GALERIE RATTON-LADRIÈRE

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SITTING WOMAN READING A BOOK
RAFFAELLO VANNI
1595 - SIENNA - 1673

Red chalk

H.: 33, 8 cm
L.: 24, 7 cm

Laid down. Pencil inscription under the foot: R Vanni

Raffaello Vanni was son of Francesco Vanni (1564-1610), Sienna leading artist of late sixteenth century but being only 15 when his father died, he didn’t take profit of his teaching. He studied mainly in Rome, with Antonio Carracci, learning also from the new styles of the Lombard Caravaggio and the Bolognese Carracci, Reni or Dominichino. He was later seduced by Pietro da Cortona, and then imported Baroque in Sienna, where he in turn became the leading artist. It is most possible that during his apprenticeship with Antonio Carracci he also studied the Antique, so present in Rome, and our drawing might be one of those studies, though we have been unable to identify the model (the head looks much like the Capitoline Venus).

The drawings as of today identified by Rafaello Vanni are mainly pen and brown ink, sometimes heightened with white wash. In his monumental repertory, Pittori senesi del Seicento, Sienna 2010, Marco Ciampolini reproduces a red chalk drawing from Amsterdam, Saint Catherine sustained by an angel and a nun (Historisch Museum, A-18079, vol.III, tav.521). By its monumental style, our drawing announces the Sybils frescoed in Santa Marta (1622) and San Sebastiano in Vallepiatta (contrada della Selva) in Sienna. We are grateful to Marco Ciampolini for his e-mail dated 28/02/2018: « per me potrebbe davvero essere un disegno di Raffaello Vanni, quando in gioventù studiava i classici antichi nella bottega di Antonio Carracci ».

YOUNG MALE NUDE SITTING, LEGS FOLDED
SIMONE CANTARINI
PESARO - 1612 - VERONA - 1648

Red chalk and white chalk highlights on beige paper, laid down on an old mount
28.4 x 32.3 cm

Provenance :
Lamponi Collection, Florence, stamp upper left (L.1760); his sale in Florence on 11 November 1902, no 323 of the catalogue (as Giovanni da San Giovanni)

Throughout his short career Cantarini continued to draw from the live model, making full figures, head studies and sketches of details. The drawing presented here, formerly considered to be the work of the Florentine artist Giovanni da San Giovanni (1592-1636), should in our view be attributed to him. The model could be the same as in drawings conserved in Munich (Staatliche Graphische Sammlung) and Venice (Gallerie dell’Accademia), reproduced in the catalogue Simone Cantarini detto il Pesarese 1612-1648, Bologna, 1997-1998, nos II.14 to II.20.

PIERRE SERRA
GERBRANDT van den EECKHOUT
1621-Amsterdam- 1674

Pen and brown ink, watercolor and bodycolor
Height: 10, 1 cm
Length : 14, 2 cm
Laid down on an antique mount (17 x 21, 7 cm with mount)

Gerbrandt van den Eeckhout was the son of a goldsmith and studied with Rembrandt around the years 1635-1640, and according to Arnold Houbraken (De Groote Schouburgh der Nederlandse Konstchilders en Schileressen, Amsterdam 1718-1721; Eeckhout is mentioned in volume II, p.100), they remained in good terms lifelong. Van den Eeckhout is one of the most productive and versatile of Rembrandt’s pupils: he is strongly influenced by the master in his biblical scenes; his early work is influenced by Rembrandt’s work of the 1640s, when his later work, after 1660, is indebted to Rembrandt’s style of the 1650. Pieter Lastman (Rembrandt’s teacher) was also of some influence on Van den Eeckhout.

This drawing was intended by Eeckhout to illustrate the new edition of Adriaen van Haemstede’s De Gheschiedenisse ende den doodt der vromer Martelaren (life and death of pious martyrs), first published in 1559, but again in 1657 by Jacob Braat in Dordrecht with 177 illustrations, engraved by Jacob Savery III (1617-1666). The book (more than 450 pages) describes the lives and death of martyrs, from Christ himself up to the Protestants martyrs from Antwerp in 1559. The attribution of the drawings preparatory to the engravings was made by Michiel C. Plomp, who published an important essay “Gerbrand van den Eeckhout’s illustrations for Adriaen van Haemstede’s books of martyrs of 1657 and 1659”, The Burlington Magazine, March 2006, CXLVIII, pp. 180-186.

Pierre Serra, a shoemaker from the Toulouse area, was sentenced to have his tongue cut, and after to be burnt alive. During his way to the execution, he refused to ask for his pardon to a sculpture of the Virgin, arguing it was only a stone fetish, the scene here choosen by the artist.

JEAN MASSON
GERBRANDT van den EECKHOUT
1621-Amsterdam- 1674

Pen and brown ink, watercolor and bodycolor
Height: 10, 2 cm
Length: 14, 2 cm

Laid down on an antique mount (17, 7 x 21, 5 cm with mount)

Gerbrandt van den Eeckhout was the son of a goldsmith and studied with Rembrandt around the years 1635-1640, and according to Arnold Houbraken (De Groote Schouburgh der Nederlandse Konstchilders en Schileressen, Amsterdam 1718-1721; Eeckhout is mentioned in volume II, p.100), they remained in good terms lifelong. Van den Eeckhout is one of the most productive and versatile of Rembrandt’s pupils: he is strongly influenced by the master in his biblical scenes; his early work is influenced by Rembrandt’s work of the 1640s, when his later work, after 1660, is indebted to Rembrandt’s style of the 1650. Pieter Lastman (Rembrandt’s teacher) was also of some influence on Van den Eeckhout.

This drawing was intended by Eeckhout to illustrate the new edition of Adriaen van Haemstede’s De Gheschiedenisse ende den doodt der vromer Martelaren (life and death of pious martyrs), first published in 1559, but again in 1657 by Jacob Braat in Dordrecht with 177 illustrations, engraved by Jacob Savery III (1617-1666). The book (more than 450 pages) describes the lives and death of martyrs, from Christ himself up to the Protestants martyrs from Antwerp in 1559.

The attribution of the drawings preparatory to the engravings was made by Michiel C. Plomp, who published an important essay “Gerbrand van den Eeckhout’s illustrations for Adriaen van Haemstede’s books of martyrs of 1657 and 1659”, The Burlington Magazine, March 2006, CXLVIII, pp. 180-186. At this moment, twenty-four preparatory drawings were known for these engravings, under an attribution to Jacob van der Ulft (1621-1689).

Jean Masson, a stone-carver from Trento, was beheaded in 1559 on the order of the mayor of a Swiss town, on the motive of his religion.

VIEW OF THE SEDAN CASTLE (recto) / VIEW OF SEDAN (verso)
ADAM FRANS VAN DER MEULEN
BRUSSELS - 1632 - PARIS - 1690

Black chalk (recto)
Black and red chalks (verso)

Height : 13 cm
Length : 22, 3 cm
Inscribed « château de sedan » (recto) / Sedan come de frond » (sic, verso)

After training in Brussels and Antwerp, his skill for the representation of horses and landscapes being known abroad, he is called in Paris by Charles Le Brun. He is in charge of immortalizing the King’s image, and follows Louis XIV in all his travels, including battles. He was entitled « peintre ordinaire des Conqêtes du Roy ». This rapid sketch, obviously made on the spot, does not seem to have been used in a larger composition.

TWO CHILDREN WITH A DOG, ONE MAKING SOAP BUBBLES
Pen and black ink, grey wash
Height: 37,7 cm (41 cm with mount)
Length: 32 cm (35, 5 cm with mount)
Inscribed (signed ?) on the back: Abraham Carré

Little is known about Abraham Carré, who was a pupil of his father, he made portraits and copies after the masters. The composition is typical of Dutch eighteenth century portrait (of course we think to Nicolaas Verkolje, 1673-1746), the sitter seen half-length through an architectural frame, with a rich curtain on one side. The theme of the child making soap bubbles is also widespread at that time, the bubble soap reminding of the soul lightness, and of the brevity of terrestrial life.

SAINT ROCH
GIAMBATTISTA TIEPOLO
VENICE - 1696 - MADRID - 1770

Pen and brown ink, brown wash, on traces of black chalk

Height : 23,5 cm
Width : 26,2 cm

Inscribed lower right: Tiepolo F.

Provenance : Paul Delaroff, St Petersburg, his mark (L.663) on the former backing (not preserved); Maris Marignane, Paris, her mark (L.1848), lower right.

Invoked against epidemics, especially those of plague, Roch (circa 1350-1380) became in the fifteenth century one of the most venerated, and then represented, of Christianity. Born into a rich family in Montpellier, he chose eremitic life. Pilgrimage led him to Rome from 1368 to 1371. Caught by plague, he lived in the woods where God sent him an angel to cure him, while a dog brought him bread every day. Back in Montpellier, nobody recognized him, and he was jailed as spy, and there he died. His relics were brought to Venice in 1485, and the Scuola Grande di San Rocco was built to house them. It is most probably for this confraternity that Tiepolo, in the 1730’s, painted a series of small canvases with the saint, each member of the confraternity being supposed to have one.
We know today of twenty two canvases, all of vertical shape. Four of them, in private collections, show a composition similar to our drawing, the figure being seen from three-quarters back.

Our drawing, essentially made of light contrasts, can, by the abundant use of wash, be compared to some drawings in the Victoria and Albert Museum in London (George Knox, catalogue of the Tiepolo Drawings in the Victoria and Albert Museum, London 1975, nn.2, 9, 13, 16)) or in the national gallery in Trieste, them too dating from the 1730’s.

Professor George Knox, to whom we are grateful for confirming the attribution and his help with this entry, enhances the rarity of this type of drawing in Tiepolo’s work, and emphasizes the wonderful luminosity of this sheet.

PORTRAIT OF JEAN-BAPTISTE FRANÇOIS DUREY DE MESNIERES
FRANZ BERNHARD FREY
1716 - GUEBWILLER - 1806

Pastel on paper, mounted on canvas

Height : 47 cm
Length : 38,5 cm

Signed and dated "Frey px 1765" lower right

The sitter, born 1705, is here represented the year of his 60th birthday, which is also the year of his second wedding with Octavie Belot, author of many books concerning British history. An emblematic figure of Parisian parliamentary nobility, Durey de Mesnières was president of the second Inquiry chamber at the Paris Parliament, and an obstinate opposite to the royal power, which led him, and colleagues, to exile first in Moulins(1732), then in Bourges. He published, anonymously, with lawyer Louis-Adrien Le Paige, a Histoire de la détention du Cardinal de Retz (1755), conceived as a violent critic of monarchic arbitrary. He was also an erudite man, owing one of his times most important juridical library, corresponding with Voltaire, and esteemed by Diderot.

The year of this portrait, Frey is at the best of his art, received as associate member at the Académie de Saint Luc, and mostly "peintre de Mesdames"(the King's daughters), replacing Maurice Quentin de La Tour. After a modest beginning in Strasbourg in the 40's, Frey is in Paris from 1754, working for "les Bâtiments du Roi" to copy official portraits, which gives him a technical skill that will won him the prestigious title of "peintre de Mesdames". In 1776 and 1777 he will also be painter to the prince of Zwei Brücken.

THE FOUR ELEMENTS: WATER, AIR, EARTH, FIRE
ATTRIBUTED TO

ENNEMOND-ALEXANDRE PETITOT
LYON - 1727 - PARME - 1801

Pen and black ink

Height :
40,3 cm
Height :
40 cm
Height :
40 cm
Height :
40,1 cm
Width :
28,2 cm
Width :
24,6 cm
Width :
27,5 cm
Width :
30,6 cm


We suggest, for this set of drawings, an attribution to Petitot, architect from Lyon who made career in Parma. These are probably projects for monuments or ephemeral decorations or eventually for prints (never realized).

Petitot was in Lyon a student of Jean-Germain Soufflot before entering the Académie royale in Paris. He wins the Grand Prix in 1745, which enables him to stay in Rome, from 1746 to 1750. Back in Paris, he works in Notre-Dame, and for the comte de Caylus. In 1753, he accepts the invitation of the Parma Court to be Architetto delle Fabbriche Ducali and professor at the local academy, and arrives there in May 1753, and never left. He works for the palaces (Colorno) and gardens (Giardino Ducale) of the duchy, but also creates ephemeral decoration for court feasts and events. An exhibition was dedicated to his work in Rome, Parma, Lyon in 1989 « Feste Fontane Festoni a Parma nel Settecento ». We find in our drawings his fantasy and originality of his decorative style.

