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Jean-Baptiste De Champaigne

Belgium (1631 -  1681 )
de CHAMPAIGNE Jean-Baptiste Self-portrait At The Age Of Seventeen, Head And Shoulders Turned Tothe Left

Sotheby's
Jan 26, 2011
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Artworks in Arcadja
26

Some works of Jean-Baptiste De Champaigne

Extracted between 26 works in the catalog of Arcadja
Jean-Baptiste De Champaigne - The Martyrdom Of Saint Stephen

Jean-Baptiste De Champaigne - The Martyrdom Of Saint Stephen

Original
Estimate:

Price:

Lot number: 276
Other WORKS AT AUCTION
Description:
Jean-Baptiste de Champaigne THE MARTYRDOM OF SAINT STEPHEN BRUSSELS 1631 - 1681 PARIS oil on canvas 32 by 27 1/8 in.; 81.3 by 69 cm. Provenance Anonymous sale, Paris, Hotel Drouot, 16 June 1987, lot 22. Literature B. Dorival, Supplément au Catalogue raisonné de l\’oeuvre de Philippe de Champaigne, Paris 1992, cat. no. 83, p. 84, reproduced fig. 83 (as by Philippe de Champaigne and Jean-Baptiste de Champaigne). Catalogue Note Jean-Baptiste de Champaigne was born in Brussels but in 1643 he left forParis to study under his uncle Philippe de Champaigne (1602–1674). Though his early works are heavily influenced by his uncle, Jean-Baptiste left the studio for a tour of Italy in 1658 and after that gradually began to form his own style and receive his own royal commissions. The present work still exhibits the influence of his uncle, and indeed it was previouslypublished as a collaboration between the two artists (see Literature). We are grateful toFrédérique Lanoë forconfirming the attribution to Jean-Baptiste de Champaigne based on photographs.
Jean-Baptiste De Champaigne - A Study Of Saint Theresa

Jean-Baptiste De Champaigne - A Study Of Saint Theresa

Original
Estimate:

Price:

Lot number: 44
Other WORKS AT AUCTION
Description:
Jean-Baptiste de Champaigne

A STUDY OF SAINT THERESA, HALF-LENGTH, LOOKING TO THE LEFT

BRUSSELS 1631 - 1681 PARIS

Red and white chalk on buff paper 307 by 211 mm; 12 1/8 by 8 1/4 in

Provenance

Private Collection, Paris; With Thomas Le Claire, exhibited New York, W.M. Brady & Co. Inc. (Thomas Le Claire Kunsthandel IX - Master Drawings 1500-1900), 1994, no. 20; sale, London, Christie's 2 July 1996, lot 203

Literature

N. Sainte Fare Garnot, Philippe De Champaigne et son Atelier, Cahiers du Dessin Français - No. 11, Paris 2000, no. 45, reproduced p. 83, fig. 45

Catalogue Note

This assured and pious red chalk study of Saint Theresa is a preparatory drawing for Jean-Baptiste de Champaigne's painting of Christ showing his wounds to Saint Theresa, painted in gold ground, now in the Musée Granet, Aix-en Provence (fig. 1). Bernard Dorival was the first to make the connection between the present study and the painting. The painting depicts Saint Theresa kneeling with her hands crossed against her chest as she experiences one of her visions. The touches of white in this drawing are both practical and aesthetic, as a guidance for light fall in the final painting and as an attractive element in the preliminary study. An inventory made in 1789 for the Carmel of Faubourg-Saint-Jacques mentions that Champaigne had executed a series of six compositions on Saint Theresa's life. The Musée Granet painting and another of Saint Theresa by Champaigne in the Musée des Beaux-Arts, Tourcoing, are possibly two of the works from this series. Another drawing of Saint Theresa in Ecstasy by Champaigne, now in the Darmstadt Museum1, is also probably related to the cycle painted for the Carmel of the Faubourg-Saint-Jacques. 1. B. Dorival, Philippe de Champaigne 1602-1674, vol. 2, Paris 1976, no. 1694, reproduced

Fig. 1

Jean-Baptiste De Champaigne, Christ Showing His Wounds to St. Teresa, Aix-en-Provence, Musée Granet
Jean-Baptiste De Champaigne - Philippe De Champaigne

Jean-Baptiste De Champaigne - Philippe De Champaigne

Original -
Estimate:
Starting price:

Price:

Lot number: 86
Other WORKS AT AUCTION
Description:
Attribué à Jean-Baptiste de Champaigne
Bruxelles, 1631 - Paris, 1681
Portrait de Philippe de Champaigne
Crayon noir et sanguine
'PORTRAIT OF PHILIPPE DE CHAMPAIGNE', BLACK CHALK AND RED CHALK, ATTR. TO J.-B. DE CHAMPAIGNE
h: 38 w: 28 cm
Provenance : Collection Alfred Seymour, son cachet (L.176) en bas à gauche ;
Jean-Baptiste De Champaigne - Self-portrait At The Age Of Seventeen, Head And Shoulders Turned Tothe Left

