Philippe de Champaigne (Brussels 1602-1674 Paris)

Saint Jerome in the Wilderness

細節

Philippe de Champaigne (Brussels 1602-1674 Paris)
Saint Jerome in the Wilderness
oil on canvas
31 x 24¼in. (78.2 x 61.8cm.)

來源

Listed in the inventory of the artist's estate, and by descent to
His nephew, Jean-Baptiste de Champaigne, and by inheritance to
His widow, Geneviève Jehan.
(Possibly) Le Lorrain; (+) sale, Paris, 20 March 1758, lot 20.
(Possibly) Prince de Conti; sale, Remy, Paris, 8 April 1777, lot 281.
(Possibly) Anon. Sale, Laneuville, Paris, 19-20 December 1817, lot 49.
Marcille; (+) sale, Paris, 16-7 June 1857, lot 417.
Anon. Sale, Sotheby's, Monaco, 29 November 1986, lot 339.
with Galerie Meissner, Zürich.
Anon. Sale, Christie's, London, 11 December 1992, lot 316.

出版

B. Dorival, 'Sujets sacrés et allégoriques gravés d'après Philippe de Champaigne' in Gazette des Beaux-Arts, November 1972, p. 49.
B. Dorival, Philippe de Champaigne, Paris, 1976, II, pp. 150-1, under no. 288, pl. 288.
B. Dorival, Supplément au catalogue raisonné de l'oeuvre de Philippe de Champaigne, Paris, 1992, pp. 11-3, no. 3, fig. 3.
P. Conisbee, The Ahmanson Gifts. European Masterpieces in the Collection of the Los Angeles County Museum of Art, Los Angeles, 1991, p. 179, under no. 46, fig. 46a.

刻印

By Jean Morin.
By Gerard Edelinck, 1672.

拍品專文

Until its reappearance at auction in 1986 the present work had been considered lost and was known only through the engravings by Morin and Edelinck. When offered at the sale it was preceded by a pendant, Saint Augustine in his studio (lot 338), now in the Los Angeles County Museum of Art (see. P. Conisbee, loc. cit.). The two works may well be the pair of paintings of Saint Augustine and Saint Jerome that are recorded in the inventory of the artist's estate in 1674 and which subsequently passed through a succession of distinguished collections - Le Lorrain (1758), Prince de Conti (1777) and Marcille (1857) - until their recent separation when the present work was offered for sale at Christie's, London, 11 December 1992, lot 49. As Conisbee's notes (ibid.) the quality of the Los Angeles picture is worthy of such a distinguished provenance and certainly the same can be said of the present Saint Jerome in the Wilderness. Both successfully combine the meticulous finish of the artist's Flemish training with the rigorous draftsmanship of the classical tradition he learnt in his adopted homeland of France. Conisbee dates the two works to circa 1645-50, comparing the Los Angeles painting with the artist's 1648 Moses and the Ten Commandments in the Milwaukee Art Museum.