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15th
16th
17th
18th
19th centuries
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Italian //
//
French //... //
Antique
Frames
Related
Exhibitions
Still
Life
Portraits
Press Relations
> UK, USA : Cawdell Douglas
Diana Cawdell & Annie McGrath
00 44 20 7439 2822
press@cawdelldouglas.com
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
2
Patrical Information
Access
Palais Brongniart
Place de la Bourse, 75002 Paris
Métro : Bourse (ligne 3, Pont de Levallois / Gallieni)
Parking : Place de la Bourse
Opening Hours
11:00 > 20:00
From Thursday 13 until Sunday 16 November 2014
Late night opening until 22:00 on Thursday 13 November
Closes 18:30 Sunday 16 November
Entrance Fee
15 € (including catalogue) / free access to the auditorium
Web-site
www.paristableau.com
Press Relations
> France, Northern Europe :
Agence Colonnes
Claire Galimard, Lara Fatimi & Julie Lécuyer
00 33 1 42 60 70 10 / contact@colonnes.com
>Italy, Spain : MyStudio75 Srl
Vilma Sarchi & Simona Salvini
00 39 02 3453 7744 / info@mystudio75.it
Public Relations
> Russia
Ekaterina de Rochambeau - Limonad
00 7 916 145 89 60 / k.limonad@mail.ru
THE INTERNATIONAL FAIR FOR OLD MASTER PAINTINGS
3
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 Tableau
26, rue Laffitte 75009 Paris
President : Maurizio Canesso
Communication : Hervé Aaron, Bertrand Gautier
& éric Coatalem
Office : Hélène Mouradian, Claire Dubois, Manon Girard
00 33 1 45 22 37 82 / contact@paristableau.com
4
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.
5
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.
Firstly, 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.
6
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.
7
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.
8
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.
9
This year, Paris Tableau decided to examine the various ways of designing and building a collection, whether for a private
collector,afoundationorapublicinstitution.ThisisillustratedbytheexhibitionThreeCollections,aSinglePassion,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
artisticadventures,AXAARTwishedtojointheprestigious
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
Tableauartfair,weareloaningthreeexceptionalworksthat
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.
Exhibition
Three Collections, a Single Passion
Masterpieces from the Centraal Museum in Utrecht, the P. & N. de Boer Foundation and AXA ART
Sylvie Gleises
10
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,
informingusaboutyourcompanyandyourcommitment
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?
11
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.
Thepaletteusedsuggestshisfutureinterestinvibrantcolours,
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
Procrisareayoungcouplewhoseloveistestedbythegoddess
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 1630
Oil on canvas, H.: 73 x W.: 155 cm
©Jean-Louis Losi
12
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 Picus
Oil on canvas, H.: 124 x W.: 104 cm
©Jean-Louis Losi
13
The P. & N. de Boer Foundation
Hendrik GOLTZIUS
(Mulbracht, 1558 - Haarlem, 1616)
Portrait of the Shell Collector, Jan Govaerts van der Aar
Signed with monogram and dated 1603
Oil 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
puttogetheralargecollectionofbeetlesthathelaterdonated
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.
Aftercompletinghisstudiesinhistoryofartattheuniversities
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.
14
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 1610
Oil on copper, H.: 18.2 x W.: 13.5 cm
Jan BRUEGHEL L’ANCIEN
(Brussels, 1568 - Anvers, 1625)
Mouse, Rose, Butterfly and Caterpillar
Oil on copper, H.: 8 x W.: 11.5 cm
15
Dirck VAN BABUREN
(Wijk circa 1595 – Utrecht, 1624)
Young Man Playing a Jew’s Harp, 1621
Oil on canvas, H.: 65 x W.: 52 cm
Collection of Centraal Museum, Utrecht; acquisition of 1953
Image & 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
anintimate,almostsensualportrait,displayingtheessential
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.
16
Johannes Jansz VAN BRONCHORST
(Utrecht, 1627 – Amsterdam, 1656)
Young Woman, circa 1654-1656
Oil on canvas, H.: 81.9 x W.: 66.9 cm
Collection of Centraal Museum, Utrecht; acquisition of 1966
Image & copyright CMU/
Gerard VAN HONTHORST
(Utrecht, 1592 – Utrecht, 1656)
Shepherdess with Turtle Doves, circa 1652
Oil on canvas, H.: 80.1 x W.: 65.3 cm
Collection of Centraal Museum, Utrecht; acquisition of 1966
Image & copyright CMU/
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.
17
Symposium – 13 November 2014
Utrecht and the International Caravagesque Movement from 11.30 a.m. to 12.30 and 2 to 6.30 p.m.
Small auditorium of Palais Brongniart
Place de la Bourse, Paris 2
Dr.JoostVanderAuwera,ChiefCurator,Departmentofold
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, Paris
Engravings 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
18
Exhibitors
Austria >
Sanct Lucas Gallery
Josefsplatz 5, Palais Pallavicini
1010 Vienne
T 00 431 512 82 37
F 00 431 513 32 0316
info@sanctlucas.com
metelka@sanctlucas.com
United States >
Grassi Studio
158 A East 71st Street
NY 10021, New York
T 00 1 212 226 6616
F 00 1 212 226 5496
mail@grassistudio.com
www.grassistudio.com
France >
Didier Aaron & Cie
152, boulevard Haussmann
75008 Paris
T 00 33 1 47 42 47 34
F 00 33 1 42 66 24 17
ldesmarest@didieraaron-cie.com
www.didieraaron.com
Canesso Gallery
26, rue Laffitte
75009 Paris
T 00 33 1 40 22 61 71
F 00 33 1 40 22 61 81
contact@canesso.com
www.canesso.com
Éric Coatalem Gallery
136, Faubourg Saint-Honoré
75008 Paris
T 00 33 1 42 66 17 17
F 00 33 1 42 66 03 50
coatalem@coatalem.com
www.coatalem.com
Michel Descours Gallery
44, rue Auguste Comte
69002 Lyon
T 00 33 04 72 56 75 97
F 00 33 04 72 41 90 67
contact@gallery-descours.com
www.peintures-descours.fr
Haboldt & Co
70, rue du Faubourg Saint-Honoré
75008 Paris
T 00 33 1 42 66 44 54
F 00 33 1 42 66 44 52
oldmasters@haboldt.com
De Jonckheere
100, rue du Faubourg Saint-Honoré
75008 Paris
T 00 33 1 42 66 69 49
F 00 33 1 42 66 13 42
art.dejonckheere@orange.fr
www.dejonckheere-gallery.com
Jacques Leegenhoek
35, rue de Lille
75007 Paris
T 00 33 1 42 86 85 51
F 00 33 1 42 86 85 52
jleegenhoek@gmail.com
www.leegenhoek.com
G. Sarti Gallery
137, rue du Faubourg Saint-Honoré
75008 Paris
T 00 33 1 42 89 33 66
F 00 33 1 42 89 33 77
giovanni.sarti@wanadoo.fr
www.sarti-gallery.com
Talabardon & Gautier
134, rue du Faubourg Saint-Honoré
75008 Paris
T 00 33 1 43 59 13 57
F 00 33 1 43 59 10 29
talabardon.gautier@wanadoo.fr
Terrades Gallery
8, rue d’Alger
75001 Paris
T 00 33 1 40 20 90 51
F 00 33 1 40 20 90 61
contact@galleryterrades.com
www.galleryterrades.com
Claude Vittet Gallery
Le Louvre des Antiquaires
2, place du Palais Royal
75001 Paris
T/F 00 33 1 42 60 11 39
vittet.claude@yahoo.fr
www.galleryvittet.com
Italie >
Maurizio Nobile
Via Santo Stefano, 19/a
40125 Bologna
T 00 39 05 1238363
bologna@maurizionobile.com
19
Porcini
Piazza Vittoria, 6 - 80 121 Naples
T 00 39 0817643550
F 00 390812457679
info@porcinigallery.com
Carlo Virgilio & C.
