Paris Tableau 2014 - From 13 to 16 November - Press kit EN

15th

16th

17th

18th

19th centuries

Pres

s Kit

Italian // //

French //... //

Antique Frames

Related Exhibitions

StillLife

Portraits

Press Relations> UK, USA : Cawdell Douglas

Diana Cawdell & Annie McGrath00 44 20 7439 2822

[email protected]

HD visuals, information on the work and interviews with the fair ‘s exhibitors are available on request.

Old Masters…

Northern European

THE INTERNATIONAL FAIR FOR OLD MASTER PAINTINGS

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Patrical InformationAccessPalais BrongniartPlace de la Bourse, 75002 ParisMétro : Bourse (ligne 3, Pont de Levallois / Gallieni)Parking : Place de la Bourse

Opening Hours11:00 > 20:00From Thursday 13 until Sunday 16 November 2014Late night opening until 22:00 on Thursday 13 NovemberCloses 18:30 Sunday 16 November

Entrance Fee15 € (including catalogue) / free access to the auditorium

Web-sitewww.paristableau.com

Press Relations

> France, Northern Europe :Agence ColonnesClaire Galimard, Lara Fatimi & Julie Lécuyer00 33 1 42 60 70 10 / [email protected]

>Italy, Spain : MyStudio75 SrlVilma Sarchi & Simona Salvini00 39 02 3453 7744 / [email protected]

Public Relations

> RussiaEkaterina de Rochambeau - Limonad00 7 916 145 89 60 / [email protected]


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Organisers

Hervé Aaron, Bruno Desmarest (Didier Aaron & Cie)

Maurizio Canesso (Gallery Canesso)

Éric Coatalem (Gallery Éric Coatalem)

Bertrand Gautier (Talabardon & Gautier)

Bob Haboldt (Haboldt & Co)

Jean-François Heim

Georges De Jonckheere (De Jonckheere)

Jacques Leegenhoek

Giovanni Sarti (Gallery G. Sarti)

Claude Vittet (Gallery Claude Vittet)

SAS Paris Tableau26, rue Laffitte 75009 Paris

President : Maurizio CanessoCommunication : Hervé Aaron, Bertrand Gautier

& Éric CoatalemOffice : Hélène Mouradian, Claire Dubois, Manon Girard

00 33 1 45 22 37 82 / [email protected]

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Paris Tableau 2014 : Fourth edition devoted to

the art of collection

In 2013, Paris Tableau ended its third edition with success: some 6,000 visitors had made the trip to meet the 24 French and international exhibitors selected with the utmost care. Attendance figures, in constant growth since the fair’s creation, have gone hand in hand with the increased presence of exhibitors from abroad. A true indication of success has been the attendance of curators from numerous museums: the National Gallery in London, the MET in New York, the Minneapolis Institute of Arts and the Kunstmuseum in Basel were all represented at the opening. Responding to a satisfaction survey organised over the following days, the public – also consisting of art historians, collectors and amateurs – were not sparing in their praise for the atmosphere, both warm and serious, of this fair on a human scale. The initial objective of Paris Tableau has therefore been achieved: this fair is now an indispensable event in the life of the international art market.

Building on this achievement, the 4th edition, still located in the cosy setting of the Palais Brongniart, will bring together, from 13 to 16 November, both the curious and confirmed lovers of old master painting around a variety of works: portraits, genre scenes and landscapes from the Middle Ages to the Second Empire, the Northern, Italian or French School, the whole range of old master painting therefore being on show. This year, two more exhibitors are invited, making a total of 26 international exhibitors, the best in their field; among them, there are four newcomers, the galleries of Thomas Agnew & Sons (London), Matteo Grassi (New York), Maurizio Nobile (Bologna) and Dario Porcini (Naples), plus two frame dealers.

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The ten founding members, Maurizio Canesso, Hervé Aaron, Eric Coatalem, Bertrand Gautier, Bob Haboldt, Jean-François Heim, Georges de Jonckheere, Jacques Leegenhoek, Giovanni Sarti and Claude Vittet reaffirm their commitment to keeping an intimate format, guaranteeing the quality of exhibited works and visitor comfort. This admittedly small scale can also be explained by the level of excellence that all participants must meet. To ensure fairness, stands are attributed annually by lot.

When in 2011, ten French art dealers had the idea of creating an art fair dedicated exclusively to old master paintings, they were motivated not only by the challenge but also the desire to promote such artworks in a different way. During the first edition of Paris Tableau, this specialty was presented through the prism of the personal collection of the famous contemporary artist, Jeff Koons. The following year, it was celebrated through a film festival with a selection of films in which artists and their works had the leading role. In 2013, it was to explore the legal and tax means specific to the French system that encourage the establishment of collections through donation subject to usufruct.In 2011, as in 2012, Paris Tableau also created bridges with institutions such as the INHA (Institut national d ’histoire de l ’art) via the exhibition «L’envers du tableau» (The Other Side of the Painting) or Mobilier National which presented «Hidden Treasures of the Goblins.»This year, as in previous years, old master painting is to be celebrated on every exhibition stand but Paris

Tableau is also proposing to consider the various ways a collection can be designed and put together, whether by a private collector, a foundation or a public institution. For this, two supplementary events are to complement and inform the work of the art dealers.First ly, a symposium: Paris Tableau continues its contribution to art history begun in 2013 with the tribute to the famous historian of art Federico Zeri through the conference organized jointly with the Zeri Foundation. On Thursday, November 13, Paris Tableau invites us to focus on Utrecht and the international Caravaggesque movement, title of this symposium devoted to Flemish, French and Spanish followers of Caravaggio. Around Dr. Liesbeth M. Helmus, Curator of old master paintings and drawings at the Centraal Museum in Utrecht and Professor Dr. Volker Manuth, professor of history of art at Radboud University in Nijmegen, and in partnership with the Custodia Foundation, experts from all over the world will share with an audience of connoisseurs their research on the formation of this movement, initiator of many other artistic movements.To complement and illustrate the intention of the symposium, there is an exhibition: Three Collections, a Single Passion is to highlight three paintings from the Caravaggio school loaned by the Centraal Museum in Utrecht and around ten Dutch and Flemish masterpieces, including works by Goltzius, Rubens and Brueghel from the P. & N. de Boer Foundation in Amsterdam. These paintings are then to be shown at an exhibition at the Custodia Foundation in Paris.

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On the occasion of a special partnership with AXA ART, the exhibition will also feature a piece by Philippe de Champaigne and two still lifes by Arellano normally kept at the Hotel de La Vaupalière, headquarters of the prestigious insurance group.

Whether it is a matter of managing an existing collection, documenting it, giving it prominence and making it accessible to the public, as do the curators of the Utrecht museum, or else of creating a foundation in the manner of the Dutch couple, art dealers Pieter and Nellie de Boer, or otherwise of restoring a historic monument like the private mansion La Vaupalière and making it a showcase for their collection of works, as the AXA Group has been doing since 1998, all of these approaches can be said to come down to one: glorifying and preserving a cultural heritage that is common to all Europe, that of old master painting, from the Middle Ages to the late nineteenth century.As is the case every year, the most prestigious signatures are to be found alongside each other on the walls of Paris Tableau.

The Northern School is particularly in the spotlight this year with some exceptional canvases such as the Interior of Jan Frans van Dael’s Studio at the Sorbonne by Philippe Van Bree, to be seen on the stand of the Talabardon & Gautier gallery, the mischievous Portrait of Young Boy as Cupid by

Bartholomeus van der Helst, presented by Haboldt & Co gallery, or the Weiss gallery’s Portrait of a Habsburg Officer by Frans Pourbus the Younger.

Amongst works from the Italian School is to be noted the vibrant Christ Appearing to Magdalene by Francesco Albani or Albano shown by the Canesso gallery, work that is particularly interesting for its technique of oil on copper. Also not to be missed is The Holy Family and Saint Augustine by Gaetano Gandolfi shown by the new exhibitor Maurizio Nobile, a view of Piazza del Popolo by Canaletto on the stand of the Beddington gallery and a radiant Virgin and Child in tempera and gold on panel by Da Bologna presented by the G. Sarti gallery.

As for the French School, it is represented on many stands in the form of works by such masters as Claude-Joseph Vernet shown by Sanct Lucas gallery, Louis-Léopold Boilly and his highly realistic trompe-l’oeil from the Eric Coatalem gallery, Simon Vouet on the Canesso gallery stand, or Alexandre-François Desportes presented by the Jean-François Heim gallery. From across the Atlantic, the Grassi Studio is presenting a portrait of Ferdinando Nerli by Louis Gauffier, whose gouache sketch is preserved at Versailles.

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More unexpected schools are also spotlighted, such as the Austrian School represented by the Haboldt & Co gallery’s Bacchus and Ariane and the matching Bacchus and Midas by Johann Georg Platzer, the English School with a remarkable portrait painted by William Larkin to be seen at Derek Johns, as well as the Swedish School with a very personal and original canvas by Johan Thomas Lundbye shown by the Jean-François Heim gallery.

Between fervour, passion and rarity, Paris Tableau gives back to old master painting its position as mother of all arts. Paris Tableau, an art fair where collecting becomes an art.

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Collecting old master painting

All art dealers agree on the fact that all collectors are unique and enjoy an intimate relationship with their paintings. To collect old master art is to delve into history and to become part of a long tradition of art lovers who, up to the mid-nineteenth century, conferred the highest rank in the hierarchy of genres to historical, mythological and religious subjects, until modernity emerged and upended the existing codes of painting.

Among collectors today, many are highly knowledgeable people who build a collection to suit their desires but in the light of strong references. «Most recognise what they see and know what they want. These are true collectors we have been accompanying over the years, and with whom we have forged a strong bond,» says Daisy Prevost-Marcilhacy of De Jonckheere, gallery specialising in paintings by Flemish masters of the fifteenth to seventeenth centuries. Some are looking for an artist, a school, a period, a genre (such as Dutch still lifes or eighteenth century Italian vedute) or a specific subject, while being very attentive to the state of conservation of the work, its provenance, the perfection of its technique or the place the painting occupies in the artist’s career.

But there is also another type of collectors, those who have tended to buy modern or contemporary art and then one day decide to acquire an exceptional old artwork. «These are mostly young people, in the world of finance, who have the financial means and who find a certain tenderness in old master painting, a way of escaping from the harshness of the world in which they live.»

says gallery owner Jacques Leegenhoek, who presents a selection of French, Italian and Flemish paintings. Same story at De Jonckheere: «They rather appreciate the fifteenth and sixteenth centuries, maybe drawn towards a Cranach or Corneille de Lyon, artists whose works blend with all styles, all ages,» says Daisy Prevost-Marcilhacy.

Whether one is a knowledgeable expert or primarily an art lover, what is most important remains the emotion felt in front of a painting that has a history and a soul. «No particular cultural background is essential to appreciating a work of art,» says Maurizio Canesso, specialist of Italian painting from the fifteenth to the eighteenth century, and founding member and president of Paris Tableau. «All that counts is the beauty, the aesthetic encounter. Pleasure and seduction take precedence over scientific knowledge, which can come later through gathering information.»

