CLAUDE VIGNON (TOURS 1593-1670 PARIS) - photo 1
CLAUDE VIGNON (TOURS 1593-1670 PARIS) - photo 2
CLAUDE VIGNON (TOURS 1593-1670 PARIS) - photo 3
CLAUDE VIGNON (TOURS 1593-1670 PARIS) - photo 4

CLAUDE VIGNON (TOURS 1593-1670 PARIS)

Lot 13
11.06.2025 00:00UTC +01:00
Classic
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€ 52 920
AuctioneerCHRISTIE'S
Event locationUnited Kingdom, London
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ID 1437165
Lot 13 | CLAUDE VIGNON (TOURS 1593-1670 PARIS)
Estimate value
€ 35 000 – 50 000
CLAUDE VIGNON (TOURS 1593-1670 PARIS)
Le Rêve de Daphnis
huile sur toile
110 x 148,7 cm (43 1/3 x 58 ½ in.)




Provenance

Chez Joseph Hahn, Paris, à la fin des années 1970 (selon P. Pacht Bassani, 1992, voir infra).
Vente anonyme, Christie's, Monaco, 15 juin 1990, lot 47 ;
Acquis au cours de celle-ci par l'actuel propriétaire.



Literature

Anonyme, 'Chefs d'oeuvre français et italiens sur les cimaises de Monaco', L'Objet d'art, juin 1990, 237, p. 2 et p. 24, reproduit en couleurs en couverture (détail).
P. Pacht Bassani, Claude Vignon 1593-1670, [cat. exp.], Paris, 1992, p. 83, pp. 321-322, n°229 et p. 384, sous le n°342 G, reproduit en noir et blanc p. 229.



Further details

CLAUDE VIGNON (1593-1670), THE DREAM OF DAPHNIS, OIL ON CANVAS

This painting offers the viewer a chromatic feast, balancing pale and rich colours. This wealth of hues plays a large part in the poetry of the work of Claude Vignon (1593-1670), which enchanted the Parisian public in the seventeenth century. Belonging to the last wave of great Mannerism, his refined lyricism delighted the European courts. For Vignon, painting was the art of storytelling: each brush stroke brought stories and myths to life, offering his many patrons a glimpse of exotic lands.

Paola Pacht Bassani, author of the artist's catalogue raisonné, dates the present painting to 1630-1640, a period that she describes as marking 'the apogee of his career' (P. Pacht Bassani, 1992, op. cit., p. 83). It was during this Parisian period of his career that Vignon began to attach greater importance to landscape in his compositions. He enjoyed depicting distant mythical lands whose pastoral character would have pleased his predecessors such as Niccoló dell'Abate (1510-1571), as well as his successors such as Antoine Watteau (1684-1721).

The subject of the painting is taken from the second book of the pastoral novel Daphnis and Chloe, by the Greek writer Longus (2nd century BC), translated into French by Jacques Amyot (1513-1593) for the first time in 1559. The beautiful shepherdess Chloe and her flock have been captured by the Methymnians. In despair, her lover, the shepherd Daphnis, runs to the nymphs' glade to ask them for help. There he falls into a deep sleep. The three nymphs come to him in his dreams and tell him the good news that Chloe will be saved by the god Pan.

Vignon's composition is neatly divided into two parts by the ivy-covered tree trunk, allowing the artist to depict several episodes from the tale. On the right, Daphnis lies dreaming, while in the foliage above the nymphs we catch a glimpse of a statue of Pan, which the young shepherd, as soon as he awakes, will fall down and worship in gratitude. To the left of the composition, the rest of the story unfolds: Chloe, protected by Pan who descends on a cloud, is freed from her floating prison and returns to the shores of Lesbos. Nestled in the middle, between the tree and the undergrowth, the couple are finally reunited and embrace.
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