Via della Lupa, 10
00186 Rome
T 00 39 06 6871093
F 00 39 06 68130028
info@carlovirgilio.it
carlovirgilio@carlovirgilio.it
www.carlovirgilio.it
Netherlands >
Kunsthandel P. de Boer
Herengracht 512
1017 CC Amsterdam
T 00 31 20 623 68 49
F 00 31 20 623 12 85
info@kunsthandelpdeboer.com
www.kunsthandelpdeboer.com
United Kingdom >
Thomas Agnew & Sons
22 Grafton Street
London W1S 4EX
T 00 44 20 7491 9219
F 00 44 20 7491 9481
anthony.crichton-stuart@
agnewsgallery.com
Charles Beddington Ltd
16 Savile Row
Londres W1S 3PL
T 00 44 20 74 39 49 59
F 00 44 20 74 39 49 69
info@charlesbeddington.com
www.charlesbeddington.com
Derek Johns Ltd
12 Duke Street, St James’s
Londres SW1Y 6BN
T 00 44 20 78 39 76 71
F 00 44 20 79 30 09 86
fineart@derekjohns.co.uk
www.derekjohns.co.uk
Rafael Valls Ltd
11 Duke Street, St. James’s
London, SW1Y 6BN
T 00 44 207 930 1144
F 00 44 207 976 1596
info@rafaelvalls.co.uk
toby@rafaelvalls.co.uk
www.rafaelvalls.co.uk
The Weiss Gallery
59 Jermyn Street
Londres SW1Y 6LX
T 00 44 207 409 00 35
F 00 44 207 491 96 04
chris@weissgallery.com
www.weissgallery.com
Switzerland >
Jean-François Heim
Utengasse 52
CH-4058 Bâle
T 00 41 61 681 35 35
F 00 41 61 681 75 70
Mobile J-F Heim : 00 41 789 55 77 77
jean.f.heim@galleryheim.ch
www.galleryheim.ch
David Kœtser Gallery
Talstrasse 37
CH 8001 Zurich
T 00 41 44 211 52 40
F 00 41 44 211 56 69
info@koetsergallery.com
gaelle-anne@koetsergallery.com
www.koetsergallery.com
Frames dealers:
France >
Montanari Gallery
8, rue de Miromesnil
75008 Paris
T 00 33 1 49 24 07 52
F 00 33 1 49 24 07 42
amontanari@wanadoo.fr
Italy >
Enrico Ceci – Cornici Antiche
Via Giardini 320
Formigine (Modène)
T 00 39 059 556119
F 00 39 059 570660
www.enricoceci.com
20
Didier Aaron & Cie
152, boulevard Haussmann - 75008 Paris - France
Tel.: 00 33 1 47 42 47 34 / Fax: 00 33 1 42 66 24 17
E-mail: ldesmarest@didieraaron-cie.com / 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, 1763
Oil 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
musicofauloiandtamborines,theirtraditionalinstruments,
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 & Cie
152, boulevard Haussmann - 75008 Paris
Tel.: 00 33 1 47 42 47 34 / Fax: 00 33 1 42 66 24 17
ldesmarest@didieraaron-cie.com / www.didieraaron.com
21
Lancelot Théodore TURPIN DE CRISSE
(Paris, 1782 – Paris, 1859)
The Childhood of Bacchus, 1835
Oil on canvas, H.: 129 x L. : 97 cm
Monogrammed
22
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 Centaur
Oil on panel, H. : 28 x L. : 66 cm
Thomas Agnew & Sons
22 Grafton Street, London W1S 4EX – United Kingdom
Tel. : 00 44 207 491 9219 / Fax: 00 44 207 491 9481
E-mail: anthony.crichton-stuart@agnewsgallery.com / 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.
23
François Pascal Simon Gérard dit BARON GERARD
(Rome, 1770 – Paris, 1837)
Horses frightened by the Waves
On its original canvas (Belot), H. : 32,5 x L. : 40,5 cm
Thomas Agnew & Sons
22 Grafton Street, London W1S 4EX – United Kingdom
Tel. : 00 44 207 491 9219 / Fax: 00 44 207 491 9481
anthony.crichton-stuart@agnewsgallery.com
www.agnewsgallery.com
24
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, Rome
Oil on canvas, H. : 61,5 x L. : 96,2 cm
Charles Beddington Ltd
16 Savile Row - Londres W1S 3PL - United Kingdom
Tel. : 00 44 20 74 39 49 59 / Fax: 00 44 20 74 39 49 69
E-mail: info@charlesbeddington.com / Web-site: www.charlesbeddington.com
25
Francesco GUARDI
(Venice, 1712 – Venice, 1793)
The Bacino di San Marco, Venice, on Ascension Day, with the
Bucintoro leaving for San Nicolò del Lido
Oil on canvas, H. : 52,2 x L. : 84,8 cm
Charles Beddington Ltd
16 Savile Row - Londres W1S 3PL - United Kingdom
Tel. : 00 44 20 74 39 49 59 / Fax: 00 44 20 74 39 49 69
info@charlesbeddington.com / 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.
26
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 Boer
Herengracht 512 - 1017 CC Amsterdam - Netherlands
Tel. : 00 31 20 623 68 49 / Fax: 00 31 20 623 12 85
E-mail: info@kunsthandelpdeboer.com / Web-site: www.kunsthandelpdeboer.com
27
Jan BRUEGHEL LE JEUNE et atelier
(Antwerp, 1601 – Antwerp, 1678)
Birds fighting
Oil 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 Boer
Herengracht 512 1017 CC Amsterdam – Netherlands
Tel. : 00 31 20 623 68 49 / Fax: 00 31 20 623 12 85
info@kunsthandelpdeboer.com / www.kunsthandelpdeboer.com
Canesso Gallery
26, rue Laffitte -75009 Paris – France
Tel.: 00 33 1 40 22 61 71 / Fax: 00 33 1 40 22 61 81
E-mail: contact@canesso.com / 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.
28
Francesco ALBANI called L’Albane
(Bologna, 1578 – Bologna, 1660)
Christ Appearing to Mary Magdalene
Oil on copper, oval, H. : 19 x L. : 24.5 cm
The reverse bears an inscription in pen and ink: “From the Orleans Gallery / Engraved”
Onemaywonder,inthisbrilliantexerciseinportraiture–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 Gallery
26, rue Laffitte - 75009 Paris
Tel.: 00 33 1 40 22 61 71 / Fax: 00 33 1 40 22 61 81
contact@canesso.com / www.canesso.com
29
Simon VOUET
(Paris, 1590 – Paris, 1649)
Portrait of a Man
Oil on canvas, H. : 58,2 x L. : 47 cm
Éric Coatalem Gallery
136, rue du Faubourg Saint-Honoré -75008 Paris – France
Tel.: 00 33 1 42 66 17 17 / Fax: 00 33 1 42 66 03 50
E-mail: coatalem@coatalem.com / 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.
30
Louis-Léoplod BOILLY
(La Bassée, 1761 – Paris, 1845)
Trompe-l’œil with coins on the tray of a gueridon
Oil on marble surrounded with ebony, diameter 47 cm
(58 cm with the border)
Éric Coatalem Gallery
136, rue du Faubourg Saint-Honoré - 75008 Paris
Tel.: 00 33 1 42 66 17 17 / Fax: 00 33 1 42 66 03 50
coatalem@coatalem.com / www.coatalem.com
31
Adélaïde LABILLE-GUIARD
(Paris, 1749 – Paris, 1803)
Portrait of a member of the french Convention
Oil on canvas, H. : 73 x L. : 60 cm
Michel Descours Gallery
44, rue Auguste Comte - 69002 Lyon – France
Tel.: 00 33 4 72 56 75 97 / Fax: 00 33 4 72 41 90 67
E-mail: contact@gallery-descours.com / 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).
32
Jacopo Negretti, called PALMA LE JEUNE
(Venice, circa 1548 – id., 1628)
Saint Sebastian
Oil on canvas, H. : 190 x L. : 114 cm
Signed lower right, on the window’s step : IACOBVS PALMA – F.