Old master painting is therefore not only the preserve of an elite. And in terms of price, not all is necessarily inaccessible. The market is stable and, unlike that of contemporary art, free from the effects of trends and speculation. «It is possible to find beautiful paintings at quite reasonable prices. It is better to acquire a beautiful work of a lesser master than a minor work of great signature,» we are told at the De Jonckheere gallery, a view that is apt to encourage new vocations. «Being a collector is not innate. You become one through the magic of an encounter that can happen at any time,» says Maurizio Canesso. Why not at Paris Tableau? G. M.

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This year, Paris Tableau decided to examine the various ways of designing and building a collection, whether for a private collector, a foundation or a public institution. This is illustrated by the exhibition Three Collections, a Single Passion, bringing together works by the Centraal Museum in Utrecht, the P. & N. de Boer Foundation, supplemented by three paintings preserved at the private mansion La Vaupalière and presented on the occasion of a privileged partnership with AXA ART.

AXA ART, a subsidiary of the AXA Group, is the world leader in insurance of works of art and the art of living, and present in more than twenty countries worldwide.

The insurer brings its expertise to all players in the art market: private collectors, art professionals, museums and temporary exhibitions, as well as corporate collections, providing tailor-made solutions adapted to the protection of their artistic heritage.

Deeply involved in the art market, attached to better understanding of the relationship between collectors and galleries as well as helping in the key moments of their artistic adventures, AXA ART wished to join the prestigious Paris Tableau art fair for its fourth edition, loaning three works from the collection of the Vaupalière, magnificent eighteenth century mansion, a historical monument, and now the head office of the AXA Group.

Sylvie Gleises, Managing Director of AXA ART Benelux-France-Middle East, replies to questions from Eric Coatalem, Parisian gallery owner.

Eric Coatalem: Could you explain to us where the paintings in the exhibition «Three Collections, a Single Passion» come from?

Sylvie Gleises: As part of our partnership with the Paris Tableau art fair, we are loaning three exceptional works that are part of the AXA Group collection. There is a painting by Philippe de Champaigne, representing the myth of Cephalus and Procris, a canvas that is usually displayed in the hallway of the Vaupalière and greets visitors as they enter. As for the two floral compositions by Arellano – undisputed master of the genre in Spain – they are not visible to the public as they are exhibited in the vestibule on the first floor of the building. So visitors to the art fair will have the chance to admire these rarely seen works.

E.C.: So there is an AXA collection?

S.G.: When the AXA Group decided in 1996 to set up its headquarters in the private mansion of La Vaupalière, entrusting the project to the decorator François-Joseph Graf, this showcase had to be enhanced. The finest French craftsmen therefore contributed to its renewal, and a collection of furniture and exceptional work of art was acquired in no more than around ten years, through leading French galleries and auction houses in order to restore this abode to its original splendour.

ExhibitionThree Collections, a Single Passion Masterpieces from the Centraal Museum in Utrecht, the P. & N. de Boer Foundation and AXA ART

Sylvie Gleises

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S. G.: Two elements. Firstly, although the study shows the interviewed collectors’ clear interest in internet media, there is no doubt that art fairs and galleries remain the predominant points of purchase. But what is probably most striking is the psychology of collectors. Our study reveals a very special bond between collectors and their works, whether arising from the passion felt for the works, the family attachment that is evoked, or the frequently mentioned question of instinct in collection strategies. Thus, the majority of collectors are far from speculators, contrary to what can sometimes be supposed from headlines on the explosion of market values.

E.C.: What makes you different from other insurers?

S.G.: I would say that we are all passionate about our profession! Our team consists of experts with top-level knowledge in both art history and insurance. This enables us to provide our clients with a personalised service and provide them with a fast and appropriate response in the event of a claim having to be submitted.

E.C.: How is AXA ART involved in the art market?

S.G.: Beyond being an insurer, AXA ART is a real player in the artistic community, committed to understanding collectors and galleries. We are partners of major art fairs such as Art Basel or TEFAF, and of course Paris Tableau, or AD Interiors for the «art of living» dimension.

EC: Sylvie, thank you for answering our questions, informing us about your company and your commitment to our event.

E.C.: For you personally, what do these works evoke?

S.G.: Obviously, as Managing Director of the first insurance company dedicated to art objects and the art of living, I am extremely sensitive to the beauty of the pieces that inhabit this place, jewels of eighteenth century French art. They are all as exceptional as each other, and remind us at every moment that, beyond being an insurer, AXA ART is also the protector of a heritage to be preserved and enriched. The very foundation of our business lies in the development and transmission of this heritage. That is why I am very pleased that the public can now discover these works.

E.C.: What is the role of AXA ART among collectors?

S.G.: Private collectors represent about half of our clients. We insure their work of art and collections, both in their homes and when works are on loan for exhibition. Our original business is the insurance of «art». Building on this experience with an upmarket and demanding clientele, we expanded our offer with ArtPLUS, a comprehensive home insurance covering valuable personal possessions and real estate, as well as other contracts to protect the lifestyle of our clients – wine cellars, for example, or vintage cars.

E.C.: Could you draw up a typical profile for us?

S.G.: AXA ART has recently conducted a study on international collectors, published last March. This was to enable us to better understand our clients generally, their way of approaching the market and their expectations. This study led us to identify three distinct profile types: the «Enthusiasts», for whom collecting gives rise to strong emotions, the «Traditionalists» who collect from one generation to the next, and finally the «Investors» seeking to put together a patrimony.

E.C.: Did you learn any other striking facts from this study?

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Three paintings from the AXA ART collection

Discovered by Jacques Foucart in the 1990s, Cephalus and Procris is an important painting for knowledge of the work of the most Flemish of painters of the French Grand Siècle, Philippe de Champaigne. Probably made around 1630, it reflects the artist’s Parisian beginnings and his pictorial evolution.

The palette used suggests his future interest in vibrant colours, and the meticulous poetic landscape in the background recalls the works of his former master, Jacques Fouquières, while the influence of Rubens begins to be noticeable in the representation and importance given to the characters.

The Parisian touch, meanwhile, lies not in the style that tends to be removed from mannerism but in the subject represented. While choosing to illustrate the heroes from Ovid’s Metamorphoses may seem surprising for this

renowned «Jansenist» painter, it reflects the themes popular with the Parisian milieu of the early 1630s. Cephalus and Procris are a young couple whose love is tested by the goddess Aurora. The scene depicted is that of their reconciliation, Procris offering Cephalus a very fast dog and a spear that never misses its target, the weapon with which he later accidentally kills her.

This painting echoes another work, Procris and Diane, preserved in a private collection, showing Procris receiving from Diane the gifts she in turn gives to Cephalus. The closeness of these two paintings suggests that the painting in the AXA collection preserved at the Vaupalière was part of a decorative cycle probably intended for the gallery of a chateau or mansion of someone close to Marie de Medici.

Philippe DE CHAMPAIGNE(Brussels, 1602 - Paris, 1674)Cephalus and Procris, circa 1630Oil on canvas, H.: 73 x W.: 155 cm©Jean-Louis Losi

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Exhibited in the hall of the Board of Directors of Participation, one of the mutual funds at the origin of the AXA Group, these two works nearly missed being hung on the walls of the Vaupalière. Barely recognizable and marked by time, it took a much-needed and judicious restoration requested by Claude Bébéar to bring them out of anonymity by revealing the signature of the famous Madrid painter, Juan de Arellano. An artist acknowledged by his contemporaries and appreciated by collectors, Arellano was one of the most important seventeenth century Spanish painters of flowers. He owed his fame and fortune to the fine decorative and stylistic qualities of his floral representations profoundly influenced by Flemish art, characteristics that are clearly reflected in these two paintings from the AXA collection. As so often in his pictorial production, the artist chose to paint these canvases hanging. With an elegant composition,

Juan DE ARELLANO(Santorcaz-Madrid, 1614 - Madrid, 1676)

Garland of flowers in a shell stone decor and mythological composition showing Cephalus and Procris

Oil on canvas, H.: 124 x W.: 104 cm©Jean-Louis Losi

the flowers arranged in a garland here serve as the setting for the representation of mythological scenes from Ovid’s Metamorphoses. While both the figurative medallions may be the work of collaborators – the artist used colleagues to paint landscapes or scenes in the centre of his paintings – the floral composition is typical of the works that made him successful. The various species cherished by the artist are expertly arranged and give the impression of a natural and freshly cut bouquet, a feeling magnified by the essential use of primary colours accentuated by the infinitesimal but vibrant touch of the brush.

These two paintings, whose disconcertingly real-looking flowers seem to be stirred by a gentle breeze, bear witness once again to the talented ease with which Arellano managed to infuse his bouquets with life.

Juan DE ARELLANO(Santorcaz-Madrid, 1614 - Madrid, 1676)

Garland of flowers in a shell stone decor and mythological composition showing Circe and PicusOil on canvas, H.: 124 x W.: 104 cm

©Jean-Louis Losi

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The P. & N. de Boer Foundation

Hendrik GOLTZIUS(Mulbracht, 1558 - Haarlem, 1616)Portrait of the Shell Collector, Jan Govaerts van der AarSigned with monogram and dated 1603Oil on canvas, H.: 107 x W.: 83 cm

The P. & N. de Boer Foundation was set up by the Amsterdam-based art dealer and collector, Pieter de Boer (1896 - 1974).

Coming from a family of Swiss origins having settled in Holland from the eighteenth century, his father Dr. Georg Michael de Boer (1867-1958) was a well-known historian and nothing seemed to predispose Pieter to take up an artistic career.

An amateur naturalist, Pieter de Boer studied zoology and put together a large collection of beetles that he later donated to the University of Amsterdam. This interest inspired his first purchase, a canvas of caterpillars and butterflies painted by Jan van Kessel, which marked the beginning of his career as an art dealer. After completing his studies in history of art at the universities of Utrecht and Leiden, in 1922 he founded Kunsthandel P. de Boer, originally located at the Van Eeghenstraat in Amsterdam. In around 1926, his brother Rudolf joined the company where he was still working until shortly before his death in 1987. The flourishing activity of Kunsthandel de Boer made it possible to open subsidiaries in Germany and to publish catalogues (often written by Pieter de Boer himself) which accompanied the many thematic and monographic exhibitions in the Netherlands or abroad. In 1941, Pieter de Boer was able to buy the beautiful historic building at 512 Herengracht that had belonged to Pieter Six (1635-1703), the cousin of Rembrandt’s friend and patron, Jan Six, and the gallery is still located there today.

On the death of Pieter de Boer, the gallery was taken over by Rudolf ’s son, Pieter, with the help of his wife Hilde. They were joined by their son Niels, the third generation of the family currently working at Kunsthandel P. de Boer.

