NICOLAS DE LARGILLIERRE (PARIS 1656-1746) - photo 1
NICOLAS DE LARGILLIERRE (PARIS 1656-1746) - photo 2

NICOLAS DE LARGILLIERRE (PARIS 1656-1746)

Lot 63
26.03.2025 15:00UTC +01:00
Classic
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CHRISTIE'S
AuctioneerCHRISTIE'S
Event locationFrance, Paris
ID 1389997
Lot 63 | NICOLAS DE LARGILLIERRE (PARIS 1656-1746)
Estimate value
€ 5 000 – 7 000
NICOLAS DE LARGILLIERRE (PARIS 1656-1746)
L’Élévation de la Croix
pierre noire, plume et encre brune, lavis brun, rehaussé de blanc, sur papier brun
42,4 x 56 cm (16 ¾ x 22 in.)




Provenance

Probablement Philippe François, prince de Rubempré (1669-1742).
Probablement vente anonyme; Paris, 17 février 1766 et jours suivants, lot 192 (parmi les dessins ‘une Elévation de la Croix, grande composition, par Largillierre’).
Probablement vente anonyme; Paris, 2 mai 1781 et jours suivants, lot 186 (‘une élévation de croix, sujet en travers d’une belle composition, au bistre rehaussé de blanc par Largillierre’).



Further details

NICOLAS DE LARGILLIERRE, THE ELEVATION OF THE CROSS, BLACK CHALK, PEN AND BROWN INK, BROWN WASH, HEIGHTENED WITH WHITE, ON LIGHT BROWN PAPER

Commenting on Largillierre's drawings, Dezallier d'Argenville wrote: ‘His designs are unusual; he would suddenly throw his thoughts onto the canvas: those that have survived of his are in charcoal, highlighted with chalk white, some in red chalk, & the pen is very rarely used, except in the sketches’ (Supplément à l'Abrégé de la vie des plus fameux peintres, Troisième partie, Paris, 1752, p. 252). This large sheet corresponds to these ‘pen-and-ink sketches’, now little known, and prepares the way for the large painting that Largillierre kept at home until his death, along with others on the subject of the Passion of Christ: The Carrying of the Cross (Musée du Louvre; inv. R.F. 1988-12) and The Entry of Christ into Jerusalem (Arras, Musée des Beaux-Arts, inv. 972-1-2). The painting of the Elevation of the Cross - very different from this early work - is now in a private collection in Genoa and is best known by the engraving by François II Roëttiers (fig. 1; London, British Museum, inv. U,11.36). The existence of such a drawing is attested to by sales in 1766 - just ten years after Largillierre's death - and 1781 (see provenance). Many similarities can be found in Largillierre's religious compositions, including the present drawing, such as the arrangement of space into small groups of figures separated by large voids, the disproportion between the rider and the horse (here in the lower right foreground) and the exaggerated importance given to the movements of the draperies, which can also be found in his painted portraits. We are grateful to Dominique Brême for his help in preparing this note.
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