Xx
Exemple
Michel Descours Gallery
44, rue Auguste Comte - 69002 Lyon
Tel.: 00 33 4 72 56 75 97 / Fax: 00 33 4 72 41 90 67
contact@gallery-descours.com / www.peintures-descours.fr
33
Jean-Joseph-Xavier BIDAULD
(Carpentras, 1758 – Montmorency, 1846)
Landscape seen through a vine arbour, circa 1840
Oil on canvas, H. : 32,5 x L. : 41 cm
Signed and located lower at the center, on the lettre :
a Mr / Bidaul[d] / [Montmorency ?]
34
Grassi Studio
158 A East 71st
Street - NY 10021 New York – USA
Tel.: 00 1 212 226 6616 / Fax: 00 1 212 226 5496
E-mail: mail@grassistudio.com / 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
3535
Louis GAUFFIER
(La Rochelle, 1761 - Livorno, 1801)
Portrait of Ferdinando Nerli
Oil on (unlined) canvas, H. : 66 x L. : 48,3 cm
Grassi Studio
158 A East 71st
Street - NY 10021 New York – USA
Tel.: 00 1 212 226 6616 / Fax: 00 1 212 226 5496
mail@grassistudio.com / www.grassistudio.com
Haboldt & Co
70, rue du Faubourg Saint-Honoré - 75008 Paris – France
Tel.: 00 33 1 42 66 44 54 / Fax: 00 33 1 42 66 44 52
E-mail: oldmasters@haboldt.com
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.
36
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. Plazer
Oil on copper, H. : 56,2 x L. : 79,5 cm
Bacchus and Midas (Ovide, Metamorphoses, IX, 85-99)
Signed on the barrel : J.G. Plazer
Oil on copper, H. : 56,1 x L. : 79,3 cm
(a pair)
Haboldt & Co
70, rue du Faubourg Saint-Honoré - 75008 Paris
Tel.: 00 33 1 42 66 44 54 / Fax: 00 33 1 42 66 44 52
oldmasters@haboldt.com
37
Bartholomeus VAN DER HELST
(Haarlem, 1613 – Amsterdam, 1670)
A portrait of a boy as Cupid, holding a bubble and seated in a
landscape
Signed and dated bottom left : B. vander . helst . fecit 1641
Oil on canvas, H. : 93 x L. : 106 cm
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, 1721
Oil on canvas, H. : 250 x L. : 225 cm
Signed and dated on lower right :
Desportes 1721
Jean-François Heim
Utengasse 52 – CH-4058 Bâle – Switzerland
Tel. : 00 41 61 681 35 35 / Fax: 00 41 61 681 75 70 / Mobile J-F Heim : 00 41 789 55 77 77
E-mail: jean.f.heim@galleryheim.ch / Web-site: www.galleryheim.ch
3939
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 canvas
H. : 34 x L. : 28 cm
Signed with a monogram, situated and dated lower right:
Veiby Juny 1843 TL
Jean-François Heim
Utengasse 52 – CH-4058 Bâle – Switzerland
Tel. : 00 41 61 681 35 35 / Fax: 00 41 61 681 75 70
jean.f.heim@galleryheim.ch / www.galleryheim.ch
40
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.
40
Martin VAN VALCKENBORCH
(Leuven, 1535 – Frankfurt, 1612)
Autumn Landscape with Vintage and Fruit Harvest
Oil on canvas, H. : 85 x L. : 127 cm
Derek Johns ltd
12 Duke Street, St James’s - Londres SW1Y 6BN – United Kingdom
Tel. : 00 44 20 78 39 76 71 / Fax: 00 44 20 79 30 09 86
E-mail: fineart@derekjohns.co.uk - burcu@derekjohns.co.uk / Web-site: www.derekjohns.co.uk
41
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
trimmings
Painted circa 1615
Oil on panel, H. : 79 x L. : 58 cm Derek Johns ltd
12 Duke Street, St James’s - Londres - SW1Y 6BN – United Kingdom
Tel. : 00 44 20 78 39 76 71 / Fax: 00 44 20 79 30 09 86
fineart@derekjohns.co.uk / www.derekjohns.co.uk
De Jonckheere
100, rue du Faubourg Saint-Honoré - 75008 Paris- France
Tel.: 00 33 1 42 66 69 49 / Fax: 00 33 1 42 66 13 42
E-mail: art.dejonckheere@orange.fr / 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.
42
De Jonckheere
100, rue du Faubourg Saint-Honoré - 75008 Paris
Tel.: 00 33 1 42 66 69 49 / Fax: 00 33 1 42 66 13 42
art.dejonckheere@orange.fr/www.dejonckheere-gallery.com
43
Daniel SEGHERS
(Antwerp, 1590 - Antwerp, 1661)
Bouquet of flowers on a table, 1640
Panel, 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
Foundationinitspermanentcollection.Thegalleryalsocontributestotheenrichmentofindividualcollections
as well as museum collections.
44
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 cm
Signed lower right
David Koetser Gallery
Talstrasse 37- CH-8001 Zurich - Switzerland
Tel. : 00 41 44 211 52 40 / Fax: 00 41 44 211 56 69
E-mail: info@koetsergallery.com / gaelle-anne@koetsergallery.com / Web-site: www.koetsergallery.com
ThispaintingistypicaloftheworksattheheightofvanRuysdael’scareer.Thepaintingcaturesamomentatdawnonabroadstretch
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
beingferriedinrowingboatstotheirvesselsandtotheothersideoftheriver. InthisworkvanRuysdaelseemstohavecapturedthe
slowunfurlingofsuchpurple-tingeddawnlight.
Asthoughtocontinuethisthemeoftheimportanceofnature,vanRuysdaelusesthetoolsofhispractice–theoilpaintandthewood
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
patternofwavesinthedarker-tonedwateroftheforeground,atechniquelateremployedbyWillemvandeVeldetheYounger.This
realisticeffectistemperedbythepoeticreflectionofthelightonwaterinthemiddledistancewhichsubtlyblendsintothesky.
45
Salomon VAN RUYSDAEL
(Naarden, 1600/3 – Haarlem, 1670)
River estuary with ferry boat and swimmers
Oil on panel, H. : 48.2 x L. : 47 cm
Signed and Dated on the ferry : S. v Ruysdael 1640
David Koetser Gallery
Talstrasse 37 CH-8001 Zurich – Switzerland
Tel. : 00 41 44 211 52 40 / Fax: 00 41 44 211 56 69
info@koetsergallery.com / www.koetsergallery.com
46
Porcini
Piazza Vittoria, 6 - 80 121 Naples
Tel.: 00 39 0817643550 / Fax: 00 390812457679
E-mail: info@porcinigallery.com
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 Gennaro
H. : 41 x L. : 47 cm
47
Porcini
Piazza Vittoria, 6 - 80 121 Naples
Tel.: 00 39 0817643550 / Fax: 00 390812457679
info@porcinigallery.com
Francesco SOLIMENA
(Canale di Serino, 1657 – Napoli, 1747)
The Conversion of Saint Paul fresco
Oil on canvas, H. : 129 x L. : 102 cm
Bozzetto for Fresco in the Sacristy of the Church
San Paolo Maggiore in Naples
Jacques Leegenhoek
35, rue de Lille- 75007 Paris – France
Tel.: 00 33 1 42 86 85 51
E-mail: jleegenhoek@gmail.com / 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.
48
Simone CANTARINI
(Pesaro, 1612 – Verona, 1648)
Saint Cecilia
Oil on canvas, H. : 119 x L. : 96 cm
Jacques Leegenhoek
35, rue de Lille - 75007 Paris
Tel.: 00 33 1 42 86 85 51
jleegenhoek@gmail.com / www.leegenhoek.com
49
Charles LE BRUN
(1619-1690)
Allegory of the Tiber
Oil 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.
50
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
annualevents,sometimesrediscoveriesandothertimesabsolutely
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 1238363
E-mail: bologne@maurizionobile.com / Web-site: www.maurizionobile.com
51
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 1238363
bologne@maurizionobile.com / www.maurizionobile.com
Sanct Lucas Gallery
Josefsplatz 5, Palais Pallavicini - 1010 Vienne - Autriche
Tel.: 00 43 1 512 82 37 / Fax: 00 43 1 513 32 0316
E-mail: info@sanctlucas.com / metelka@sanctlucas.com
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.
