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Philippe De Champaigne

Belgium (Brussels 1602 -  Paris 1674 ) Wikipedia® : Philippe De Champaigne
DE CHAMPAIGNE Philippe Portrait Of A Gentleman

Christie's
Jul 8, 2009
Find artworks, auction results, sale prices and pictures of Philippe De Champaigne at auctions worldwide.
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Artworks in Arcadja
191

Some works of Philippe De Champaigne

Extracted between 191 works in the catalog of Arcadja
Philippe De Champaigne -  Portrait Of Louis Xiii (1601-1643), King Of France And Navarre

Philippe De Champaigne - Portrait Of Louis Xiii (1601-1643), King Of France And Navarre

Original
Estimate:

Price:

Lot number: 267
Other WORKS AT AUCTION
Description:
After Philippe de Champaigne (French, 1602-1674) Portrait of Louis XIII (1601-1643), King of France and Navarre oil on rectangular panel, mounted as an oval 19.50 x 15.50cm (8 x 6in) Other Notes: The present portrait is a small scale copy after the original oval portrait of Louis XIII painted by Philippe de Champaigne circa 1635, which is currently in the Musée Carnavalet in Paris. The portrait belonged to the collection of the Duke of Orléans and was housed in the Palais-Royal throughout the 18th Century. Christie's stencil to the reverse '307 J'
Philippe De Champaigne - Portrait Of An Échevin Of Paris, Half-length

Philippe De Champaigne - Portrait Of An Échevin Of Paris, Half-length

Original
Estimate:

Price:

Gross Price
Lot number: 49
Other WORKS AT AUCTION
Description:
Philippe de Champaigne (Brussels 1602-1674 Paris) Portrait of an Échevin of Paris, half-length oil on canvas 31½ x 25½ in. (80 x 64.7 cm.), with later additions
Hugot, Paris. Felix Wildenstein, New York, by whom gifted in 1933 to the Toledo Museum of Art.
PROPERTY OF THE TOLEDO MUSEUM OF ART, SOLD TO BENEFIT THE ACQUISITIONS FUND
Art News, XXXII, no. 18, February 1934, p. 16, repr. Toledo Museum of Art Museum News, no. 77, December 1936, [n.p]. G. Brière, M. Dumolin and P. Jarry, Les tableaux de l'Hôtel de Ville de Paris, Paris, 1937, pp. 22-24. B. M. Godwin, Catalogue of European Paintings, Toledo, 1939, pp. 164-165. R. Shoolman and C.E. Slatkin, The Enjoyment of Art in America, Philadelphia, 1942, p. 539, pl. 477. A. Blunt, 'Philippe de Champaigne's Portraits of the Echevins of Paris', The Burlington Magazine for Connoisseurs, LXXXII, no. 481, April, 1943, pp. 83-87. R. F., Combat, 9 February 1952. G. Isarlo, Arts, Paris, no. 345, 8 February 1952, p. 10. A. Mabille de Poncheville, Philippe de Champaigne, sa vie et son oeuvre, Paris, 1952, p. 146, pl. XXI. A. Blunt, 'Philippe de Champaigne at the Orangerie, Paris,' Burlington Magazine, XCIV, June 1952, p. 175. P. Gaudibert, 'Philippe de Champaigne, portrait de magistrat parisien récemment identifié,' Bulletin de la société de l'histoire de l'art français, 1955, p. 44. J. Wilhelm, 'Les tableaux de l'hotel de ville de Paris et de l'abbaye Sainte Genevive,' Bulletin de la société de l'histoire de l'art français, 1956, pp. 25-26. F.J.B. Watson, ed., Wallace Collection Catalogues: Pictures and Drawings, 16th ed., London, 1968, p. 60. B. Dorival, Philippe de Champaigne, Paris, 1976, no. 226, p. 126. The Toledo Museum of Art, European Paintings, Toledo, 1976, p. 36, pl. 184. P. Rosenberg, France in the Golden Age: Seventeenth-Century French Paintings in American Collections, exhibition catalogue, New York, 1982, no. 12. J. Ingamells, The Wallace Collection catalogue of pictures, London, 1989, III, pp. 99-100. J. Goncalves, Philippe de Champaigne, Paris, 1995, pp. 100-101.
Toledo Museum of Art, Portraits and Portraiture Throughout the Ages, 3-31 October 1937, no. 14. Kansas City, William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts, French Painting of the 17th and 18th Centuries, December 1939-1940 (no catalogue). New York World's Fair, Catalogue of European & American paintings 1500-1900, May-October 1940, no. 48. Paris, Musée de l'Orangerie, Philippe de Champaigne, Feburary-March 1952, no. 35, (catalogue by B. Dorival). Belgium, Musée des Beaux-Arts, 1952. Toledo Museum of Art, The Unseen Art of TMA: What's in the Vaults and Why?, 12 September 2004-2 January 2005 (no catalogue).
Philippe De Champaigne - The Adoration Of The Shepherds

