Attribué à Hendrik TER BRUGGHEN (1588-1629) Saint Pierre repentant Toile Restaurations anciennes Attr. to H. Ter Brugghen, Saint Peter repentant, canvas 70 x 91 CM • 27 1/2 X 35 7/8 IN.
€20,000-30,000
Exposition Maîtres anciens du XVIe au XVIIIesiècle, Galerie Serre et Leegenhoek, 1992, Société Labatut, n°7, repr.;
Bibliographie -Catalogue de l’exposition de la galerie Serre et Leegenhoek, Maîtres anciens du XVIe au XVIIIesiècle, 1992, Société Labatut, pp. 28 à 32, n°7 -Catalogue de l’exposition Stichting Victor Restauratie en natuurwetensnschappelijk onderzoek in het Centraal Museum, Utrecht, Centraal Museum, 2007, p.36 (repr. avec dimensions erronées, comme attribué à) -Liesbeth M. Helmus, in cat. exp., Caravaggio and Europe Brings Rome 1600-1630 to Utrecht, Utrecht, Centraal Museum - Munich, Alte Pinakothek, 2018-2019, p.106, fig.51 (repr. comme workshop).
Il existe une autre version de cette composition au Centraal Museum d’Utrecht (inv. 15762), de dimensions à peu près comparables (toile, 67,7 x 85,8 CM) signée et datée de 161[6]. Connue depuis les années 1930, elle a été achetée par le musée en 1967. Son attribution a été très discutée à cette époque; la nôtre est réapparue vingt ans après. La pose du saint est identique et la principale variante concerne la position de la paire de clefs, ici à gauche et accrochée au mur à droite dans l’autre. La différence la plus évidente, mais qui n’est pas due à l’artiste, concerne le vêtement tel une masse uniforme noir de jais, sans profondeur, suite au fait que cette partie a été entièrement repeinte. Dans notre tableau, le bleu de smalt, très beau lorsqu’il est neuf et connu pour être très fragile, a pris un aspect un peu vitreux, mais a pu être conservé -et parfaitement dans la manche au niveau du poignet-, ce qui montre que les deux œuvres ont été peintes avec les mêmes matériaux et pigments, dont l’évolution a été problématique. On est donc en présence de tableaux peints juste au retour de Ter Brugghen de Rome, vers 1615, et qui comptent parmi ses premiers connus, sa maturité étant assez tardive. On peut les comparer au Repas à Emmaüs du Toledo Museum of Art (1616), et plus particulièrement du vieillard de profil à gauche. La référence pour ses œuvres précoces est l’Adoration des Mages du Rijkmuseum à Amsterdam, datée de 1619, dans laquelle le roi agenouillé au premier plan est identique à notre figure. Celui-ci a été aussi rapproché du personnage à droite dans le Saint Étienne pleuré par Gamaliel et Nicodème du Pensionate de Saraceni, conservé au Museum of fine Arts de Boston, autre preuve du caractère encore italianisant et proche du creuset caravagesque romain. Il faut encore évoquer le jeune Georges de la Tour dont les diurnes sont influencés par la peinture de jeunesse de Ter Brugghen, sans qu’on puisse dire s’il les a vues dans la Ville éternelle ou à Utrecht (on comparera les deux tableaux du Prado, Le vielleur aveugle et le Saint Jérôme, vers 1620-1630, du lorrain à ce saint Pierre).
Another version is at the Utrecht Centraal Museum, with comparable dimensions (canvas, 67,7 x 85,8 cm) signed and dated 161[6]. It had been known since the 1930's and was bought by the museum in 1967. Its attribution was questionned a lot at that time ; our version reappeared twenty years later. The posing of the saint is identical, the main variation remais in the position of the keys, here on the left, while hanged on the wall on the right in the other. The most obvious difference, but not due to the artist, is the piece of clothing looking like a shapeless black form , depthless, due to the fact that this part had been entirely painted over. In our painting, the smalt blue, beautiful when new, and known for its fragility, got a glassy aspect, but could have been kept -and perfectly in the sleeve around the wrist-, which shows that the two paintings were painted with the same pigments and materials, whose evolution was problematic. While the maturity of the artist is quite late, we have here one of the first painting made by Ter Brugghen, after he came back from Rome, around 1615, and which we count among the first known pieces. We can compare it to the Diner at Emmaüs at the Toledo Museum of Art (1616), and more specificly to the old man in a profil on the left. The reference for his early work is the Adoration of the Magi at the Rijkmuseum in Amsterdam, dated from 1619, in which the king, kneeling in the foreground, is identical to our figure. He was also put in relation with the figure on the right in the Saint Etienne cryed by Gamaliel and Nicodemus from the Pensionate of Saraceni, preserved in the Museum of fine Arts of Boston, another clue of the italian character and even closer of the roman caravagesque stream. We must also recall the young Georges de la Tour whose daylight compositions are influenced by the youth work of Ter Brugghen, without being sure if he saw it in Rome or in Utrecht (we compare the two paintings of the Prado, the old blind man and the Saint Jerome, circa 1620-1630, by de la Tour to this Saint Peter).
