DROUOT
Thursday 25 Apr at : 14:00 (CEST)

VENTE COLLECTION SPITZER ET A DIVERS - HAUTE EPOQUE - MOBILIER OBJETS D'ART

Mirabaud - Mercier - 01.53.30.90.30 - Email CVV

Salle 15 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
Exhibition of lots
mercredi 24 avril - 11:00/18:00, Salle 15 - Hôtel Drouot
jeudi 25 avril - 11:00/12:00, Salle 15 - Hôtel Drouot
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Lot 17 - JAIME (Jaume) HUGUET and his workshop (Valls circa 1415-Barcelona 1492) Saint Magdalene Oil on altarpiece panel, egg painting on rectangular pine panel (old restorations) 103.5 x 69 cm Thickness: 3 cm Provenance : Collection of surgeon Henri Hartmann, Saint-Leu-la-Forêt, until 1951 ; Remained in the family. In front of a conch-shaped niche resting on columns with gilded capitals and bases, Saint Madeleine is placed in front of a cloth of honor imitating velvet embossed with vegetal motifs painted in black on a gold background. The sectioning of the panel has removed the feet of the saint, who stands slightly turned to the left. She is dressed in an ample red mantle lined with green, highlighted with gold piping in relief, which opens wide to reveal a long-sleeved violet dress pleated at the waist, its bust embellished with gold braids in relief. With her right hand, she holds the jar of ointments (her attribute), while her left hand holds the sacred book and a section of her cloak. Her oval face, with its open forehead framed by long, bifid hair, exudes an expression of gentle, meditative melancholy. Jaime Huguet was born in Valls (Tarragona province) around 1412. When his father died in 1419, he and his brother Antoni were placed under the tutelage of his uncle, the painter Pere Huguet. After an initial apprenticeship with the latter, who had settled in Tarragona around 1424, Jaime continued his training in Barcelona, where he followed his uncle in 1434.Between 1434 and 1448, some critics (Gudiol, Alcolea, Ainaud de Lasarte)[1] have suggested that Jaime Huguet, now a trained painter, may have stayed in Saragossa, following Archbishop Dalmau de Mur, who had previously headed the Tarragona diocese. A little later, his stylistic imprint is to be found on Aragonese painters, notably Martin de Soria. In the absence of precise documentation, this stay is denied by critics such as Rosa Alcoy[2], who assume that the painter was active in Catalonia at the time. Documents do not confirm Jaime Huguet's definitive move to Barcelona until August 1448. He married in 1454. A recognized painter, he ran a large workshop, surrounded by assistants, and took on numerous commissions from the king, religious brotherhoods and commercial guilds in the city and the Catalan region. From the altarpiece of Saint Vincent de Sarria, circa 1450-1460, to the one dedicated to Saint Sebastian and Saint Tecla (Barcelona, cathedral) documented from 1486 to 1498[3], there are some ten altarpieces, often monumental, from Huguet's workshop. Our Saint Magdalene was undoubtedly created in this workshop, under the direction of Jaime Huguet. The Vergos family[4], linked to Jaime's family since 1454 and one of whose members, the painter-decorator Jaume Vergos II, was a witness at Huguet's wedding, were the main assistants to the master. Vergos II's two sons, Pau and Rafael, continued the ties between the two families after Jaime Huguet's death in 1492. Indeed, critics have noted the presence of one of these assistants in certain scenes of the altarpiece of Saint Augustine (Barcelona, Museu Nacional d'Art de Catalunya) for the eponymous convent in Barcelona, commissioned in 1463 and completed in 1486, of which Huguet produced only the Episcopal Consecration of the saint and, in the predella, the Last Supper and the Ascent to Calvary (Museu Marès, Barcelona) (cf. Gudiol, Alcolea, figs. 835,837,78). Jaime Vergos II was also responsible for a large part of the altarpiece of Saint Stephen in Granollers (1493-1500) (Barcelona, Museu Nacional d'art de Catalunya), which he executed after the death of his son Pau in 1495 and that of Jaime Huguet in 1492. It is precisely to this atmosphere surrounding Jaime Huguet and his workshop that several historians have proposed to link this as yet unpublished Saint Magdalene. Consulted in 1987-1990 by its last owner, Charles Sterling (letter dated September 18, 1987) placed it at the end of the artist's career, while M. C. Farré i Sempera attributed it to Jaime Vergos[5]. In this as yet undiscovered altarpiece, alongside Huguet's soft, penetrating expression, we detect a drier execution in the description of the garment and ornamentation, suggesting the hand of a collaborator. It was undoubtedly the latter who later executed the Carrying of the Cross (Barcelona, MNAC no. 24.154), the predella panel of the altarpiece of Saint Etienne de Granollers, which reproduces the scene with the same subject painted by Huguet in the altarpiece of Saint Augustin (Barcelona, Musée Marès). We must therefore assume a collaboration between the Vergos and Jaime Huguet, as illustrated by our Madeleine. [1] J.Gudiol and S.Alcolea (Pintura Gotica Catalana, Barce

