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Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695)
Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695) - Paintings & Drawings Style Louis XIV Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695) - Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695) - Louis XIV Antiquités - Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695)
Ref : 74217
SOLD
Period :
17th century
Artist :
Attribué à Pierre Mignard 1612/1695
Provenance :
France
Medium :
Oil on canvas
Dimensions :
L. 29.92 inch X l. 34.25 inch
Paintings & Drawings  - Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695) 17th century - Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695) Louis XIV - Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695) Antiquités - Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695)
Galerie William Diximus

Furniture and objets d'art of the 18th and 19th centuries


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Portrait of Madame de Montalais attributed to Pierre Mignard (1612-1695)

Françoise Charlotte de Montalais (1633-1718)

Countess of Marans-Lady of Vernée

Daughter of Pierre de Montalais, lord of Chambellay, and Renée Le Clerc de Sautré, granddaughter of Mathurin de Montalais and Anne Le Voyer.

She was the grand-niece of Marie de Hautefort, their grandmothers Catherine and Anne Le Voyer being sisters.

After the death, in 1665, of her husband Jean VIII du Beuil, Count of Marans, she became the mistress of Henri-Jules de Bourbon-Conde, Prince of Condé, whom she had Julie de Bourbon, wife of Armand de Madaillan Marquis de Lassay, then became the mistress of the son of the Duc de Longueville, the Count of Saint-Pol. This intriguing person was involved in the Poison Affair. She was still living in 1686, but her possessions were seized.

It is she whom Madame de Sevigne, of which she was once the friend, calls the wicked fairy Melusine, or "the Marans".

Chambellay is a French commune located in the department of Maine-et-Loire. Chambellay is 10 km from Lion-d'Angers, 15 km from Segré, 16 km from Château-Gontier and 30 km from Angers. In the Middle Ages, the châtellenie of Chambellay raised, for a part, of the barony of Candé and part of the castle of Angers. The seigniory of Chambellay belonged to the Montalais family from the 14th to the end of the 17th century, before being ceded in 1696 to the family of Racapé, then to pass, until the Revolution, by succession in 1734 to Heliand d'Ampoigné and finally by alliance in 1770 to the Juigné du Parvis.

Attach the photo of Chambellay castle, because the pictures should be there. It is highly unlikely that he was in the castle of Marans (rather a castle) which was destroyed under the orders of Cardinal Richelieu.

"In 1589, Henry IV takes the place after a siege of four days Marans becomes one of the Protestant places of safety From 1627 to 1628, during the siege of La Rochelle, Louis XIII stays in Marans Richelieu (1585 - 1642) makes Shave the castle for fear of occupation by the reformed troops after the departure of the royal troops.The last towers are demolished in the 18th century.In 1659, the Lord of Bueil, Count of Marans donated part of his castle to Capuchins for the construction of a convent The port has long been specialized in the grain trade, Sèvre Niortaise then being navigable to Niort.

Source: This article is partially or entirely from the article "Françoise Charlotte de Montalais", in Alphonse-Victor Angot, Ferdinand Gaugain, Historical Dictionary, topographic and biographical Mayenne, Goupil, 1900-1910

Regarding the attribution, we found 3 paintings by Pierre Mignard 1612-1695, they are all 3 in the museum Grobet Labadié in Marseille.

We find the same technique, be it at the level of the posture, the look, but especially the treatment of light.
The frames to some details are substantially the same as ours.

This type of oval-shaped frame with the attributes of oak leaves and tassel are from Louis XIV period.
The frame of our painting is probably the original because it is also Louis XIV period.

The 3 portraits of Mignard:

https://www.photo.rmn.fr/archive/15-629127-2C6NU0AMDSXM1.html
https://www.photo.rmn.fr/archive/15-629191-2C6NU0AMD46FB.html
https://www.photo.rmn.fr/archive/15-628426-2C6NU0AMDIHJR.html

They come directly from the collection of Mr and Mrs Grobet.
When Louis Grobet died in 1917, Marie Grobet bequeathed in 1919 (date of return of paintings) the mansion and all the collections it housed in the City of Marseille.

Reflecting the tastes of a refined bourgeois society, fascinated and seduced by all forms of art, the French collections gathered in the second half of the nineteenth century, admirably illustrate the artistic eclecticism of the "enlightened" amateurs of that time.

Although the eighteenth century occupies a privileged place within the collections, the early Middle Ages, the Renaissance and the nineteenth century are nonetheless represented with ensembles of important works.

The source:

Montalais family - Chateau de Chambellay
Schulte Malbun family - 45rue Emile Meunier 75016 Paris

Dimensions without frame: 60cmX72cm
Dimensions with Frame: 76cmX87cm

Galerie William Diximus

CATALOGUE

17th Century Oil Painting Louis XIV