Philippe De Champaigne - The Adoration Of The Shepherds

Original
Estimate:

Price:

Lot number: 43
Other WORKS AT AUCTION
Description:
Philippe de Champaigne (Brussels 1602-1674 Paris)

The Adoration of the Shepherds

oil on canvas

60.8 x 45.5cm (23 15/16 x 17 15/16in).

in a Louis XIII frame

Footnotes

PROVENANCE

Galerie Pardo, Paris, 1999, whence acquired by the present owners

Dominique Brême (the director of the Exhibition,

A l'école de Philippe de Champaigne

, Musée d'Evreux, 18 November 2007 - 17 February 2008) and Frédérique Lanoë (who assisted in curating the exhibition) have both confirmed that the present canvas is an autograph

modello

for the artist's larger work (on canvas, 232.5 x 161.5 cm.) that now hangs in the Wallace Collection, London. A further version by Philippe de Champaigne or his workshop (on canvas, 102 x 58 cm.), is in Portland Art Museum, Portland Oregon. The latter shows the composition slightly extended at the sides, which has raised the question of whether the Wallace Collection picture has been reduced in size. However, a technical examination of the latter after cleaning has established that this was not the case (see M. Allden and R. Beresford,

Two altar-pieces by Philippe de Champaigne: their history and technique

, June 1989, pp. 402-406).

The earliest description that accounts for the origin of the Wallace Collection picture is from the auction catalogue when the picture was sold in Paris in 1766. This states that 'it was commissioned by Cardinal Richelieu for the Abbey of Quincy, which had been joined to the Bishopric of Antwerp. This picture, the beauty of which is perfect, was the reason why Marie de Médicis, Queen of France, made the artist her

premier peintre

[in 1628] ...' The veracity of this account, however, has been questioned and the latest suggestion is that it was commissioned for the Abbey of Quincy, near Tanlay, in the diocese of Langres, which was the subject of lavish expenditure in the late 1640s by its abbot, Mathieu de Mesgrigny. Mesgrigny, who served as abbot until 1643 and remained closely involved in the affairs of the Abbey at least until 1648, was well-connected and rich enough to have patronised Philippe de Champaigne. The technical analysis conducted by Allden and Beresford, moreover, shows that the layer structures and the range of pigments are closely comparable to the artist's

Annunciation

in the Wallace Collection, suggesting that the Wallace

Adoration of the Shepherds

most likely dates from the mid 1640s (op. cit., pp. 404-406).
Philippe De Champaigne - The Holy Family With A Sparrow

Philippe De Champaigne - The Holy Family With A Sparrow

Original
Estimate:

Price:

Gross Price
Lot number: 33
Other WORKS AT AUCTION
Description:
Philippe de Champaigne (Brussels 1602-1674 Paris)
The Holy Family with a Sparrow
oil and gold on panel laid down on board
9¾ x 7½ in. (24.7 x 19 cm.)
Estate of the Artist; inventoried 17 August 1674, no. 22 ('une coppie d'une petite Vierge où Saint Jean présente un oyseau à Nostre Seigneur, aprés Raphael'), 60 livres.
(Possibly) Marquis Costabili, Ferrara (according to the 1893 catalogue of the Yerkes collection, see below).
(Possibly) Prince Paskewitch (according to the 1893 catalogue of the Yerkes collection, see below).
Charles T. Yerkes, Chicago and New York; (+), American Art Association, New York, 5-8 April 1910, lot 96.
J.W.N. Cardeza, Philadelphia.
William Morris Tilden, New York, by 1958, from whom acquired by
T. Gilbert Brouillette, and by descent to the present owners.
PROPERTY FROM THE DESCENDANTS OF T. GILBERT BROUILLETTE
J. Guiffrey, 'Les peintres Philippe et Jean-Baptiste de Champaigne. Nouveaux documents et inventaires après décès', Nouvelles Archives de l'Art Français, 1892, 3rd series, VIII, p. 183.
C.T. Yerkes, Catalogue from the Collection of Charles T. Yerkes, Chicago, Chicago, 1893, no. 44, fig. 44, as 'Raphael'.
C.T. Yerkes, Catalogue of Paintings and Sculpture in the collection of Charles T. Yerkes Esq., New York, Boston, 1904, I, no. 80, ill., as 'Raphael Sanzio'.
M. Vasselin in Raphael et l'Art Français, exhibition catalogue, Galeries Nationales du Grand Palais, Paris, 1983-1984, lost painting mentioned under cat. 319.
American Art Galleries, New York, 26 March-5 April 1910.
Denver Art Museum, Denver, Italian Master Paintings, 19-25 September 1955.
Museum of Fine Arts, Little Rock, Selected Paintings from the collection of T. Gilbert Brouillette, New York City, 2-23 October 1955, no. 1, as 'Raphael Santi and Atelier'.
This exquisite panel, which sheltered for many years under an attribution to Raphael or his workshop, has only recently been recognized as the work of Philippe de Champaigne, and is published here for the first time. It is both a vibrant tribute by one great artist to another, and an example of the fundamental influence of the Master of Urbino on the classical revival in French painting, known as 'Parisian Atticism,' that dominated the middle years of the seventeenth century.

The model for Champaigne's painting was a drawing by Raphael (or his workshop) depicting the Virgin and Child with St. Elizabeth and St. John (who playfully hands a small bird to the Christ Child), known as the Holy Family with a Sparrow. Champaigne--who never made the trip to Italy--studied the drawing when it was in the celebrated collection of the Parisian banker Everhard Jabach (1618-1685), as Pierre-Jean Mariette confirmed in his Notes manuscrites (p. 141); Raphael's drawing would be one of the more than 2000 sheets purchased from Jabach for the collection of Louis XIV in 1671, and is today in the Cabinet des Dessins of the Louvre (inv. 3949; fig. 1). Although Paul Joannides tentatively proposes a lost painting by Raphael based on the drawing (see P. Joannides, The Drawings of Raphael, with a Complete Catalogue, Berkeley, 1983, under no. 152), none is known or recorded, and it is possible that Raphael never developed the sheet into a finished composition. In any event, Champaigne's painting--while remaining entirely faithful to the disposition of Raphael's figural group--imaginatively completes the composition, much of which is barely suggested in the drawing's summary strokes of brush and wash. Champaigne integrates the Holy Family into a fully developed landscape setting that is entirely original, and among the most beautiful of his career. Indeed, the present painting is not a copy in the usual sense of the word; rather, it is a creative copy, in which Champaigne translated and interpreted Raphael's design into the finished painting that the Renaissance master himself had never undertaken.

In an address he would deliver on 2 March 1669 to the Académie Royale de Peinture et de Sculpture (of which he was a professor and founding member), Champaigne analyzed Raphael's beloved Petite Sainte Famille (in the French royal collection from 1663; today in the Louvre and generally given to Giulio Romano, inv. 605), and did not hesitate to point out its faults, as he perceived them, in its observation of light, perspective and proportion. However, he praised as unequalled the beauty and nobility of the figures' attitudes and expressions, noting that Raphael--'this wise and judicious painter'--has 'ever surpassed himself in the spiritual dimension of his art, which seems able to speak through his figures and make them say whatever the subject may require'.

In the present painting, Champaigne goes to great lengths to capture a comparable spiritual truth, rendering the deep humanity of the characters in their gentle gestures and tenderly observed expressions. The clarity of the painting, its precise drawing, enameled finish and high-keyed palette (characterized by the cool, ethereal blue that was a hallmark of the artist's work) is typical of Champaigne's decorative canvases commissioned for the apartments of Anne of Austria in the Benedictine convent of Val-de-Grâce that were fitted out for the young queen during her Regency. In particular, the four large landscapes with episodes from the Lives of the Saints made in 1656 show striking similarities in both the figures and landscapes settings with the handling of the Holy Family with a Sparrow, as has been noted by both Frédérique Lanoë (in correspondence, 11 March 2012) and Paul Lang (in correspondence, 30 March 2012). Lang proposes a dating for the present work of around 1660, the year also generally posited for one of Champaigne's most exquisite landscapes, the great Christ Healing the Blind, in the Timken Museum of Art, San Diego, in which the foliage and clear, vivid blue palette reflect the influence of his teacher, Antwerp-born Jacques Fouquier (c.1590-1659), and other Flemish painters such as Paul Brill and Joos de Momper, whose works Champaigne studied during his early training in Brussels. As Lang observes, it was in the 1660s that Raphael's influence on Philippe de Champaigne was at its peak, as is evidenced by the altarpiece depicting Christ Giving the Keys to St. Peter, which was painted in 1663-1664 for the chapterhouse of the Cathedral of Soissons (attributed by some scholars to Philippe's nephew, Jean Baptiste de Champaigne), and derives closely from Raphael's famous tapestry cartoon of the same subject (1515; London, Victoria & Albert Museum).

