Attributed to Hendrik Mommers

Anonymous sale, London, Christie's, 25 April 2001, lot 94 (as Flemish School, 17th century), where acquired by the present collector.

Paris, Galerie Charpentier, Paris et ses peintres, 1944-1945, cat. no. 217 (as French School 17^th century).

G. Bauer, Paris et ses peintres, exh. cat., Paris 1945, cat. no. 217, reproduced p. 1 (as French School 17^th century).

The canvas has an old glue lining which is supporting the paint layer yet not completely restraining the cracking or particularly the original canvas join which runs vertically through the middle. If the lining were to be changed this would be easily eliminated. The buildings, figures and lower sky are all in good condition, including the river. Further up in the sky the condition continues to be excellent but in the center of the left side there is a fairly large but not conservatively applied restoration, approx 4 cm squared to the left of the tower top. The original canvas join has received some restorations but in the right side of the sky, apart from a few restorations designed to reduce some of the canvas grain which has become visible over time, there are no other retouches. There is a line of restored frame abrasion along the lower margin. Offered in a gilt wood and plaster frame in good condition.
"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."

The composition derives from an engraving by Jacques Callot who was recorded in Paris several times between 1628 and 1631, and who drew views of some of the most popular sites of the French capital.¹ The two most famous ones are the Vue du Louvre and the present composition, the Vue du Pont Neuf. He later engraved both of these views upon returning to his native city of Nancy in circa 1632.

The work provides an excellent record of how Paris appeared in the first half of the seventeeth century as many of the older, medieval sections of the city were being transformed and modernized. At the centre of the composition in the foreground are the Tour de Nesle and the Porte de Nesle which were part of the fortifications built by Philippe-Auguste and which were pulled down in 1663 during the construction of the Collège des Quatre-Nations. In contrast with the medieval buildings, newer seventeenth-century edifices can be seen in the distance on the Ile de la Cité. The Pont Neuf, only recently inaugurated in 1607, was the first bridge in Paris that was not crowded with houses and quickly became one of the favourite promenades of the Parisiens. The statue of King Henri IV, partly executed by Giambologna, can be seen at centre at the end of the Place Dauphine. 

We are grateful to Mr. Jan de Maere for suggesting the attribution to Hendrik Mommers.

 

1.  H.D Russel, Jacques Callot, Washington 1975, p. 33, cat. no. 19.