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From the 1940s on, alongside his activity as art dealer, Pieter de Boer started to put together a private collection of old master paintings and drawings, which was at the origin of the P. & N. de Boer Foundation. On the death of his first wife, Nellie Pressburger in 1960, Pieter de Boer retired and settled in Switzerland. It was in memory of his wife that he founded the P. & N. de Boer Foundation in 1964. This collection was to be bequeathed to the Singer Museum in Laren but this project was never finalised and only a portion of the collection was featured in a temporary exhibition at the museum in 1966. Following the death of Pieter de Boer in 1974, the collection remained in Holland. Comprising around eighty paintings, the Foundation’s collection is well known for its paintings from the Flemish and Dutch schools, including two biblical scenes by Gerard David, two still lifes by Ambrosius Bosschaert, the painting of Mars, Venus and Cupid by Joachim Wtewael, and a winter scene by Hendrick Avercamp. It also includes several paintings from the Italian Primitives. Three of the most beautiful paintings are on long-term loan to Dutch museums: the famous Portrait of the Shell Collector, Jan Govaerts van der Aar by Hendrick Goltzius is in the Boijmans Van Beuningen museum in Rotterdam, the Adoration of the Magi by Pieter Aertsen is in the Rijks museum in Amsterdam and the Kitchen Interior with Christ and the Pilgrims of Emmaus by Joachim Beuckelaer is in the Mauritshuis in the Hague. The Foundation has no less than three paintings and five drawings by Vincent van Gogh, including the Wheat Field with Arles in the background of 1888, purchased in the 1950s. It also has nearly five hundred drawings by the most important Dutch and Flemish artists of the sixteenth and seventeenth centuries, such as Hendrik Avercamp, Jan Brueghel the Elder, Aelbert Cuyp, Jacob Gheyn II, Hendrick Goltzius, Jan van Goyen, Rembrandt, Rubens and Roelandt Savery. On the occasion of the celebration of the P. and N. de Boer Foundation’s 50th anniversary, the Custodia Foundation

is pleased to organise an exhibition featuring paintings and drawings from the de Boer collection, including eight exceptional works by Vincent van Gogh.

From Goltzius to Van Gogh, 13 December 2014 to 8 March 2014, at the Foundation Custodia, 121 rue de Lille, Paris 7.

Joachim WTEWAEL(Utrecht, 1566 - Utrecht, 1638)

Mars, Venus and Cupid, circa 1610Oil on copper, H.: 18.2 x W.: 13.5 cm

Jan BRUEGHEL L’ANCIEN(Brussels, 1568 - Anvers, 1625)

Mouse, Rose, Butterfly and CaterpillarOil on copper, H.: 8 x W.: 11.5 cm

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Dirck VAN BABUREN(Wijk circa 1595 – Utrecht, 1624)

Young Man Playing a Jew’s Harp, 1621Oil on canvas, H.: 65 x W.: 52 cm

Collection of Centraal Museum, Utrecht; acquisition of 1953Image & copyright CMU/

The three works exhibited at Paris Tableau are, with Gerard van Honthorst’s Matchmaker, emblematic of this year’s art fair, perfectly representing the collection of old masters in the Centraal Museum in Utrecht, the Caravagist painters of Utrecht. Arising from the influence of Caravaggio, Caravagism played a considerable role in the development of seventeenth century painting. Dirck van Baburen, Gerard van Honthorst and Johannes Jansz van Bronchorst stayed for a time in Rome, where they fell in awe of the art of the great Italian master. On returning to Utrecht, they introduced this new style, which spread rapidly to some northern towns of the Netherlands. Although the movement reached its peak between 1620 and 1630, certain traits were still to be found in later works, as in the painting of Rembrandt, for example.

The Centraal Museum in Utrecht

The Young Man Playing a Jew’s Harp by Van Baburen is an intimate, almost sensual portrait, displaying the essential characteristics of Caravagism. The bare shouldered young man, wearing a charming feathered beret, is painted in close-up, illuminated by a smoking candle placed behind the loose sheets of his musical score. The shadow of the candlestick handle on the crumpled page illustrates the painter’s extreme control. This is Baburen at his best.

Like Baburen, the great Gerard van Honthorst was a committed follower of Caravagism. His virtuoso treatment of chiaroscuro earned him the nickname «Gherardo delle Notti» among his contemporaries. Having returned to Utrecht, Honthorst gradually replaced the low lighting of his first paintings with a more diffuse, softer light, and a less colourful palette. His merry Shepherdess holding a nest of turtledoves is one of many paintings of young laughing girls painted by Honthorst in the 1620s.

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Johannes Jansz VAN BRONCHORST(Utrecht, 1627 – Amsterdam, 1656)

Young Woman, circa 1654-1656Oil on canvas, H.: 81.9 x W.: 66.9 cm


Gerard VAN HONTHORST(Utrecht, 1592 – Utrecht, 1656)

Shepherdess with Turtle Doves, circa 1652Oil on canvas, H.: 80.1 x W.: 65.3 cm


It was only later that Johannes Jansz van Bronchorst succumbed to the influence of Caravaggio. His beautiful Young Woman has often been taken for the figure of Mary Magdalene, although none of the usual seventeenth century attributes – human skull, book or crucifix – is included in this painting. The character can therefore only be recognised by her pose and melancholy air.

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Symposium – 13 November 2014Utrecht and the International Caravagesque Movement from 11.30 a.m. to 12.30 and 2 to 6.30 p.m. Small auditorium of Palais BrongniartPlace de la Bourse, Paris 2

Dr. Joost Vander Auwera, Chief Curator, Department of old master paintings, Royal Museum of Fine Arts of Belgium, Brussels The Caravagist movement in the south of the Netherlands and its relationship with Caravaggio and his followers abroad. Questions of chronology and distribution.

Dr. Arnauld Bréjon de Lavergnée, Former Director of Collections at Mobilier National, ParisEngravings after Caravagist paintings in a collection of the Abbey of Marolles

Dr. Annick Lemoine, Art Historian, Project Manager at the Academy of France in Rome On the French followers Dr. Sergio Benedetti, former Chief Curator of the National Gallery of Ireland, Dublin On the Spanish followers

Dr. Guillaume Kientz, Curator in the Department of Paintings, Louvre museum, Paris Caravaggio or naturalism? New trends in painting in Spain 1600-1620

Prof. Dr. Arthur K. Wheelock, Curator, Baroque painting of the north, National Gallery of Art, Washington Northern followers and the art market

It is clear that the influence of Caravaggio extended well beyond Utrecht and Italy. This was noticeable not only in the north and south of the Netherlands, but also in France and Spain. Assuming that the Caravagist painters of Utrecht gave their own interpretation of Caravaggio and that their paintings are still recognisable even when produced in Rome, the symposium on Utrecht and the International Caravagesque Movement is to examine to what extent this applied equally among Flemish, French and Spanish painters following Caravaggio. The closing conference will focus on Caravagism and the (international) art market.

Speakers:

Prof. Dr. Volker Manuth, Professor of History of Art, Radboud University, Nijmegen Introduction

Prof. Dr. Sebastian Schütze, University of Vienna Overview on Caravaggio and his two generations of followers

Dr. Liesbeth M. Helmus, Curator in the Department of Old Master Paintings, Centraal Museum Utrecht Followers of Caravaggio in Utrecht

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Exhibitors

Austria >Sanct Lucas GalleryJosefsplatz 5, Palais Pallavicini1010 VienneT 00 431 512 82 37F 00 431 513 32 [email protected]@sanctlucas.comUnited States >Grassi Studio158 A East 71st StreetNY 10021, New YorkT 00 1 212 226 6616 F 00 1 212 226 [email protected] >Didier Aaron & Cie152, boulevard Haussmann75008 ParisT 00 33 1 47 42 47 34 F 00 33 1 42 66 24 [email protected] Gallery26, rue Laffitte75009 Paris T 00 33 1 40 22 61 71F 00 33 1 40 22 61 [email protected]

Éric Coatalem Gallery136, Faubourg Saint-Honoré75008 Paris T 00 33 1 42 66 17 17 F 00 33 1 42 66 03 [email protected] Descours Gallery44, rue Auguste Comte69002 LyonT 00 33 04 72 56 75 97F 00 33 04 72 41 90 [email protected] & Co70, rue du Faubourg Saint-Honoré75008 ParisT 00 33 1 42 66 44 54F 00 33 1 42 66 44 [email protected] Jonckheere100, rue du Faubourg Saint-Honoré75008 ParisT 00 33 1 42 66 69 49F 00 33 1 42 66 13 [email protected] Leegenhoek35, rue de Lille75007 ParisT 00 33 1 42 86 85 51F 00 33 1 42 86 85 [email protected]

G. Sarti Gallery137, rue du Faubourg Saint-Honoré75008 ParisT 00 33 1 42 89 33 66 F 00 33 1 42 89 33 [email protected] & Gautier134, rue du Faubourg Saint-Honoré75008 ParisT 00 33 1 43 59 13 57F 00 33 1 43 59 10 [email protected] Gallery8, rue d’Alger75001 ParisT 00 33 1 40 20 90 51F 00 33 1 40 20 90 [email protected] Vittet GalleryLe Louvre des Antiquaires2, place du Palais Royal75001 ParisT/F 00 33 1 42 60 11 [email protected]

Italie >Maurizio NobileVia Santo Stefano, 19/a40125 BolognaT 00 39 05 [email protected]

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PorciniPiazza Vittoria, 6 - 80 121 NaplesT 00 39 0817643550 F 00 390812457679 [email protected] Virgilio & C.Via della Lupa, 1000186 RomeT 00 39 06 6871093F 00 39 06 [email protected]@carlovirgilio.itwww.carlovirgilio.itNetherlands >Kunsthandel P. de BoerHerengracht 5121017 CC AmsterdamT 00 31 20 623 68 49F 00 31 20 623 12 [email protected] Kingdom >Thomas Agnew & Sons22 Grafton StreetLondon W1S 4EXT 00 44 20 7491 9219F 00 44 20 7491 [email protected] Beddington Ltd16 Savile RowLondres W1S 3PLT 00 44 20 74 39 49 59F 00 44 20 74 39 49 [email protected]

Derek Johns Ltd12 Duke Street, St James’sLondres SW1Y 6BNT 00 44 20 78 39 76 71 F 00 44 20 79 30 09 [email protected] Valls Ltd11 Duke Street, St. James’sLondon, SW1Y 6BN T 00 44 207 930 1144F 00 44 207 976 [email protected]@rafaelvalls.co.ukwww.rafaelvalls.co.ukThe Weiss Gallery59 Jermyn StreetLondres SW1Y 6LXT 00 44 207 409 00 35F 00 44 207 491 96 [email protected] >Jean-François HeimUtengasse 52CH-4058 BâleT 00 41 61 681 35 35F 00 41 61 681 75 70Mobile J-F Heim : 00 41 789 55 77 [email protected]

