Simon Renard de Saint-André Sold at Auction Prices

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sold
Sep. 24, 2020
Simon Renard de Saint-André, 1613 Paris – 1677 ebenda, zug.
Est: €30,000 - €50,000
VANITASSTILLLEBEN MIT SCHÄDEL UND TASCHENUHR Öl auf Leinwand. Doubliert. 50 x 40 cm. In vergoldetem Rahmen. In einem Innenraum auf einer grünen Platte die präsentierten Vanitas-Objekte: ein Totenschädel mit restlichen Zähnen, auf dessen mit Glanzlicht versehener Kopfdecke eine kleine Spinne krabbelt, daneben ein Teil des Gebisses, eine mit Bast umwickelte Weinflasche, in deren Halsöffnung ein Stück Papier steckt, ein Buch sowie eine goldene Taschenuhr an einem blauen Band. Im Hintergrund fliegt ein kleiner weißer Falter. Feine Malerei mit gekonnter Hell-Dunkel-Akzentuierung. Retuschen. (12401322) (18) Simon Renard de Saint-André, 1613 Paris – 1677 ibid., attributed VANITAS STILL LIFE WITH SKULL AND POCKET WATCH Oil on canvas. Relined. 50 x 40 cm. In gilt frame.
Hampel Fine Art Auctions
sold
May. 24, 2018
Attribuito a Simon Renard de Saint-André (Parigi 1613 – 1677)
Est: €6,000 - €8,000
Strumenti musicali, spartito, melograni, gioielli, ostrica, clessidra e pipa (Vanitas) olio su tela, cm 89,5 x 103,5 L'attribuzione è basata sul confronto con la natura morta di Saint-André conservata a Lione, Musée des Beaux-Arts, dove figurano alcuni dettagli assai ricorrenti nelle opere dell'artista sia dal punto di vista simbolico, sia nell'impaginazione generale: la valva di ostrica con un piccolo strumento per la sua apertura, il fiasco in vetro soffiato rivestito in vimini, le allusive bolle di sapone, gualcite partiture musicali manoscritte. In questo caso lo spartito musicale indica che la composizione a cui si allude è opera di Orazio Vecchi, musicista modenese vissuto nella seconda metà del Cinquecento. Le pagine rappresentate nel dipinto corrispondono a quelle di un brano del suo Convivium Musicale, edito a Norimberga per i tipi di Paul Kaufmann nel 1598 e sono rappresentate nel medesimo ordine della melodia. Allusive alla gioia e ai piacere della vita i versi recano in sé quel senso della fugacità e della caducità di ogni cosa che costituisce il corrispettivo melodico della Stillleben nordica. 1
Finarte Roma
sold
Nov. 12, 2016
RENARD de SAINT ANDRE Simon (attribué à), 1613 - 1677 [FR]. Nature mor
Est: CHF2,000 - CHF3,000
RENARD de SAINT ANDRE Simon (attribué à), 1613 - 1677 [FR]. Nature morte aux instruments de musique et coquillage, huile sur toile (44.5 x 66.5 cm).
Galartis SA
sold
Nov. 13, 2015
Simon Renard de Saint-André Paris, 1613 - 1677 Composition au "Livre Quatrieme de l'imitation de nostre seigneur Jesus Christ", cora...
