Jean-Jacques Lagrenée

Anonymous sale, Paris, Hôtel Drouot, October 25th, 2001, as "entourage de Subleyras"

Salon de l'Académie royale de peintures et sculptures 1781, Paris, n°45

A. Hachette, Le couvent de la Reine à Versailles (lycée Hoche), Paris, 1923, p. 95 ;
M. Sandoz, Les Lagrenée, II. Jean-Jacques Lagrenée (le jeune) 1739-1821, Paris, 1988, p. 223 ;
M. Müntz de Raïssac, Richard Mique (1728-1794), Architecture religieuse et temples profanes, Bulletin de la Société de l'Histoire de l'Art français, Paris, 2002, p. 143 ;
L'Apothéose du geste, exh. cat., Paris 2003, p. 228, illustrated ; 
Peintures françaises des XVIIe et XVIIIe siècles des musées d'Amiens, exh. cat., Paris, 2006, under the saint Augustin painting by Lagrenée ;

A l'oeil nu, le tableau apparaît dans un état de conservation très satisfaisant. Il a fait l'objet d'un réentoilage réalisé dans la première moitié du XXe siècle, correctement réalisé, même si, un peu tendu. Il a fait l'objet d'un nettoyage relativement récent et correctement réalisé. On remarque un beau réseau de craquelures, en coquille d'oeuf très typique du XVIIIe siècle, et parfaitement stables et ne gênant pas la lecture de l'oeuvre. On remarque une couture de toile verticale. A la lampe UV : On remarque des traces de vernis ancien réparti sur toute la surface. On note quelques restaurations réparties dans les fonds et une reprise le long de la couture verticale de toile entre l'ange et saint Grégoire. To the naked eye, the painting is in a very good overall condition. It has been recanvassed in the first half of the 20th century, which was well made even if a bit harsh. It has been recentlry cleaned in a nice way. We can see a network of cracks in the shape of an eggshell typical of the XVIIIth century and perfectly stable and not disturbing the general impression. We can see a vertical sewing. Under the UV light : We can see some remains of an old green varnish all over. We can see some restorations in the background and a restoration along the stitch between the angel and saint gregory.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In March 1777, the Queen of France Marie Leszczyńska commissioned the decoration of four pendants for the church of the Queen's convent, now Hoche high school in Versailles, representing the four canonical fathers of the Catholic Church. Four years later, Lagrenée exhibited his four sketches at the Salon, including ours depicting St. Gregory on his papal throne, listening to the divine messages that he would later translate into his texts. In our model, we can perceive the painter's research, notably by a pentimento of the shape of a dove above the pope's finger still visible to the naked eye, which reveals the dove's former position as being higher up.

We are thankful to the Art historian Joseph Assémat-Tessandier for confirming the attribution to the painter Jean-Jacques Lagrenée.