Forthcoming

?Pierre de Lagorrée, Toulouse (by 1751–at least 1773; as La paix, by Antoine Rivalz); ?Madame Pierre de Lagorrée, Toulouse (in 1784; as La paix d'Utrech, Tableaux allégorique, by Antoine Rivalz); [Ambroselli, Paris, until 1969; as "L'Hérésie détruite (Révocation de l'Édit de Nantes)," by Charles Le Brun; share exchanged with Kleinberger]; [Ambroselli, Paris, and Kleinberger, New York, 1969–71; half share exchanged with Ambroselli]; [Kleinberger, New York, 1971–75; bequeathed by Harry G. Sperling, last surviving partner of firm, to MMA]

Toulouse. location unknown. 1751 (as "La paix," by Antoine Rivalz, lent by Pierre de Lagorrée, possibly this picture).

Toulouse. location unknown. 1773 (as "La paix," by Antoine Rivalz, lent by Pierre de Lagorrée, possibly this picture).

Toulouse. location unknown. 1784 (as "La paix d'Utrech, Tableau allégorique," by Antoine Rivalz, lent by the widow de Lagorrée).

Quarterly Calendar: M. H. de Young Memorial Museum, Center of Asian Art and Culture, California Palace of the Legion of Honor, Achenbach Foundation for Graphic Arts, San Francisco (April–June 1971), pp. 6–7, ill., as L'Église Victorieuse de l'Hérésie (La Révocation de l'Édit de Nantes, 22 Oct. 1685), by Charles Lebrun, ca. 1687, lent anonymously.

Jean-Pierre Cuzin. "New York: French Seventeenth-century Paintings from American Collections." Burlington Magazine 124 (August 1982), p. 530, as Dutch, of the generation of Lairesse?.

Pierre Rosenberg. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art. 1982, p. 377, fig. 6 [French ed., La peinture française du XVIIe siècle dans les collections américaines, Paris, 1982], as anonymous, The Revocation of the Edict of Nantes(?).

Jean Penent. Antoine Rivalz, 1667–1735: Le romain de Toulouse. Exh. cat., Musée Paul-Dupuy. Toulouse, 2004, pp. 64–65, 181–82, no. 254, ill. (color), attributes it to Antoine Rivalz without question, and tentatively identifies it as a modello belonging to Pierre de Lagorrée for an allegory of the peace of Utrecht of 1713, noting that that work was exhibited in Toulouse in 1751, 1773, and 1784.

Son of the architect and painter Jean Pierre Rivalz (French, 1625–1706), Antoine Rivalz was trained in his native Toulouse and in Paris, and studied in Rome, where in 1694 he won second prizie for a drawing at the Accademia di San Luca. He returned to Toulouse in 1702 and in the following year was named peintre de ville, a position he occupied until his death. An elaborate pen and ink drawing by Antoine Rivalz, an allegorical representation of the revocation of the Edict of Nantes, is described in contemporary sources and must have dated to about 1685, when the artist would have been eighteen. The drawing is presumed lost; the composition in any event was not that of the present picture (see Ref. Penent 2004, p. 128), which is a work of the artist's maturity.