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Last updated: 6/23/2019
Home / Gallery Tour 1 / Old Master Drawings and Prints / Gallery Tour 2 / Artists
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Old Master Drawings: Jean-François de Neufforge (Belgium 1714-1791 France): Men

de Neufforge: Women / de Neufforge: Men / de Neufforge: Religious

North Italian Illuminated Manuscript / Italian Old Master Drawings: An Overview / Italian School, 16th-Century Drawings
Michelangelo Buonarotti (After) / Raphael / Giulio Romano / Perino del Vaga / Marcantonio Raimondi / Parmigianino
Titian (after) / Andrea Schiavone / Tintoretto / Veronese / Taddeo Zuccaro / Federico Zuccaro / Alessandro Casolani
Jacopo Palma il Giovane / Cherubino Alberti / Luca Cambiaso / Annibale Carracci / Ludovico Carracci

Italian School, 17th-Century Drawings / Bolognese School / Giovanni Baglione / Matteo Rosselli / Ercole Bazzicaluva
Baldassare Franceschini called Il Volterrano / Pier Francesco Mazzuccelli, il Morazzone / Odoardo Fialetti / Simone Cantarini
Domenichino / Francesco Albani / Giovanni Lanfranco / Guercino / Pier Francesco Mola / Antonio Busca

Italian School Printmakers, 15th-17th Centuries: Venetian School, c. 1497 / Raphael School / Giovanni Jacopo Caraglio
Marcantonio Raimondi / The Master of the Die / Anea Vico / Agostino Veneziano / Nicholas Beatrizet
Michelangelo Buonarotti (After) / Giulio Bonasone / Giovanni Battista Franco /Girolamo Fagiuoli / Cherubino Alberti
Titian (after) / Tintoretto (after) / Parmigianino / Giorgio Ghisi / Diana Scultori / Annibale Carracci / Ludovico Carracci
Agostino Carracci / Simone Cantarini / Elisabetta Sirani / Gerolamo Scarsello

Netherlandish School, 15th-17th-Century Drawings / Flemish School, 17th-Century
Bernaert van Orley / Lucas van Leyden / Maarten de Vos / Jan Baptiste de Wael / Abraham Bloemaert
Peter Paul Rubens / Philipp Sadeler / Nicolaes Maes / Rembrandt School

Netherlandish Printmakers 16th-17th Centuries: Lucas van Leyden, Maarten van Heemskerck, Cornelis Cort
Philips Galle, Abraham de Bruyn, Hans (Jan) Collaert, Adriaen Collaert, Karel de Mallery, Theodore Galle, Hendrik Goltzius
Julius Goltzius, Jacob Matham, Jan Sanraedam, Maarten de Vos, Jan Sadeler, Aegidius Sadeler, Raphael Sadeler
Crispin de Passe, Magdalena de Passe, Wierix Brothers, Rembrandt, Rembrandt School, Jan Lievens, Jan Joris van Vliet,
Ferdinand Bol, Govert Flinck
German Drawings: Hans Sebald Beham / Virgil Solis / Hans von Aachen / Joseph Heinrich Roos
German 16th century printmakers: Heinrich Aldegrever, Jost Amman, Hans Sebald Beham, Hans Brosamer, Hans Burgkmair,
Lucas Cranach, Albrecht Durer, Albrecht Durer (After), Hans Holbein (After), Hopfer Brothers, Georg Pencz, Hans Schäufelein,
Virgil Solis, Wolfgang Stuber

French Drawings: Charles de La Fosse / Etienne Parrocel / François Boucher / Jean-François de Neufforge / Mouricault
French printmakers: Etienne Delaune / Rene Boyvin /Thomas de Leu / Jean Cousin the Younger / Jacques Callot
Abraham Bosse / Sebastien Bourdon / Claude Gelle "le Lorraine" / Jean LePautre
Claudine Bouzonnet Stella / Antonette Bouzonnet Stella / Gabriel Perelle