Est: €6,000 - €8,000
Simon Renard de Saint-André Paris, 1613 - 1677 Composition au "Livre Quatrieme de l'imitation de nostre seigneur Jesus Christ", coraux et coquillages Huile sur toile (Toile et châssis d'origine) (Trous, déchirures et manques) Sans cadre 'STILL LIFE WITH THE FOURTH BOOK OF THE IMITATION OF CHRIST', OIL ON CANVAS, BY S. RENARD DE SAINT-ANDRE h: 33 w: 41 cm Provenance : Collection Marien Pré à Lyon au début du XXe siècle ; Puis par descendance ; Collection particulière du Sud de la France Commentaire : Redécouvert quelques jours avant que ce catalogue ne parte à l'impression, ce tableau inédit du rare artiste Simon Renard de Saint-André sort sans fard d'un grenier aixois dans lequel il était resté caché pendant près de 400 ans. Sur sa toile et son châssis d'origine, cette Composition au Livre Quatrieme de l'imitation de nostre seigneur Jésus Christ vient compléter la connaissance que nous avons d'un ensemble d'œuvres au sein desquelles se trouve le livre premier (1) et livre second (2) du même ouvrage que devait posséder l'artiste. Les trois toiles sont de dimensions similaires et suscitent bien sûr notre curiosité : où se trouve le dernier tableau de la série, où se trouve la Composition au Livre Troisième ? Profondément influencé par la production des artistes de l'école du Nord, Renard de Saint-André exerce la même fascination sur les amateurs de peinture française du XVIIe siècle que Sébastien Stoskopff ou Jacques Linard. Sa peinture aborde le sujet grave de la brièveté de l'existence et le traite à la fois avec simplicité et poésie, richesse et équilibre. Dans une communication récente (3), Yann Sordet nous éclaire sur l'importance de l'ouvrage représenté ouvert dans notre tableau, qu'il qualifie " à la fois de best- et de long-seller sans concurrence sur le temps long de l'Ancien régime typographique (XVe-XIXe siècle), exception faite de la Bible ". Selon lui " l'Imitation de Jésus-Christ doit une part de sa notoriété à la question de son attribution. L'identité de son auteur et le contexte de sa rédaction ont en effet suscité depuis le XVe siècle un débat aussi fascinant que récurrent, qui a souvent excédé les strictes limites de la controverse philologique. L'œuvre est l'un des cas les plus complexes, dans l'histoire littéraire occidentale, de tradition abondante avec pluri attribution. On s'accorde cependant aujourd'hui à considérer que les réseaux germano-flamands de la Devotio moderna, au début du XVe siècle, ont constitué le terreau le plus vraisemblable de sa composition, et plus exactement que Thomas a Kempis (1380 ?-1471) est l'auteur fort probable des quatre traités qui, réunis vers 1427, lui ont donné naissance. " L'auteur synthétise ainsi l'importance de l'ouvrage : " La doctrine de l'Imitation repose sur l'exemplarité christique et promeut la spiritualité intérieure et personnelle ; le texte est principalement composé de sentences brèves conçues pour la méditation comme pour la mémorisation ; son ton est méditatif et didactique, en aucun cas doctrinal. Pour les historiens du livre et de l'édition européens, il a un statut bien particulier, du fait de sa longévité, de l'ampleur de sa diffusion éditoriale, et de son omniprésence dans les bibliothèques d'Ancien régime. " Si le discours des vanités est toujours le même (se concentrer sur l'essentiel, sur la vie intérieure, et notamment par l'imitation du Christ), Emilie Chedeville (4) remarque que l'originalité de notre tableau repose sur le fait que la solution est ici donnée de façon très directe, avec l'ouvrage ouvert en grand et au centre de la composition. 1. 'Du mépris de toutes les vanités du monde', 36 x 45,5 cm., anciennement galerie Heim en 1962, localisation actuelle inconnue, voir Claudia Salvi, D'après nature, La Nature morte en France au XVIIe siècle, Tournai, 2000, p. 137. Une composition très proche, avec seulement quelques variantes est passée sur le marché en 2005 (Vente anonyme ; Christie's, Londres, 9 décembre 2005, lot 152). 2. 'Nature morte aux coraux', 35 x 45 cm., anciennement galerie J.O. Leegenhoek, localisation actuelle inconnue, voir ibid. p. 137 3. Yann Sordet, 'Formes éditoriales et usages de l'Imitatio Christi, XVe-XIXe siècles, Comptes rendus de l'Académie des inscriptions', 2012, II (avril-juin), p. 869-895. 4. Emilie Chedeville, La " Suite de la Vie de Jésus-Christ " de Claude Gillot, Introduction à l'apologétique du XVIIIe siècle, Mémoire de Master I d'histoire de l'art, Université Paris 1 Panthéon-Sorbonne, 2014.
