Lot n° 159
Estimation :
20000 - 30000
EUR
Result with fees
Result
: 66 560EUR
Attributed to Georges LALLEMANT (Nancy, circa... - Lot 159 - Ader
Attributed to Georges LALLEMANT (Nancy, circa 1575 - Paris, 1635)
Holy Family with Saint John the Baptist
Pen and brown ink, bistre and indigo wash.
Stamp of the Alliance des Arts (L. 61) at the bottom left.
Glued in full on an old mounting of the XVIIIth century.
23 x 19,5 cm
Provenance :
- Former Mathieu-Guillaume-Thérèse Villenave collection (1762-1846).
- Sale of the Villenave cabinet, Alliance des Arts, Mes Commendeur et Bataille Paris, December 1-8, 1842, n° 60 (as "Baroccio Federico", sold for 5,50 francs to "Wery").
Related work:
Another version of this composition is preserved in Saint-Cloud, Département des Hauts-de-Seine, Musée du Grand Siècle, Donation Pierre Rosenberg (fig1).
Born in Nancy, then the capital of independent Lorraine, Lallemant was strongly influenced by the art of Jacques de Bellange, a favorite painter of the ducal court of Charles III and Henry II of Lorraine. Our drawing shows this influence still very much in evidence in the technique of the supple, fine pen, the mixture of brown and indigo washes, the cross-hatching in the shading, the spidery curves of the outlines, the tapered fingers, or the tilted attitude of the Virgin's head. The head of the Child Jesus is very similar to the head of the child holding the hand in The Bohemian Woman of St. Petersburg (see: J. Thuillier, Jacques de Bellange, Musée des Beaux-Arts de Rennes, 2001, no. 34, reproduced on p. 191). The leaning forward attitude is also found in the engraving of La Vierge à la rose (op. cit., no. 57, reproduced p. 247). A number of these technical qualities can also be found in La Déploration sur le Christ mort, another drawing by Georges Lallemant preserved in the Pierre Rosenberg donation (see: A. Gady and F. Lanoë, La Curiosité à l'œuvre, Dessins de la donation Pierre Rosenberg, Paris, 2022, Éditions Le Passage, n° 3, reproduced). The spatial depth of this drawing is reminiscent of the scene of Christ and the Disciples at Emmaus (Christie's sale, New York, January 22, 2003, no. 60, reproduced), which may be thought to represent a pivotal stage between his apprenticeship with Bellange and the maturity of his Parisian style. The drawing is not related to any known composition or engraving. The fact that there are two versions of this composition shows its importance. Lallemant had recourse to repetitions, as shown by the two known versions of L'Entremetteuse (Musée du Louvre and Musée historique lorrain in Nancy; see: L'Art en Lorraine au temps de Jacques Callot, Nancy, RMN, 1992, no. 86, reproduced on pp. 272-273)
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