Nicolas Régnier (Maubeuge 1591 - Venezia 1667 ) attribuito La carità romana Olio su tela 134 x 93 cm L'opera deriva dalle versioni di Bartolomeo Manfredi, con cui Régnier fu in contatto. Una è conservata agli Uffizi, e l'altra, la più affine, rintracciabile in Fototeca Zeri (scheda 46511). Nella nostra opera Il volto della giovane ragazza ricorda inequivocabilmente le effigi femminili del caravaggista francese Nicolas Regnier, che in queste occasioni ritraeva le bellissime quattro figlie, come dimostra il volto del dipinto Pandora oppure della Carità Romana alla Galleria Estense di Modena. Fu allievo di Abraham Janssens ad Anversa, poi fu a Roma nel 1615, dove si avvicinò al caravaggismo di Bartolomeo Manfredi e dei conterranei Vouet e Tournier. In un secondo tempo, grazie al fratellastro Michele Desubleo ebbe modo di approfondire il classicismo di Guido Reni. Giunse a Venezia attorno al 1624 e fu iscritto alla Fraglia dei pittori dal 1626 al 1641. Persona e artista elegante ebbe modo di aggraziarsi le nobili famiglie veneziane che apprezzavano molto il suo virtuosismo raffinato, piuttosto raro in laguna. Nicolas Régnier (Maubeuge 1591 - Venice 1667) attributed Roman Charity Oil on canvas 134 x 93 cm The artwork derives from versions by Bartolomeo Manfredi, with whom Régnier was in contact. One is conserved in the Uffizi, and the other, the most similar, can be found in the Zeri Photo Library (form 46511). The face of the young girl in our artwork is unmistakably reminiscent of the female effigies of the French Caravaggist Nicolas Regnier, who portrayed the beautiful four daughters on these occasions, as shown in the face of the painting Pandora or The Roman Charity in the Galleria Estense in Modena.
Nicolas RÉGNIER Maubeuge, vers 1591 - Venise, 1667 La Sibylle phrygienne Toile The Phrygian Sibyl, canvas, by N. Régnier h: 57 w: 50 cm Commentaire : Natif de Maubeuge, Nicolas Régnier étudie la peinture à Anvers auprès d'Abraham Janssens avant de devenir l'élève de Bartolomeo Manfredi à Rome, qui l'initie davantage au langage caravagesque. Dès 1626, il se rend à Venise où il restera jusqu'à la fin de sa vie et se laissera séduire par la veine colorée et sensuelle des peintres. La Sibylle phrygienne que nous présentons témoigne de son goût pour la peinture émilienne et de sa dette à l'égard de Guido Reni. Une Sibylle persique, aux dimensions et au cadrage similaire, tenant une tablette avec une inscription latine, doit être rapprochée de celle que nous présentons1. Toutes deux appartenaient sans doute à une même suite. Nous remercions Annick Lemoine d'avoir examiné ce tableau le 14 septembre 2022. Elle le date des années 1640-1650, une période où l'artiste travaillait en collaboration avec son atelier. 1. Voir A. Lemoine, 'Nicolas Régnier ca. 1588-1667', Paris, 2007, p. 313, n°156. Estimation 10 000 - 15 000 €
(Maubeuge, 1588 - Venezia, 1667) San Sebastiano Olio su tela, cm 116X90 Il dipinto, in buone condizioni di conservazione, in prima tela e con le cimose, trova confronto con la versione conservata al Museo Civico di Bassano (olio su tela, cm 182X115), ma presenta sostanziali differenze. Nel nostro caso, la figura è descritta di tre-quarti con un punto di vista più centrale e il santo è raffigurato prima di essere trafitto dai dardi, offrendo un'immagine meno drammatica e cruenta. I caratteri di stile suggeriscono anch'essi il riferimento a Nicolas Régnier e ad una esecuzione cronologicamente poco distante dalla tela di Bassano, concordemente datata al quinto decennio. L'immagine denota una chiara adesione all'idealismo classico bolognese e in particolare ai modelli di Guido Reni, con cui il Regnier iniziò a confrontarsi a partire dagli anni Venti (cfr. Lemoine, pp. 244-245, nn. 44-46) partendo indubbiamente dal San Sebastiano (1615) oggi ai Musei Capitolini, ma all'epoca appartenente alla collezione del cardinale del Monte. Bibliografia di riferimento: A. Lemoine, L'iter di un caravaggesco nordico: Nicolas Régnier e il movimento naturalista, in Paragone, 601, 2000, pp. 43-71 A. Lemoine, Nicolas Regnier ca. 1588-1667 peintre, collectionneur et marchand d'art, Paris 2007, p. 286, n. 108
PORTRAIT EINES ADELIGEN Öl auf Leinwand. Doubliert. 128 x 100 cm. In vergoldetem Keilrahmen. Dreiviertelportrait eines in dunklem Rock mit weißer Hinterfütterung und ebensolchem Spitzenkragen. Die Hand des jungen Mannes auf einen Tisch mit Schreibutensilien gestützt, in seiner Linken eine schleifenbesetzte Kopfbedeckung. Die Art der Darstellung erinnert stark an Régnier, welcher im damals spanisch sprechenden Teil der Niederlande lebte, aber auch in Italien tätig war. Retuschen unterschiedlichen Alters. (1220311) (2) (13) Nicolas Régnier, ca. 1590 - 1667, attributed PORTRAIT OF A NOBLEMAN Oil on canvas. Relined. 128 x 100 cm. Gilt coved frame.
