Nicolas LOIR (Paris, 1624–1679) - Lot 96

Lot n° 96
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Estimation :
15000 - 20000 EUR
Nicolas LOIR (Paris, 1624–1679) - Lot 96
Nicolas LOIR (Paris, 1624–1679) The Holy Family with a Plate of Figs Canvas Height: 75 cm Width: 107 cm Carved wooden frame with oak leaf motif, gilded; 17th-century work from the Rhône Valley Minor imperfections Expert: Cabinet Turquin Our painting is one of Nicolas Loir’s masterpieces, painted for a private collector, as indicated by its format, which was intended for a collector’s gallery. For the collector’s enjoyment, the composition brings together figures, architecture, a riverside landscape, and a still life. The pictorial references to Bourdon and Poussin attest to the owner’s refined taste. Here, the painter pays homage to Nicolas Poussin’s *The Holy Family on the Stairs*, drawing on its geometric precision, triangular composition, the elevation of the group on a stone pedestal, a subtle interplay of the figures’ curves that contrasts with the landscape’s horizontal lines and the buildings’ verticals, as well as the presence of the bowl of fruit on the ground. Similarly, the archaeological detailing of the sphinx and bas-relief on the right, and the landscape constructed in successive planes, are very much in the spirit of Poussin. The clear, luminous atmosphere, devoid of shadow contrasts, and the fine, smooth brushwork are characteristic of the Parisian Atticist movement. Loir affirms his taste for color and the tenderness of facial expressions, a legacy of Sébastien Bourdon and Jacques Stella, as seen, for example, in the kneeling boy dressed in white. The finesse of his line and the delicacy of the gestures—such as the graceful interaction between the children here—reveal the extent of his talent. The plate of figs, associated with the fruits of the earth brought to the Holy Family during the Flight into Egypt, is traditionally considered a symbol of fertility. The son of a goldsmith, Nicolas Loir trained under illustrious masters such as Sébastien Bourdon and Simon Vouet before embarking on a trip to Italy between 1647 and 1649. His stay in Rome was marked by his encounter with Nicolas Poussin, whose work had a decisive influence on his painting. Upon his return, he was admitted to the Royal Academy in 1663 thanks to a recommendation from Charles Lebrun. A versatile artist, he participated in prestigious projects for the Court, notably at the Tuileries Palace, the Palace of Vincennes, and Queen Marie-Thérèse’s apartments at Versailles. Dezallier d’Argenville, who owned several of these works, highlighted Loir’s “great talent” for painting female figures and children, as well as his “preference for color.” We thank Moana Weil-Curiel for confirming the attribution to Nicolas Loir, based on a direct examination of the work on March 9, 2026. An alternative attribution to Charles Alphonse Dufresnoy has been suggested by Mr. François MARANDET as well as by Mr. Sylvain Kerspern.
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