David Kœtser GalleryTalstrasse 37CH 8001 ZurichT 00 41 44 211 52 40F 00 41 44 211 56 [email protected]@koetsergallery.comwww.koetsergallery.com

Frames dealers:France >Montanari Gallery8, rue de Miromesnil75008 ParisT 00 33 1 49 24 07 52F 00 33 1 49 24 07 [email protected] >Enrico Ceci – Cornici AnticheVia Giardini 320Formigine (Modène)T 00 39 059 556119F 00 39 059 570660www.enricoceci.com

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Didier Aaron & Cie152, boulevard Haussmann - 75008 Paris - FranceTel.: 00 33 1 47 42 47 34 / Fax: 00 33 1 42 66 24 17E-mail: [email protected] / Web-site: www.didieraaron.com

Opened in 1923, the Didier Aaron Gallery now offers its clients one of the most beautiful collections of artworks in the world. This collection includes marbles, paintings, drawings and objets d’art from the 17th, 18th and 19th centuries, and includes a broad spectrum of works ranging from the greatest names in Fine Art to the best cabinet makers, with an eclecticism and demand which have given the gallery its reputation for over eighty years. This means it is just as easy to pick up work by Boulle or Oeben, as pieces from Sèvres. The Didier Aaron Gallery operates through its three galleries located in Paris, in its new space, boulevard Haussmann, New York and London. In 2007, the gallery set up an international website www.didieraaron.com, which shows a selection of works from its collection. Organised in different departments: « furniture and objects », « paintings » and « cabinet of drawings », the Didier Aaron Gallery has exceptional expertise when it comes to works of art, and this has, for example, enabled it to play a part in one of the most important transactions ever made for an old master painting: a Titian canvas recently bought for over fifty million dollars by the J. Paul Getty Museum in the United States.

Jean-Baptiste-Marie PIERRE (Paris,1714 – Paris, 1789)

Sleeping Bacchante, 1763Oil on canvas, H. : 105 x L. : 71 cm

Among his historical landscapes, in the years between 1825-1835 Turpin de Crissé painted a number of mythological works. All of them are set in large idyllic landscapes where luxuriant vegetation blends with imposing rock formations. Strongly contrasting light and dark areas—so much appreciated by the artist—can also be found frequently in his works from this period.

This painting, whose subject is directly inspired by Greek mythology, illustrates The Childhood of Bacchus, god of fertility and wine. A son of one of the adulterous love affairs of Zeus, his care was confided to nymphs and the wise man Silenus, after the death of his mother Semele. He was raised on Mount Nysa, in Thrace.

A nymph (perhaps the nymph Ines) is shown here carrying the young child, surrounded by her companions and young satyrs, while Silenius is stretched out under the rocky arch. On their left, a bacchante and a young satyr dance to the music of auloi and tamborines, their traditional instruments, while he carries a thyrsus, a long staff decorated with ivy or vine leaves, equally associated with the myth of Bacchus.

Turpin illustrated another episode of the life of Bacchus in The Marriage of Bacchus and Ariane, today in the collection of the Musée des Beaux-Arts of Angers. This latter, in an absolutely identical format, is dated 1834. One last composition must finally be compared with ours, a Landscape with a Battle between Centaurs (Venice, Museum of the Academy), in which we also find, aside from the habitual format, a very vertical composition, largely dominated by rocky cliffs. Its 1836 date, close to that of the painting at the Musée d’Angers, allows us to situate our painting in these same years.

Didier Aaron & Cie152, boulevard Haussmann - 75008 ParisTel.: 00 33 1 47 42 47 34 / Fax: 00 33 1 42 66 24 [email protected] / www.didieraaron.com

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Lancelot Théodore TURPIN DE CRISSE(Paris, 1782 – Paris, 1859)

The Childhood of Bacchus, 1835Oil on canvas, H.: 129 x L. : 97 cm

Monogrammed

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Thomas Agnew & Sons was established by Thomas Agnew in Manchester in 1817, and opened its London gallery in 1860, where the firm soon established itself as one of Mayfair’s leading dealerships. Since then Agnew’s has held a pre-eminent position in the world of Old Master paintings, and was instrumental in promoting contemporary British art in the late 19th century.

Over generations, Agnew’s has acted as principal agents and advisors to some of the most important collectors of their time, including Edward Cecil Guinness, 1st Earl of Iveagh, Alfred Beit, Alfred and Ferdinand de Rothschild and more recently Paul Mellon, Norton Simon and the Samuel Kress Foundation. Agnew’s also often served as agent for the National Gallery, London in the auction rooms and has been involved in placing masterpieces in major museums around the world. The gallery has handled works by, amongst others, Caravaggio, Van Dyck, El Greco, Frans Hals, Poussin, Rembrandt, Rubens, Vermeer, Titian, Turner and Velázquez, including the latter’s Rokeby Venus in the National Gallery, London.

In 2013, after nearly two centuries of family ownership, Agnew’s was purchased privately and is now run by Lord Anthony Crichton-Stuart, a former head of Christie’s Old Master paintings department, New York.

Benedetto DI MONTAGNA (1481-1550)

St Anthony and the CentaurOil on panel, H. : 28 x L. : 66 cm

Thomas Agnew & Sons22 Grafton Street, London W1S 4EX – United KingdomTel. : 00 44 207 491 9219 / Fax: 00 44 207 491 9481E-mail: [email protected] / Web-site: www.agnewsgallery.com

This painting of extraordinary modernity is testament to François Gérard’s capacity as a visionary and Romantic artist. The painting likely dates to around 1829, during which time Gérard spent his holidays on the coast, near Boulogne, Dieppe and Le Havre.

Best known as a representative of French Neoclassicism, and as a leading portraitist of 19th century French society, Gérard was also a well-respected figure amongst the circle of Romantic authors, poets, and artists in Paris. Indeed, he associated with many of the leading figures of the Romantic generation, including Eugène Delacroix and Victor Hugo, and this influence can be seen in the present painting.

With its emphasis on the imagination and emotion, Romanticism emerged as a response to the disillusionment with the Enlightenment values of reason and order in the aftermath of the French Revolution of 1789. Artists such as Delacroix and Baron Gérard took inspiration from the art of Rubens and painters of the Venetian Renaissance, using vivid warm colours and broad brushstrokes to create an emotionally stirring scene. In both poetry and painting of the Romantic period, the horse is presented as a creature which symbolises the essence of Romanticism. The motif of the horse was also often combined with imagery of the stormy sea, to exploit the maximum potential for sublime imagery, as symbols of both the power of nature and the freedom of the Romantic soul. This combination was later employed by the Surrealists, known for their exploration of the unconscious, and this work anticipates works by Giorgio de Chirico.

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François Pascal Simon Gérard dit BARON GERARD (Rome, 1770 – Paris, 1837)

Horses frightened by the WavesOn its original canvas (Belot), H. : 32,5 x L. : 40,5 cm

Thomas Agnew & Sons22 Grafton Street, London W1S 4EX – United KingdomTel. : 00 44 207 491 9219 / Fax: 00 44 207 491 [email protected] www.agnewsgallery.com

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Charles Beddington Ltd offers paintings from a large range of schools and periods, but specialises in 18th century Venice. Charles Beddington is himself a recognised expert on these landscapes and Canaletto in particular.

The gallery’s research work has strongly influenced its activities. In fact, the majority of the paintings shown are either rediscoveries or new pieces for the art market.

Bernardo Bellotto dit CANALETTO (Venice, 1722 – Warsaw, 1780)

The Piazza del Popolo, RomeOil on canvas, H. : 61,5 x L. : 96,2 cm

Charles Beddington Ltd16 Savile Row - Londres W1S 3PL - United KingdomTel. : 00 44 20 74 39 49 59 / Fax: 00 44 20 74 39 49 69E-mail: [email protected] / Web-site: www.charlesbeddington.com

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Francesco GUARDI (Venice, 1712 – Venice, 1793)The Bacino di San Marco, Venice, on Ascension Day, with the Bucintoro leaving for San Nicolò del LidoOil on canvas, H. : 52,2 x L. : 84,8 cm

Charles Beddington Ltd16 Savile Row - Londres W1S 3PL - United KingdomTel. : 00 44 20 74 39 49 59 / Fax: 00 44 20 74 39 49 [email protected] / www.charlesbeddington.com

The Kunsthandel P. de Boer gallery specialises in Dutch and Flemish Old Master paintings. While its reserves include paintings from the 16th and 18th centuries, it mainly focuses on works from the 17th century. Founded in 1922, it has always been based in the heart of Amsterdam. Now it is located on the Herengracht in a 17th century canalside house full of antique furniture.

The gallery buys and sells paintings, produces expert’s reports for insurance purposes, and also advises its clients on restoration and framing work. It has a rich library available to art historians.

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Lucas VALCKENBORCH(Louvain, circa 1535 – Frankfurt, 1597)

A wooded landscape with figures dancing and merry-making in a village

Oil on a turned panel 13.2 cm diam. Signed with initials VVL and dated 1596

Kunsthandel P. de BoerHerengracht 512 - 1017 CC Amsterdam - NetherlandsTel. : 00 31 20 623 68 49 / Fax: 00 31 20 623 12 85E-mail: [email protected] / Web-site: www.kunsthandelpdeboer.com

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Jan BRUEGHEL LE JEUNE et atelier(Antwerp, 1601 – Antwerp, 1678)Birds fightingOil on copper, H. : 18,5 x L. : 25,5 cm

In 1624, having completed his apprenticeship with his father, Jan the Younger went to Italy with his childhood friend Anthony van Dyck. During a cholera epidemic, Jan the Elder died suddenly. Jan the Younger took over his father’s studio in Antwerp. Throughout his career, he produced works of a style similar to his father’s. In 1630, he became the dean of the Antwerp Guild. The Austrian court and that of France were among his clients, and he seems to have visited France around the year 1650. Though Jan the Younger painted many subjects, he is best known for his landscapes whose subjects vary from villages to mythological scenes, allegories and a new category, that of animals in landscapes. His allegories represented the senses, elements, seasons or abundance.Like his father, he created landscape backgrounds for many painters such as Peter Paul Rubens and Hendrick van Balen. The theme for this painting, birds perched on a branch with an owl in the middle, was already known from the painting by Jan Brueghel the Elder entitled The Birds’ Concert. This theme was taken up by Jan Brueghel the Younger.

Kunsthandel P. de BoerHerengracht 512 1017 CC Amsterdam – NetherlandsTel. : 00 31 20 623 68 49 / Fax: 00 31 20 623 12 [email protected] / www.kunsthandelpdeboer.com

Canesso Gallery26, rue Laffitte -75009 Paris – FranceTel.: 00 33 1 40 22 61 71 / Fax: 00 33 1 40 22 61 81E-mail: [email protected] / Web-site: www.canesso.com

The Canesso Gallery was founded in 1994 in Paris, by Maurizio Canesso drawing on his wealth of experience in Italian old master paintings. Its activity is focused exclusively on paintings produced between the 15th and 18th centuries by Italian artists or foreign artists who had lived in Italy.