52
David TENIERS LE JEUNE
(Antwerp, 1610 – Brussels, 1690)
The Village Fair
Panel, H. : 65 x L. : 40, 5 cm
Sanct Lucas Gallery
Josefsplatz 5, Palais Pallavicini - 1010 Vienne - Autriche
Tel.: 00 43 1 512 82 37 / Fax: 00 43 1 513 32 0316
info@sanctlucas.com / metelka@sanctlucas.com
53
Claude - Joseph VERNET
(Avignon, 1714 – Paris, 1789)
A Fisherman recovering his fishnet
Panel, H. : 40,5 x L. 31,5 cm
Recognized as a marine painter in 1740, Claude-
JosephVernetreceivedfromtheMarquisdeMarigny
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 Gallery
137, rue du Faubourg Saint-Honoré - 75008 Paris - France
Tel.: 00 33 1 42 89 33 66 / Fax: 00 33 1 42 89 33 77
E-mail: giovanni.sarti@wanadoo.fr / 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.
54
Luca GIORDANO
(Naples, 1634 - Naples, 1705)
Portrait of Plato, circa 1660
Oil on canvas, H. : 116.5 x L. : 99 cm
G. Sarti Gallery
137, rue du Faubourg Saint-Honoré - 75008 Paris
Tel.: 00 33 1 42 89 33 66 / Fax: 00 33 1 42 89 33 77
giovanni.sarti@wanadoo.fr / www.sarti-gallery.com
55
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 1380
Tempera and gold on panel, H. : 88 x L. : 55 cm
Talabardon & Gautier
134, rue du Faubourg Saint-Honoré - 75008 Paris- France
Tel.: 00 33 1 43 59 13 57 / Fax: 00 33 1 43 59 10 29
E-mail: talabardon.gautier@wanadoo.fr
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!
56
(Detail)
Talabardon & Gautier
134, rue du Faubourg Saint-Honoré - 75008 Paris
Tel.: 00 33 1 43 59 13 57 / Fax: 00 33 1 43 59 10 29
talabardon.gautier@wanadoo.fr
57
Philippe VAN BREE
((Antwerp, 1786 - Brussels, 1871)
Jan Frans van Daël’s Studio in the Sorbonne
Oil on panel, H. : 47 x L. : 58 cm
58
Terrades Gallery
8, rue d’Alger - 75001 Paris - France
Tel.: 00 33 1 40 20 90 51 / Fax: 00 33 1 40 20 90 61
E-mail: contact@galleryterrades.com / 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.
58
Thomas-Germain DUVIVIER
(Paris, 1735 – Paris, 1814)
The Attributes of the arts and music
Oil on canvas, H. : 114 x L. : 85 cm
59
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.
59
Terrades Gallery
8, rue d’Alger - 75001 Paris
Tel.: 00 33 1 40 20 90 51 / / Fax: 00 33 1 40 20 90 61
contact@galleryterrades.com / www.galleryterrades.com
Johann Carl LOTH
(Munich, 1632 – Venice, 1698)
The Return of the Prodigal Son, circa 1670
Oil on canvas, H. : 128 x L. : 160,5 cm
Jacob Adriaensz BACKER
(Harlingen, 1608 – Amsterdam, 1651)
Democritus, the laughing Philosopher, circa 1633
Oil on panel, H. : 60 x L. : 46,5 cm
Rafael Valls Ltd
11 Duke Street, St. James’s - Londres SW1Y 6BN - United Kingdom
Tel.: 00 44 207 930 1144 / Fax: 00 44 207 976 1596
E-mail: info@rafaelvalls.co.uk / toby@rafaelvalls.co.uk / 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.
60
61
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 Nativity
Oil 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 1596
toby@rafaelvalls.co.uk / www.rafaelvalls.co.uk
62
Galleria Carlo Virgilio & C.
Via della Lupa, 10 - 00186 Rome - Italy
Tel.: 00 39 06 6871093 / Fax: 00 39 06 68130028
E-mail: info@carlovirgilio.it / carlovirgilio@carlovirgilio.it / 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
63
Galleria Carlo Virgilio & C.
Via della Lupa, 10 - 00186 Rome - Italy
Tel.: 00 39 06 6871093 / Fax: 00 39 06 68130028
info@carlovirgilio.it / www.carlovirgilio.it
63
Felice GIANI
(San Sebastiano Curone/Alexandrie, 1758 – Bologne, 1823)
Samson et Dalila, 1784
Huile 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 Gallery
Le Louvre des Antiquaires, 2, place du Palais Royal -75001 Paris - France
Tél. / Fax: 00 33 1 42 60 11 39
E-mail: vittet.claude@yahoo.fr / 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).
64
(Detail)
Claude Vittet Gallery
Le Louvre des Antiquaires, 2, place du Palais Royal - 75001 Paris
Tél. / Fax: 00 33 1 42 60 11 39
vittet.claude@yahoo.fr / www.galleryvittet.com
65
Frans FRANCKEN le Jeune
(Antwerp,1581 – Antwerp, 1642)
The Bearing of the Cross
Oil on copper, H. : 50,3 x L. : 66,3 cm
Signed at the reverse with Pieter Staes’ mark. Dated 1604
66
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.
66
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 Gallery
59 Jermyn Street - Londres SW1Y 6LX - United Kingdom
Tel. : 00 44 207 409 00 35 / Fax: 00 44 207 491 96 04
E-mail: chris@weissgallery.com / Web-site: www.weissgallery.com
6767
Frans POURBUS Le Jeune
(1569-1622)
Portrait of a Habsburg Officer, circa 1600
Oil 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 Gallery
59 Jermyn Street - Londres SW1Y 6LX - United Kingdom
Tel. : 00 44 20 74 09 00 35
chris@weissgallery.com / www.weissgallery.com
68
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.
69
Dealers
Montanari Gallery
8, rue de Miromesnil 75008 Paris – France
Tél. : 00 33 1 49 24 07 52 / Fax: 00 33 1 49 24 07 42
E-mail: amontanari@wanadoo.fr / 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.
70
Roman ‘Salvator Rosa’ c.1740 frame of stained
fruitwood with carved and gilt acanthus-and-tongue,
ribbon and egg-and-dart
H. : 103,2 x L. : 78,5 x P. : 18,5 cm
Montanari Gallery
8, rue de Miromesnil - 75008 Paris
Tel.: 00 33 1 49 24 07 52 / Fax: 0033 1 49 24 07 42
amontanari@wanadoo.fr / www.montanaricadres.com
71
French Régence frame of
carved and gilt oak with
foliate cartouche, centre shells
and fluted sides, C-scrolls,
strapwork and diaper
H. : 36 x L. : 26 x P. : 13,5 cm
Enrico Ceci
Cornici Antiche - Via Giardini 320 - Formigine (Modène) - Italy
Tel.: 00 39 059 556119 / Fax: 00 39 059 570660
E-mail: enricoceci@enricoceci.com / 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.
