15 August 1615 3 March 1688) was the daughter of Charles de Lorraine, Duke of Guise and Henriette Catherine de Joyeuse and the last member of the House of Guise, a branch of the House of Lorraine.Size of the engraving: 9.75 x 14 = 24.4 cm x 35 cm. Size of the frame: 22.5 x 17.5 inches = 56 cm x 44 cm. Weight of the framed engraving: 7 lb. = 3.15 kg. Condition: Good, except that there is a small tear (10x22 mm) in the region of the upper part of her dress.Provenance: from private collection of one lady in Florida.BiographyMarie de Lorraine de Guise was a "foreign princess naturalized in France" (that is, the daughter of a foreign prince of the House of Lorraine). After the death of the last male of the House of Guise in 1675, Marie became duchess of Guise, duchess of Joyeuse, and princess of Joinville and enjoyed the vast revenues from these duchies and principalities.[1] People addressed her formally as "Your Highness"; she herself signed legal documents as "Marie de Lorraine"; and after 1675, as "Marie de Lorraine de Guise," but she ended personal letters with, simply, "Guise."Exiled to Florence with her family, 163443,[2] Marie (whom the French knew as "Mademoiselle de Guise") became close to the Medicis and came to love Italy and especially Italian music. For over forty years scarcely a week passed that she did not write to her Medici friends in Florence, or receive word from them through the Tuscan resident in Paris. Circa 1650 she morganatically married Claude de Bourdeille, count of Montrsor [3] by whom she had several children whose existence was never acknowledged publicly.Starting in 1670, Marc-Antoine Charpentier composed for her and sang haute-contre in her service. She protected her loyal servant by soliciting commissions for him from people or establishments who were seeking her continued patronage. For example, she was probably one of the "enraged virgins" and "heroines" who swooped down on Molire in late 1672 and forced him to give Charpentier the chance to write the music for Molire's the forthcoming theatrical spectacle, the Malade Imaginaire. For eighteen years her patronage fostered a number of major works, most of them devotional and strongly influenced by Italian music.[4][5]Successively guardian of her nephew, Louis Joseph, Duke of Guise (d. 1671) and of her grand nephew Francis Joseph, Duke of Guise (d. 1675), as the last member of the senior branch of the House of Guise, she used her vast wealth not only to live splendidly but for projects dear to her heart.[6]After these two closely spaced deaths, Marie turned to devotion. With the help of Father Nicolas Barr, Minim, she founded a teachers' training institute and created schools for girls and hospitals for the poor in her Parisian parish and in her provincial lands. In her vast Parisian residence known as the "Htel de Guise," she presided "magnificently" over a select little "court" composed chiefly of members of the House of Lorraine, clergy, learned protgs, and Italians passing through Paris. Music (often Italian and Italian-style music) was the principal entertainment at these events.Although her relations with Louis Joseph's widow, Lisabeth Marguerite d'Orlans, were often frosty, the two women continued to see one another, both in Paris and at the abbey of Saint Pierre de Montmartre, where Marie's sister Rene was abbess and where Lisabeth's sister, Marguerite Louise d'Orlans, the erstwhile Grand Duchess of Tuscany, resided after 1675.In the early 1670s, Marie had begun to assemble a small ensemble of household musicians to perform the pieces being written by her in-house composer, Marc-Antoine Charpentier.[7] Then, in the early 1680s she enlarged the group, until it rivaled both in size and quality of ensembles maintained by "several sovereigns." Over the years Marie made her composer and her musicians available to her nephew's widow lisabeth, for performances in churches and at the royal court. Both women had private apartments at Montmartre.In a will intended to disinherit her niece,[8] la Grande Mademoiselle (that is, Anne Marie Louise d'Orlans, Duchess of Montpensier [9]) she chose Charles Francois de Stainville as beneficiary in 1688; but on the urging of her heirs, the will was broken by the Parliament of Paris in 1689...[10][11]In 1700, her trustees sold her home in Paris, the Hotel de Guise, was sold to Francois, Prince of Soubise and his wife Anne de Rohan-Chabot and became the Hotel de Soubise. Low Estimate: 1500; High Estimate: 5000; Circa: 1684; Style: Classicism;
Studio of Pierre Mignard I (French, 1612-1695) "Portrait of a Lady as Venus Accompanied by Cupid, possibly "Madame de Montespan" or "Anne Louise Benedicte de Bourbon" oil on canvas unsigned, three loan/inventory labels from the Museum of Fine Arts, Boston on stretchers (one of which includes the name "Mrs. Greely Curtis) and remnants of an old red wax seal. Unframed. original canvas 37-1/2" x 50-1/2", stretchers 38-3/8" x 51-1/4" Provenance: With Mr. & Mrs. Greely Stevenson Curtis as a portrait of "Nell Gwynne"(?), before 1895-1923; thence by descent; to the sale of Harriet Appleton Curtis' property, sold as "Portrait d'Anne Louise de Bourbon", Christie's, London, November 29,1975; Bonhams, Knightsbridge, London, April 25, 2001, lot 293; Private collection, Atlanta, Georgia. Exhibited: Loan Collection of Portraits of Women for the Benefit of the Boston's Children's Aid Society, and Sunnyside Day Nursery, March 11-March 31, 1895, no. 195 On loan with the Museum of Fine Arts, Boston, Massachusetts, June 1- December 7, 1915. Literature: Photographed in 1923 in situ in the dining room of the Greely Stevenson Curtis House, 28-30 Mount Vernon St., Boston, Massachussets, published Historic New England, "Domestic Interiors Photographic Collection", no. GUSN-167577