ALLEGORIE DER ARBEIT Öl auf Leinwand. Doubliert. 91 x 74 cm In vergoldetem Prunkrahmen. Die Allegorie dargestellt durch das Halbbildnis nach links einer jungen Frau in freier Natur. Sie trägt ein elegantes mehrfarbiges Gewand aus faltenreichen glänzenden Stoffen, das im Bereich des Dekolletés mit Schmuckborte besetzt ist sowie eine Agraffe am Ärmel. Sie trägt schulterlanges gelocktes Haar mit Perlendiadem, dazu einen Perlenohrring und um ihre Unterarme Goldschmuck. Ihren linken Arm hat sie auf einen Stapel Bücher gelegt und in der Hand hält sie ein Blatt Papier mit der Beschriftung „EX LABORE GLORIA“. Als Verweis auf die zum Ruhm und Erfolg führende Arbeit hält sie in ihrer rechten Hand einen Lorbeerkranz nach oben. Auch ihre edle Kleidung und der wertvolle Schmuck weisen darauf hin. Ihren Kopf mit dem zarten Gesicht hat sie leicht gewendet und schaut mit ihren braunen Augen eindringlich auf den Betrachter. Qualitätvolle Malerei mit besonders feinem Inkarnat der Frau eines eher ungewöhnlichen Motivs. Retuschen. (1250273) (3) (18) Nicolas Régnier, 1590 - 1667, attributed ALLEGORY OF WORK Oil on canvas. Relined. 91 x 74 cm In magnificent gilt frame. Allegory depicted as a half-length portrait of a young woman in the great outdoors. With retouching.
Nicolas Regnier came to Rome in 1615 and became one of the founders of the Dutch painter’s association Bentveughels. He joined the more pleasing caravaggism of Bartolomeo Manfredi (1582-1622). In 1626 he enrolled in the Venetian painting guild. The victorious David sits on a stone facing left, leaning his right arm on Goliath's giant sword and resting his left foot on Goliath's severed head. He looks out of the picture with his head tilted slightly. A beam of light falls on his bare torso, but leaves his face in the shadow, which is brightened up by reflections. A dramatic evening landscape forms the background. The attitude of David with the arm resting on his sword is similar to that of a painting by Domenico Fetti (1588 / 89–1623) in the National Museum in Stockholm (inv. No. NM 7280), which he created in Mantua in 1613–1622 has been. Dario Succi based the attribution to Nicolas Regnier on a comparison with the Sibyl in the Galleria dell’Accademia di Venezia. Dario Succi: "The rare painting, dating from around the mid-seventeenth century, constitutes a valuable addition to the catalog of works by Nicolo Renieri, executed during the Venetian period."
Oil/canvas, 108,5 x 88,5 cm, some rest., relined to the margins. - Expertise: A chemical analysis has been made. - Provenance: Private collection Sweden. - Flemish-Italian history and figure painter. R. was taught painting in the studios of A. Janssens in Antwerp and B. Manfredi in Rome and initially was a close follower of Caravaggio. In 1626 he settled in Venice and developed a pleasing style under the influence of G. Reni and the Caracci. Mus.: St. Petersburg (Hermitage), Florence (Uffizi), Vienna (Kunsthist. Mus.), Dresden, Berlin a. others. Lit.: Thieme-Becker, Bénézit.
PORTRAIT EINES ADELIGEN Öl auf Leinwand. Doubliert. 128 x 100 cm. In vergoldetem Kehlrahmen. Dreiviertelportrait eines in dunklem Rock mit weißer Hinterfütterung und ebensolchem Spitzenkragen. Die Hand des jungen Mannes auf einen Tisch mit Schreibutensilien gestützt, in seiner Linken eine schleifenbesetzte Kopfbedeckung. Die Art der Darstellung erinnert stark an Regnier, welcher im spanisch sprechenden Teil der Niederlande lebte, aber auch in Italien tätig war. Retuschen unterschiedlichen Alters. (1220311) (2) (13) Nicolas Regnier, ca. 1590 – 1667, attributed PORTRAIT OF A NOBLEMAN Oil on canvas. Relined. 128 x 100 cm. Gilt coved frame.
