- 25
CHARLES DE LA FOSSEPARIS 1636 - 1716 | Christ at the home of Martha and Mary
Estimate
30,000 - 40,000 EUR
bidding is closed
Description
- Christ at the home of Martha and Mary
- Oil on canvas
- 90 x 117 cm; 35 1/2 by 46 in.
Provenance
Private collection in a castle in Lorraine (France);
Galerie Didier Chéreau, Paris;
Acquired by Galerie Cailleux, Paris, in 1987;
Anonymous sale, New York, Christie's, 29 January 1999, lot 95 ;
Private collection.
Galerie Didier Chéreau, Paris;
Acquired by Galerie Cailleux, Paris, in 1987;
Anonymous sale, New York, Christie's, 29 January 1999, lot 95 ;
Private collection.
Literature
The Burlington Magazine, July 1988, p. 23 (advertisement) ;
C. Gustin-Gomez, Charles de La Fosse 1636-1716, Dijon 2006, p. 55, repr. pl. 79.
C. Gustin-Gomez, Charles de La Fosse 1636-1716, Dijon 2006, p. 55, repr. pl. 79.
Condition
Le tableau paraît moins rouge et moins sombre que dans l’illustration au catalogue. Le tableau se présente dans un état de conservation satisfaisant et est prêt à être accroché. A l’œil nu : Le tableau a fait l’objet d’un rentoilage récent et porte également un nouveau châssis. On observe quelques minceurs de la couche picturale dans le rideau sombre à droite. On remarque quelques retouches mineures dans le vêtement et dans les bras et mains des personnages, ainsi que dans les objets. A la lampe UV : La couche de vernis fluoresce globalement mais on observe quelques légères reprises dans les personnages (mais pas dans leur visage), et dans le visage du personnage du fond sur la gauche. Vendu dans un cadre en bois sculpté doré (accidents dans le coin inférieur gauche notamment, et quelques éclats) The actual painting is less red and also less dark than the catalogue illustration would suggest. The painting seems to be in a fairly good condition and is ready to hang. Under the naked eye : The canvas has been newly relined and has a new stretcher. Thinness can be observed in the dark curtain on the right. Otherwise some minor retouchings can be observed in the clothing and arms/hands of the figures, and a few in the objects. Under UV light : The varnish layer fluoresces apart from minor strengthening in the figures (not in their faces however), in the face of the background figure on the left. Offered with a carved and giltwood frame, damaged in the lower left corner, some minor damages and chips.
"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."
"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."
Catalogue Note
From the Gospel according to Luke (10:38-42), the theme of Christ in the house of Martha and Mary was repeatedly rendered by La Fosse.
One of the versions, now in the collections of the Pushkin Museum (Moscow), would be the very first one and according to the academic art historian Dezallier d'Argenville was part of the Sun King's personal collection1. Very well received, this touching scene of hospitality was adapted by La Fosse, who embellished each of his new versions with variants around the 1680s2.
Thus the very Venetian colors in our tempered version are found in the Moscow work. These reminiscences of the painter's journey in the Serenissima between 1660 and 1663 remain, however, both in the portico of the background and in the delicate shades of ocher and gold that were so dear to the painter.
The distinctively French personality of La Fosse nevertheless is read in the characteristic and generous faces of Martha and Mary, and in the rounded folds of the draperies which envelop the bodies of the figures whose main features were already executed in a drawing in the Albertina collection, Vienna (11.7721). Mary's posture absorbed by Christ's message evokes the Mary Magdalene of Christ and the Mary Magdalene by Federico Barocci, in the Uffizi Gallery of Florence.
1. C. Gustin-Gomez, Charles de La Fosse (1636-1716), Dijon 2006, vol. II, p. 53.
2. Ibidem, p. 54.
One of the versions, now in the collections of the Pushkin Museum (Moscow), would be the very first one and according to the academic art historian Dezallier d'Argenville was part of the Sun King's personal collection1. Very well received, this touching scene of hospitality was adapted by La Fosse, who embellished each of his new versions with variants around the 1680s2.
Thus the very Venetian colors in our tempered version are found in the Moscow work. These reminiscences of the painter's journey in the Serenissima between 1660 and 1663 remain, however, both in the portico of the background and in the delicate shades of ocher and gold that were so dear to the painter.
The distinctively French personality of La Fosse nevertheless is read in the characteristic and generous faces of Martha and Mary, and in the rounded folds of the draperies which envelop the bodies of the figures whose main features were already executed in a drawing in the Albertina collection, Vienna (11.7721). Mary's posture absorbed by Christ's message evokes the Mary Magdalene of Christ and the Mary Magdalene by Federico Barocci, in the Uffizi Gallery of Florence.
1. C. Gustin-Gomez, Charles de La Fosse (1636-1716), Dijon 2006, vol. II, p. 53.
2. Ibidem, p. 54.