The choice of works, largely unseen, favours religious or mythological themes but also portraits, still lifes and landscapes. Advice and guidance for collectors is one of the main focuses of the gallery’s work. Its close collaboration with art historians and museum curators is testament to its success with institutions all over the world.

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Francesco ALBANI called L’Albane(Bologna, 1578 – Bologna, 1660)

Christ Appearing to Mary MagdaleneOil on copper, oval, H. : 19 x L. : 24.5 cm

The reverse bears an inscription in pen and ink: “From the Orleans Gallery / Engraved”

One may wonder, in this brilliant exercise in portraiture – at which the artist excelled from his earliest years – whether it belongs to Simon Vouet’s Italian period, or whether, on the other hand, after many years spent in the Mediterranean, it shows him seeking to adapt his brushwork and style to French taste. Jean-Pierre Cuzin offers a firm answer: the work has a French context, that of the contemporary portraits by the Le Nain brothers and Daniel Dumonstier (1576-1646), and he believes it can be dated to shortly after Vouet’s return to Paris at the end of 1627. One should then consider the portrait as one of the very first works in which the painter sought out a new style to adapt himself to French trends.The light, the virtuoso freedom of touch, the presence of cool tonalities – particularly the blue-green in the slashed doublet – and the physical appearance of the sitter, a type that was fashionable at the court of Louis XIII, would, amongst others, all support this hypothesis.

Canesso Gallery26, rue Laffitte - 75009 ParisTel.: 00 33 1 40 22 61 71 / Fax: 00 33 1 40 22 61 [email protected] / www.canesso.com

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Simon VOUET(Paris, 1590 – Paris, 1649)Portrait of a ManOil on canvas, H. : 58,2 x L. : 47 cm

Éric Coatalem Gallery136, rue du Faubourg Saint-Honoré -75008 Paris – FranceTel.: 00 33 1 42 66 17 17 / Fax: 00 33 1 42 66 03 50E-mail: [email protected] / Web-site: www.coatalem.com

The Éric Coatalem Gallery, founded in 1986, specialises in paintings, drawings and sculptures by French and Italian masters from the 17th to 20th centuries. In 1994 the gallery showed the first retrospective dedicated to the painter Lubin Baugin (1610-1663), whilst in 1998 a major collection of oil on paper landscape studies by George-Augustus Wallis (1770-1847), was mounted. Later, in 2001, there was a François Perrier (1590-1650) exhibition, and in 2005 seventeen Seventeenth Century French Paintings, (Lubin Baugin, Charles Le Brun, Mathieu Le Nain, Eustache Le Sueur, François Perrier, Jacques Stella, Simon Vouet and others) were shown. In 2008 the gallery exhibited twentyfive drawings by Gustav Klimt (1862-1918), and in 2009 there was a show of ten still lifes by Louyse Moillon (1610-1696). In April and May 2013, the Éric Coatalem Gallery, in association with the Bellanger Gallery, organised an exhibition featuring over sixty 17th century French paintings.

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Louis-Léoplod BOILLY(La Bassée, 1761 – Paris, 1845)

Trompe-l’œil with coins on the tray of a gueridonOil on marble surrounded with ebony, diameter 47 cm

(58 cm with the border)

Éric Coatalem Gallery136, rue du Faubourg Saint-Honoré - 75008 Paris Tel.: 00 33 1 42 66 17 17 / Fax: 00 33 1 42 66 03 50 [email protected] / www.coatalem.com

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Adélaïde LABILLE-GUIARD (Paris, 1749 – Paris, 1803)Portrait of a member of the french ConventionOil on canvas, H. : 73 x L. : 60 cm

Michel Descours Gallery44, rue Auguste Comte - 69002 Lyon – FranceTel.: 00 33 4 72 56 75 97 / Fax: 00 33 4 72 41 90 67E-mail: [email protected] / Web-site: www.peintures-descours.fr

The opening of the Michel Descours gallery of paintings and drawings in December 2009 was the result of thirty-five years of dedicated passion and experience. Long known as an antiques dealer specialising in furniture and objets d’art, Michel Descours had the desire and ambition to create a space in Lyon exclusively devoted to what he considers the best in Fine Art.

While the gallery now has a reputation for excellence in the Lyonnais school (Jacques Stella, Louis Cretey, les Flandrin, Puvis de Chavannes, and others), its interests extend far beyond these works; it offers its private clients and institutions an extensive choice of European paintings and drawings from the modern age to the 20th century.

Amongst its most recent important sales is that of a major work by Francesco Hayez to the Musée du Louvre (the artist’s most important work found in a public collection outside Italy).

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Jacopo Negretti, called PALMA LE JEUNE(Venice, circa 1548 – id., 1628)

Saint SebastianOil on canvas, H. : 190 x L. : 114 cm

Signed lower right, on the window’s step : IACOBVS PALMA – F.

XxExemple

Michel Descours Gallery44, rue Auguste Comte - 69002 LyonTel.: 00 33 4 72 56 75 97 / Fax: 00 33 4 72 41 90 [email protected] / www.peintures-descours.fr

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Jean-Joseph-Xavier BIDAULD (Carpentras, 1758 – Montmorency, 1846)Landscape seen through a vine arbour, circa 1840Oil on canvas, H. : 32,5 x L. : 41 cmSigned and located lower at the center, on the lettre : a Mr / Bidaul[d] / [Montmorency ?]

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Grassi Studio158 A East 71st Street - NY 10021 New York – USATel.: 00 1 212 226 6616 / Fax: 00 1 212 226 5496E-mail: [email protected] / Web-site: www.grassistudio.com

The family name associated with this gallery has been known for over one hundred years. Late in the nineteenth century, Prof. Luigi Grassi began his career in Florence, collaborating with his uncle Costantini, an established art dealer there.

By 1900 Grassi had his own gallery, moving it in 1914, to the Montagliari Palace on Via Cavour. Until after the last war, ‘Luigi Grassi & Sons’ was a destination for many of Europe and America’s leading collectors of Renaissance art. The gallery was continued by Prof. Grassi’s sons after his death in 1937. After the war, one of the sons, Arturo, was active as an Old Master paintings dealer in America through the 1960’s until his retirement. Marco Grassi, one of Arturo’s sons, pursued a career as a paintings conservator, at first in Florence and Switzerland and, for the past thirty years, in New York.

In 2000, together with his son Matteo, the Grassis established ‘Grassi Studio’, with venues in New York and Paris and specializing in Old Master paintings. With this initiative, therefore, the family involvement with European art has reached the fifth generation.

Apollonio DI GIOVANNI(Florence, 1415/17- Florence, 1465)

Crucifixion with the Virgin Mary and Saints Mary Magdalene, Francis and Benedict, Circa 1450

Tempera and gold on panel, H. : 73 x L. : 49 cm

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Louis GAUFFIER (La Rochelle, 1761 - Livorno, 1801)Portrait of Ferdinando NerliOil on (unlined) canvas, H. : 66 x L. : 48,3 cm

Grassi Studio158 A East 71st Street - NY 10021 New York – USATel.: 00 1 212 226 6616 / Fax: 00 1 212 226 [email protected] / www.grassistudio.com

Haboldt & Co70, rue du Faubourg Saint-Honoré - 75008 Paris – FranceTel.: 00 33 1 42 66 44 54 / Fax: 00 33 1 42 66 44 52E-mail: [email protected]

Having held the roles of expert at Christie’s New York and President of Colnaghi USA, Ltd., Bob Haboldt established his gallery in New York in 1983. In 1990, he chose Paris to set up his second gallery in rue du Faubourg Saint-Honoré. Dealing in internationally renowned antique drawings and paintings for over thirty years, he now has showrooms in Amsterdam, Paris and New York.

The gallery offers a large range of high quality antique drawings and paintings. The choice of paintings spans from the middle ages to the early 19th century and mainly covers the Nordic schools, but also the Italian, French and Spanish schools.

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Johann Georg PLATZER (Sankt Michael in Eppan, 1704 – Sankt Michael in Eppan, 1761)Bacchus and Ariane (Ovide, Metamorphoses, VIII, 174-182)Signed lower left : J.G. PlazerOil on copper, H. : 56,2 x L. : 79,5 cm

Bacchus and Midas (Ovide, Metamorphoses, IX, 85-99)Signed on the barrel : J.G. PlazerOil on copper, H. : 56,1 x L. : 79,3 cm (a pair)

Haboldt & Co70, rue du Faubourg Saint-Honoré - 75008 ParisTel.: 00 33 1 42 66 44 54 / Fax: 00 33 1 42 66 44 [email protected]

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Bartholomeus VAN DER HELST (Haarlem, 1613 – Amsterdam, 1670)A portrait of a boy as Cupid, holding a bubble and seated in a landscapeSigned and dated bottom left : B. vander . helst . fecit 1641Oil on canvas, H. : 93 x L. : 106 cm

Bacchus and Midas (Ovide, Metamorphoses, IX, 85-99)Signed on the barrel : J.G. PlazerOil on copper, H. : 56,1 x L. : 79,3 cm (a pair)

3838

For thirty years, Jean-François Heim has shared his passion for paintings, drawings and sculptures by artists from the 15th to the 20th centuries.

Today, the nature of his work lies in selecting objects, choosing contacts and analysing expert assessments. Jean-François Heim is an independent advisor between a collector, a sponsor and a public collection. His professionalism has built the gallery’s reputation and earned him the trust of the greatest collectors and institutions in the art world.

Alexandre-François DESPORTES (Champigneulles, 1661- Paris, 1743)

Wolf hunt, 1721Oil on canvas, H. : 250 x L. : 225 cm

Signed and dated on lower right : Desportes 1721

Jean-François HeimUtengasse 52 – CH-4058 Bâle – SwitzerlandTel. : 00 41 61 681 35 35 / Fax: 00 41 61 681 75 70 / Mobile J-F Heim : 00 41 789 55 77 77E-mail: [email protected] / Web-site: www.galleryheim.ch

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Hailed during his lifetime as the most important Danish Romantic landscape artist, Lundbye seems to have escaped Eckersberg’s influence. From the age of twelve, he was trained by Johan Ludwig Lund, who had been close to Caspar David Friedrich and the German Nazarene painters in Rome. He later had animal painter Christian Holm as a teacher. Admitted to the Academy of Copenhagen in 1833, Lundbye became friends with Laessøe and P.C. Skovgaard. During those years, Købke’s style and sense of colour had an immense influence on Lundbye, though the Norwegian landscape painter Johan Christian Dahl arguably left an even deeper impression on him soon afterwards. In 1835, he began exhibiting his works at Charlottenborg. It is considered that he reached his artistic maturity around 1838. In the summer of 1843, Lundbye spent two months with his friend Skovgaard in Vejby, in northern Zealand. This painting shows his friend in an informal pose creating an intimate atmosphere and using straight lines in a closed perspective arrangement, employing a range of warm golden colours.In 1845 he received a travel scholarship from the Academy and went to Rome; the trip, however, does not seem to have had much influence on his works. While he was attracted to the ideas of the Nazarenes, he never travelled to Munich, nor did he venture to Dresden, the capital of Friedrich’s Romanticism. When the Schleswig-Holstein War broke out in 1848, Lundbye volunteered to join the army. Officially he died from a stray bullet, but the possibility of suicide has also been considered.

