- 23
LAURENT DE LA HYRE | A) Allegory of Concorde B) Allegory of the Foi Publique
Estimate
18,000 - 22,000 EUR
bidding is closed
Description
- Laurent de La Hyre
- A) Allegory of Concorde B) Allegory of the Foi Publique
- A) Point of the brush and blue-grey wash and black chalkB) Point of the brush and blue-grey wash;the mount extensively inscribed and numbered in black chalk: n° 9, n°11, Lahyre L. de and pV (?) and bears old attribution in black chalk, verso: Laurent Lahyre.
- 122 by 144 mm (each)
Provenance
Collection particulière, Anvers ;
Acquis par échange en 1979.
Acquis par échange en 1979.
Exhibited
Grenoble, musée des Beaux-Arts, Rennes, musée des Beaux-Arts, Bordeaux, musée des Beaux-Arts, Laurent de La Hyre, 1606-1646. L'homme et l'oeuvre, 1989-90, n°302 et n°304, repr.;
Rennes, 2012, n°37b (notice par Pierre Rosenberg) ;
Sceaux, 2013 (sans catalogue)
Rennes, 2012, n°37b (notice par Pierre Rosenberg) ;
Sceaux, 2013 (sans catalogue)
Literature
P. Rosenberg et J. Thuillier, Laurent de la Hyre, 1606-1646. L'homme d'oeuvre, Genève, 1988, pp.320-321, n°302 et 304, repr. ;
Cat. vente, New-York, Christie's, 18 mai 1995, sous le n°53 ;
Londres, Walpole Gallery, France in the Golden Age. Seventeenth century French paintings, 1996, n°25 repr.
Cat. vente, New-York, Christie's, 18 mai 1995, sous le n°53 ;
Londres, Walpole Gallery, France in the Golden Age. Seventeenth century French paintings, 1996, n°25 repr.
Condition
Both sheets are laid down on the remains of an old mount. Both sheets remain in remarkably good condition, with only some very minor discoloration to the paper evident. The combination of media remains relatively fresh throughout with both images strong. Sold unframed.
"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 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."
Catalogue Note
These two drawings, mounted together, are both fine examples of the economical and highly distinctive manner in which La Hyre drew, using the point of the brush and various shades of blue-grey wash. Similarly to lot 17 both drawings depict Allegories, the first of these being Concorde, in which the artist has portrayed a young woman dressed in a classical manner, donning a floral crown, whilst holding in her right hand a vessel surmounted by a heart, and in her left a torch, projecting a beam of light.
The second drawing portrays an Allegory of la Foi Publique (Public Trust), in which Fidelity leans on the altar of faith, carrying in her right hand her symbolic seal and key. To the left of Fidelity, seated with her left arm also resting on the altar of faith, is Security, who in her other hand holds a spear. The composition of La Hyre’s La Foi Publique is also known through a surviving painting1 of the same subject, previously in the distinguished collection of Germain Seligman, before making its way via The William Rockhill Nelson Trust, onto the New York art market in 1995. As noted by Rosenberg and Thuillier,2 the combination of figures and settings seems to allude strongly to Public Trust, which is, of course, the basis of any State, since only confidence in government and its institutions can assure trust and a sense of security.
Much like lot 17, the two drawings that comprise this lot have been dated by Rosenberg and Thuillier to the 1650s.3 It should, however, be noted that the 1989-90 catalogue describes the two drawings as executed in red chalk (‘sanguine’), and as originating from the Chennevières collection, neither of which is correct.
1. Sale, New York, Christie's, 18 May 1995, lot 53
2. Exhib. cat., op. cit., Grenoble et al., 1989-90, p. 321, under no. 303
3. Ibid., p. 316
The second drawing portrays an Allegory of la Foi Publique (Public Trust), in which Fidelity leans on the altar of faith, carrying in her right hand her symbolic seal and key. To the left of Fidelity, seated with her left arm also resting on the altar of faith, is Security, who in her other hand holds a spear. The composition of La Hyre’s La Foi Publique is also known through a surviving painting1 of the same subject, previously in the distinguished collection of Germain Seligman, before making its way via The William Rockhill Nelson Trust, onto the New York art market in 1995. As noted by Rosenberg and Thuillier,2 the combination of figures and settings seems to allude strongly to Public Trust, which is, of course, the basis of any State, since only confidence in government and its institutions can assure trust and a sense of security.
Much like lot 17, the two drawings that comprise this lot have been dated by Rosenberg and Thuillier to the 1650s.3 It should, however, be noted that the 1989-90 catalogue describes the two drawings as executed in red chalk (‘sanguine’), and as originating from the Chennevières collection, neither of which is correct.
1. Sale, New York, Christie's, 18 May 1995, lot 53
2. Exhib. cat., op. cit., Grenoble et al., 1989-90, p. 321, under no. 303
3. Ibid., p. 316