PORTRAIT OF THE DUC DE CHAULNES
JEAN-BAPTISTE GARAND
CIRCA 1730 - PARIS -1780

Black and red chalks
Height: 33 cm
Length: 22,5 cm
Inscribed in black chalk : « Mr le duc de Chaulnes dans son cabinet » and signed « Garand fecit »

Jean-Baptiste Garand became a member of the Académie de Saint-Luc in 1761, before becoming conseiller and adjoint à professeur, and exhibited there three times, in 1762, 1764, and 1774, small drawn portraits or miniatures. In 1760, Grimm commissions him the portrait of Diderot which had the good luck to satisfy its difficult to please sitter : « je n’ai jamais été aussi bien fait que par un pauvre diable appelé Garand, qui m’attrapa, comme il arrive à un sot qui dit un bon mot. Celui qui voit mon portrait par Garand me voit. Ecco il vero Pulcinella ». This portrait is now lost, but known through an engraving, as other works of the artist (portraits of Marivaux, the marquis de Dampierre, Françoise de Graffigny, and others). The few drawn portraits we know by Garand (who, thanks to him, always signs distinctively) represent the sitter seated in his interior, or, as is the case for the portrait of a woman playing the viol in the Mulhouse museum, in a landscape, in some familiar occupation, a kind of Carmontelle without colors, but he also made mythological portraits, Monsieur de Sartines as Hercules (Nancy museum, Salon de Saint-Luc in 1762, n°89), Mademoiselle Arnould as Psyché (lost, Salon de Saint-Luc in 1764, n°37).

Which Duke de Chaulnes is here portrayed, as they were two during Garand’s lifetime? Is he Michel Ferdinand d’Albert d’Ailly (1714-1769), who will become the 5th Duke in 1744, famous for his interest in science (he invented a kind of microscope) and his collection of scientific curiosities, and his important library, both located in his hôtel particulier (now replaced by the Ecole des Mines): the drawing shows effectively a library, but nothing related to science, or his son Louis Joseph (1741-1792), who will become in 1769 the 6th and last duke? The comparison between the father’s portraits (by Nattier, as Hercules), and the son’s (by Carmontelle), is in favor of the latter.

OEDIPUS BLIND AND HIS DAUGHTER ANTIGONE
NICOLAS-RENÉ JOLLAIN
1732 - PARIS - 1804

Pencil, grey wash, brown wash

Height : 25,4 cm
Length : 41 cm

Formerly in the collections of Philippe de Chennevières (Lugt n°2072 lower left), and Albert Finot (Lugt n°3627 lower right), as Vien.

At the 1791 Salon, the last one he attended, Jollain presented six paintings among them Œdipe aveugle conduit par Antigone, now lost, of which this drawing is certainly a memory. The subject is taken from the life of the legendary king of Thebes, who after discovering he had killed his father and married his mother, blinded himself and is expelled from the city by his own sons. His daughter Antigine helps hilm and leads him in Attique where the local king Theseus will give him hospitality until he dies in Colone, near Athens.
Nicolas-René Jollain studied with Jean-Baptiste Marie Pierre, the First painter to the King, and won the second Rome prize in 1754. He was “agrée” at the Academy in 1765, and received academitian in 1773, with le charitable Samaritain (église Saint Nicolas du Chardonnet, Paris). In 1788, he is keeper of the King’s pictures. He attends the Salon from until 1791. He worked for the King (frappement du rocher, 1783, Paris, église Saint Eustache), for Fontainebleau (Jésus au milieu des docteurs, 1781), and the Paris Charterhouse (entrée du Christ à Jérusalem, 1771).

The use of brown and grey was is frequent for Jollain. He was Girodet’s first master, and also painted a Belisarius (1767 Salon, Dartmouth Collège), which inspired Jacques-Louis David.