Johan Thomas LUNDBYE(Kalundborg, 1818 – Bedsted, 1848)Peter Christian Skovgaard leaning against a low wall in a barn, 1843 Oil on paper laid down on canvasH. : 34 x L. : 28 cmSigned with a monogram, situated and dated lower right: Veiby Juny 1843 TL

Jean-François HeimUtengasse 52 – CH-4058 Bâle – SwitzerlandTel. : 00 41 61 681 35 35 / Fax: 00 41 61 681 75 70 [email protected] / www.galleryheim.ch

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Derek Johns is a specialist in European painting from the 12th to the 18th century, and in particular in the Italian and Spanish schools. The gallery also shows European sculptures, and drawings by the Old Masters.

It is also famous for its discoveries of lost masterpieces. Derek Johns counts the world’s most influential museums and private collections amongst its clients.

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Martin VAN VALCKENBORCH (Leuven, 1535 – Frankfurt, 1612)

Autumn Landscape with Vintage and Fruit HarvestOil on canvas, H. : 85 x L. : 127 cm

Derek Johns ltd

12 Duke Street, St James’s - Londres SW1Y 6BN – United KingdomTel. : 00 44 20 78 39 76 71 / Fax: 00 44 20 79 30 09 86E-mail: [email protected] - [email protected] / Web-site: www.derekjohns.co.uk

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Thanks to Dr. Sir Roy Strong and Dr. Laura Houliston for confirming the attribution having seen the work in the original, and to Dr. Stephen Lloyd, former senior curator at the Scottish National Portrait Gallery for his contribution to cataloguing the work. The sitter is shown half-length turned to the left, wearing a black dress, an elaborate lace collared ruff, single pearls in her hair, and a triple string of pearls hanging wide tied with another set hanging vertically. Pinned with a gold dagger over her left breast hangs a gold locket decorated with the jewelled monogram RD. The portrait is presented in a fictive oval set against a faux red velvet or marbled background. The painting, which has been cleaned, is in excellent condition. Elizabeth Drury was daughter – and third child of six - of Sir William Drury (1550-1590) and Elizabeth Stafford (d. 1600), a Lady of the Bedchamber to Queen Elizabeth. She spent her early life at Hawstead Place in Suffolk, which was visited by the queen in August 1578, marking the monarch’s favour towards her parents. In 1594 aged sixteen Elizabeth married William Cecil (1566-1640), who was the 3rd Baron of Burghley from 1605. She was his second wife, his first wife having died in 1591. Elizabeth and her three daughters –Elizabeth, Diana and Anne –lived at the principal Cecil family home of Burghley House near Stamford in Lincolnshire, and also at Exeter House on the Strand in London. When her husband succeeded to the earldom as 2nd earl in 1623, she became the Countess of Exeter. The black dress and the jewelled locket, with the monogram RD prominently displayed, are indicators of mourning by Lady Burghley for her older brother Robert Drury, who died aged forty on 2nd April 1615. It is most likely that Elizabeth commissioned this half-length portrait from the artist as a mourning portrait for her own purposes rather than as a gift for another member of the family. However, it must be added, that black was also a fashionable colour for a lady at this time.

William LARKIN (c.1580-1619) Portrait of Elizabeth Drury, Lady Burghley, later Countess of Exeter (1577/8-1654), turned half-length to the left, wearing an elaborate lace collared ruff over a dark costume and pearled trimmingsPainted circa 1615 Oil on panel, H. : 79 x L. : 58 cm Derek Johns ltd

12 Duke Street, St James’s - Londres - SW1Y 6BN – United KingdomTel. : 00 44 20 78 39 76 71 / Fax: 00 44 20 79 30 09 [email protected] / www.derekjohns.co.uk

De Jonckheere100, rue du Faubourg Saint-Honoré - 75008 Paris- FranceTel.: 00 33 1 42 66 69 49 / Fax: 00 33 1 42 66 13 42E-mail: [email protected] / Web-site: www.dejonckheere-gallery.com

Found in the world’s finest museums, Flemish painting has always generated a very specific interest and passion amongst collectors. The De Jonckheere Gallery was founded in 1976 in Brussels. Specialising in the study and sale of Flemish paintings, our gallery has since gained recognition by selecting the most beautiful works on the market.

In 1983 De Jonckheere set up a gallery in Paris for art collectors and enthusiasts at 100 Faubourg-Saint-Honoré, just minutes from the Elysée Palace. Then, with thorough studies, quality catalogues, and careful choices the Gallery established its reputation. Having become a major agent in the world of Flemish and Dutch painting, De Jonckheere expanded its activities to include the 18th century masters of Italian Vedute. These different collections were presented to the most demanding art lovers by the Paris gallery and around the world, particularly through De Jonckheere’s presence at the main Old Master art fairs, such as TEFAF in Maastricht, the Biennale des Antiquaires in Paris, Masterpiece in London, the Florence Biennale and even the Moscow World Fine Art Fair.

More recently, 2010 saw De Jonckheere open a gallery in Geneva, rue de l’Hôtel de ville, in the heart of a quarter entirely dedicated to the arts. Making the most of this new space, and simple, contemporary lines, De Jonckheere has put together exhibitions of paintings and archives as well as a library comprising over ten thousand works.

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De Jonckheere100, rue du Faubourg Saint-Honoré - 75008 ParisTel.: 00 33 1 42 66 69 49 / Fax: 00 33 1 42 66 13 [email protected] / www.dejonckheere-gallery.com

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Daniel SEGHERS(Antwerp, 1590 - Antwerp, 1661)Bouquet of flowers on a table, 1640Panel, H. : 42 x L. : 34 cm

This bouquet, with its purity that recalls a somewhat archaic model, and which shows the direct influence of Jan “Velvet”Brueghel, provides a particularly representative example of the other dimension of Daniel Seghers’ floral work, distinct from the Garlands for which he became best known. On a wooden table, we see a simple glass vase whose limpid flank reflects a window to the left - a device often used by the artist to introduce a play of light - containing an artful combination of flowers arranged with great decorative invention: peonies, hawthorn and variegated tulips project above iris and hyacinths, while two butterflies positioned symmetrically at angles add a picturesque note.

Dispensing with the bushier arrangements of his master Jan “Velvet” Brueghel, Seghers prefers to construct his composition around a few carefully selected varieties of flower, which he assiduously depicts with a botanist’s care. The ethereal contours of their petals, the shimmering colours dominated by rich harmonies of purples, carmine reds, pinks and white, and the delicacy of their leaves are thus captured with striking naturalism, the product of a highly confident technique that combines thin glazes with areas of impasto.

Specialising in ancient paintings from the Dutch, Flemish and Italian schools, the Koetser Gallery was founded by the Koetser brothers in 1923. The company grew with the opening of a New York office, enabling them to make important contacts with private collectors all around the world and with museums throughout America.

The Zurich gallery opened in 1967 and is now the focal point for their activities, with exhibitions and conferences regularly being arranged there. The Zurich Kunsthaus shows seventy paintings from the Koetser Foundationin its permanent collection. The gallery also contributes to the enrichment of individual collections as well as museum collections.

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Carstian LUYCKX (Antwerp, 1623 - ? after 1658)

Still life of roses, peonies and passion flowers in a glass vase on a stone ledge with a ladybird and a butterfly

Oil on panel, H. : 32 x L. : 24,8 cmSigned lower right

David Koetser GalleryTalstrasse 37- CH-8001 Zurich - SwitzerlandTel. : 00 41 44 211 52 40 / Fax: 00 41 44 211 56 69E-mail: [email protected] / [email protected] / Web-site: www.koetsergallery.com

This painting is typical of the works at the height of van Ruysdael’s career. The painting catures a moment at dawn on a broad stretch of river which, bearing in mind the size of the sailing boats depicted, is most likely to be an estuary. The sun is rising, and men are being ferried in rowing boats to their vessels and to the other side of the river. In this work van Ruysdael seems to have captured the slow unfurling of such purple-tinged dawn light.

As though to continue this theme of the importance of nature, van Ruysdael uses the tools of his practice – the oil paint and the wood of the panel – to articulate further the homogeneity of the scene. The grain of the wood and even its colour serve as the basis for the pattern of waves in the darker-toned water of the foreground, a technique later employed by Willem van de Velde the Younger. This realistic effect is tempered by the poetic reflection of the light on water in the middle distance which subtly blends into the sky.

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Salomon VAN RUYSDAEL (Naarden, 1600/3 – Haarlem, 1670)River estuary with ferry boat and swimmersOil on panel, H. : 48.2 x L. : 47 cmSigned and Dated on the ferry : S. v Ruysdael 1640

David Koetser GalleryTalstrasse 37 CH-8001 Zurich – SwitzerlandTel. : 00 41 44 211 52 40 / Fax: 00 41 44 211 56 [email protected] / www.koetsergallery.com

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PorciniPiazza Vittoria, 6 - 80 121 NaplesTel.: 00 39 0817643550 / Fax: 00 390812457679 E-mail: [email protected]

The Porcini Gallery (formerly «Napolinobilissima») was founded in 1969 by Vincenzo Porcini in the old town center of Naples, next to the Academy of Fine Arts, once a benchmark for antique dealers in the city.

As a passionate connoisseur of ancient art, with a particular fondness for that of the Kingdom of Bourbons, Mr. Porcini has researched those paintings and those objects that the sophisticated travelers on the Grand Tour had contributed to scatter around the world, thus bringing them together in new and wonderful collections. In 1986 the gallery moved to the present location in 6, Piazza Vittoria, and specializes, thanks to Dario Porcini, in old paintings, with an emphasis on Italian and foreign artists who were active in Italy.

The Porcini Gallery attends International Biennale of Florence and Rome, and is in constant dialogue with international institutions and scholars.

Jusépe DE RIBERA(Xàtiva, 1591 – Napoli, 1652)

Head of Saint GennaroH. : 41 x L. : 47 cm

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PorciniPiazza Vittoria, 6 - 80 121 NaplesTel.: 00 39 0817643550 / Fax: 00 [email protected]

Francesco SOLIMENA(Canale di Serino, 1657 – Napoli, 1747)The Conversion of Saint Paul frescoOil on canvas, H. : 129 x L. : 102 cmBozzetto for Fresco in the Sacristy of the Church San Paolo Maggiore in Naples

Jacques Leegenhoek35, rue de Lille- 75007 Paris – FranceTel.: 00 33 1 42 86 85 51E-mail: [email protected] / Web-site: www.leegenhoek.com

Born into a family of painting restorers, Jacques Leegenhoek developed a passion for painting at an early age, and in 1972 he joined the old master paintings department of Sotheby’s in London. During the fourteen years he spent at this auction house, he worked in New York, Amsterdam, Brussels and Paris. He set up his own business in 1986, and opened his current gallery in 1994.