The present painting is recorded in the inventory of Champaigne's estate drawn up on 17 August 1674, shortly after the artist's death, by the huissier priseur, Maître Bost, who was advised by Nicolas de Plattemontagne (1631-1706), Champaigne's pupil and assistant in the decorative projects at Val-de-Grâce: 'no. 22. Item, une coppie d'une petite Vierge où saint Jean présente un oyseau à Nostre Seigneur, après Raphael' and given the comparatively large valuation of 60 livres (see Guiffrey, 1892, op. cit.). It was engraved, in reverse, by Gilles Rousselet (1610-1686)(fig. 2), who, like Champaigne, was a prominent member of the fledgling Academy and made prints after paintings and drawings by Stella, Bourdon, Vignon, La Hyre and more than 90 plates after works by his friend Charles Le Brun. Rousselet's print reproduces the painting down to the smallest detail, including the gilded haloes of Mary and Elizabeth (Paris, Bibliothèque Nationale; see Vasselin, 1984, op.cit.). A rare impression of another print, almost identical in size, by Champaigne's pupil, Jean Alix (b.1615), is in The British Museum; according to Mariette (who records second-hand an account from the painter Vleughels), Alix's print reproduces not Champaigne's painting, but a copy of the composition by the obscure painter Henry Bommar (he was brother-in-law of Nicolas de Plattemontagne), which was based on 'un dessin de M. Champaigne, copié d'après le dessin original de Rafael, qui estoit chez M. Jabach' ('a drawing by M. Champaigne, copied after an original drawing by Raphael that belonged at the time to M. Jabach'). No painting by the little-known Bommar has come down to us, and no drawing of the composition by Champaigne is known today, but Vleughel's assertion that the print reproduces a drawing by Champaigne rather than the present painting is possible, as it does not include the haloes that are prominent in both the painting and Rousselet's engraving of it.

Our thanks to Frédérique Lanoë for confirming the attribution of the painting to Philippe de Champaigne based on the examination of photographs, and to Mme. Lanoë and Mr. Paul Lang for their assistance in cataloguing this lot.
Philippe De Champaigne - Portrait Of A Gentleman

Philippe De Champaigne - Portrait Of A Gentleman

Original 1656
Estimate:

Price:

Gross Price
Lot number: 214
Other WORKS AT AUCTION
Description:
Philippe de Champaigne (Brussels 1602-1674 Paris)
Portrait of a gentleman, traditionally identified as Noël de Bullion (d. 1670), half-length, in black with lace collar and sleve, his gloves in his left hand
signed and dated 'PHILS DE CHAMPAIGNE FACIEBAT 1656' (lower left, on stone ledge)
oil on canvas
31 5/8 x 25 5/8 in. (80.3 x 65 cm.)
Provenance
Private [B...] collection; sale, Hôtel des Ventes, Lille, 12 December 1982, p. 35 (illustrated).
Literature
B. Dorival, Philippe de Champaigne, 1602-1674: La vie, l'oeuvre, et le catalogue raisonné de l'oeuvre, Paris, 1976, I, p. 49; II, p. 96, under no. 166, and p. 188, no. 413 (illustrated).
B. Dorival, Supplément au Catalogue raisonné de l'oeuvre de Philippe de Champaigne, Paris, 1992, pp. 34-6, no. 24 (illustrated) and under no. 25.
R. Beresford 'Book Reviews: Supplément au Catalogue raisonné de l'oeuvre de Philippe de Champaigne', Burlington Magazine, CXXXV, no. 1087, October 1993, p. 703.
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