Artcurial
sold
Jun. 28, 2012
Simon RENARD DE SAINT ANDRÉ (Paris 1613 - 1677) "
Est: €12,000 - €15,000
Simon RENARD DE SAINT ANDRÉ (Paris 1613 - 1677) " Nature morte à la chandelle, ouvrage et vase de fleurs sur un entablement de pierre " Huile sur toile (petites usures et restaurations anciennes) 46,5 x 56 cm
Boisgirard-Antonini
sold
Jan. 27, 2011
SIMON RENARD DE SAINT-ANDRÉ
Est: $60,000 - $80,000
SIMON RENARD DE SAINT-ANDRÉ PARIS 1614 - 1677 A VANITAS STILL LIFE WITH A SKULL, A VIOLIN, A MUSICAL SCORE, A PIPE AND TOBACCO, AN HOURGLASS AND A CANDLE ON A DRAPED TABLE inscribed on the musical score: Secunda pars. 4 voc. / ORLANDE / E miferum quate tandem re / ue fequanperte quondam mihi vi. ta place / cum moenibus. vrbes. Et populi laeteque oil on canvas 25 5/8 by 21 1/4 in.; 65.1 by 54 cm.
Sotheby's
sold
Jan. 27, 2011
SIMON RENARD DE SAINT-ANDRÉ
Est: $30,000 - $50,000
SIMON RENARD DE SAINT-ANDRÉ PARIS 1614 - 1677 VANITAS STILL LIFE WITH A WREATHED SKULL, A POCHETTE VIOLIN AND BOW, A DECK OF CARDS, A MUSICAL SCORE, A PAIR OF DICE, A BOX INSCRIBED 'POUDRE DE CIVET ,' TWO ROSES, AN HOURGLASS AND A SNUFFED-OUT CANDLE IN A STONE NICHE oil on canvas 24 by 19 7/8 in.; 61 by 50.5 cm.
Sotheby's
sold
Apr. 15, 2008
A vanitas still life
Est: $30,000 - $40,000
Simon Renard de Saint-André Paris 1613-1677 A vanitas still life oil on canvas 21½ x 17¾ in. 54.5 x 45 cm.
Christie's
sold
Dec. 09, 2005
Simon Renard de Saint-André (Paris 1613-1677)
Est: £20,000 - £30,000
A vanitas still-life oil on canvas 15 x 18 in. (38.1 x 45.7 cm.)
Christie's
sold
Dec. 08, 2005
SIMON RENARD DE SAINT-ANDRÉ PARIS 1614 - 1677
Est: £15,000 - £20,000
A VANITAS STILL LIFE WITH A SKULL, A VIOL AND A VIOLIN BOW, A POCKET-WATCH, A MUSICAL SCORE AND OTHER OBJECTS, ALL LAID OUT ON A DRAPED TABLE A VANITAS STILL LIFE WITH A SKULL, A VIOL AND A VIOLIN BOW, A POCKET-WATCH, A MUSICAL SCORE AND OTHER OBJECTS, ALL LAID OUT ON A DRAPED TABLE measurements note 61.4 by 77.3 cm.; 24 1/8 by 30 1/2 in. oil on canvas NOTE The objects included in the present composition, and the arrangement thereof, are often repeated by the artist. Most of his paintings comprise the skull, the small viol (known in English as a kit and in French as a pochette), the fluted silver candlestick and the musical score inscribed in French; see, for example, his painting in the Musée des Beaux-Arts, Marseilles (reproduced in M. Faré, Le Grand Siècles de la Nature Morte en France, Paris 1974, vol. I, p. 168).
Sotheby's
sold
Jan. 28, 1999
Simon Renard de Saint-Andre (circa 1613-1677)
Est: $18,000 - $22,000
VANITAS STILL LIFE oil on canvas 18a by 22in. 47 by 55.9cm.
Sotheby's
sold
Jan. 28, 1999
*Simon Renard de Saint-AndrE (circa 1613-1677)
Est: $18,000 - $22,000
VANITAS STILL LIFE oil on canvas 18a by 22in. 47 by 55.9cm.
Sotheby's
sold
Dec. 02, 1997
SAINT-ANDRE, Simon Renard de (1614-1677, French)
Est: -
Vanitas still life, hour glass, candle, cards, dice, skull Oil Painting (20x24in).