The gallery shows old master paintings selected for their quality, their status as unseen works, and their state of conservation, and offers a large selection of Nordic, Italian and French paintings. These paintings are regularly noticed by private collectors, but also by museums and foundations both in France and abroad.

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Simone CANTARINI(Pesaro, 1612 – Verona, 1648)Saint CeciliaOil on canvas, H. : 119 x L. : 96 cm

Jacques Leegenhoek35, rue de Lille - 75007 ParisTel.: 00 33 1 42 86 85 [email protected] / www.leegenhoek.com

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Charles LE BRUN (1619-1690)Allegory of the TiberOil on canvas, H.: 74 x W.: 95.5 cm

Recently exhibited and published, this painting was created by the young Le Brun during the period he spent training in Rome, between 1642 and 1645. This is the original mentioned by Nivelon as having been painted in collaboration with the Guaspre (Gaspard Dughet) for the landscape, in a kind of homage to Poussin with whom the artist had made the trip to Rome. This is quite clearly demonstrated in the fine cold and measured palette of the painting, the languid pose of the Tiber, his melancholy expression, and the slumbering figure of the genius of Rome.The composition was previously known by the smaller version at the Museum of Beauvais (53 x 64 cm canvas) on which expert opinion was divided. The rediscovery of the original of the Allegory of the Tiber sheds new light on the young artist’s time in Rome and his aspirations.

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Gaetano GANDOLFI (San Matteo della Decima (Bologna), 1734 – Bologna, 1802)

The Holy Family and Saint Augustine Oil on canvas, H. : 230 x L. : 152 cm

In its original frame, dated on the lower centre: 1761

It was in the splendid setting of Palazzo Bovi-Tacconi, in the historical heart of Bologna, that Maurizio Nobile launched his antique dealer career in 1987.

With a preference for the paintings and drawings of Italian artists active between the end of the 15th and the first half of the 20th century, which had then become the gallery’s specialisms, he also took an interest in the sculpture, fine art and furniture of the 18th and 19th centuries.

With a great deal of experience behind him and a growing reputation, in 2010 Maurizio Nobile opened a second gallery in Paris.

Alongside his participation in prestigious exhibitions such as the Biennial Florence Antiques Fair in Palazzo Corsini, Maurizio Nobile organises a rich programme of exhibitions in his galleries, all with catalogues drawn up in close cooperation with the most important art experts and historians. The results of his research are presented at these annual events, sometimes rediscoveries and other times absolutely new works for the art market.

His scrupulous attention to the conservation and quality of the works is the main reason for the trust and esteem now attributed to Maurizio Nobile by collectors, experts and curators of Italian and international museums.

Inspiring and accompanying collectors through their choices is one of his unanimously recognised strengths.

Maurizio Nobile Via Santo Stefano, 19/a – 40125 Bologna – Italy Tel. : 00 39 05 1238363E-mail: [email protected] / Web-site: www.maurizionobile.com

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Pietro DANDINI, dit Pier DANDINI(Florence, 1646 – Florence, 1712)The Death of Lucretia Oil on canvas, H. : 88 x L. : 74 cm Datable around 1711

Maurizio Nobile Via Santo Stefano, 19/a – 40125 Bologna – Italy Tel. : 00 39 05 [email protected] / www.maurizionobile.com

Sanct Lucas GalleryJosefsplatz 5, Palais Pallavicini - 1010 Vienne - AutricheTel.: 00 43 1 512 82 37 / Fax: 00 43 1 513 32 0316E-mail: [email protected] / [email protected]

Since it was established in 1919, the Sanct Lucas Gallery has been housed in the Palazzo Pallavicini, on the Josefsplatz in the heart of Vienna. Since it began, the gallery has been exclusively dedicated to the sale of Old Masters and paintings from the 19th century.

The gallery has always belonged to the same family; its current owner and director, Roman Herzig, is the founder’s grandson. Over the past twenty-five years the gallery has regularly exhibited at TEFAF in Maastricht and a number of other international fairs such Paris Tableau, its clients including some of the world’s most influential museums.

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David TENIERS LE JEUNE(Antwerp, 1610 – Brussels, 1690)

The Village FairPanel, H. : 65 x L. : 40, 5 cm

Sanct Lucas GalleryJosefsplatz 5, Palais Pallavicini - 1010 Vienne - AutricheTel.: 00 43 1 512 82 37 / Fax: 00 43 1 513 32 [email protected] / [email protected]

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Claude - Joseph VERNET(Avignon, 1714 – Paris, 1789)A Fisherman recovering his fishnetPanel, H. : 40,5 x L. 31,5 cm

Recognized as a marine painter in 1740, Claude-Joseph Vernet received from the Marquis de Marigny an order for twenty-two views of the ports of France, which he carried out from 1753 to 1762. The fifteen paintings he finally created (most of which are preserved at the National Maritime Museum in Paris) reveal a remarkable French vedutist, who applies the naturalist aesthetic of Diderot. This is also the case in this painting, where man and nature are harmoniously blended. The movement of the fisherman pulling in his nets shows a typical pose that Vernet uses quite often in the foreground of his compositions.

G. Sarti Gallery137, rue du Faubourg Saint-Honoré - 75008 Paris - FranceTel.: 00 33 1 42 89 33 66 / Fax: 00 33 1 42 89 33 77E-mail: [email protected] / Web-site: www.sarti-gallery.com

Giovanni Sarti presents, in the beautiful mansion house he occupies at 137, rue du Faubourg Saint-Honoré in Paris, Italian paintings from the 14th to the 18th centuries, along with some exceptional furniture and objets d’art. The gallery regularly organises exhibitions including the primitives and Italian renaissance paintings as well as other periods, and publishes major bilingual catalogues for them.

The exhibitions presented over the years have included: Views of Venice and « Capricci » (1725 – 1835) in 2000, The 18th Century (2003) and Sumptuous Objects in Marble and Hard Stone (2006), another speciality of the gallery which has lasted since it was founded in London in 1976.

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Luca GIORDANO(Naples, 1634 - Naples, 1705)

Portrait of Plato, circa 1660Oil on canvas, H. : 116.5 x L. : 99 cm

G. Sarti Gallery137, rue du Faubourg Saint-Honoré - 75008 ParisTel.: 00 33 1 42 89 33 66 / Fax: 00 33 1 42 89 33 [email protected] / www.sarti-gallery.com

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Giovanni Salamone di Ser Albertino DA BOLOGNA, called Giovanni DA BOLOGNA(Active in Veneto and Bologna ; doc. between 1377 and 1389)Virgin and Child, circa 1380Tempera and gold on panel, H. : 88 x L. : 55 cm

Talabardon & Gautier134, rue du Faubourg Saint-Honoré - 75008 Paris- FranceTel.: 00 33 1 43 59 13 57 / Fax: 00 33 1 43 59 10 29E-mail: [email protected]

Based on rue du Faubourg Saint-Honoré between Élysée and Saint-Philippe du Roule, at the heart of a quarter, home to prestigious antique dealers and art galleries, Bertrand Gautier and Bertrand Talabardon are recognised 19th century specialists. The catalogues produced by them for the exhibitions they organise each year have become reference material.

Naturally curious, they also explore older periods, taking a particular interest in sculpture and drawing as well as painting. Their original choices are sure to surprise people once again!

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(Detail)

Talabardon & Gautier134, rue du Faubourg Saint-Honoré - 75008 ParisTel.: 00 33 1 43 59 13 57 / Fax: 00 33 1 43 59 10 [email protected]

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Philippe VAN BREE((Antwerp, 1786 - Brussels, 1871)Jan Frans van Daël’s Studio in the SorbonneOil on panel, H. : 47 x L. : 58 cm

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Terrades Gallery8, rue d’Alger - 75001 Paris - FranceTel.: 00 33 1 40 20 90 51 / Fax: 00 33 1 40 20 90 61E-mail: [email protected] / Web-site: www.galleryterrades.com

In their gallery located close to the Jardin des Tuileries, Gabriel Terrades and Antoine Cahen love to share their passion for art with enthusiasts and heads of major institutions alike. Their eclectic taste and their demand for quality allows them to take an original look at Italian and French drawings from the 17th and 18th centuries as well as the work of 19th and 20th century artists.

True to his origins, Gabriel Terrades also shows a lively interest in Spanish drawings and paintings. Specialising in antique and modern prints, Antoine Cahen publishes a catalogue of prints and drawings every year. He is also a public sales expert for several large auction houses.

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Thomas-Germain DUVIVIER(Paris, 1735 – Paris, 1814)The Attributes of the arts and musicOil on canvas, H. : 114 x L. : 85 cm

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The parable of the Prodigal Son is drawn from St. Luke’s gospel (chapter 15, verses 11 to 32). The prodigal son, who had gone far away to live in debauchery and squandered his fortune, found himself under the yoke of a hard master. Repenting, he finally returns to find his father and his family: “And he arose, and came to his father. But while he was yet afar off, his father saw him, and was moved with compassion, and ran, and fell on his neck, and kissed him”. The Return of the Prodigal Son is a favourite theme of Italian painting of the 16th and 17th centuries, especially of Caravagesque painters such as Guercino (Rome, Galleria Borghese) or Lionello Spada (Paris, Musée du Louvre). Loth seems to have paid special attention to this subject but a large number of his works are today only known from archival documents.

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Terrades Gallery8, rue d’Alger - 75001 ParisTel.: 00 33 1 40 20 90 51 / / Fax: 00 33 1 40 20 90 [email protected] / www.galleryterrades.com

Thomas-Germain DUVIVIER(Paris, 1735 – Paris, 1814)The Attributes of the arts and musicOil on canvas, H. : 114 x L. : 85 cm

Johann Carl LOTH(Munich, 1632 – Venice, 1698)The Return of the Prodigal Son, circa 1670Oil on canvas, H. : 128 x L. : 160,5 cm

Jacob Adriaensz BACKER (Harlingen, 1608 – Amsterdam, 1651)

Democritus, the laughing Philosopher, circa 1633Oil on panel, H. : 60 x L. : 46,5 cm

Rafael Valls Ltd

11 Duke Street, St. James’s - Londres SW1Y 6BN - United KingdomTel.: 00 44 207 930 1144 / Fax: 00 44 207 976 1596E-mail: [email protected] / [email protected] / Web-site: www.rafaelvalls.co.uk

The Rafael Valls Gallery, located in the St James’s district of London , specialises in Dutch, Flemish and Spanish Old Master paintings. Run by its owner, Rafael Valls, and his wife Caroline, the gallery has been in business for over thirty years, and has eclectic and varied stock. It enjoys a great reputation for its trompe-l’oeil paintings, and for its intimate exhibitions organised once a year for Master Paintings Week. It participates every year in TEFAF Maastricht and now in Paris Tableau.

