Jacques (1600) Linard Paintings & Artwork for Sale | Jacques (1600) Linard Art Value Price Guide

Jun. 14, 2024
JACQUES LINARD (TROYES 1597-1645 PARIS) Nature morte aux fruits dans un pan
Est: €50,000 - €80,000
JACQUES LINARD (TROYES 1597-1645 PARIS) Nature morte aux fruits dans un panier en osier, avec un melon entamé huile sur panneau 55 x 65 cm (21 2⁄3 x 25 9⁄16 in.)
Christie's
Nov. 22, 2023
Jacques LINARD Troyes, vers 1597 - Paris, 1645 La belle bouquetière Huile sur toile
Est: €20,000 - €30,000
Jacques LINARD Troyes, vers 1597 - Paris, 1645 La belle bouquetière Huile sur toile The beautiful flower maker, oil on canvas, by J. Linard h: 99 w: 133 cm Provenance : Chez P. Landry, Paris, en 1962 ; Galerie Pardo, Paris, en 1969 ; Vente anonyme ; Monaco, Christie's, 4 décembre 1992, n° 38 ; Vente anonyme ; Paris, Ader-Picard-Tajan, 28 juin 1993, n° 17 ; Collection particulière, Belgique Expositions : 'Les jardins et les fleurs de Breughel à Bonnard', Paris, galerie Charpentier, 1965, n° 59, une étiquette au verso Bibliographie : Michel Faré, 'La nature morte en France', Genève, 1962, t. II, fig. 35 (comme Louyse Moillon) Michel Faré, 'Le Grand Siècle de la nature morte en France, Le XVIIe siècle', Fribourg, 1974, p. 18-19, repr. coul. Christopher Wright, 'The French painters of the Seventeenth Century', Boston, 1985, p. 222 Commentaire : Jacques Linard, au même titre que ses contemporains Louyse Moillon ou Sébastien Stoskopff, fait partie de ces peintres de nature-morte redécouverts lors de la célèbre exposition de 1934 à l'Orangerie sur " Les peintres de la réalité ". Longtemps sous influence nordique, la nature-morte en France durant la première moitié du XVIIe siècle prend enfin son indépendance stylistique. Considéré alors comme un art mineur dans l'ombre de la prestigieuse peinture d'histoire, mais également du portrait, voire du paysage, ce genre représenta une part substantielle de la production artistique, de vrais techniciens s'adonnant à cette peinture. Certains en devinrent les maîtres, parmi lesquels nous retrouvons Linard. Le catalogue de l'exposition de 1934 s'exonérait de présenter l'artiste, - " Nous n'avons rien trouvé sur ce peintre […] " - mais près d'un siècle plus tard, les historiens de l'art qui se sont profondément intéressés à ce genre et à ces peintres trop peu connus purent établir une biographie consistante. Travaillant à Paris, Jacques Linard reçut le titre de peintre et valet de chambre du roi en 1631, témoignant de sa renommée et de l'estime qu'il suscita de son vivant. Si elle est parfois austère et source de méditation, la nature morte peut également revêtir un caractère ostentatoire. Jacques Linard nous livre ici une œuvre à la fois discrète et démonstrative : discrète, par le délicat doigté de la bouquetière ; et démonstrative, par le bouquet opulent dans lequel cette dernière vient piocher. Estimation 20 000 - 30 000 €
Artcurial
Sep. 28, 2023
Jacques Linard, 1600 – 1645, Werkstatt des
Est: €44,000 - €50,000
ALLEGORISCHE FOLGE DER VIER TAGESZEITEN Öl auf Leinwand. Doubliert. Jeweils 108,5 x 86 cm. Zwei Gemälde mit Inschrift „Meridies“ (Mittag) und „Vesper“ (Abend). In ebonisierten Rahmen. Unser Maler hat vier klassische Göttinnen ausgewählt, um die vier Tageszeiten innerhalb dieser höchst seltenen Folge darzustellen. Das erste Bild stellt den Morgen mit der Göttin des Sonnenaufgangs, der Morgendämmerung dar. Ihr griechischer Name war Eos, ihr römischer Name Aurora. Das zweite Gemälde mit dem Symbol eines Herzenz und zwei liebenden Tauben stellt den Mittag mit der Göttin der Liebe dar, Aphrodite bei den Griechen, Venus bei den Römern. Das dritte Gemälde stellt den Nachmittag mit der Göttin der Jagd dar, ihr griechischer Name ist Artemis, ihr römischer Name ist Diana. Das vierte Gemälde stellt den Abend dar. Die Göttin mit dem Falken bezieht sich auf Circe, die griechische Göttin der Magie, die mit einer seltsamen Stimme geboren wurde, die wie ein krächzender Vogel klang, daher ihr Name, der Falke oder Falkenfrau bedeutet. (1371441) (1) (13) Jacques Linard, 1600 – 1645, workshop of ALLEGORICAL SERIES REPRESENTING THE FOUR TIMES OF DAY Oil on canvas. Relined. 108.5 x 86 cm each. Two paintings inscribed “Meridies” (noon) and “Vesper“ (evening).