Jean-Baptiste De Champaigne - Self-portrait At The Age Of Seventeen, Head And Shoulders Turned Tothe Left

Original 1648
Estimate:

Price:

Gross Price
Lot number: 578
Other WORKS AT AUCTION
Description:
LOT 578
JEAN-BAPTISTE DE CHAMPAIGNE
BRUSSELS 1631 - 1681 PARIS
SELF-PORTRAIT AT THE AGE OF SEVENTEEN, HEAD AND SHOULDERS TURNED TOTHE LEFT
Black and red chalk with traces of white chalk, on light brownpaper;
bears inscription in pen and brown ink: Jean Baptiste deChampagne/1648
15,000—20,000 USD
measurements
measurements note
272 by 187 mm; 10 3/4 by 7 3/8 in
Description
Black and red chalk with traces of white chalk, on light brownpaper;bears inscription in pen and brown ink: Jean Baptiste deChampagne/1648
PROVENANCE
Possibly Étienne-François (1672-1731) and Claude-Joseph Geoffroy(1695-1752);possibly their sale, Paris, 5-16 February 1754, part of lot66;Gilbert Paignon-Dijonval;by descent to Viscount Charles-Gilbert Morel de Vindé;bought in 1819 with the entire collection by Samuel Woodburn(1786-1853);sale, Rouen, 24 April 2005, lot 138 (as Nicolas de Plattemontagne),where acquired by the present owner
EXHIBITED
Évreux, Musée d'Évreux, À l'école de Philippe de Champaigne,2007, no. 34, as Nicolas de Plattemontagne;Ìle-de-France, Musée national de Port-Royal des Champs, Troismaîtres du dessin, 2009, p. 85, no. 62, reproduced p. 84
LITERATURE AND REFERENCES
Bénard, Le cabinet de M. Paignon Dijonval, Paris 1810, no.1512;
CATALOGUE NOTE
This handsome and intimate self-portrait by Jean-Baptiste deChampaigne, nephew and pupil of the better-known Philippe deChampaigne, was until recently believed to be the work of Nicolasde Plattemontagne, his friend and fellow apprentice in the studioof Philippe. Although catalogued as such by Frédérique Lanoë in2007 (see Exhibited), when it was hung with other studies of thistype by Plattemontagne, it was recognized as the work ofJean-Baptiste.In his 2009 exhibition catalogue entry, Lanoë draws a closecomparison with another self-portrait by Jean-Baptiste now in theLouvre.1 Executed in colored chalks and inscribed inblack chalk: J.B. Champagne neveu de Ph de Champagne, there is nodoubt about the shared identity of both sitters and the stylisticsimilarities in the handling of the chalk: '...qui montre la mêmedouceur et un sentiment teinté de mélancolie...' . The presentsheet is the earliest known drawing by the artist. It shows thestrong influence of his uncle and master, Philippe de Champaigne,and can be closely compared with the latter's portraits of his ownchildren, Catherine and Françoise (present whereaboutsunknown).2 These three drawings, of similar dimensions,were all in the great collection of Gilbert Paignon-Dijonval(1708-1792), and could have been previously part of the samealbum. Jean-Baptiste de Champaigne entered his uncle's Parisian studioin 1643 at the age of twelve. The present self-portrait, made whenhe was seventeen, shows an already accomplished and capabledraughtsman. As Lanoë writes in the 2009 exhibition catalogueentry: 'Á une date précoce, Jean Baptiste de Champaigne se montrecapable de réaliser un portrait d'une belle autorité'. 1. Inv. no.18966; see Exhibited, 2009, p. 89, no. 66, reproducedp. 88. The drawing appears closely related to the Double Portraitof Jean-Baptiste de Champaigne and Nicolas de Plattemontagne,signed by both artists and now in the Boijmans van BeuningenMuseum, Rotterdam. For an illustration, see ibid., fig. 66a2. Ibid., respectively: pp. 46-7, no. 23, reproduced fig. 23 andpp. 53-4, reproduced p. 53
Jean-Baptiste De Champaigne - Christ

Jean-Baptiste De Champaigne - Christ

Original
Estimate:

Price: Not disclosed
Lot number: 1220
Other WORKS AT AUCTION
Description:
Sale 43 Lot 1220

JEAN-BAPTISTE DE CHAMPAGNE (Belgian, 1631-1681).

CHRIST,
oil on canvas
- Unframed: 75 in. x 51 in.

Estimate $700-900

Relined, losses at all edges of original canvas, especially top edge. Vestiges of earlier reinforcing tape at all edges. Scattered restored losses in background and some in figure and robe. Stretcher stress at sites of two cross-braces. Some scattered surface debris. UV: Scattered areas of restoration throughout work, especailly in background with possible areas of earlier restoration as well.
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