107
ÉCOLE FRANÇAISE DU XVIIe SIÈCLE, ENTOURAGE DE PHILIPPE DE CHAMPAIGNE La Sainte Famille au moineau
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ÉCOLE FRANÇAISE DU XVIIe SIÈCLE, ENTOURAGE DE PHILIPPE DE CHAMPAIGNE
La Sainte Famille au moineau
huile sur panneau
24,4 x 19,5 cm (9
2⁄
3 x 7
2⁄
3 in.)Probablement Eugen Otto von Hummel (1841-1910), Reutlingen ;
Puis par descendance à Nora Henke, née von Hummel, jusqu’en 1973 ;
Puis par héritage à Felicitas Vogt (1925-2021) ;
Puis par descendance aux actuels propriétaires.FRENCH SCHOOL 17th CENTURY, CIRCLE OF PHILIPPE DE CHAMPAIGNE, THE HOLY FAMILY WITH A SPARROW, OIL ON PANEL
The central motif of this jewel-like painting comes from a drawing attributed to Raphael (1483-1520) now in the Louvre (inv. no. 3949), which corresponds to either a painting that was never executed or lost painting by the great Umbrian master. In the 17th century, this drawing belonged to the collector and businessman Everhard Jabach (1618-1695), who sold it in 1671 to King Louis XIV (1638-1715).
It was thanks to Philippe de Champaigne (1602-1674) that the fame of this composition grew. The Brabant-born artist adapted Raphael's model to create a small, vibrant painting. This work, offered at Christie's in New York in 2012 (lot 33, sold for $578,500), is a reinterpretation of the drawing, which Champaigne reimagined in the greatest detail, with every leaf, every fold of drapery and every element of the landscape meticulously executed. Champaigne's painting enjoyed great success in artistic circles around 1660. In addition to the present painting, which is almost indistinguishable from Champaigne's original, we know of at least one other version, now in the Nationalmuseum in Stockholm (inv. no. NMDrh 284).
For the Swedish painting an attribution to Jean-Baptiste Corneille (1649-1695) has been proposed (see S. Ferrari, ‘Copying from the Old Masters. Raphael ‘à la française’: The Holy Family with a Sparrow and its Copies by Philippe de Champaigne and Jean Baptiste Corneille',
Art Bulletin of Nationalmuseum Stockholm, XXVII, 2, 2020). Two engravings after Champaigne's work also exist, one by Gilles Rousselet (1610-1686) and the other by Jean Alix (b. 1615).
The importance of the painting to Champaigne's work is underlined by the fact that he never parted with the work; the original can be found in the artist's posthumous inventory: ‘n. 22, Item, une copie d'une petite Vierge où Saint Jean présente un oyseau à Nostre Seigneur après Raphaël, prisé 60 l.’ (M. Vasselin, Raphaël et l'art français, Paris, 1983, pp. 217-281, under no. 319).
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