.jpg?w=1)
Lot Essay
The artist was named by Pierre Rosenberg (catalogue of the exhibition, La Peinture Franaise du XVIIeme sicle dans les collections amricains - France in the Golden Age, Paris, New York and Chicago, 1982-3, p. 364) after a picture in the Wadsworth Athenaeum, Hartford, Connecticut.
Nicolson (loc. cit.) had earlier proposed an eastern French origin for this painter, acknowledging stylistic links with the work of Carlo Saraceni (c. 1580-1620). At the time of the 1967 London exhibition (see above), Dr. Giulio Briganti had tentatively proposed an attribution to the Nancy painter, Jean le Clerc (c. 1585-1633), who was a pupil of Saraceni in Rome between 1617-19 and accompanied him to Venice before returning to Nancy in 1621-2. Although this view has not subsequently found general acceptance, the author of these panels can be placed in the Caravaggesque milieu in Rome in the 1620s and perhaps in the immediate circle of Saraceni.
Nicolson (loc. cit.) had earlier proposed an eastern French origin for this painter, acknowledging stylistic links with the work of Carlo Saraceni (c. 1580-1620). At the time of the 1967 London exhibition (see above), Dr. Giulio Briganti had tentatively proposed an attribution to the Nancy painter, Jean le Clerc (c. 1585-1633), who was a pupil of Saraceni in Rome between 1617-19 and accompanied him to Venice before returning to Nancy in 1621-2. Although this view has not subsequently found general acceptance, the author of these panels can be placed in the Caravaggesque milieu in Rome in the 1620s and perhaps in the immediate circle of Saraceni.