Nicolas de Largillierre

Probablement collection du comte de Nicolaï au château de Montfermeil ;
Vente anonyme, Paris, Hôtel Drouot, Me Bellier, 25 mars 1938, lot n°14

On the naked eye: The painting appears in a very good condition. It has been relined in the first part of the 20th century and was thoroughly made which did not flatten the material. The painting is under a thick old varnish. On bare eye we cannot notice any restoration. Under UV lamp : The painting appears under a green thick uniform varnish. We can notice some small restorations of 5 cm long along the stone entablature on the right. We can notice a 4 cm diameter restoration on the melon on the right of the composition. The painting is in a very good condition with some very nice material effects.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Formé à Anvers, le jeune Largillierre apprend le métier de peintre chez Antoine Goubeau, spécialiste du paysage italianisant. Ses véritables premières œuvres montrent un attachement et un talent particulier pour la nature morte avec une influence prononcée de la manière nordique en générale et de Jan Davidsz de Heem en particulier. Il deviendra l’un des plus grands et des plus prolixes peintres de portraits en France. Largillierre est un artiste complet, érudit, que ses voyages ont ouvert à la culture européenne (Flandres, Hollande, Angleterre). Il peint vigoureusement avec une technique et un métier généreux et virtuose.

L’œuvre que nous regardons est une belle illustration de cette richesse et propose un superbe exemple de nature morte chez Largillierre, genre qu’il continuera de réaliser tout au long de sa carrière. On retrouve dans ses œuvres une autre toile présentant, avec de nombreuses variantes, et dans un format rectangulaire, une composition très similaire mêlant figues, melon et grenades (France, collection particulière, voir Largillierre 1656 -1746, musée Jacquemart-André, 2003 – 2004, p. 178-179, n°62).
Sur notre tableau la matière est grasse, épaisse, elle est presque sculptée par le peintre. Les effets de volumes participent aux reliefs et donnent à chaque élément de cette nature morte une puissance, une réalité très expressive. Le tableau est fort, présent. Il est à regarder … presque à toucher !

Trained in Antwerp, Largillierre at a young age studied as a painter under the landscape specialist Anton Goubeau. His early works demonstrated a commitment and a special talent for still life with an overall and heavy Northern European influence and particularly that of Jan Davidsz. de Heem. Largillierre became one of the greatest and most prolific portrait painters in France. He was a well-rounded and scholarly artist opened to European culture (Flemish, Dutch and British). He vigorously painted with a generous and virtuoso technique and skill.

The presented work is a fine illustration of this wealth and proposes a superb still life example by Largillierre, a genre he realized throughout his career. Another rectangular format canvas, among his corpus filled with variants, is very similar with a composition combining figs, melons and pomegranates (France, private collection, consult Largillière 1656 -1746, Jacquemart-André Museum, Paris, 2003 - 2004, pp 178 -179, no. 62).

The matter on our painting is slick and dense as if almost sculpted by the artist. The volume effects are involved in the relief and give strength an expressive realism to each element in this still life. The painting has a powerful presence. It must be seen ... almost felt!