Lot Essay
The debate concerning the identity and extent of Bigot's oeuvre has continued for over twenty years (see, for example the catalogues of the exhibitions, Valentin et les caravaggesques franais, Paris, Grand Palais, Feb. 13-April 15, 1974, pp. 9-23; and La peinture franaise dans les collections amricaines, Paris, Grand Palais, Jan. 26-April 26, 1982, pp. 123, 130 and 363). Jean Boyer has made a significant contribution dispelling the confusion around the painter's identity. In his article The one and only Trophime Bigot (The Burlington Magazine, CXXX, May 1988, pp. 355-7) he points out that the confusion was partly caused by the recording of two names for the same artist, the second name, Trufamont Bigoti, appearing only after the artist's first visit to Italy circa 1600. Boyer believes that the majority of the candlelit scenes by Bigot were executed during or after his trip to Italy, and that some of these artificially lit scenes formerly given to The Master of the Candle, as well as a group of religious paintings executed in Provence between 1634-50, can now convincingly be given to Bigot. However, although the distinction between the works of Bigot and the Master of the Candle is still not always clear, by comparison with works universally accepted as by Bigot, such as the Christ crowned with Thorns in the church of Santa Maria in Aquiro, Rome (c. 1614-6) and Christ in the Carpenter's Shop, in the collection of H.M. The Queen, Hampton Court Palace. It seems most likely that the present work can be placed among the growing oeuvre of this Arlesque painter.