Nicolas RéGNIER (Maubeuge ca. 1588-Venise 1657) Portrait présumé de Marie Farnèse Toile Presumed portrait of Mary Farnese, canvas 139 x 108,5 CM • 54 3/4 X 42 3/4 IN. €100,000-120,000 Provenance Collection particulière en Allemagne; Vente anonyme, Londres, 16décembre 1999 (Sotheby's), n°63 (Forabosco). Bibliographie Annick Lemoine, Nicolas Régnier (alias Niccolò Renieri), ca. 1588-1667. Peintre, collectionneur et marchand d'art, Arthena, Paris, 2007, p.274, n°86, repr. en couleur p.115 Francesco Pettrucci, Ritratto barocco: dipinti del '600 e '700 nelle raccolte private, Villa d'Este (Tivoli, Italy) De Luca, 2008, repr. en couleur p.32 Annick Lemoine, Adeline Collange-Perugi, sous la direction de, Nicolas Régnier l'homme libre ca. 1588-1867, cat. exp., Musée d'Arts de Nantes, Lienart, Paris, 2017 (repro. en couleur p.31). Exposition Nicolas Régnier, L’homme libre, 1588-1667, musée d’arts de Nantes, 1erdécembre 2017 – 11mars 2018, n°31. Comme l’ont montré tout récemment l’exposition Nicolas Régnier, l’homme libre au musée d’art de Nantes et la monographie du même nom, la carrière de ce peintre se divise en deux périodes distinctes. La première période est celle de Rome durant laquelle il adopta le réalisme du Caravage et suivit l’enseignement de Bartolomeo Manfredi. En revanche, ici, ambitieuse dans son exécution, cette figure féminine incarne un très bon exemple de la seconde partie de sa carrière, celle du portraitiste plus baroque et lumineux, jouissant d’une renommée internationale auprès des cours d’Europe. L’œuvre puissante a été produite durant le séjour du peintre à Modène, où le jeune duc François Ier menait une active politique culturelle dans l’objectif de rétablir le prestige passé de sa famille. Régnier a brossé plusieurs portraits de courtisans à la cour d’Este dont celui de la comtesse Vittoria Bulgarini et deux grands portraits d’apparat célébrant la famille régnante. Le modèle, ici représenté dans un faste extrême, pourrait être Marie Farnèse, qui a épousé François Ier en 1638. De ce fait, la comparaison de cette œuvre et d’autres portraits de la jeune femme, comme le portrait monumental de la famille d’Este anciennement donné à Justus Sustermans et rendu à Nicolas Régnier (Galerie Estensi, Modène) ou encore celui exécuté par Matteo Loves (portrait de Marie Farnèse conservé au Musée d’Art et d’Histoire, Genève), semble attester cette supposition. Ici le peintre semble avoir attaché autant d’importance au rendu physique des traits qu’aux attributs de statut social minutieusement inscrits dans le décor et la parure. On observe de manière flagrante un contraste élevé entre la puissance hiératique du personnage et le foisonnement d’ornements et d’effets de couleurs. Les rubans, boutons, dentelles et autres passementeries ont été méticuleusement reproduits par Régnier qui a pris soin de rehausser discrètement le chatoiement de chacune des perles par une touche de peinture blanche. Notons également la splendeur de la surprenante nature morte faisant partie de la coiffe de la protagoniste. Nous notons ce même soin extrême apporté au portrait d’une dame devant une vue de Venise, conservé à Madrid, Museo del Prado (toile, 215 x 145 CM) Par son baroque échevelé et son outrance visuelle cette toile s’avère brutalement moderne, annonçant presque les choix stylistiques de nos peintres contemporains tels que Fernando Botero. Provenance Private collection, Germany; Anonymous sale, London, December 16, 1999 (Sotheby's), No. 63 (Forabosco). Littérature Annick Lemoine, Nicolas Régnier (alias Niccolò Renieri), ca. 1588-1667. Painter, collector and art dealer, Arthena, Paris, 2007, p.274, n°86, color ill. p.115 Francesco Pettrucci, Ritratto barocco: dipinti del '600 e '700 nelle raccolte private, Villa d'Este (Tivoli, Italy) De Luca, 2008, color ill. p.32 Annick Lemoine, under the leadership of Adeline Collange-Perugi, Nicolas Régnier l'homme libre ca. 1588-1867, cat. exp., Nantes Fine Art Museum, Lienart, Paris, 2017 (color ill. p.31). Exhibitions Nicolas Régnier, L’homme libre, 1588 – 1667, Nantes Fine Art Museum, December 1, 2017 – March 11, 2018, n°31. As recently demonstrated by the exhibition Nicolas Régnier, l’homme libre at the Nantes Fine Art Museum and the monograph of the same name, the career of this painter is divided into two distinct periods. The first period is that of Rome during which he adopted Caravaggio’s realism and studied the teaching of Bartolomeo Manfredi. On the other hand, in our painting, the female figure, ambitious in its execution, perfectly illustrates the second part of Nicolas Régnier’s career, that of more baroque and luminous portraitist, enjoying international renown with the royal courts across Europe. This outstanding work was painted during Nicolas Régnier’s stay in Modena, where the young Duke François I aimed to restoring the past prestige of his family through an active cultural policy. Régnier executed several portraits of the d’Este court courtiers, including that of Countess Vittoria Bulgarini and two large ceremonial portraits celebrating the reigning family. Represented in an extreme splendor, the model of our painting could be Marie Farnese, who married François I in 1638. Hence, the comparison of this work and other portraits of the young woman, such as the monumental Portrait of the d’Este Family, previously attributed to Justus Sustermans and finally rendered to Nicolas Regnier (Galerie Estensi, Modena) or the one executed by Matteo Loves (Portrait of Marie Farnese now in the Art and History Museum, Geneva), seems to confirm this assumption. The painter here seems to have attached as much importance to the trueness of the model’s physical features as to the attributes of her social status minutely inscribed in the sumptuous decor and jewels. The hieratic power of the character goes in stark contrast to the profusion of ornaments and color effects. The ribbons, buttons, laces and other trimmings were meticulously reproduced by Régnier, who thoroughly enhanced the shimmer of each pearl with a discrete touch of white paint. One can also note the splendor of the surprising still life which is a part of the character’s headdress. The same extreme attention to the details may be seen in the portrait of A Lady in Front of a View of Venice, from Museo del Prado, Madrid (canvas, 215 x 145 CM - 84 5/8 x 57 1/8 in). The hectic baroque style and visual exuberance of the painting reveal its astonishing modernity, portending stylistic choices of the contemporary painters such as Fernando Botero.