18th-Century Drawings / 19th-Century Drawings / 20th-Century Drawings
Several years ago we acquired, with the assistance of a rare book dealer in Brussels, a portfolio of drawings on laid paper, many of which are clearly from the same hand and some of which are signed I:D:N (one is signed I:N:D, some are not signed at all, and one is signed "de Neufforge" with a flourish.) According to both Benezit and Thieme-Becker's biographical encyclopedias of artists, Jean-François de Neufforge was born in Comblain-au-Point, Belgium in 1714 and died in Paris on 19 December 1791. According to an article by Claire Baines in the Grove Dictionary of Art (2000), 22: 925, Neufforge, an architect and sculptor, arrived in Paris around 1738 and studied engraving with Pierre Edmé Babel and architecture with Jacques-François Blondel. Although he worked primarily in the Rococo style, he was also interested in classical sculpture and was aware of his contemporaries, particularly François Boucher (1703-1770). Neufforge's great work was the Recueil élémentaire d'architecture containing roughly 900 architectural engravings, nearly all of which he both designed and engraved (published in several parts in 1757-68 and 1772-1780). According to Prof. Baines, "It is a traditional architect's pattern-book but is of unprecedented scope, containing virtually every type of civic and domestic building then known, including such structures as prisons and lighthouses that had only recently been considered worthy of an architect's attention. In addition, it covers such topics as interior decoration, gardens and methods of construction. In his designs for domestic architecture, Neufforge included models to suit every level of patron, from the most modest to the most aristocratic. The designs draw both on antiquity and the High Renaissance, and the Recueil was extensively used as a source-book throughout the late 18th century." Prof. Baines also suggests that his engraving style was formed while engraving plates for Julien-David Le Roy's book, Les Ruines des ples beaux monuments de la Grèce (Paris, 1758), a work to which he may have been drawn by his interest in classical figures or from which he have become interested in classical figures (like Heraclitos, the weeping philosopher, whose imagined portrat he drew at least twice, once in black chalk and once in red, bordered as if for an engraving. Also part of the exhibition are a several drawings that show classical (Cicero) and contemporary orators which we have hung in couterpoint to a drawing of a Roman king and St. Peter, another famed orator (at least in the opening of the Acts of the Apostles). Also in the show are two groups of drawings, one of fashionable aristocratic women with pearls in their hair or around their necks paired with a coy nude and a woman in a mob cap and the other of which is juxtaposes two drawings of a baby (we assume the Christ child) and one of what we think is a drawing similar to Durer's drawing of the figure who appears in his painting of the 12-year old Jesus teaching the elders in the temple along with two drawings of a modestly dressed young woman who would not be out of place in a traditional depiction of the Virgin Mary, either solo or in a group scene.

Our drawings are on thick laid paper with several different watermarks (though some have no watermark at all). Some treat the same subject (often with one signed and one or two others unsigned); some are surrounded by framing lines as if they were presentation drawings or intended for an album, some are not; some seem to be designed as engravings and have a space reserved for a descriptive printed text, some do not. Some are clearly drawn from life; others seem as though they might have been taken from classical or Renaissance sculptures. Some of the drawings have a marvelous liveliness about them, some are more weighty; all are very well done and in very good condition with the exception of the occasional handling crease or stain, mostly invisible when matted. None show signs of having been matted in the past: they seem to have been kept in a leather case and show no signs of either light or mat stain.

The drawings represent another kind of activity. Stylistically, many of the drawings—particularly those of women—show the influence of Boucher and the color crayon noir manner engraving style used to reproduce his works. These engravings, very similar to Woman with turban or Woman with pearl necklace looking down (both on I:D:N: Women) or Seated male nude below are currently selling for prices up to $10,000 at auction. It is quite possible that some of our drawings were executed as models for such prints.
Jean-François de Neufforge, Comblain-au-Point, 1714-1791 Paris), Head of a young man à l'antique. Red chalk on laid paper. