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608

Jean-Baptiste-Marie Pierre

Roman Charity

Estimate:

80,000

to
- 120,000 USD

Property from the Estate of Alexis Gregory, sold to benefit the Alexis Gregory Foundation

Jean-Baptiste-Marie Pierre

Jean-Baptiste-Marie Pierre

Roman Charity

Roman Charity

Estimate:

80,000

to
- 120,000 USD

Property from the Estate of Alexis Gregory, sold to benefit the Alexis Gregory Foundation

Jean-Baptiste-Marie Pierre

Paris 1714 - 1789

Roman Charity


oil on canvas

canvas: 49 1/2 by 37 1/4 in.; 125.7 by 94.5 cm.

framed: 59 by 46 3/4 in.; 149.8 by 118.7 cm. 

The canvas is lined and stable. The paint layer has been beautifully preserved, with thick, fluid brushstrokes still visible and fresh in many areas, particularly the woman's costume. The varnish is even and soft, nicely reflecting the overall warm tone of the painting. There are a few areas of very small abrasion which appear to be only in the varnish, these are along the right edge at center, about 4 inches into the composition, and just below the eye of the man, again running vertically, and on the left side running vertically near his shoulder. Under ultraviolet light one can see a handful of very small restorations in the background, though only two notable areas in the figures - one at the top of the center of the gentleman's breastplate, just below his neck, a circular area about 1 inch diameter, and the other on the right side of the woman's hair, running up into the background about 1 inch wide and 3 inches high. These are not noticeable to the naked eye. Overall this is in very good condition and could be hung as is, or revarnished to address the very slight abrasions. Offered in a carved giltwood frame.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE. 

Cardinal Fesch, by 1841 (inv. no. 1707);
His sale, Rome, Palais Ricci, 17-18 March 1845, lot 447;
E. Doumet, 1860;
Doumet-Adonsonl, sold, Paris, Hotel Drouot, 7-8 December 1923;
Anonymous sale, Monaco, Sotheby's, 17 June 1988, lot 894 (as Joseph Marie Vien);
There acquired.
H. Mireur, Dictionnaire des Ventes d'Art, vol. VII, Paris 1912, pp. 368-369;
T. Gaehtgens and J. Lugand, Joseph-Marie Vien, Paris 1988 p. 215, reproduced fig. 49 (as doubtful attribution to Vien);
N. Lesur and O. Aaron, Jean-Baptiste Marie Pierre 1714-1789: Premier peintre du roi, Paris 2009, pp. 205, 292, cat. no. P.211, reproduced in reverse. 
Montpellier, Salon de Montpellier, 1860, no. 374.
In De Factorum et Dictorum Memorabilium (Memorable Acts and Sayings of the Ancient Romans), the ancient historian Valerius Maximus tells of a certain Cimon, an aged man, who is in prison awaiting execution and who is therefore left without food.  His daughter Pero visits him and, upon seeing his deteriorating health, nourishes him by giving him her breast.  Of the many examples of filial piety in the literature of antiquity, this story is the most ubiquitous among artists' depictions throughout the 16th and 17th centuries in Italy and Northern Europe, though it is rarer in 18th century France.