THE LITTLE GIRLS' SCHOOL
PHILIPPE JOSEPH TASSAERT
ANTWERP - 1732 - LONDON - 1803

Brown wash, bistre wash, sanguine wash over black chalk

Fully glued onto an older mount

Height : 57 cm (63.3 cm with mount)
Width : 47.5 cm (53.3 cm with mount)

"Frago" inscribed on bottom right; "honorée fragonard 1768" inscribed on bottom left on the mount

Tassaert, born into a dynasty of Antwerp artists, seems to have spent most of his career in England, not only as a painter, but also as a restorer and art dealer. He was baptised in Antwerp on 18 March 1732, and admitted as master into the Guild of Saint Luke in July 1756. He then went to London, where he studied with the portraitist Thomas Hudson. After travelling to Ireland (and marrying an Irishwoman) he returned to Antwerp, where his children were baptised in 1757, 1758 and 1759. In 1769, he is mentioned in Brussels as "painter to his Royal Highness Prince Charles of Lorraine", to whom he dedicated an etching after Rubens.

He settled in London in 1769, and became a member of the Society of Artists of Great Britain, taking on some important duties, including as Chairman of the Free Society from 1776 to 1777. Although he exhibited at the Royal Academy and the Free Society, he mainly worked as a restorer (notably for the Prince of Wales, the future George IV) and as an art dealer. In fact, the dealer James Christie sent him to Paris to represent him at sales of goods confiscated during the Revolution.

He travelled a great deal, mostly in the southern Netherlands, where he received commissions. He spent a period in Italy (chiefly in Rome) from 1785 to 1790, then visited his widowed sister-in-law in Berlin in May 1790.

He left many engravings after Old Masters (Poussin, Van Dyck, Rubens, Dolci, Maratta), and a series of eighteen landscapes. Works now in public collections include three painted portraits in the Plantin-Moretus Museum in Antwerp; a drawing, The Rape of the Sabines (L’Enlèvement des Sabines) in the Albertina, a An Artist’s Studio (Scène d’atelier) in the Tate Britain and an Adoration of the Shepherds (Adoration des bergers) in the Musée du Mont-de-Piété in Bergues (which, according to an inscription on the back, has links with the lost painting in the destroyed Couvent des Récollets in Brussels: see De Heemskerck à Le Brun, les plus beaux dessins du musée du Mont-de-Piété de Bergues, cat. exp., Milan, Silvana, 2012, no. 28). As well as these, there is a brown wash drawing of a Drawing Academy (École de dessin) signed and dated 1764, sold by Sotheby’s Amsterdam on 7 November 2003 (lot 138), a genre scene, Peasant woman milking (Le Coup de pis), sold on 23 June 2011 by the Millon auction house in Paris, and a drawing technically similar to this one, The Grandfather (Le Grand-Père), once in the Goncourt collection, when it was attributed to Greuze (see Élisabeth Launay, Les Frères Goncourt collectionneurs de dessins, Paris, Arthena, 1991, no. 130).

PORTRAIT OF A WOMAN
LOUIS ROLAND TRINQUESSE
?c.1746- ?c.1800

Red chalk

Diameter: 18 cm

Despite his prolific output, there is still a great deal of mystery about Louis Roland Trinquesse’s life. It is thought that he came from Burgundy, and was the son of a portrait painter who had studied with Nicolas de Largillière, but lived in Flanders and studying at The Hague academy in 1768, the in Paris in 1769, where he won his first medal in October 1770.It seems that he repeatedly refused to join the prestigious Académie Royale de Peinture et de Sculpture, which would have given him an entry to the Salons, preferring to exhibit at the Salon de la Correspondance from 1779 to 1793and at the Louvre in 1791 and 1793(these two Salons were open to all artists, whether or not from the Académie). His last known work is dated 1797, and he is thought to have died in 1800. Today he is known mainly for his superb red chalks drawings of female subjects, which can be dated between 1778 and 1780, for which we he used three models, Marianne Frammery, Louise Charlotte Marini and Nicolle Elisabeth Bain. But he was an admirable portrait and genre painter as well , and also drew small round portraits with the precision of an engraver, based on the prototype made popular by Charles-Nicolas Cochin and Augustin de Saint-Aubin. The picture here, in its original frame, is a fine example.

PORTRAIT OF A LADY WITH A BOA AND PEARL NECKLACE
ANGIOLO ACHINI
1850-Milan-1930

Watercolor on paper (corners cut)
Height: 43, 5 cm
Length : 33 cm

It is very possible that this drawing was cut on all sides, and that the initials that Achini usually put on his works disappeared, but the comparison with his documented works leaves no doubt as to the attribution.