NICOLAS REGNIER (1590-1667) Maddalena Huile sur toile rentoilée Accompagné du certificat dexportation des Beaux-Arts Italien Dimensions : 97,5 x 73 cm
HEILIGER MATTHÄUS UND DER ENGEL Öl auf Leinwand. Doubliert. 132,4 x 97,5 cm. Gerahmt. Dem Gemälde sind Expertisen der Professoren Pierluigi Carofano, Mina Gregori und Emilio Negro beigegeben. Dieses beachtenswerte Gemälde ist eine wortgetreue Kopie eines Werkes von Nicolas Régnier, das im Ringling Museum of Art in Sarasota zu sehen ist; nur ist hier die Darstellung vertikal. Das Werk gehörte ursprünglich zu einer Darstellung der vier Evangelisten, von denen heute - außer dem „Mattäus mit Engel“ - nurmehr das Gemälde „Lukas malt die Muttergottes“ (Musée des Beaux-Arts, Rouen) bekannt ist. Das Werk lässt alle Stilmerkmale Régniers erkennen: den sinnlichen Naturalismus der Anatomie, die warmen Hell-Dunkel-Kontraste, die Feinheiten der Oberflächenbeschaffenheit. Die Malweise ist flüssig und lässt somit nicht an eine Kopie von einem Nachahmer denken. Die Infrarotaufnahmen, die vorab für die Restaurierung gemacht wurden, zeigen eine energische Pinselführung und zahlreiche Korrekturen. In der Vergangenheit wurde das Gemälde mehrfach versuchsweise restauriert, was an einigen Stellen zur Beschädigung des Auftrags führte; besonders sichtbar ist dies bei der Tischdecke. Die beiden Figuren jedoch - und vor allem der Kopf des Evangelisten - sind meisterlich gelungen, was eindeutig auf die römische Periode (um 1620) von Régnier verweist, der damals nachweislich viele Kopien von Caravaggios Werken anfertigte. Eben solch ein Meisterwerk von Caravaggio inspirierte das vorliegende Werk, nämlich die erste Fassung des „Mattäus mit Engel“, die der Meister für die Kappelle der Contarelli in der Kirche San Luigi dei Francesi in Rom malte. Literatur: I bari a confronto. Il giovane Caravaggio nella casa del Cardinale Francesco Maria del Monte, catalogo della mostra, P. Carofano (Hrsg.), Ausstellungskatalog Monte Santa Maria Tiberina, 29. September - 7. Oktober 2012, Pontedera 2012, S. 88-91, Nr. 19. P. Carofano, in: I miti e il territorio nella Sicilia dalle mille culture. L'Influenza di Caravaggio e dei Fiamminghi nella pittura meridionale, F. Paliaga (Hrsg.), Ausstellungskatalog Salemi, Castello Normanno-Svevo, 9. August - 25. Oktober 2015, Pontedera 2015, S. 28-31, Nr. 4. (1032073) (21) Nicolas Régnier, 1588 Maubeuge - 1667 Venice, and workshop of SAINT MATTHEW AND THE ANGEL Oil on canvas. Relined. 132.4 x 97.5 cm. Accompanied by experts' reports by Prof Pierluigi Carofano, Prof Mina Gregori and Prof Emilio Negro. This remarkable painting is an exact copy of a work by Nicolas Régnier held at the Ringling Museum in Sarasota, except for the present depiction being vertical. The painting was originally part of a depiction of four evangelists. Except for our Mattheus and the Angel, only one other painting, Saint Luke paints the Mother of God (Musée des Beaux-Arts, Rouen) are known. Our painting shows all of Régnier's stylistic features: the sensual naturalism of the anatomy, the warm chiaroscuro contrasts, the fineness of the surfaces. The painting style is fluid and does not bring to mind a copyist's work. The infrared photographs carried out before the painting's restoration shows energetic brushwork and numerous corrections. Literature: I bari a confronto. Il giovane Caravaggio nella casa del Cardinale Francesco Maria del Monte, catalogo della mostra, P. Carofano (ed.), exhibition catalogue Monte Santa Maria Tiberina, 29 September - 7 October 2012, Pontedera, 2012, pp. 88-91, no. 19. P. Carofano, in: I miti e il territorio nella Sicilia dalle mille culture. L'Influenza di Caravaggio e dei Fiamminghi nella pittura meridionale, F. Paliaga (ed.), exhi-bition catalogue Salemi, Castello Normanno-Svevo, 9 August - 25 October 2015, Pontedera, 2015, pp. 28-31, no. 4.