The gallery buys art works directly from private clients and also offers its services for brokerage, expert assessment, insurance valuation, and advice on conservation, and buying and selling at auction.

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This scene with very thorough detail is more inventive than the Adoration (month of January) that Martin van Valckenborch created as part of a series of 12 works chronicling a year in the life of Christ and which is exposed at the Kunsthistorisches Museum in Vienna. Here, the artist has chosen to bring together several episodes of the life of Christ in a single canvas.

Martin VAN VALCKENBORCH (Leuven, 1534 – Frankfurt, 1612)The NativityOil on canvas, H. : 61,6 x L. : 124,5 cm

Rafael Valls Ltd

11 Duke Street, St. James’s - Londres SW1Y 6BN - R.U.Tel.: 00 44 207 930 1144 / Fax: 00 44 207 976 [email protected] / www.rafaelvalls.co.uk

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Galleria Carlo Virgilio & C.Via della Lupa, 10 - 00186 Rome - ItalyTel.: 00 39 06 6871093 / Fax: 00 39 06 68130028E-mail: [email protected] / [email protected] / Web-site: www.carlovirgilio.it

The Galleria Carlo Virgilio was founded in 1979, for the Disegni romani di figura (1800 – 1870) exhibition, considered to be one of the first national events dedicated to neoclassical and academic drawing. Since then, over a hundred exhibitions have been held there and as many catalogues have been produced by eminent Italian and European specialists. The rich documentary records of the Galleria Carlo Virgilio are the result of thirty years’ work collecting information and photographic archives on tens of thousands of subjects. The gallery’s expertise originally focussed on drawings dating from the end of the 18th century to the first decades of the 20th century. When he joined the Galleria Carlo Virgilio, art historian Stefano Grandesso expanded the gallery’s expertise to include 20th century western sculpture and painting. In addition to private collectors, the gallery counts amongst its regular visitors representatives from international institutions and museums such as the Venice Accademia, the Galleria Nazionale delle Marche in Urbino, the Reggia in Caserta, the Palazzo Mansi museum in Lucca, the Museo Napoleonico in Rome, the Louvre in Paris, the Musée Fabre in Montpellier, the Winckelmann Museum in Stendal and the Chicago Art Institute.

August NICODEMO (Rastatt, 1763 – Naples (?) circa 1797)

Minerva greets Louis-Charles Bourbon in front of the tomb of his father Louis XVI, with France and Bourbonic Hercules

Oil on canvas, H. : 76 x L. : 63 cm 62

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Galleria Carlo Virgilio & C.Via della Lupa, 10 - 00186 Rome - ItalyTel.: 00 39 06 6871093 / Fax: 00 39 06 [email protected] / www.carlovirgilio.it

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Felice GIANI(San Sebastiano Curone/Alexandrie, 1758 – Bologne, 1823)

Samson et Dalila, 1784Huile sur toile, H. : 35 x L. : 54,5 cm

The work presented here is one of the few easel paintings by Felice Giani, who was the greatest decorator of neoclassical frescoes in Italy and a famous and imaginative artist, founder of the Academy of Thoughts, devoted to inventive drawing. This is also one of the oldest documented works of the artist. In fact, it is a sketch of the painting he presented for the competitive exam for entry to the Academy of Fine Arts in Parma in 1784, and was created in the cosmopolitan Rome of Batoni, Canova and David. After training in Bologna with Gandolfi, Giani was able to quickly blend his own original style with the many figurative suggestions derived from the sublime Nordic style and the expressive liberty of Cades and Kauffmann, with a predilection for the mannerisms of the sixteenth century.

Claude Vittet GalleryLe Louvre des Antiquaires, 2, place du Palais Royal -75001 Paris - FranceTél. / Fax: 00 33 1 42 60 11 39E-mail: [email protected] / Web-site: www.galleryvittet.com

A specialist in the northern schools of the 16th and 17th century, 18th century French landscapes and miniature art, Claude Vittet choses each work with particular care ensuring excellence with regard to its state of conservation and rarity. He meets the demands of collectors and museums in their quest for pieces which are unique both from a point of view of artistic expression and of the subject represented.

A man of passion and conviction, his advisory role meets a growing demand from art lovers convinced of the value of collecting and investing in Old Master paintings. He is a member of the SNA (National Union of Antiques Dealers) and an expert for CECOA (the European Chamber of Expert-Advisors in Fine Art).

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(Detail)

Claude Vittet GalleryLe Louvre des Antiquaires, 2, place du Palais Royal - 75001 ParisTél. / Fax: 00 33 1 42 60 11 [email protected] / www.galleryvittet.com

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Frans FRANCKEN LE JEUNE(Antwerp,1581 – Antwerp, 1642)The Bearing of the CrossOil on copper, H. : 50,3 x L. : 66,3 cmSigned at the reverse with Pieter Staes’ mark. Dated 1604

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The Weiss Gallery, a magnificent gallery located at 29 Jermyn Street in the heart of London’s prestigious St James’s district, is the leading dealer in art from the Tudor and Stuart periods, as well as portraits by great masters from Northern Europe.

In recent decades, the Weiss Gallery has made many significant sales of works, which now enrich important private and public collections around the world. One of the gallery’s main assets is its dedication to research. In fact, the many catalogues it has published in its time have become reference materials for specialists and collectors.

The gallery is pleased to advise its clients, both on conservation and restoration issues and on insurance values.

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Jakob Ferdinand VOET (Antwerp, 1639 – circa 1700)

Portrait of an Elegant Lady, c.1678 ?Oil on canvas, H. : 73 x L. : 59 cm

The Weiss Gallery59 Jermyn Street - Londres SW1Y 6LX - United KingdomTel. : 00 44 207 409 00 35 / Fax: 00 44 207 491 96 04E-mail: [email protected] / Web-site: www.weissgallery.com

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Frans POURBUS LE JEUNE (1569-1622)Portrait of a Habsburg Officer, circa 1600Oil on canvas, H. : 98,4 cm x L. : 77,4 cm

This vivid portrait shows the swagger that Pourbus introduces into his portraits by the mid-1590s, after he began work for the Habsburg Court of the Archduke Albert and Archduchess Isabella Clara Eugenia in Brussels in 1594.The sitter is identifiable as an officer in the Habsburg army, but from the Spanish Netherlands rather than from Spain itself, fighting against the Protestant Dutch States in the Dutch Revolt (1568 - 1648). With his plain gorget and practical low helmet plume, Portrait of a Habsburg Officer is distinct in showing an Officer of the Line in battledress rather than parade armour. This enables Pourbus to create a less godlike figure than his portraits of Habsburg Royalty, and he blends the conventions of Flemish and Spanish portraiture to create an image of military swagger that is also a plausible and well-observed portrait of a serving soldier.

The Weiss Gallery59 Jermyn Street - Londres SW1Y 6LX - United KingdomTel. : 00 44 20 74 09 00 [email protected] / www.weissgallery.com

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Frames

Because a frame acts as a display case for a canvas and no old master painting can be imagined without one, the organisers of Paris Tableau have chosen to create two stands for merchants of antique frames. A frame may be chosen by the artist or by the first purchaser of the painting and this is then known as the «original frame.» However, as this protects the canvas, it has often suffered over time, deteriorated, become outdated, or simply no longer suits the decor for which it is intended. It then comes down to the new owner to visit a frame dealer and to choose from among the treasures proposed the piece that will show off the painting to its best.

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Dealers

Montanari Gallery8, rue de Miromesnil 75008 Paris – FranceTél. : 00 33 1 49 24 07 52 / Fax: 00 33 1 49 24 07 42E-mail: [email protected] / Web-site: www.montanaricadres.com

The Montanari Gallery was founded in 1978 by Amedeo Montanari. Originally on the left bank, it moved to the right bank in 2002. The gallery shows a large collection of French, Spanish, Italian and Dutch old master paintings, dating from the 16th to the 20th century. It handles all kinds of antique and modern framing to showcase the works it sells. It also produces made to measure frames in any model.

Capucine Montanari, Amedeo’s daughter, has recently taken over the gallery, assuring continuity for the business. Its young, dynamic team includes two of the « finest craftsmen in France » specialising in framing. These professionals use neutral materials which comply with the strictest current regulations to ensure optimum conservation and meet the demands of public and private institutions alike.

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Roman ‘Salvator Rosa’ c.1740 frame of stained fruitwood with carved and gilt acanthus-and-tongue, ribbon and egg-and-dartH. : 103,2 x L. : 78,5 x P. : 18,5 cm

Montanari Gallery8, rue de Miromesnil - 75008 ParisTel.: 00 33 1 49 24 07 52 / Fax: 0033 1 49 24 07 [email protected] / www.montanaricadres.com

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French Régence frame of carved and gilt oak with foliate cartouche, centre shells and fluted sides, C-scrolls, strapwork and diaperH. : 36 x L. : 26 x P. : 13,5 cm

Enrico CeciCornici Antiche - Via Giardini 320 - Formigine (Modène) - Italy Tel.: 00 39 059 556119 / Fax: 00 39 059 570660E-mail: [email protected] / Web-site: www.enricoceci.com

Enrico Ceci started work in 1975, entering the family business founded in 1950. Since 1985 he has specialised in the sale of antique frames dating from the 16th to the 20th century. His clients include private collectors, museums and public and private institutions. He has taken part in various international art exhibitions, such as the Rome Bienniale, the Florence Biennale, The Milan International Fine Art & Antiques Show, the Gotha di Parma, and the Modenantiquaria in Modena.

He was president of Modena’s union of independent art dealers from 1997 to 2000 and from 2006 to 2009 as well as being a member of several panels of experts at antiques exhibitions. He has been a Commander of the Italian Republic since 1999.

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Very large wooden frame with silver plating and bronze giltRome, early 17th centuryWindow H.: 17 x W.: 19 cmExterior H.: 37.5 x W.: 40 cm

Enrico Ceci Cornici Antiche - Via Giardini 320 - Formigine (Modène) - Italy Tel.: 00 39 059 556119 / Fax: 00 39 059 [email protected] / www.enricoceci.com

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Large painted and gilded wooden frame decorated with foliage and flowers, with mother-of-pearl inlaysVenitian work from the early 18th centuryWindow H.: 81 x W.: 61 cmExterior H.: 111 x W.: 91 cm

will open from Thursday 13 until Sunday 16 November 2014at the Palais Brongniart

11:00 until 20:00Late night opening until 22:00 on Thursday 13 November

Closes 18:30 Sunday 17 NovemberAnd is grateful to its major patrners :

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Paris Tableau 2014 - From 13 to 16 November - Press kit EN

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Transcript of Paris Tableau 2014 - From 13 to 16 November - Press kit EN