72
Very large wooden frame with silver
plating and bronze gilt
Rome, early 17th
century
Window H.: 17 x W.: 19 cm
Exterior 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 570660
enricoceci@enricoceci.com / www.enricoceci.com
73
Large painted and gilded wooden frame
decorated with foliage and flowers, with
mother-of-pearl inlays
Venitian work from the early 18th
century
Window H.: 81 x W.: 61 cm
Exterior H.: 111 x W.: 91 cm
willopenfromThursday13untilSunday16November2014
atthePalaisBrongniart
11:00until20:00
Latenightopeninguntil22:00onThursday13November
Closes18:30Sunday17November
Andisgratefultoitsmajorpatrners:
FindParisTableauonthesocialnetworks:
THE INTERNATIONAL FAIR FOR OLD MASTER PAINTINGS

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

  • 1. 15th 16th 17th 18th 19th centuries PressKit Italian // // French //... // Antique Frames Related Exhibitions Still Life Portraits Press Relations > UK, USA : Cawdell Douglas Diana Cawdell & Annie McGrath 00 44 20 7439 2822 press@cawdelldouglas.com 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
  • 2. 2 Patrical Information Access Palais Brongniart Place de la Bourse, 75002 Paris Métro : Bourse (ligne 3, Pont de Levallois / Gallieni) Parking : Place de la Bourse Opening Hours 11:00 > 20:00 From Thursday 13 until Sunday 16 November 2014 Late night opening until 22:00 on Thursday 13 November Closes 18:30 Sunday 16 November Entrance Fee 15 € (including catalogue) / free access to the auditorium Web-site www.paristableau.com Press Relations > France, Northern Europe : Agence Colonnes Claire Galimard, Lara Fatimi & Julie Lécuyer 00 33 1 42 60 70 10 / contact@colonnes.com >Italy, Spain : MyStudio75 Srl Vilma Sarchi & Simona Salvini 00 39 02 3453 7744 / info@mystudio75.it Public Relations > Russia Ekaterina de Rochambeau - Limonad 00 7 916 145 89 60 / k.limonad@mail.ru THE INTERNATIONAL FAIR FOR OLD MASTER PAINTINGS
  • 3. 3 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 Tableau 26, rue Laffitte 75009 Paris President : Maurizio Canesso Communication : Hervé Aaron, Bertrand Gautier & éric Coatalem Office : Hélène Mouradian, Claire Dubois, Manon Girard 00 33 1 45 22 37 82 / contact@paristableau.com
  • 4. 4 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.
  • 5. 5 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. Firstly, 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.
  • 6. 6 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.
  • 7. 7 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.
  • 8. 8 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.
  • 9. 9 This year, Paris Tableau decided to examine the various ways of designing and building a collection, whether for a private collector,afoundationorapublicinstitution.ThisisillustratedbytheexhibitionThreeCollections,aSinglePassion,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 artisticadventures,AXAARTwishedtojointheprestigious 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 Tableauartfair,weareloaningthreeexceptionalworksthat 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. Exhibition Three Collections, a Single Passion Masterpieces from the Centraal Museum in Utrecht, the P. & N. de Boer Foundation and AXA ART Sylvie Gleises
  • 10. 10 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, informingusaboutyourcompanyandyourcommitment 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?
  • 11. 11 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. Thepaletteusedsuggestshisfutureinterestinvibrantcolours, 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 Procrisareayoungcouplewhoseloveistestedbythegoddess 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 1630 Oil on canvas, H.: 73 x W.: 155 cm ©Jean-Louis Losi
  • 12. 12 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 Picus Oil on canvas, H.: 124 x W.: 104 cm ©Jean-Louis Losi
  • 13. 13 The P. & N. de Boer Foundation Hendrik GOLTZIUS (Mulbracht, 1558 - Haarlem, 1616) Portrait of the Shell Collector, Jan Govaerts van der Aar Signed with monogram and dated 1603 Oil 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 puttogetheralargecollectionofbeetlesthathelaterdonated 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. Aftercompletinghisstudiesinhistoryofartattheuniversities 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.
  • 14. 14 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 1610 Oil on copper, H.: 18.2 x W.: 13.5 cm Jan BRUEGHEL L’ANCIEN (Brussels, 1568 - Anvers, 1625) Mouse, Rose, Butterfly and Caterpillar Oil on copper, H.: 8 x W.: 11.5 cm
  • 15. 15 Dirck VAN BABUREN (Wijk circa 1595 – Utrecht, 1624) Young Man Playing a Jew’s Harp, 1621 Oil on canvas, H.: 65 x W.: 52 cm Collection of Centraal Museum, Utrecht; acquisition of 1953 Image & 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 anintimate,almostsensualportrait,displayingtheessential 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.
  • 16. 16 Johannes Jansz VAN BRONCHORST (Utrecht, 1627 – Amsterdam, 1656) Young Woman, circa 1654-1656 Oil on canvas, H.: 81.9 x W.: 66.9 cm Collection of Centraal Museum, Utrecht; acquisition of 1966 Image & copyright CMU/ Gerard VAN HONTHORST (Utrecht, 1592 – Utrecht, 1656) Shepherdess with Turtle Doves, circa 1652 Oil on canvas, H.: 80.1 x W.: 65.3 cm Collection of Centraal Museum, Utrecht; acquisition of 1966 Image & copyright CMU/ 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.
  • 17. 17 Symposium – 13 November 2014 Utrecht and the International Caravagesque Movement from 11.30 a.m. to 12.30 and 2 to 6.30 p.m. Small auditorium of Palais Brongniart Place de la Bourse, Paris 2 Dr.JoostVanderAuwera,ChiefCurator,Departmentofold 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, Paris Engravings 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
  • 18. 18 Exhibitors Austria > Sanct Lucas Gallery Josefsplatz 5, Palais Pallavicini 1010 Vienne T 00 431 512 82 37 F 00 431 513 32 0316 info@sanctlucas.com metelka@sanctlucas.com United States > Grassi Studio 158 A East 71st Street NY 10021, New York T 00 1 212 226 6616 F 00 1 212 226 5496 mail@grassistudio.com www.grassistudio.com France > Didier Aaron & Cie 152, boulevard Haussmann 75008 Paris T 00 33 1 47 42 47 34 F 00 33 1 42 66 24 17 ldesmarest@didieraaron-cie.com www.didieraaron.com Canesso Gallery 26, rue Laffitte 75009 Paris T 00 33 1 40 22 61 71 F 00 33 1 40 22 61 81 contact@canesso.com www.canesso.com Éric Coatalem Gallery 136, Faubourg Saint-Honoré 75008 Paris T 00 33 1 42 66 17 17 F 00 33 1 42 66 03 50 coatalem@coatalem.com www.coatalem.com Michel Descours Gallery 44, rue Auguste Comte 69002 Lyon T 00 33 04 72 56 75 97 F 00 33 04 72 41 90 67 contact@gallery-descours.com www.peintures-descours.fr Haboldt & Co 70, rue du Faubourg Saint-Honoré 75008 Paris T 00 33 1 42 66 44 54 F 00 33 1 42 66 44 52 oldmasters@haboldt.com De Jonckheere 100, rue du Faubourg Saint-Honoré 75008 Paris T 00 33 1 42 66 69 49 F 00 33 1 42 66 13 42 art.dejonckheere@orange.fr www.dejonckheere-gallery.com Jacques Leegenhoek 35, rue de Lille 75007 Paris T 00 33 1 42 86 85 51 F 00 33 1 42 86 85 52 jleegenhoek@gmail.com www.leegenhoek.com G. Sarti Gallery 137, rue du Faubourg Saint-Honoré 75008 Paris T 00 33 1 42 89 33 66 F 00 33 1 42 89 33 77 giovanni.sarti@wanadoo.fr www.sarti-gallery.com Talabardon & Gautier 134, rue du Faubourg Saint-Honoré 75008 Paris T 00 33 1 43 59 13 57 F 00 33 1 43 59 10 29 talabardon.gautier@wanadoo.fr Terrades Gallery 8, rue d’Alger 75001 Paris T 00 33 1 40 20 90 51 F 00 33 1 40 20 90 61 contact@galleryterrades.com www.galleryterrades.com Claude Vittet Gallery Le Louvre des Antiquaires 2, place du Palais Royal 75001 Paris T/F 00 33 1 42 60 11 39 vittet.claude@yahoo.fr www.galleryvittet.com Italie > Maurizio Nobile Via Santo Stefano, 19/a 40125 Bologna T 00 39 05 1238363 bologna@maurizionobile.com