Exposition Maîtres anciens du XVIe au XVIIIesiècle, Galerie Serre et Leegenhoek, 1992, Société Labatut, n°7, repr.;
Bibliographie -Catalogue de l’exposition de la galerie Serre et Leegenhoek, Maîtres anciens du XVIe au XVIIIesiècle, 1992, Société Labatut, pp. 28 à 32, n°7 -Catalogue de l’exposition Stichting Victor Restauratie en natuurwetensnschappelijk onderzoek in het Centraal Museum, Utrecht, Centraal Museum, 2007, p.36 (repr. avec dimensions erronées, comme attribué à) -Liesbeth M. Helmus, in cat. exp., Caravaggio and Europe Brings Rome 1600-1630 to Utrecht, Utrecht, Centraal Museum - Munich, Alte Pinakothek, 2018-2019, p.106, fig.51 (repr. comme workshop).
Il existe une autre version de cette composition au Centraal Museum d’Utrecht (inv. 15762), de dimensions à peu près comparables (toile, 67,7 x 85,8 CM) signée et datée de 161[6]. Connue depuis les années 1930, elle a été achetée par le musée en 1967. Son attribution a été très discutée à cette époque; la nôtre est réapparue vingt ans après. La pose du saint est identique et la principale variante concerne la position de la paire de clefs, ici à gauche et accrochée au mur à droite dans l’autre. La différence la plus évidente, mais qui n’est pas due à l’artiste, concerne le vêtement tel une masse uniforme noir de jais, sans profondeur, suite au fait que cette partie a été entièrement repeinte. Dans notre tableau, le bleu de smalt, très beau lorsqu’il est neuf et connu pour être très fragile, a pris un aspect un peu vitreux, mais a pu être conservé -et parfaitement dans la manche au niveau du poignet-, ce qui montre que les deux œuvres ont été peintes avec les mêmes matériaux et pigments, dont l’évolution a été problématique. On est donc en présence de tableaux peints juste au retour de Ter Brugghen de Rome, vers 1615, et qui comptent parmi ses premiers connus, sa maturité étant assez tardive. On peut les comparer au Repas à Emmaüs du Toledo Museum of Art (1616), et plus particulièrement du vieillard de profil à gauche. La référence pour ses œuvres précoces est l’Adoration des Mages du Rijkmuseum à Amsterdam, datée de 1619, dans laquelle le roi agenouillé au premier plan est identique à notre figure. Celui-ci a été aussi rapproché du personnage à droite dans le Saint Étienne pleuré par Gamaliel et Nicodème du Pensionate de Saraceni, conservé au Museum of fine Arts de Boston, autre preuve du caractère encore italianisant et proche du creuset caravagesque romain. Il faut encore évoquer le jeune Georges de la Tour dont les diurnes sont influencés par la peinture de jeunesse de Ter Brugghen, sans qu’on puisse dire s’il les a vues dans la Ville éternelle ou à Utrecht (on comparera les deux tableaux du Prado, Le vielleur aveugle et le Saint Jérôme, vers 1620-1630, du lorrain à ce saint Pierre).
Another version is at the Utrecht Centraal Museum, with comparable dimensions (canvas, 67,7 x 85,8 cm) signed and dated 161[6]. It had been known since the 1930's and was bought by the museum in 1967. Its attribution was questionned a lot at that time ; our version reappeared twenty years later. The posing of the saint is identical, the main variation remais in the position of the keys, here on the left, while hanged on the wall on the right in the other. The most obvious difference, but not due to the artist, is the piece of clothing looking like a shapeless black form , depthless, due to the fact that this part had been entirely painted over. In our painting, the smalt blue, beautiful when new, and known for its fragility, got a glassy aspect, but could have been kept -and perfectly in the sleeve around the wrist-, which shows that the two paintings were painted with the same pigments and materials, whose evolution was problematic. While the maturity of the artist is quite late, we have here one of the first painting made by Ter Brugghen, after he came back from Rome, around 1615, and which we count among the first known pieces. We can compare it to the Diner at Emmaüs at the Toledo Museum of Art (1616), and more specificly to the old man in a profil on the left. The reference for his early work is the Adoration of the Magi at the Rijkmuseum in Amsterdam, dated from 1619, in which the king, kneeling in the foreground, is identical to our figure. He was also put in relation with the figure on the right in the Saint Etienne cryed by Gamaliel and Nicodemus from the Pensionate of Saraceni, preserved in the Museum of fine Arts of Boston, another clue of the italian character and even closer of the roman caravagesque stream. We must also recall the young Georges de la Tour whose daylight compositions are influenced by the youth work of Ter Brugghen, without being sure if he saw it in Rome or in Utrecht (we compare the two paintings of the Prado, the old blind man and the Saint Jerome, circa 1620-1630, by de la Tour to this Saint Peter).
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The import and export of goods may be subject to authorisation (export certificates, customs authorisations). It is the buyer's responsability to check which authorisations are required.
The buyer may not take receipt of any lot until such time as he/she has paid all amounts due in full delivery of the goods.
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