Estim. 10 000 - 15 000 EUR

Lot 35 - LEFEBVRE Jean-Baptiste, attributed to (before 1719-after 1780) A visit to the dentist Oil on canvas, signed in the clock cartouche "Lefebvre pinxit". 79 x 101 cm Provenance: Cailleux collection in 1928. Exhibitions: La vie parisienne au XVIIIe siècle, Paris, musée Carnavalet, 1928, no. 69; Rétrospective de la ville de Paris, Paris, Musée d'Art Moderne, 1937; Le costume d'autrefois, Paris, Musée Galliera, 1938, no. 336; La vie familiale scènes et portraits, Paris, Galerie Charpentier, 1944; La chirurgie dans l'art, Paris, Musée Galliera, 1951; Des dents et des hommes, Paris, Couvent des Cordeliers, 1992-1993, no. 97. Bibliography: A.& P. Baron, L'art dentaire à travers la peinture, Paris, 1986, p. 191 ; R. King, The history of dentistry: technique and demand, Cambridge, 1997, p. 10 ; C. Hillam, Dental practice in Europe at the end of the 18th century, Amsterdam and New York, 2016, p. 39, reproduced fig. 1.1 ; R. King, The making of the dentist, c. 1650-1760, London, reprint 2017, no. 6.2. The work is particularly noteworthy for two reasons. Firstly, it marks a radical evolution in the traditional representation of the dentist throughout art history. This is no longer a fairground or cabaret scene, in which the dentist or surgeon is usually seen as a charlatan. The dentist receives guests at home and appears dressed as a rich bourgeois, wearing a wig. On the other hand, it realistically portrays a major change in medical practice, particularly in the dentist's posture. Previously, to perform a surgical procedure, the practitioner operated with the patient on the ground, to benefit from the leverage. This realistic representation of the practice, the meticulous treatment of the details of the décor and costumes, and the personalization of the characters' features, suggest that this could be the portrait of a well-known practitioner from the Parisian aristocracy and haute bourgeoisie, such as Robert Bunon, Claude Mouton, Jean-François Capperon or Louis L'Ecluse. There are no known portraits of Jean François Capperon (1695-1760), but it is plausible that he is the dentist depicted in this painting, given his age, social status and notoriety: born into the Parisian merchant bourgeoisie, he quickly became a dentist and was appointed surgeon and first operator to the king. Louis XV showered him with honors (patents, gratuities, gifts of land in Paris and Versailles) before ennobling him in December 1745. In addition to the King and Queen, Capperon's practice included the Dauphin and his son the Duke of Burgundy; attached to the House of Pierre-Charles de Lorraine, he was also a dentist at the Ecole Militaire. The painting has sometimes been attributed to Nicolas Lefebvre, a portrait painter of the late 17th and early 18th centuries. A dozen 18th-century painters also bear this surname. The attribution to Jean-Baptiste seems the most reasonable, given the stylistic similarity between his known works and our painting, such as the Portrait de Marie-Thérèse Girard, née Bouchardon, which went on sale on September 24, 2021 in Paris (Me Marc-Arthur Kohn), no. 29. We would like to thank Stéphanie Guérit for contributing to the writing of this notice.

Estim. 12 000 - 15 000 EUR

Lot 78 - Hollow earthenware dish decorated a compendiario with the arms of Beat Jakob May, quartered, on 1 and 4 couped, in a: Or two lions facing azure, in b palé azure and Or; on 2 and 3 azure a crozier Or issuant from a mount of three cupaux vert, crowned and framed with palms (cracked, broken and reattached, edge chips) Italy, 17th century Height: 4.5 cm - Diameter: 39 cm Old collection label Provenance: SPITZER Collection, then by descent Beat Jakob May (1664-1730) was a member of the Grand Council of Berne, Bailiff of Locarno (1706-1708), Mendrisio (1710-1712), Governor of Aigle (1714-1720), Bailiff of Val Maggia (1722-1724) and Nyon (1727-1730). During the Second Villmergen War, he ensured that the subjects of the Italian bailliages remained neutral. The arms in 1 and 4 are those of the May family, while those in 2 and 3 signify an alliance with the Matthey family (also from the canton of Bern), through the marriage of Beat Jakob May to Susanna Rosina Matthey, daughter of Johann, Bailiff of Schenkenberg. This dish is particularly interesting, as it provides yet another example of the relationship between a family of Germanic notables, in this case from German-speaking Switzerland, and a majolica workshop in Italy. Works consulted: J-B. Rietstap, Armorial général, vol. II, Gouda, 1887, p. 180 Wappenbuch der bernischen burgerlichen Geschlechter, Bern, 1684, f. 184 & 188 M. Bernasconi Reusser: "May, Beat Jakob", in: Historical Dictionary of Switzerland (DHS), version of 04.03.2010

Estim. 200 - 300 EUR