GUY FRANÇOISLE PUY-EN-VELAY 1578 - 1650 | Saint Francis with the Virgin and Child

Mr. de Villers collection (according to an inscription on the back);
Private collection from the South of France since beginning of the 20th century.

A l'œil nu : Le tableau se présente dans un état de conservation satisfaisant. Il est peint sur une plaque de cuivre de belle épaisseur et plate. On remarque plusieurs petites lacunes. Certaines sont situées près du bord inférieur, à environ 1 cm de ce dernier, d'autres le long des bords droit et gauche. On remarque aussi des manques de matière picturale au centre de la composition dans les fonds. Ces manques sont visibles dans l'illustration du catalogue et concernent que les fonds et non pas les figures. On remarque un problème de vernis (dû à une source de chaleur trop proche peut-être) entre Saint François et la Vierge sur 10 cm vertical. Le tableau est sous un vernis jaune épais qui mériterait d'être allégé pour rendre à cette huile sur cuivre tout son attrait. Le tableau porte une signature vers le bas à droite B. E. M. / 1679 A la lampe U.V. : Le tableau apparaît sous un vernis ancien épais. On remarque de toutes petites retouches, notamment autour de la tête de la Vierge et au niveau de l'angelot à gauche de la composition. Les lacunes du centre de la composition ont été réduites au moyen de quelques discrètes retouches. Vendu dans un cadre en bois et stuc doré trop grand pour le cuivre (nombreux accidents). To the naked eye: The painting appears in satisfactory condition. It has been painted on a plane and thick copper plate. We can notice some losses. Several situated close to the lower edge (1 cm distance), and also to the left and right borders. We notice some losses also in the centre of the composition, on the backgrounds. We can notice a problem on the varnish (probably due to the proximity of a heat source) between the Virgin and Saint Frances approx. 10 cm vertical. We can notice some really small repaints around the Virgin head and on the angel on the left. The painting appears under a thick yellow varnish that has turn the painting very yellow and that needs to be clean to show the full potential of the painting. The painting bears a signature on the lower left B. E. M. / 1679 Under U.V. light: The painting appears under an old thick varnish. We can notice some very minor repaints around the Virgin head and on the angel on the left border. The loss on the middle of the composition has been reduced with some light repaints. Sold in a gilt wood and stucco too big for the painting (damaged).
"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."

We are grateful to Mr. Bruno Saunier for having confirmed the authenticity of this work. The work will be included in the artist's catalogue raisonné, currently in preparation, which will be published by Arthena at the end of the year. This is the artist's first painting on copper known. References to paintings on copper appear in old inventories, but the present work is the earliest one known. It is undoubtedly contemporary with the painting in the Eglise des Carmes (Carmelite church) in Le Puy, signed and dated to 1620. We have noted some variations between that work and the present one. It is one of his first works realised in Le Puy following his return from Italy in 1614.

Originally from Le Puy-en-Velay, Guy François lived and worked in Rome between 1608 (where he was a member of the Academy of St Luke) and 1613. His style is very close to that of Carlo Saraceni, which whom his work has often been confused. The marvellous St Cecilia now in the collection of the Galleria Farnese, may in fact, according to some art historians, be the work of Guy François.