  • 19. 19 Porcini Piazza Vittoria, 6 - 80 121 Naples T 00 39 0817643550 F 00 390812457679 info@porcinigallery.com Carlo Virgilio & C. Via della Lupa, 10 00186 Rome T 00 39 06 6871093 F 00 39 06 68130028 info@carlovirgilio.it carlovirgilio@carlovirgilio.it www.carlovirgilio.it Netherlands > Kunsthandel P. de Boer Herengracht 512 1017 CC Amsterdam T 00 31 20 623 68 49 F 00 31 20 623 12 85 info@kunsthandelpdeboer.com www.kunsthandelpdeboer.com United Kingdom > Thomas Agnew & Sons 22 Grafton Street London W1S 4EX T 00 44 20 7491 9219 F 00 44 20 7491 9481 anthony.crichton-stuart@ agnewsgallery.com Charles Beddington Ltd 16 Savile Row Londres W1S 3PL T 00 44 20 74 39 49 59 F 00 44 20 74 39 49 69 info@charlesbeddington.com www.charlesbeddington.com Derek Johns Ltd 12 Duke Street, St James’s Londres SW1Y 6BN T 00 44 20 78 39 76 71 F 00 44 20 79 30 09 86 fineart@derekjohns.co.uk www.derekjohns.co.uk Rafael Valls Ltd 11 Duke Street, St. James’s London, SW1Y 6BN T 00 44 207 930 1144 F 00 44 207 976 1596 info@rafaelvalls.co.uk toby@rafaelvalls.co.uk www.rafaelvalls.co.uk The Weiss Gallery 59 Jermyn Street Londres SW1Y 6LX T 00 44 207 409 00 35 F 00 44 207 491 96 04 chris@weissgallery.com www.weissgallery.com Switzerland > Jean-François Heim Utengasse 52 CH-4058 Bâle T 00 41 61 681 35 35 F 00 41 61 681 75 70 Mobile J-F Heim : 00 41 789 55 77 77 jean.f.heim@galleryheim.ch www.galleryheim.ch David Kœtser Gallery Talstrasse 37 CH 8001 Zurich T 00 41 44 211 52 40 F 00 41 44 211 56 69 info@koetsergallery.com gaelle-anne@koetsergallery.com www.koetsergallery.com Frames dealers: France > Montanari Gallery 8, rue de Miromesnil 75008 Paris T 00 33 1 49 24 07 52 F 00 33 1 49 24 07 42 amontanari@wanadoo.fr Italy > Enrico Ceci – Cornici Antiche Via Giardini 320 Formigine (Modène) T 00 39 059 556119 F 00 39 059 570660 www.enricoceci.com
  • 20. 20 Didier Aaron & Cie 152, boulevard Haussmann - 75008 Paris - France Tel.: 00 33 1 47 42 47 34 / Fax: 00 33 1 42 66 24 17 E-mail: ldesmarest@didieraaron-cie.com / 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, 1763 Oil on canvas, H. : 105 x L. : 71 cm
  • 21. 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 musicofauloiandtamborines,theirtraditionalinstruments, 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 & Cie 152, boulevard Haussmann - 75008 Paris Tel.: 00 33 1 47 42 47 34 / Fax: 00 33 1 42 66 24 17 ldesmarest@didieraaron-cie.com / www.didieraaron.com 21 Lancelot Théodore TURPIN DE CRISSE (Paris, 1782 – Paris, 1859) The Childhood of Bacchus, 1835 Oil on canvas, H.: 129 x L. : 97 cm Monogrammed
  • 22. 22 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 Centaur Oil on panel, H. : 28 x L. : 66 cm Thomas Agnew & Sons 22 Grafton Street, London W1S 4EX – United Kingdom Tel. : 00 44 207 491 9219 / Fax: 00 44 207 491 9481 E-mail: anthony.crichton-stuart@agnewsgallery.com / Web-site: www.agnewsgallery.com
  • 23. 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. 23 François Pascal Simon Gérard dit BARON GERARD (Rome, 1770 – Paris, 1837) Horses frightened by the Waves On its original canvas (Belot), H. : 32,5 x L. : 40,5 cm Thomas Agnew & Sons 22 Grafton Street, London W1S 4EX – United Kingdom Tel. : 00 44 207 491 9219 / Fax: 00 44 207 491 9481 anthony.crichton-stuart@agnewsgallery.com www.agnewsgallery.com
  • 24. 24 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, Rome Oil on canvas, H. : 61,5 x L. : 96,2 cm Charles Beddington Ltd 16 Savile Row - Londres W1S 3PL - United Kingdom Tel. : 00 44 20 74 39 49 59 / Fax: 00 44 20 74 39 49 69 E-mail: info@charlesbeddington.com / Web-site: www.charlesbeddington.com
  • 25. 25 Francesco GUARDI (Venice, 1712 – Venice, 1793) The Bacino di San Marco, Venice, on Ascension Day, with the Bucintoro leaving for San Nicolò del Lido Oil on canvas, H. : 52,2 x L. : 84,8 cm Charles Beddington Ltd 16 Savile Row - Londres W1S 3PL - United Kingdom Tel. : 00 44 20 74 39 49 59 / Fax: 00 44 20 74 39 49 69 info@charlesbeddington.com / www.charlesbeddington.com
  • 26. 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. 26 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 Boer Herengracht 512 - 1017 CC Amsterdam - Netherlands Tel. : 00 31 20 623 68 49 / Fax: 00 31 20 623 12 85 E-mail: info@kunsthandelpdeboer.com / Web-site: www.kunsthandelpdeboer.com
  • 27. 27 Jan BRUEGHEL LE JEUNE et atelier (Antwerp, 1601 – Antwerp, 1678) Birds fighting Oil 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 Boer Herengracht 512 1017 CC Amsterdam – Netherlands Tel. : 00 31 20 623 68 49 / Fax: 00 31 20 623 12 85 info@kunsthandelpdeboer.com / www.kunsthandelpdeboer.com
  • 28. Canesso Gallery 26, rue Laffitte -75009 Paris – France Tel.: 00 33 1 40 22 61 71 / Fax: 00 33 1 40 22 61 81 E-mail: contact@canesso.com / 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. 28 Francesco ALBANI called L’Albane (Bologna, 1578 – Bologna, 1660) Christ Appearing to Mary Magdalene Oil on copper, oval, H. : 19 x L. : 24.5 cm The reverse bears an inscription in pen and ink: “From the Orleans Gallery / Engraved”
  • 29. Onemaywonder,inthisbrilliantexerciseinportraiture–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 Gallery 26, rue Laffitte - 75009 Paris Tel.: 00 33 1 40 22 61 71 / Fax: 00 33 1 40 22 61 81 contact@canesso.com / www.canesso.com 29 Simon VOUET (Paris, 1590 – Paris, 1649) Portrait of a Man Oil on canvas, H. : 58,2 x L. : 47 cm
  • 30. Éric Coatalem Gallery 136, rue du Faubourg Saint-Honoré -75008 Paris – France Tel.: 00 33 1 42 66 17 17 / Fax: 00 33 1 42 66 03 50 E-mail: coatalem@coatalem.com / 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. 30 Louis-Léoplod BOILLY (La Bassée, 1761 – Paris, 1845) Trompe-l’œil with coins on the tray of a gueridon Oil on marble surrounded with ebony, diameter 47 cm (58 cm with the border)
  • 31. Éric Coatalem Gallery 136, rue du Faubourg Saint-Honoré - 75008 Paris Tel.: 00 33 1 42 66 17 17 / Fax: 00 33 1 42 66 03 50 coatalem@coatalem.com / www.coatalem.com 31 Adélaïde LABILLE-GUIARD (Paris, 1749 – Paris, 1803) Portrait of a member of the french Convention Oil on canvas, H. : 73 x L. : 60 cm
  • 32. Michel Descours Gallery 44, rue Auguste Comte - 69002 Lyon – France Tel.: 00 33 4 72 56 75 97 / Fax: 00 33 4 72 41 90 67 E-mail: contact@gallery-descours.com / 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). 32 Jacopo Negretti, called PALMA LE JEUNE (Venice, circa 1548 – id., 1628) Saint Sebastian Oil on canvas, H. : 190 x L. : 114 cm Signed lower right, on the window’s step : IACOBVS PALMA – F.
