Claude-Jean-Baptiste Hoin

Self-portrait

Auction Closed

January 25, 04:44 PM GMT

Estimate

25,000 - 35,000 USD

Lot Details

Description

The Art of Pastel: A Swiss Private Collection

Claude-Jean-Baptiste Hoin

Dijon 1750 - 1817

Self-portrait

Pastel;

signed and dated, lower left: par lui-meme: / 1775; cryptogram with date, lower right: 1775

540 by 450 mm; 21 1/4 by 17 5/8 in.

We are most grateful to Neil Jeffares for informing us that the cryptogram on the present pastel is a Masonic code, which was deciphered by Philippe Nusbaumer, when the pastel was at Galerie Marcus. The Cyptogram reads, ‘C I B HOIN P 5775’. Each symbol represents a letter using a well-known Masonic cipher system, described here: https://en.wikipedia.org/wiki/Pigpen_cipher The numbers signify the year 1775 (in the Masonic dating system, 4000 is added to the year.)

Général Paul-Edouard-Alfred Darras (1834-1903), great-grandnephew of the artist by marriage, Château d'Arsonval,
by descent to his cousin,
Pierre-Emmanuel-André Fernandez (1886-1952),
Madame Réne-Félix Fadier, née Denise-Henriette Fernandez (1919-1999), Paris 1963;
with Galerie Marcus, 1998,
Where acquired by Jacques-Louis Isoz

Baron R. Portalis, 'Claude Hoin', Gazette des beaux-arts, 1899-1900, reproduced;
N. Jeffares, Dictionary of pastellists before 1800, London 2006, p. 249, reproduced / online edition, no. J.4.101

Claude Hoin, Paris, 1934, no. 91;

Claude Hoin, Dijon, Musée des Beaux-Arts de Dijon, 1963, no. 44.

____________________________________________

Claude Hoin, Paris, 1934, n° 91 ;

Claude Hoin, Dijon, Musée des Beaux-Arts de Dijon, 1963, n° 44.

Arresting and confident in execution, this is a self-portrait, signed and dated 1775, by the Dijon born artist, Claude Jean-Baptiste Hoin. The artist has depicted himself within an oval frame, and looks out towards the viewer with an inquisitive gaze and slightly cocked head. At only 25 years of age, it is a bold, robust and technically assured portrait.

Initially a pupil of Claude-François Devosge in Dijon, Hoin moved to Paris in 1774 where he studied under Jean-Baptiste Greuze, copying many of that artist's works. In addition to his works in pastel, Hoin was also a miniaturist and gouachist and also executed a large number of chalk drawings on blue paper.

Of his work in pastel, Neil Jeffares informs us that they are ‘characterised by strong drawing and animated colours, and he often made use of the di sotto in sù perspective and other theatrical, almost baroque, compositional devices.’¹ Jeffares also highlights Hoin’s admiration for the Dutch Masters, especially Rembrandt, whose works he copied in pastel and he comments that ‘perhaps he was consciously following in these masters’ footsteps by producing so many self-portraits.’²

The coded cryptogram, lower right, within which the artist has inscribed the date, appears to translate to a version of the artist's name.

1. N. Jeffares, 2006, op.cit., p. 249

2. Ibid