Antique French engraving: portrait of Marie of Lorraine, Duchess of Guise, Paris, France, 1684. Engraving after Pierre Mignard (1612 1695). Marie de Lorraine (15 August 1615 3 March 1688) was the daughter of Charles de Lorraine, Duke of Guise and Henriette Catherine de Joyeuse and the last member of the House of Guise, a branch of the House of Lorraine.Size of the engraving: 9.75 x 14 = 24.4 cm x 35 cm. Size of the frame: 22.5 x 17.5 inches = 56 cm x 44 cm. Weight of the framed engraving: 7 lb. = 3.15 kg. Condition: Good, except that there is a small tear (10x22 mm) in the region of the upper part of her dress.Provenance: from private collection of one lady in Florida.BiographyMarie de Lorraine de Guise was a "foreign princess naturalized in France" (that is, the daughter of a foreign prince of the House of Lorraine). After the death of the last male of the House of Guise in 1675, Marie became duchess of Guise, duchess of Joyeuse, and princess of Joinville and enjoyed the vast revenues from these duchies and principalities.[1] People addressed her formally as "Your Highness"; she herself signed legal documents as "Marie de Lorraine"; and after 1675, as "Marie de Lorraine de Guise," but she ended personal letters with, simply, "Guise."Exiled to Florence with her family, 163443,[2] Marie (whom the French knew as "Mademoiselle de Guise") became close to the Medicis and came to love Italy and especially Italian music. For over forty years scarcely a week passed that she did not write to her Medici friends in Florence, or receive word from them through the Tuscan resident in Paris. Circa 1650 she morganatically married Claude de Bourdeille, count of Montrsor [3] by whom she had several children whose existence was never acknowledged publicly.Starting in 1670, Marc-Antoine Charpentier composed for her and sang haute-contre in her service. She protected her loyal servant by soliciting commissions for him from people or establishments who were seeking her continued patronage. For example, she was probably one of the "enraged virgins" and "heroines" who swooped down on Molire in late 1672 and forced him to give Charpentier the chance to write the music for Molire's the forthcoming theatrical spectacle, the Malade Imaginaire. For eighteen years her patronage fostered a number of major works, most of them devotional and strongly influenced by Italian music.[4][5]Successively guardian of her nephew, Louis Joseph, Duke of Guise (d. 1671) and of her grand nephew Francis Joseph, Duke of Guise (d. 1675), as the last member of the senior branch of the House of Guise, she used her vast wealth not only to live splendidly but for projects dear to her heart.[6]After these two closely spaced deaths, Marie turned to devotion. With the help of Father Nicolas Barr, Minim, she founded a teachers' training institute and created schools for girls and hospitals for the poor in her Parisian parish and in her provincial lands. In her vast Parisian residence known as the "Htel de Guise," she presided "magnificently" over a select little "court" composed chiefly of members of the House of Lorraine, clergy, learned protgs, and Italians passing through Paris. Music (often Italian and Italian-style music) was the principal entertainment at these events.Although her relations with Louis Joseph's widow, Lisabeth Marguerite d'Orlans, were often frosty, the two women continued to see one another, both in Paris and at the abbey of Saint Pierre de Montmartre, where Marie's sister Rene was abbess and where Lisabeth's sister, Marguerite Louise d'Orlans, the erstwhile Grand Duchess of Tuscany, resided after 1675.In the early 1670s, Marie had begun to assemble a small ensemble of household musicians to perform the pieces being written by her in-house composer, Marc-Antoine Charpentier.[7] Then, in the early 1680s she enlarged the group, until it rivaled both in size and quality of ensembles maintained by "several sovereigns." Over the years Marie made her composer and her musicians available to her nephew's widow lisabeth, for performances in churches and at the royal court. Both women had private apartments at Montmartre.In a will intended to disinherit her niece,[8] la Grande Mademoiselle (that is, Anne Marie Louise d'Orlans, Duchess of Montpensier [9]) she chose Charles Francois de Stainville as beneficiary in 1688; but on the urging of her heirs, the will was broken by the Parliament of Paris in 1689...[10][11]In 1700, her trustees sold her home in Paris, the Hotel de Guise, was sold to Francois, Prince of Soubise and his wife Anne de Rohan-Chabot and became the Hotel de Soubise. Low Estimate: 1500; High Estimate: 5000; Circa: 1684; Style: Classicism;