Attribué à Nicolas Régnier Maubeuge, vers 1591 - Venise,1667 Jeune pâtre en buste dans un ovale feint Huile sur toile 'BUST OF A YOUNG SHEPHERD', OIL ON CANVAS, ATTRIBUTED TO N. REGNIER h: 54 w: 46 cm
Nicolas REGNIER (1590-1667)<br> Sainte-Madeleine<br> La sainte est représentée de profil, pleurant, un vase à parfums posé sur un entablement de pierre. Huile sur toile H 107 L 85 cm Ecole française, XVII°<br> Provenance :<br> Coll. part. Cologne depuis 1950 Coll. part. allemande fin du XIX° siècle achetée dans le commerce d'Art italien Après examen direct de cette toile, Mme Annick Lemoine a confirmé cette aeuvre comme une aeuvre autographe du peintre Nicolas Régnier, avec une éventuelle collaboration de l'atelier. Elle figurera dans le supplément de son catalogue raisonné consacré à cet artiste. Une lettre de Mme Lemoine se référant à cette composition sera remise à l'acquéreur.<br> Cette composition est une variante du tableau connu et référencé page 165 du catalogue de Mme Lemoine. En effet, on constate quelques différences dans les feuillages mais aussi des gouttes de sang sur le drap blanc posé sur le mur de pierre.<br> Nicolas Régnier appartient au groupe de Français qui s'installent à Rome au début du XVII° siècle. Ils reçoivent le choc des tableaux de Caravage qui marquera beaucoup d'entre-eux (Valentin de Boulogne, Nicolas Tournier, Claude Vignon...). Régnier lui-même évolue, marqué par les caravagesques nordiques installés à Rome (Honthorst, ou Stomer), avant une période vénitienne, vers 1660, date probable de notre tableau.<br> Si la tradition catholique amalgame les quatre Marie, Marie-Madeleine semble pour les protestants et les orthodoxes, une pécheresse qui oint les pieds de Jésus avec du parfum lors du repas chez Simon le pharisien (Luc, 36-50). Repentante, elle Le suit. Notre tableau reprend cet épisode, sans autre allusion que le vase de parfum précieux posé sur un entablement.<br> Il existe d'autres versions où le linge est mouillé du sang du Christ, opposant alors la vanité des choses terrestres (parfum réputé précieux, masquant les puanteurs du corps) et le sang rédempteur du Fils de Dieu qui lave des pêchés. Très explicitement notre Marie-Madeleine est une "vanité" pleine de contrition mais différente des Madeleine songeuses, un crâne à la main, comme chez La Tour ou Guy François. Elles sont dénudées, leurs cheveux longs défaits, signe de leur condition et de leur abandon, d'abord aux hommes, puis à Dieu. Notre Madeleine est encore richement vêtue, la chevelure nouée par des rubans...<br> Le cadrage très serré du tableau, plein d'une intensité où le peintre veut rendre compte de la détresse, lui confère une efficacité qui accentue encore la teneur dramatique. La formule est reprise des caravagesques auxquels s'associe Régnier. On retrouve ici la pratique des "nuits", i.e. des scènes nocturnes à éclairage artificiel, presque brutal, qui souligne les volum_es en les désarticulant. Attribué à Nicolas REGNIER (1590-1667) Sainte-Madeleine N.B : Le tableau est attribué à Nicolas REGNIER. Le thème peut être la découverte du sépulcre vide par Marie-Madeleine. Au matin du troisième jour, elle vient pour laver le corps supplicié de Jésus (d'où le flacon d'onguent), trouve le tombeau vide, et le saint suaire abandonné sur son bord. Cette Marie-Madeleine partira ensuite avec la Vierge, Lazare et Joseph d'Arimathie, emportant le Graal. Ils arriveront sur les côtes de Provence, Marie-Madeleine se retirant dans la montagne Sainte-Baume.
Nicolas REGNIER (Maubeuge 1591 - Venise 1667) et atelier Saint Mathieu et l'ange Toile 132,4 cm x 97,5 cm Provenance: collection privée, Naples Bibliographie: - I Bari a confronto. Il giovane Caravaggio nella casa del cardinale...
NICOLAS REGNIER (CIRCLE OF) (Maubeuge 1590-1667 Venice) Saint John the Baptist in the Wilderness. Pen and brown ink and gray wash on cream laid paper mounted on laid paper with a decorative ink border. 275x200 mm; 10 3/4x8 inches. A design based on the Guido Reni painting of the same subject, circa 1636-37, now in the Dulwich Picture Gallery, London.
Nicolas Régnier, 1590 Maubeuge/ Antwerpen - 1667 Venedig, zug. / Schule des , HALBBILDNIS EINES JUNGEN MÄDCHENS MIT ENTBLÖSSTER BRUST Öl auf Leinwand. 80,5 x 66,5 cm. In ovalem Rahmen mit Lorbeerblattmotiv. Das Mädchen im Dreiviertelportrait, Gesicht und Oberkörper in betonter Helligkeit vor dunklem Hintergrund, das rot-braune Kleid mit darüber gelegtem, smaragd-grünem Tuch, gehalten durch eine Edelsteinspange am Dekolleté. Am linken Ohr eine tropfenförmige, silbrig graue Perle, über dem Mittelscheitel des Haares leuchtet der Edelstein eines Diadem-Reifes auf. (8809011)
Attribué à Nicolas REGNIER (1590 - 1667) Marie Madeleine Toile 102 x 129 cm Provenance: Vente anonyme, Milan, Sotheby's, 4 décembre 2001, n° 176 reproduit en couleur (Régnier). Bibliographie: A. Lemoine,...
