Lot 368: Eustache Le Sueur Paris 1616 - 1655 , The Triumph of Galatea

oil on canvas

measurements note 33 5/8 by 37 in.; 85.4 by 94 cm.

Paris, Galerie Charpentier, Figures nues de l'Ecole Française: depuis les maîtres de Fontainebleau , 1953, no. 203;
Paris, Galerie Bernheim Jeune, Le Nu à travers les âges , 1954, no. 58;
Tokyo-Kyoto, Art Français , 1954-1955, no. 3;
Rome, Palazzo delle Esposizioni, Il Seicento Europeo , 1956, no. 317 as by Vouet.

C. Blanc, Le trésor de la curiosité, Paris 1857-1858, vol. 1 p. 435, vol. 2 p. 374;
Y. Picart, "Une gloire méconnue: Simon Vouet, premier peintre de Louis XIII", in Jardin des Arts, T. 8, 1958, pp. 17-28 as by Vouet;
W. Crelly, The painting of Simon Vouet, New Haven, London, 1962, p. 202, no. 114 as by Vouet ou Le Sueur;
A. Mérot, Eustache le Sueur 1616-1655, Paris 1987, p. 178, cat. no. 30, reproduced plate 42.

Jean-Baptiste Lemoyne, Paris;
His sale, Paris, Hotel Drouot, August 10, 1778, lot 4;
Pierre-Hyppolyte Lemoyne, Paris, Jean Duchesne, May 19-22, 1828, lot 49;
Paul Cailleux collection, Paris;
Otto Wittman collection, Toledo, Ohio, acquired from the above after 1962;
By whom sold, New York, Christie's, May 31, 1990, lot 101.

Merot, (See Literature), identifies the above lot with a painting in the sale of the sculptor Jean Baptiste Lemoyne, Paris, August 10, 1778, lot 4, where described as "quoique dans la manière de Vouet, offre des beautés du meilleur terme de ce Maître" (somewhat in the manner of Vouet, this offers some beautiful qualities of the master). Crelly, (See Literature), described the picture as by Vouet, but was uncertain of the subject, and did describe the style and handling as similar to le Sueur. Charles Sterling, in private written communication, thought it was painted by Vouet, or an early work painted by Le Sueur working under the influence of his master Vouet. Merot (See Literature), compares the painting to a picture of Marine Gods by Le Sueur in the Getty Museum and dates it to 1643-1644, when Vouet and his assistants were working at Fontainebleau. This date suggests that the present work is painted shortly before the paintings by Le Sueur for the Cabinet de l'Amour in the Hotel Lambert. An engraving by Michel Dorigny, dated 1645 (see R. Dumesnil, vol. IV, p. 290, no. 101), is very close to the decorative scheme of the present work. There is also a drawing for this composition, in the Musée d'Angers, France. Two 19th century engravings, were made after this painting, one by A. Desnoyers and Massole with the title "Galatée" and the inscription "Peint par Le Sueur", another one is a lithography by Challamel. According to family tradition this painting was given by Le Sueur himself to an ancestor of the sculptor Jean-Baptiste Lemoyne. In his 1778 sale, the painting was purchased by one of his sons, the architect Pierre-Hippolyte Lemoyne, and then sold in the latter's sale in 1828 (see Provenance). This picture subsequently was bought by Otto Wittman, the legendary American curator of the Toldeo Museum of Art. Wittman, praised for his keen eye, began his tenure as director of the Toledo Museum in 1959 and served in this position for 17 years. During this time, he tripled the museum's collection, paying particular attention to the Dutch, American and 17th century French and Italian collections. Wittman, who passed away in 2001, is remembered for his bold, unconventional exhibitions, his renowned community and education programs, and his intimate understanding of the art market.