Hampel Fine Art Auctions
Dec. 05, 2018
Jacques Linard (Troyes 1600-1645 Paris) The Flower-arranger
Est: £25,000 - £35,000
Jacques Linard (Troyes 1600-1645 Paris) The Flower-arranger oil on canvas98.8 x 132.7cm (38 7/8 x 52 1/4in). Provenance: With P. Landry, Paris, 1962 With Galerie Pardo, Paris, 1969 Sale, Christie's, Monte Carlo, 4 December 1992, lot 38Sale, Ader-Picard-Tajan, Paris, 28 June 1993, lot 17Private Collection, Belgium ExhibitedParis, Galerie Charpentier, Les jardins et les fleurs de Breughel à Bonnard, 1965, no. 59 Literature M. Faré La nature morte en France, Geneva, 1962, vol. II, fig. 35 (as Louise Moillon)M. Faré, Le Grand Siècle de la nature morte en France, Le XVIIe siècle, Fribourg, 1974, p. 18-19, ill. (as in Collection F.M, Paris)C. Wright, The French painters of the Seventeenth Century, Boston, 1985, p. 222 While little was known to art historians about Jacques Linard in the early part of the last century, his work, like that of his contemporaries such as Louise Moillon and Sébastien Stoskopff, has been recently exonerated, recognising how the still-life in France, so long under the shadow of its Nordic counterparts at this point took on a stylistic independence. Previously considered to be an inferior art form to history painting, as well as the portrait, this genre nonetheless represented an important part of the artistic output in France at this time, allowing artists such as Linard to perfect their skills. Indeed, art historians have recently established a more substantial biography of the artist that recognises his rightful place, since we now know that when working in Paris, Jacques Linard received the title of painter and valet de chambre to the king in 1631, thus testifying to his fame and the esteem he aroused during his lifetime.
Bonhams
Apr. 30, 2018
Jacques Linard (1597-1645) School
Est: €900 - €1,500
Jacques Linard (1597-1645) School. Memento Mori, oil on oak panel in Dutch frame with tortoiseshell, fields
Deutsch Auktionen
Mar. 21, 2018
Jacques Linard Troyes, vers 1598 - Paris, 1645 La belle bouquetière Huile sur toile
Est: €50,000 - €70,000
Jacques Linard Troyes, vers 1598 - Paris, 1645 La belle bouquetière Huile sur toile The beautiful flower maker, oil on canvas, by J. Linard h: 99 w: 133 cm Provenance : Chez P. Landry, Paris, en 1962 ; Galerie Pardo, Paris, en 1969 ; Vente anonyme ; Monaco, Christie''s, 4 décembre 1992, n° 38 ; Vente anonyme ; Paris, Ader-Picard-Tajan, 28 juin 1993, n° 17 ; Collection particulière, Belgique Expositions : ''Les jardins et les fleurs de Breughel à Bonnard'', Paris, galerie Charpentier, 1965, n° 59, une étiquette au verso Bibliographie : Michel Faré, ''La nature morte en France'', Genève, 1962, t. II, fig. 35 (comme Louyse Moillon) Michel Faré, ''Le Grand Siècle de la nature morte en France, Le XVIIe siècle'', Fribourg, 1974, p. 18-19, repr. coul. Christopher Wright, ''The French painters of the Seventeenth Century'', Boston, 1985, p. 222 Commentaire : Jacques Linard, au même titre que ses contemporains Louyse Moillon ou Sébastien Stoskopff, fait partie de ces peintres de nature-morte redécouverts lors de la célèbre exposition de 1934 à l''Orangerie sur " Les peintres de la réalité ". Longtemps sous influence nordique, la nature-morte en France durant la première moitié du XVIIe siècle prend enfin son indépendance stylistique. Considéré alors comme un art mineur dans l''ombre de la prestigieuse peinture d''histoire, mais également du portrait, voire du paysage, ce genre représenta une part substantielle de la production artistique, de vrais techniciens s''adonnant à cette peinture. Certains en devinrent les maîtres, parmi lesquels nous retrouvons Linard. Le catalogue de l''exposition de 1934 s''exonérait de présenter l''artiste, - " Nous n''avons rien trouvé sur ce peintre […] " - mais près d''un siècle plus tard, les historiens de l''art qui se sont profondément intéressés à ce genre et à ces peintres trop peu connus purent établir une biographie consistante. Travaillant à Paris, Jacques Linard reçut le titre de peintre et valet de chambre du roi en 1631, témoignant de sa renommée et de l''estime qu''il suscita de son vivant. Si elle est parfois austère et source de méditation, la nature morte peut également revêtir un caractère ostentatoire. Jacques Linard nous livre ici une œuvre à la fois discrète et démonstrative : discrète, par le délicat doigté de la bouquetière ; et démonstrative, par le bouquet opulent dans lequel cette dernière vient piocher.