RENIERI, NICCOLÒ (Maubeuge, Venedig 1590-1667) Endymion. Halbfigur des schönen Jünglings vor Walddickicht. Die Hände tasten in Oliven und deuten auf eine Trinkschale. Der Kopf mit langem lockigem Haar wendet sich nach oben rechts. Lwd. (doubl. u. beschn. ?). 130 x 93 cm. R. Zuschreibung durch den bedeutenden Kunsthistoriker und Italienkenner Walter Bombe (1876-1946). (53222)
Attribué à Nicolas Régnier Maubeuge, vers 1591 - Venise, 1667 La Diseuse de bonne aventure Toile h: 106 w: 137,50 cm Provenance : Vente anonyme ; Londres, Sotheby's, 22 juin 1960, n° 51 (comme Bartolomeo Manfredi) ; Ancienne collection David Rust, Washington ; Collection particulière, Rome Bibliographie : Jean-Pierre Cuzin, "Pour Valentin", 'Revue de l'Art', 1975, note 21 (comme Nicolas Régnier) ; Arnaud Brejon de Lavergnée et Jean-Pierre Cuzin, " Une œuvre de Nicolas Régnier au musée des Beaux-Arts de Lyon ", 'Bulletin des Musées et Monuments lyonnais', 1976, fig. 7. Benedict Nicolson, 'The International Carravaggesque Movement', Oxford-New York, 1979, vol. II, repr. n° 595, vol. III (comme attribué à Nicolas Tournier) Jean-Pierre Cuzin, "Manfredi's Fortune Teller and Some Problems of Manfrediana methodus", in 'Bulletin of the Detroit Insitute of Arts', 1980, vol. 58, n°1, repr. p. 18 ; 'Nicolas Tournier 1590-1639. Un peintre caravagesque', catalogue de l'exposition Toulouse, musée des Augustins, 2001, cité p. 173 Jean-Pierre Cuzin, "La Diseuse de bonne aventure de Manfredi et quelques problèmes de "Manfrediana methodus"'", in 'Figures de la réalité', Hazan, 2010, p. 22 (repr.). Commentaire : Notre tableau serait une reprise par Nicolas Régnier du tableau de Bartolomeo Manfredi acquis par le musée de Detroit en 1979 (Toile 122 x 154 cm). Il se rapproche de la partie gauche du tableau de Bartolomeo Manfredi, anciennement conservé à Dresde et détruit pendant la seconde guerre mondiale. Initié à l'art de la peinture à Anvers dans l'atelier d'Abraham Janssens, Nicolas Régnier est à Rome entre 1617 et 1626. Au service du marquis Vincenzo Giustiniani, protecteur du Caravage et amateur de Nicolas Poussin, Nicolas Régnier suit la méthode de Bartolomeo Manfredi, la Manfrediana methodus, telle qu'elle est définie par l'historien d'art allemand Joachim von Sandrart. Les personnages cadrés à mi-corps, sont regroupés dans un espace restreint et se détachent d'un fonds sombre. La lumière tel un coup de projecteur, modèle leur visage. Nicolas Régnier ajoute toutefois quelques variantes dans les contrastes de coloris. Les visages sont plus gais et traité de manière satinée, les yeux des protagonistes sont noirs brillants et les chairs luisantes. Le traitement des voiles et des étoffes permet à Jean Pierre Cuzin de rapprocher notre tableau de la 'Madeleine pénitente' conservée à Detroit (toile 122 x 96,5 cm) et de le dater vers 1625, juste avant le départ de Régnier à Venise où il s'établit définitivement. Le sujet de la diseuse de bonne aventure est un emprunt au Caravage. En se conformant à l'iconographie de Manfredi, Nicolas Régnier introduit deux personnages supplémentaires illustrant le double vol symétrique. Cuzin ajoute " A chaque protagoniste correspond un comparse plus âgé, un double […] a la vieille bohémienne qui tire délicatement la bourse de la poche du jeune homme correspond, à droite, l'homme mûr qui retire du sac de la jeune bohémienne un poulet ". Ce lot est présenté par Monsieur René Millet.
NICOLAS RÉGNIER MAUBEUGE, FLANDERS CIRCA 1590 - 1667 VENICE A YOUNG WOMAN POURING RED WINE FROM A PITCHER INTO A GLASS, A STILL LIFE OF GRAPES, A PEAR AND APPLES ON A SILVER PLATTER, A KNIFE AND BREAD-ROLL, AND OYSTERS NEARBY oil on canvas, unlined 134 by 94.3 cm.; 52 3/4 by 37 1/8 in.