Angiolo Achini studies at the Brera academy under Giuseppe Bertini, and wins many medals; in 1877 he wins the Fumagalli competition with a historic scene, a genre, that with landscape he will prefer throughout his carreer. He is also active as an aquarellist and printmaker, under the influence of his friends Tranquillo Cremona and Luigi Conconi. He takes part in important exhibitions in Torino in 1880, Milano in 1881 and 1883 (and again in 1886), Rome in 1883, but also in Munich in 1888, where the press noticed him. He is regularly present at the Venice Biennale. He was excellent in watercolor, as demonstrated here.

Achini is affiliated to a trend of the Scapigliatura , a litterary, musical and artistic movement quite difficult to define shortly , but let speak Annie-Paule Quinsac : « l’esthétique scapigliata , développée sur les tables des cafés et des gargotes, est une forme de romantisme décadent qui postule la synesthésie de tous les arts…Recherche d’art total, la peinture scapigliata n’avait été ni un réalisme basé sur l’immédiateté de la vision, comme l’impressionnisme, ni un naturalisme de plein air. Le portrait et les scènes d’intérieur qui évoquent des drames humains en sont les sujets dominants…Il s’agissait pour ces peintres d’exprimer l’émotion devant la réalité et non son apparence, de suggérer et non de décrire » (« the scapigliata aesthetic, developped on pub tables, is a kind of decadent romanticism aiming to the synaesthesia of all arts… Scapigliata painting was neither based on the immediate vision, as Impressionism, not open-air naturalism. Portraits and interior scenes evoking human dramas are the main subjects… It was for these artists to express emotion in front of nature and not its appearance, to suggest and not describe”) (« De Milan à Rome. Le long parcours du Divisionnisme italien. Une révolution picturale entre tradition et iconoclasme », in Divisionnisme. Couleur maîtrisée ? Couleur éclatée !, Crans-Montana 2013-2014, pp.90-115).

THE RUINED CASTLE
HANS GARNJOBST
BASEL - 1863 - PARIS - 1955

Watercolor on paper

Height : 22 cm
Width : 32 cm

Hans Garnjobst studies decorative painting in Basel from 1879 to 1881, before attending in Paris the lessons of Jean-Léon Gérôme (1824-1904) at the famous Ecole des Beaux-Arts de Paris, from 1881 to 1883, date of his departure for Italy (mainly Florence, Rome, Naples) until 1889, year of his return to Basel (again for a period of three years). Since 1889, he shares his time between his Minusio house (Canton Ticino) and Paris in winter. He settles definitively in Paris in 1935. In 1886, he sent three works (151 Fantasy ; 152 Roman landscape,watercolor ; 154 Head of an old man, watercolor) to a travelling exhibition in Switzerland (exhibition of the Société Suisse des Beaux Arts ; in the Zürich exhibition catalogue, he is described as « Hans Garnjobst aus Basel in Rom »). In 1898, Emile Hinzelin, writes for La Lorraine-Artiste dated 16 January, reviewing an exhibition in Basel mentions « Hans Garnjobst, qui restitue aux femmes leur physionomie d’attention un peu étonnée ». He participated to the Exposition Internationale Universelle of 1900 in Paris with three works, My Mother, Primitive period, Autumn morning, Locarno, watercolor (respectively n°71, 72, 73, of the official catalogue which introduces him as « élève de M. Gérôme », he was then living 12 rue Boissonnade in Paris). In 1901 il he had a personal exhibition in Munich, and in 1909, he loaned for the 8th Biennale in Venice a Léda, by his friend Albert Besnard (1849-1934, catalogue n° 28). The works we present, some of which are signed or annotated by his wife (Rosalie Moglia, 1888-1972, they had a daughter Hélène, 1916-1999), date for the main part of the South Italy trip, views of Pompeii or the Naples bay.

The Thieme-Becker dictionary reports that our artist began in a style close to his compatriot Arnold Böcklin (1827-1901), to evolve, probably due to his Paris, sojourn, towards Puvis de Chavannes (1824-1898) or Albert Besnard (Garnjobst’s friend, as we saw). Nothing such appears in the works we present which seem to us eventually closer to another compatriot and contemporary (they both exhibited in Basel in 1898), the ticinese Augusto Giacometti (1877-1947). But, above all, if we compare to French painting, anticipating the colorful Fauve explosion.