  • 33. Xx Exemple Michel Descours Gallery 44, rue Auguste Comte - 69002 Lyon Tel.: 00 33 4 72 56 75 97 / Fax: 00 33 4 72 41 90 67 contact@gallery-descours.com / www.peintures-descours.fr 33 Jean-Joseph-Xavier BIDAULD (Carpentras, 1758 – Montmorency, 1846) Landscape seen through a vine arbour, circa 1840 Oil on canvas, H. : 32,5 x L. : 41 cm Signed and located lower at the center, on the lettre : a Mr / Bidaul[d] / [Montmorency ?]
  • 34. 34 Grassi Studio 158 A East 71st Street - NY 10021 New York – USA Tel.: 00 1 212 226 6616 / Fax: 00 1 212 226 5496 E-mail: mail@grassistudio.com / 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
  • 35. 3535 Louis GAUFFIER (La Rochelle, 1761 - Livorno, 1801) Portrait of Ferdinando Nerli Oil on (unlined) canvas, H. : 66 x L. : 48,3 cm Grassi Studio 158 A East 71st Street - NY 10021 New York – USA Tel.: 00 1 212 226 6616 / Fax: 00 1 212 226 5496 mail@grassistudio.com / www.grassistudio.com
  • 36. Haboldt & Co 70, rue du Faubourg Saint-Honoré - 75008 Paris – France Tel.: 00 33 1 42 66 44 54 / Fax: 00 33 1 42 66 44 52 E-mail: oldmasters@haboldt.com 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. 36 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. Plazer Oil on copper, H. : 56,2 x L. : 79,5 cm Bacchus and Midas (Ovide, Metamorphoses, IX, 85-99) Signed on the barrel : J.G. Plazer Oil on copper, H. : 56,1 x L. : 79,3 cm (a pair)
  • 37. Haboldt & Co 70, rue du Faubourg Saint-Honoré - 75008 Paris Tel.: 00 33 1 42 66 44 54 / Fax: 00 33 1 42 66 44 52 oldmasters@haboldt.com 37 Bartholomeus VAN DER HELST (Haarlem, 1613 – Amsterdam, 1670) A portrait of a boy as Cupid, holding a bubble and seated in a landscape Signed and dated bottom left : B. vander . helst . fecit 1641 Oil on canvas, H. : 93 x L. : 106 cm
  • 38. 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, 1721 Oil on canvas, H. : 250 x L. : 225 cm Signed and dated on lower right : Desportes 1721 Jean-François Heim Utengasse 52 – CH-4058 Bâle – Switzerland Tel. : 00 41 61 681 35 35 / Fax: 00 41 61 681 75 70 / Mobile J-F Heim : 00 41 789 55 77 77 E-mail: jean.f.heim@galleryheim.ch / Web-site: www.galleryheim.ch
  • 39. 3939 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 canvas H. : 34 x L. : 28 cm Signed with a monogram, situated and dated lower right: Veiby Juny 1843 TL Jean-François Heim Utengasse 52 – CH-4058 Bâle – Switzerland Tel. : 00 41 61 681 35 35 / Fax: 00 41 61 681 75 70 jean.f.heim@galleryheim.ch / www.galleryheim.ch
  • 40. 40 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. 40 Martin VAN VALCKENBORCH (Leuven, 1535 – Frankfurt, 1612) Autumn Landscape with Vintage and Fruit Harvest Oil on canvas, H. : 85 x L. : 127 cm Derek Johns ltd 12 Duke Street, St James’s - Londres SW1Y 6BN – United Kingdom Tel. : 00 44 20 78 39 76 71 / Fax: 00 44 20 79 30 09 86 E-mail: fineart@derekjohns.co.uk - burcu@derekjohns.co.uk / Web-site: www.derekjohns.co.uk
  • 41. 41 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 trimmings Painted circa 1615 Oil on panel, H. : 79 x L. : 58 cm Derek Johns ltd 12 Duke Street, St James’s - Londres - SW1Y 6BN – United Kingdom Tel. : 00 44 20 78 39 76 71 / Fax: 00 44 20 79 30 09 86 fineart@derekjohns.co.uk / www.derekjohns.co.uk
  • 42. De Jonckheere 100, rue du Faubourg Saint-Honoré - 75008 Paris- France Tel.: 00 33 1 42 66 69 49 / Fax: 00 33 1 42 66 13 42 E-mail: art.dejonckheere@orange.fr / 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. 42
  • 43. De Jonckheere 100, rue du Faubourg Saint-Honoré - 75008 Paris Tel.: 00 33 1 42 66 69 49 / Fax: 00 33 1 42 66 13 42 art.dejonckheere@orange.fr/www.dejonckheere-gallery.com 43 Daniel SEGHERS (Antwerp, 1590 - Antwerp, 1661) Bouquet of flowers on a table, 1640 Panel, 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.
  • 44. 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 Foundationinitspermanentcollection.Thegalleryalsocontributestotheenrichmentofindividualcollections as well as museum collections. 44 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 cm Signed lower right David Koetser Gallery Talstrasse 37- CH-8001 Zurich - Switzerland Tel. : 00 41 44 211 52 40 / Fax: 00 41 44 211 56 69 E-mail: info@koetsergallery.com / gaelle-anne@koetsergallery.com / Web-site: www.koetsergallery.com
  • 45. ThispaintingistypicaloftheworksattheheightofvanRuysdael’scareer.Thepaintingcaturesamomentatdawnonabroadstretch 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 beingferriedinrowingboatstotheirvesselsandtotheothersideoftheriver. InthisworkvanRuysdaelseemstohavecapturedthe slowunfurlingofsuchpurple-tingeddawnlight. Asthoughtocontinuethisthemeoftheimportanceofnature,vanRuysdaelusesthetoolsofhispractice–theoilpaintandthewood 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 patternofwavesinthedarker-tonedwateroftheforeground,atechniquelateremployedbyWillemvandeVeldetheYounger.This realisticeffectistemperedbythepoeticreflectionofthelightonwaterinthemiddledistancewhichsubtlyblendsintothesky. 45 Salomon VAN RUYSDAEL (Naarden, 1600/3 – Haarlem, 1670) River estuary with ferry boat and swimmers Oil on panel, H. : 48.2 x L. : 47 cm Signed and Dated on the ferry : S. v Ruysdael 1640 David Koetser Gallery Talstrasse 37 CH-8001 Zurich – Switzerland Tel. : 00 41 44 211 52 40 / Fax: 00 41 44 211 56 69 info@koetsergallery.com / www.koetsergallery.com
  • 46. 46 Porcini Piazza Vittoria, 6 - 80 121 Naples Tel.: 00 39 0817643550 / Fax: 00 390812457679 E-mail: info@porcinigallery.com 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 Gennaro H. : 41 x L. : 47 cm
  • 47. 47 Porcini Piazza Vittoria, 6 - 80 121 Naples Tel.: 00 39 0817643550 / Fax: 00 390812457679 info@porcinigallery.com Francesco SOLIMENA (Canale di Serino, 1657 – Napoli, 1747) The Conversion of Saint Paul fresco Oil on canvas, H. : 129 x L. : 102 cm Bozzetto for Fresco in the Sacristy of the Church San Paolo Maggiore in Naples
  • 48. Jacques Leegenhoek 35, rue de Lille- 75007 Paris – France Tel.: 00 33 1 42 86 85 51 E-mail: jleegenhoek@gmail.com / 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. 48 Simone CANTARINI (Pesaro, 1612 – Verona, 1648) Saint Cecilia Oil on canvas, H. : 119 x L. : 96 cm
  • 49. Jacques Leegenhoek 35, rue de Lille - 75007 Paris Tel.: 00 33 1 42 86 85 51 jleegenhoek@gmail.com / www.leegenhoek.com 49 Charles LE BRUN (1619-1690) Allegory of the Tiber Oil 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.