THE PROPERTY OF A PRIVATE COLLECTOR SAINT MATTHEW AND THE ANGEL measurements note 65 by 55 3/4 in.; 165.1 by 141.6 cm. oil on canvas NOTE So closely is he associated with the brilliant group of French Caravaggistes active in Rome in the early decades of the 17th Century, Nicolas Régnier's Flemish origins and early training in Antwerp are often forgotten.1 He was a pupil of Abraham Janssen whose own work had already done much to disseminate the early influence of the Italian Baroque in the North, and whose pupils included some of the most important Flemish tenebrist painters. His biographer and friend, Joachim von Sandrart noted that upon his arrival in Rome, circa 1615, he frequented the studio of Bartolomeo Manfredi, who was to be a continued influence on his style. This Saint Matthew and the Angel dates from the early 1620's, Régnier's moment of greatest artistic potency. The figure of the elderly evangelist is depicted slumped over his writing desk as if just roused from sleep by the adolescent angel who rests his hand on the saint's shoulder. In its strong and evocative narrative conception, it recalls the first Saint Matthew and the Angel which Caravaggio had painted for the Contarelli chapel in San Luigi dei Francesi in Rome. That painting was famously rejected because of its uncomfortable imagery and the perceived indecorous pose of the Saint, and as a result was purchased by Vincenzo Giustiniani, one of the greatest collectors of the day. It is a picture which Régnier would have known very well; Giustiniani was one of Régnier's most important patrons, and the artist lodged in Palazzo Giustiniani for part of his time in Rome. It certainly would have served Régnier as an inspiration for his own depictions of the theme; in fact, among the nine canvases by the artist listed in the Giustiniani inventory of 1638, there is one depicting "S. Matteo [di mano di Nicolò Ranieri].... in tela alta palmi 11 ½ Larga 9 ½ incirca senza cornici .2" While the Giustiniani Saint Matthew has not been yet identified (and cannot be associated with the present canvas), it documents Régnier's interest in the theme in the years before his departure from Rome in 1625. Other treatments of this subject dating from these years are extant, and perhaps the most compelling comparison with the present work may be made with the example in the collection of the Ringling Art Museum, Sarasota, Florida. That canvas is datable to 1620-25, and although of a different composition, it has many of the same elements: Saint Matthew, fully intent on his gospel, is shown at a draped table, and the young angel also runs his index finger across the text while resting his hand on the evangelist's shoulder. The physiognomies of the figures are very similar as well, and it seems likely that the two canvases would have been painted within a few years of each other. After inspecting the present work first hand, Annick Lemoine will include the present picture in her forthcoming catalogue raisonné on the works of Nicolas Régnier (to be published by Arthena in 2007); she has noted some weaknesses in secondary passages due to old restoration. 1 Régnier was born in the town of Maubeuge, then in the French speaking Flemish province of Hainaut, which was later ceded to France in the Treaty of Nijmegen in 1678. 2 [Trans: "St. Matthew (by the hand of Nicolo Raineri) on canvas about 11 1.2 palmi high by 9 ½ across, unframed"]. The painting was hung in the same room with three other canvases representing the other evangelists by Domenichino, Reni and Albani. It might be supposed that the canvases formed a "made up set," even though the Reni was of a slightly smaller size, and the other three were of matching measurements. Of all of the canvases, only the Domenichino of Saint John the Evangelist is identifiable (see R. Spear, Domenichino, New Haven and London 1982, p.p. 270-27). Please also see S. Danesi Squarzina, La collezione Giustiniani, Turin 2003, vol. I, p. 343-344.
PROPERTY FROM A CORPORATE COLLECTION SAINT JOHN THE EVANGELIST ON THE ISLAND OF PATMOS measurements note 167 by 139.8 cm.; 65 3/4 by 55 in. oil on canvas, in a carved and gilt wood frame NOTE Though Flemish by birth, Régnier is most closely associated now with the French painters such as Simon Vouet, Valentin de Boulogne and Nicholas Tournier, who were working in Rome in the second decade of the seventeenth century and who, like Régnier, were profoundly influenced by the works of Caravaggio. Régnier himself was in Rome from 1615 until 1626, when he settled in Venice. The present painting may belong to this phase of Régnier's career or shortly afterwards. Similar models are employed, for example, in his depictions of David with the head of Goliath in the Galleria Spada in Romeυ or Saint John the Evangelist in the Hermitage, St. Petersburg.υ1 Another Saint John, in a private Parisian collection, shown at half-length, uses the same pose for the head of the saint.υ2 1. B. Nicholson, ed. L. Vertova, Caravaggism in Europe, Turin 1989, vol. III, reproduced plates 947 and 969. 2. Reproduced in the exhibition catalogue, Dopo Caravaggio: Bartolomeo Manfredi e la Manfrediana Methodus, Cremona, Santa Maria della Pietà, 1988, p. 48.
