Lot n° 170
Estimation :
20000 - 30000
EUR
Result with fees
Result
: 24 320EUR
Nicolas de PLATTEMONTAGNE (Paris, 1631 -... - Lot 170 - Ader
Nicolas de PLATTEMONTAGNE (Paris, 1631 - 1706)
Portrait of the painter Pierre Hurel
Black stone, red chalk, pastel and white highlights on beige paper.
Inscribed in pen and brown ink on the lower right: "piere hurel" and later in black pencil: "Philippe de Champaigne".
26.9 x 19.8 cm
Provenance:
- Probably Étienne-François Geoffroy (1672-1731) and Claude-Joseph Geoffroy (1685-1752), apothecaries and grandnephews of Plattemontagne.
- Probably their sale, Paris, February 5-16, 1754, part of n° 66.
- Former Gilbert Paignon-Dijonval collection (1708-1792).
- Viscount Charles-Gilbert Morel de Vindé (1759-1842), agronomist and litterateur. - Acquired in 1816 by Samuel Woodburn (1786-1853), art dealer in London, with his entire collection.
- Sale S. Leigh Sotheby & John Wilkinson, London, March 17-20, 1859, part of n° 87.
- Sale Me Delbergue-Cormont, Paris, Hôtel Drouot, 2-3 May 1864, part of n° 298.
- Former Philippe de Chennevières (1820-1899) collection, its stamp on the lower left (L. 2072); its sale, Paris, Hôtel Drouot, April 4-7, 1900, part of no. 405 (sold for 60 Francs to Ducrey).
- Former collection of Marie-Théodore Tuffier (1857-1929), surgeon; its sale, Mes Baron et Ribeyre, Paris, December 16, 2019, no. 69, reproduced.
Bibliography:
- M. Bénard, Le Cabinet de M. Paignon-Dijonval, Paris, 1810, part of no. 1525 (as Plattemontagne after Philippe de Champaigne).
- P. de Chennevières " Une collection de dessins d'artistes français " in L'Artiste, 1894-1897, T. XV, quoted p. 31 (like Nicolas de Plattemontagne).
- L. A. Prat, L. Lhinares, La Collection Chennevières, Paris, 2007, n° 696 (like Nicolas de Plattemontagne).
- F. Lanoe, Trois maitres du dessin : Philippe de Champaigne, Jean-Baptiste de Champaigne, Nicolas de Plattemontagne, cat. exp.Musée national de Port-Royal des Champs, 25 March-29 June 2009, cited p. 19.
Nicolas de Plattemontagne was a pupil of Philippe de Champaigne and frequented his studio with his nephew Jean-Baptiste de Champaigne. Numerous confusions of attributions will then take place between these three artists linked by friendship. This portrait belonged to an album whose origin would go back to the widow of Jean-Baptiste de Champaigne, and then by descent to his grand-nephews by marriage, Étienne François Geoffroy and Claude Joseph Geoffroy. In the sale after the death of Etienne François Geoffroy in 1731, a portfolio of "several drawings, including some by Champagne" is mentioned, and in the sale after the death of Claude Joseph Geoffroy in 1754, an album "in which there are forty drawings, most of them by P. de Champaigne. However, the album was dismantled and some of the sheets, including our drawing, were bought by Paignon-Dijonval. In the description of the catalog of his collection is mentioned: "It is about several portraits of J. B. de Champaigne, (...), a portrait of Claude, Philippe's son, four years old, (...) of J. Alix who frequented the studio and Pierre Hurel, another painter, whose links with Champaigne are unknown to this day, and François Beaudin, brother-in-law of N. de Plattemontagne" (see: Trois maîtres du dessin, exhibition catalog, Paris, RMN, 2009, p. 18-19).
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