  • 50. 50 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 annualevents,sometimesrediscoveriesandothertimesabsolutely 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 1238363 E-mail: bologne@maurizionobile.com / Web-site: www.maurizionobile.com
  • 51. 51 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 1238363 bologne@maurizionobile.com / www.maurizionobile.com
  • 52. Sanct Lucas Gallery Josefsplatz 5, Palais Pallavicini - 1010 Vienne - Autriche Tel.: 00 43 1 512 82 37 / Fax: 00 43 1 513 32 0316 E-mail: info@sanctlucas.com / metelka@sanctlucas.com 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. 52 David TENIERS LE JEUNE (Antwerp, 1610 – Brussels, 1690) The Village Fair Panel, H. : 65 x L. : 40, 5 cm
  • 53. Sanct Lucas Gallery Josefsplatz 5, Palais Pallavicini - 1010 Vienne - Autriche Tel.: 00 43 1 512 82 37 / Fax: 00 43 1 513 32 0316 info@sanctlucas.com / metelka@sanctlucas.com 53 Claude - Joseph VERNET (Avignon, 1714 – Paris, 1789) A Fisherman recovering his fishnet Panel, H. : 40,5 x L. 31,5 cm Recognized as a marine painter in 1740, Claude- JosephVernetreceivedfromtheMarquisdeMarigny 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.
  • 54. G. Sarti Gallery 137, rue du Faubourg Saint-Honoré - 75008 Paris - France Tel.: 00 33 1 42 89 33 66 / Fax: 00 33 1 42 89 33 77 E-mail: giovanni.sarti@wanadoo.fr / 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. 54 Luca GIORDANO (Naples, 1634 - Naples, 1705) Portrait of Plato, circa 1660 Oil on canvas, H. : 116.5 x L. : 99 cm
  • 55. G. Sarti Gallery 137, rue du Faubourg Saint-Honoré - 75008 Paris Tel.: 00 33 1 42 89 33 66 / Fax: 00 33 1 42 89 33 77 giovanni.sarti@wanadoo.fr / www.sarti-gallery.com 55 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 1380 Tempera and gold on panel, H. : 88 x L. : 55 cm
  • 56. Talabardon & Gautier 134, rue du Faubourg Saint-Honoré - 75008 Paris- France Tel.: 00 33 1 43 59 13 57 / Fax: 00 33 1 43 59 10 29 E-mail: talabardon.gautier@wanadoo.fr 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! 56 (Detail)
  • 57. Talabardon & Gautier 134, rue du Faubourg Saint-Honoré - 75008 Paris Tel.: 00 33 1 43 59 13 57 / Fax: 00 33 1 43 59 10 29 talabardon.gautier@wanadoo.fr 57 Philippe VAN BREE ((Antwerp, 1786 - Brussels, 1871) Jan Frans van Daël’s Studio in the Sorbonne Oil on panel, H. : 47 x L. : 58 cm
  • 58. 58 Terrades Gallery 8, rue d’Alger - 75001 Paris - France Tel.: 00 33 1 40 20 90 51 / Fax: 00 33 1 40 20 90 61 E-mail: contact@galleryterrades.com / 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. 58 Thomas-Germain DUVIVIER (Paris, 1735 – Paris, 1814) The Attributes of the arts and music Oil on canvas, H. : 114 x L. : 85 cm
  • 59. 59 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. 59 Terrades Gallery 8, rue d’Alger - 75001 Paris Tel.: 00 33 1 40 20 90 51 / / Fax: 00 33 1 40 20 90 61 contact@galleryterrades.com / www.galleryterrades.com Johann Carl LOTH (Munich, 1632 – Venice, 1698) The Return of the Prodigal Son, circa 1670 Oil on canvas, H. : 128 x L. : 160,5 cm
  • 60. Jacob Adriaensz BACKER (Harlingen, 1608 – Amsterdam, 1651) Democritus, the laughing Philosopher, circa 1633 Oil on panel, H. : 60 x L. : 46,5 cm Rafael Valls Ltd 11 Duke Street, St. James’s - Londres SW1Y 6BN - United Kingdom Tel.: 00 44 207 930 1144 / Fax: 00 44 207 976 1596 E-mail: info@rafaelvalls.co.uk / toby@rafaelvalls.co.uk / 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. 60
  • 61. 61 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 Nativity Oil 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 1596 toby@rafaelvalls.co.uk / www.rafaelvalls.co.uk
  • 62. 62 Galleria Carlo Virgilio & C. Via della Lupa, 10 - 00186 Rome - Italy Tel.: 00 39 06 6871093 / Fax: 00 39 06 68130028 E-mail: info@carlovirgilio.it / carlovirgilio@carlovirgilio.it / 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
  • 63. 63 Galleria Carlo Virgilio & C. Via della Lupa, 10 - 00186 Rome - Italy Tel.: 00 39 06 6871093 / Fax: 00 39 06 68130028 info@carlovirgilio.it / www.carlovirgilio.it 63 Felice GIANI (San Sebastiano Curone/Alexandrie, 1758 – Bologne, 1823) Samson et Dalila, 1784 Huile 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.
  • 64. Claude Vittet Gallery Le Louvre des Antiquaires, 2, place du Palais Royal -75001 Paris - France Tél. / Fax: 00 33 1 42 60 11 39 E-mail: vittet.claude@yahoo.fr / 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). 64 (Detail)
  • 65. Claude Vittet Gallery Le Louvre des Antiquaires, 2, place du Palais Royal - 75001 Paris Tél. / Fax: 00 33 1 42 60 11 39 vittet.claude@yahoo.fr / www.galleryvittet.com 65 Frans FRANCKEN le Jeune (Antwerp,1581 – Antwerp, 1642) The Bearing of the Cross Oil on copper, H. : 50,3 x L. : 66,3 cm Signed at the reverse with Pieter Staes’ mark. Dated 1604
  • 66. 66 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. 66 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 Gallery 59 Jermyn Street - Londres SW1Y 6LX - United Kingdom Tel. : 00 44 207 409 00 35 / Fax: 00 44 207 491 96 04 E-mail: chris@weissgallery.com / Web-site: www.weissgallery.com
  • 67. 6767 Frans POURBUS Le Jeune (1569-1622) Portrait of a Habsburg Officer, circa 1600 Oil 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 Gallery 59 Jermyn Street - Londres SW1Y 6LX - United Kingdom Tel. : 00 44 20 74 09 00 35 chris@weissgallery.com / www.weissgallery.com
  • 68. 68 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.
  • 70. Montanari Gallery 8, rue de Miromesnil 75008 Paris – France Tél. : 00 33 1 49 24 07 52 / Fax: 00 33 1 49 24 07 42 E-mail: amontanari@wanadoo.fr / 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. 70 Roman ‘Salvator Rosa’ c.1740 frame of stained fruitwood with carved and gilt acanthus-and-tongue, ribbon and egg-and-dart H. : 103,2 x L. : 78,5 x P. : 18,5 cm
  • 71. Montanari Gallery 8, rue de Miromesnil - 75008 Paris Tel.: 00 33 1 49 24 07 52 / Fax: 0033 1 49 24 07 42 amontanari@wanadoo.fr / www.montanaricadres.com 71 French Régence frame of carved and gilt oak with foliate cartouche, centre shells and fluted sides, C-scrolls, strapwork and diaper H. : 36 x L. : 26 x P. : 13,5 cm
  • 72. Enrico Ceci Cornici Antiche - Via Giardini 320 - Formigine (Modène) - Italy Tel.: 00 39 059 556119 / Fax: 00 39 059 570660 E-mail: enricoceci@enricoceci.com / 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. 72 Very large wooden frame with silver plating and bronze gilt Rome, early 17th century Window H.: 17 x W.: 19 cm Exterior H.: 37.5 x W.: 40 cm
  • 73. Enrico Ceci Cornici Antiche - Via Giardini 320 - Formigine (Modène) - Italy Tel.: 00 39 059 556119 / Fax: 00 39 059 570660 enricoceci@enricoceci.com / www.enricoceci.com 73 Large painted and gilded wooden frame decorated with foliage and flowers, with mother-of-pearl inlays Venitian work from the early 18th century Window H.: 81 x W.: 61 cm Exterior H.: 111 x W.: 91 cm