Phillips
sold
Jun. 18, 1997
A rare export lacquer Casket
Est: $6,000 - $8,000
early 17th century of rectangular form with turned pilasters at the four angled corners, the roof-shaped hinged cover containing a compartment concealed beneath a sliding panel at the top, the right-hand side of the casket also sliding upwards to reveal a small drawer located beneath the main interior compartment, all of the exterior and some of the interior bearing a roiro ground, the former with birds, rabbits and buildings in landscapes in worn gold takamakie and hiramakie with kirigane, the sliding top with a fierce shishi within a border of peony and karakusa, the underside of the cover with two vases of flowers in gold hiramakie, the two main interior compartments with nashiji ground; copper mounts engraved with karakusa and with traces of gilding, the escutcheon with scrolling outline and engraved with a bird in a pine-tree 23.5 cm., 9 1/4 in. high by 28 cm., 11 in. wide by 21 cm., 8 1/4 in. deep, some repairs and restoration, some mounts lost Other caskets of this type are in the Victoria and Albert Museum and at Burghley House. One was sold in the Toms Collection, Sotheby's London, 8th June 1995, lot 186 (GB34000). It is currently thought that they were made in the 1630s and 1640s and that they are identifiable with the juwelcantoorkens shipped by the Dutch and recorded in shipping lists of the time. Two appear in still-life paintings by the French artist Simon Renard de Saint-Andre (1613-77), one reproduced in P. Thornton, Seventeenth-Century Interior Decoration in England, France and Holland, p.251., the other with the Robert Noortman Gallery in 1979.
Sotheby's
sold
Jan. 11, 1996
*Simon Renard de Saint-Andre (circa 1613-1677)
Est: $25,000 - $35,000
STILL LIFE OF A CONCH AND OTHER EXOTIC SHELLS RESTING ON A VELVET CLOTH oil on panel 101/2 by 14 in. 26.7 by 35.6 cm. It is believed that Renard de Saint-Andre first studied with Louis Beaubrun. In 1646, the year of his marriage, he is recorded as painter to the Queen. He became a member of the Paris Academie in 1663. Like many other painters of his generation, he worked at the tapestry factory of Les Gobelins. However, Renard de Saint-Andre made a specialty of the still life, many incorporating elements of the Vanitas, and was heavily influenced by contemporary Dutch painters of this genre. Shells are often included in his compositions as the French nobility and wealthy merchant classes, like those of the Netherlands, were avid collectors of rare and exotic shells.
Sotheby's
sold
Dec. 06, 1995
Simon Renard de Saint-Andre Paris 1613/14 - 1677
Est: $20,000 - $30,000
a vanitas still life with a palette and brushes, pieces of sculpture, coral and an open book and other objects Oil on canvas 53.2 by 61.4 cm.; 21 by 24 in. A pupil of Louis Beaubrun, and Peintre du Roy by 1646, Renard de Saint-Andre, was initially active as a portraitist who could count Louis xiv among his sitters and who submitted an allegorical double portrait of Anne of Austria and Marie Therese (now in the Musee de Versailles) as his presentation piece to the Academie on 19 July 1649. His preference for allegorical overtones, visible in the latter portrait, manifests itself again in his numerous vanitas still lifes. His style shows the awareness of Dutch still life painters such as Jacques de Claeuw and Jan Vermeulen, with whom his work has sometimes been confused. This picture is similar to a still life in a French private collection (see. M. Fare, Le Grand Siecle de la Nature Morte en France, 1974, reproduced p. 176) in which an open book and the same two pieces of sculpture on the left (the putto with an outstretched hand and the female bust) are to be found. The putto reappears again in Nature Morte au coffret de laque (French private collection, reproduced Fare op. cit. p. 174, lower left) and the female bust is also found in the Nature Morte au luth (French private collection, reproduced Fare op. cit., p. 174, upper left). Coral is another favoured motif, used, for example, in the Nature Motif aux Coraux (Leegengek collection, Paris, reproduced Fare op. cit. p. 179).
Sotheby's
sold
Dec. 06, 1995
RENARD DE SAINT-ANDRE, Simon (1613-1677)
Est: $20,000 - $30,000
Vanitas still life Oil/canvas 20,9 x 24,0 inches (53.0 x 61.0cm) Illustrated.
Sotheby's
sold
Jun. 12, 1995
RENARD DE SAINT-ANDRE, Simon (1613-1677)
Est: $100,000 - $140,000
Vanite Huile/toile 14,6 x 183,1 inches (37.0 x 465.0cm) Illustrated.
Tajan