Artcurial
Mar. 26, 2015
JACQUES LINARD | Nature morte à la coupe de prunes
Est: €60,000 - €90,000
Huile sur panneau préparé
Sotheby's
Jun. 22, 2010
JACQUES LINARD
Est: €30,000 - €40,000
JACQUES LINARD BAPT. TROYES 1597 - 1645 PARIS NATURE MORTE DE FLEURS DANS UN VASE EN PORCELAINE SUR UN ENTABLEMENT JACQUES LINARD ; STILL LIFE OF FLOWERS IN A PORCELAIN VASE; DATED LOWER RIGHT 1641 ; OIL ON PANEL Daté en bas à droite 1641 Huile sur panneau 26,7 x 34,5 cm ; 10 1/2 by 13 2/3 in
Sotheby's
Jan. 25, 2007
JACQUES LINARD TROYES 1597 - 1645 PARIS
Est: $200,000 - $300,000
STILL LIFE OF A MELON, PEACHES, GRAPES AND FIGS IN BASKET RESTING ON LEDGE measurements note 20 1/4 by 24 in.; 51.4 by 61 cm. signed lower center I LINARD and dated lower right 1636 oil on canvas PROVENANCE Anonymous sale (Collection R.B. and various owners), Paris, Hôtel Drouot, March 29, 1993, lot 51; Anonymous sale, New York, Sotheby's, January 11, 1996, lot 144; Where purchased by the present owner. LITERATURE P. Nusbaumer, Jacques Linard 1597 - 1645, Abbeville, 2006, pp. 54 - 55, cat. no. 12, reproduced, (as present location unknown). NOTE From shortly after his death until the beginning of the twentieth century, Linard and his unique still lifes were more or less forgotten. He was "rediscovered" in a 1911 article by Emil Waldmann dedicated to the National Gallery of Greece, Athens, which had acquired a Still Life of Fruit, signed and dated 1629; it was the first example of Linard's work to enter a public collection. This triggered further investigation about the relatively unknown early French still life artist. Charles Sterling presented two of Linard's still lifes in his groundbreaking 1934 exhibition Peintres de la réalité en France au XVIIe siècle. Since then Linard has been more fully studied and is now considered together with Moillon, Garnier, and Stoskopff amongst the founders of French still life painting. Indeed as still life painting was being developed in the Netherlands, Linard pioneered in the genre in France. His austere, Jansenist approach was very different from the opulence of Dutch and Flemish painters, in which precious objects, fruit, flowers and other elements are composed and juxtaposed in a somewhat disorderly manner. Linard's paintings are venerations to sobriety and balance. Linard's work is rare and only 48 fully autograph examples are extant. This painting, signed and dated 1636, is from the artist's early maturity. Only five dated pictures predate it (Nusbaumer, see Literature, notes four undated pictures which are earlier, based on stylistic grounds). Linard sometimes reused certain elements, even years later; for example, the melon in the basket in the present composition, and less closely the peaches nearby, reappears later in two other paintings, both dated 1642 ( one location unknown, and the other in the Bowes Museum, Barnard Castle, see Nusbaumer, op. cit., cat. Nos. 28-29).