PROPERTY FROM A FAMILY COLLECTION NICOLAS RÉGNIER MAUBEUGE, FLANDERS CIRCA 1590 - 1667 VENICE A MUSICIAN PLAYING A LUTE TO A SINGING GIRL inscribed with the number 30 on the reverse of the original canvas oil on canvas, unlined, on its original strainer PROVENANCE Believed to have been acquired by the grandfather of the present owner in the 1920s. CATALOGUE NOTE The appearance of this painting for the first time at auction is important, for it sheds light on Nicolas Régnier's oeuvre and, in particular, on his activity in Rome during the third decade of the 17th century. Only nine paintings, of the forty-four that have been attributed to him as having been painted during his Roman period, are actually recorded. Régnier is documented in Rome from 1620, when he is known to have been living with Dirk van Baburen and David de Haen in the district of Sant'Andrea della Valle, but he probably arrived in the city some years prior to that date. Régnier's paintings from his Roman period are markedly Caravaggesque in subject matter and style. As well as being influenced by Bartolomeo Manfredi (as Valentin de Boulogne had also been) Regnier's works can also be closely associated with those of the frenchman Simon Vouet, alongside whom he worked in Rome from 1622 (year in which Vouet returned to Rome from Genoa) to 1625 (year in which Régnier left Rome for Venice). This painting has, in fact, been tentatively attributed to Simon Vouet by some scholars who consider it to have been executed during his Roman sojourn (that is circa 1616-18 or perhaps later, in the mid- to late 1620s). The exceptional condition of this painting - the canvas is unlined and thus still retains all of its original impasto, particularly on the singer's white sleeve - allows one to see what a confident painter Régnier really was and how close he came to Vouet's own painting technique: compare, for example, the sleeve of the gypsy in Vouet's Fortune-Teller in the National Gallery of Canada, Ottawa (inv. no. 6737; reproduced in colour in The Genius of Rome 1592-1623, exhibition catalogue, London, Royal Academy of Arts, 20 January - 16 April 2001, p. 58, cat. no. 14). The subject of music in painting had always been represented since the 16th century but it was in Rome, at the time of Caravaggio, that these scenes changed dramatically and that music per se became the central theme of pictures (for a discussion of music in Caravaggesque painting see R. Vodret and C. Strinati, "Painted Music: 'A New and Affecting Manner'", in The Genius of Rome, op. cit., p. 92 ff.). Here the lute-player and singer each play and sing convincingly, and Régnier's accuracy in depicting both the instrument and the musical scores is impressive. The man is playing a 16th-century six-course lute, which would have been considered old-fashioned by the time this picture was painted, as from the early 17th century more courses were commonplace and the shape of the body had changed to a more tear-drop form; as seen in other paintings by Caravaggio and his followers (for example, Caravaggio's Lute-player in the Hermitage, St. Petersburg; Artemisia Gentileschi's St. Cecilia in the Galleria Spada, Rome; and Theodoor Rombouts' Lute-player in the John G. Johnson Collection, Philadelphia Museum of Art). Caravaggio's 'musical' paintings were collected and commissioned by the leading figures in Rome's intellectual circles, namely Cardinal Del Monte and Marchese Vincenzo Giustiniani. Joachim von Sandrart informs us that Régnier was patronised by the latter and indeed nine paintings by the artist are recorded in Giustiniani's posthumous inventory of 1638 (cited by A. Lemoine in "L'iter di un caravaggesco nordico: Nicolas Régnier e il movimento naturalista", in Paragone, March 2000, no. 601, pp. 46, 67-8, foonote 25; and for Régnier's employment see J. von Sandrart, Academie der Bau-, Bild- und Mahlerey- Künste von 1675, ed. A.R. Peltzer, Munich 1925, p. 368). The foundation of the music academy in Rome in the second half of the 16th century - the Congregazione dei Musici di Roma, from which the Accademia di Santa Cecilia would eventually develop - would certainly have had an influence on the representation of music in painting. In this picture music takes on a central role, not a marginal one: we can almost hear the notes being played on the lute and the concentrated expression of the lute-player shows him trying to keep time with the singer. The girl looks out at us mid-way through singing a note: her mouth is half-open and her finger points delicately to the musical score laid out in front of her. Music has become the sole protagonist of this painting. The painting is known in another version, with only minor differences, which was known to scholars from black and white photographs held at the Fondazione Longhi and Kunsthistorisches Institut archives in Florence, where it is recorded as with Dr. Curt Benedict in Berlin in 1927. The painting's location today is unknown (see B. Nicolson, Caravaggism in Europe, Turin 1990, vol. I, p. 160 ("Luteplayer and female singer"); more recently A. Lemoine, op. cit., pp. 61-2, reproduced plate 40, and p. 71, footnote 84; and A. Lemoine, Nicolas Régnier (Maubeuge vers 1588-Venise 1667), un peintre et un marchand de tableaux dans l'Italie du XVIIème siècle, Ph.D. Thesis-Université Paris IV Sorbonne, 2004, pp. 386-7, cat. no. 41, reproduced. Nicolson recorded the ex-Benedict version as measuring 108 by 132 cm. and indeed the composition appears to have an additional 10 cm. or so at the top: this makes the figures sit less happily in the picture space than they do in the present canvas. Only minor differences occur in the composition; such as the pearl on the singer's forehead (absent here), the brooch on her left shoulder, and the decoration on her corset (which in the present canvas is no longer visible due to pigment deterioration). We are grateful to Annick Lemoine for confirming the attribution of this picture to Régnier on the basis of first-hand inspection. She dates it to the very early 1620s. We are also grateful to Arnaud Brejon de Lavergnée for independently endorsing the attribution to Régnier on the basis of colour transparencies.