Sotheby's
Oct. 26, 2001
A ROYAL LOUIS XIV SAVONNERIE CARPET
Est: $150,000 - $250,000
France, Mid-17th Century Having a mixed flower bouquet on the navy blue to black field within a wide navy blue to black border of flowering baskets and bountiful ribbon-tied bouquets Approximately 10ft. x 7ft. 1in. (305cm. x 216cm.) NOTES The present lot belongs to an early group of French Savonnerie carpets frequently referred to as Louis XIII carpets. It is widely believed that this carpet and similar carpets were actually woven not during the reign of Louis XIII but between his death in 1643 and the succession of Louis XIV to the throne in 1661. On January 4, 1608, Henri IV encouraged French carpet production by granting workshop space in the basement of the Louvre below the Grande Galerie to Pierre Dupont tapissier ordinaire en tapis de Turquie at fa‡ons de Levant, (see Verlet, Pierre, The James Rothschild Collection at Waddersdon Manor, The Savonnerie, The National Trust, London, 1982, p. 28). One of Dupont's apprentices, Simon Lourdet, quickly became so proficient in the trade that he ingratiated himself to the Queen, Marie de Medicis, who allowed him to install another workshop in the former soap factory, or savonnerie at Chaillot. A partnership agreement between Dupont and Lourdet was signed on September 5, 1626 to share the profits and expenses of both workshops and both produced carpets of very similar design up until 1664. As no records survive from this period it is very difficult to specifically attribute this carpet to either workshop. Carpets from this period share in common many features, foremost the black or dark blue and sometimes brown ground color that is replete with strewn colorful, naturalistic and identifiable single flowers or sprays. A wide and defined border surrounds the field containing similar flowers and floral arrangements creating a millefleurs effect. Often the flower arrangements in the border are sitting in blue and white Chinese porcelain bowls, silver basins, cartouches, or as seen in our example low open work straw baskets. The minor borders separating the border from the field and outlining the border are typically drawn from elements of the antique or from borders used in tapestries from the same period. A scrolled leaf and leaf tip ornament is used in the inner border of our example with a similar variation in the outer border. It is not known who designed or provided the models for these carpets but the overall concept is based on Oriental (Persian, Indian and Turkish) carpets combined with the European taste for flowers. Contemporary designs for embroidery and tapestries are very similar and Dupont was known to be an embroiderer, as well as a carpet weaver. Another artist working for the crown, Georges Baussonnet signed a number of drawings dated between 1592 and 1636 that are quite similar to the accurate depiction of flower specimens in these carpets (see Verlet, fig. 101). Further inspiration can be found in still life paintings from the Netherlands and one in particular, painted by Jacques Linard (c. 1600-45) of a Basket of Flowers currently in the Louvre, bears strong resemblence to the depiction of the basket of flowers in the borders of our carpet (see Sherrill, Sarah, Carpets and Rugs of Europe and America, Abbeville Press, New York, 1996, p. 65, plate 69). The strong similarities and repetitious designs of the so-called Louis XIII carpets from this period indicate that the repertoire of designs of this relatively young workshop was limited. However, this also suggests that they were a success and found favor with the court. The production of Savonnerie carpets at this time was solely made for the order of the King, his family and as dignitary gifts to foreign diplomats and to members of his court. Most of these so-called Louis XIII carpets, with a few exceptions, are small in size. The smaller carpets were perhaps intended as table carpets while the bigger carpets were used as floor coverings. Many of the carpets thought to have been used as table carpets include depictions of companes or tassels, which would hang down from the table in a trompe l'oeil imitation of the bell-like tassels found embellishing needlepoint and tapestry furniture coverings of the time. Because the offered carpet is of relatively small size, it is possible that its original function was as a table carpet but unlike other examples of table carpets it is lacking the depiction of tassels. Several carpets from this group survive, in the Louvre, cat. no. 300, illustrated in Verlet, fig. 106, p. 171; in the Wrightsman Collection at the Metropolitan Museum of Art in New York, see Watson, F.J.B., The Wrightsman Collection, The Metropolitan Museum of Art, New York, 1966, vol. II, plate 276, pp. 492-493; in the James A. de Rothschild Collection at Waddeson Manor, see Verlet, cat. No. 1 fig. 104, pp. 168-170; in the Mus‚e Nissim de Camondo, inv. no. 177; in the J. Paul Getty Museum, no. 70.DC.63, see Bremer-David, Charissa, French Tapestries and Textiles in the J. Paul Getty Museum, Los Angeles, 1997, pp. 130-137; in the Tarica Collection, illustrated in Faniel, Stephane and Lavallois, Pierre, Le Dix-septiŠme SiŠcle Fran‡ais, Collection Connaissance des Arts, Hachette, Paris, 1958, p. 131; the ex-collection of Thelma Chrysler Foy, sold at Parke-Bernet galleries, New York, May 22-23, 1959, lot 770; and anonymous, Sotheby's, New York, October 14, 1988, lot 94. All of these carpets share with the present carpet an exuberance of detail in the flowers on a navy blue to brown field. The drawing of the open work wicker basket on our example is very similar to the treatment of the basket of flowers on both the Rothschild and Getty examples.
Christie's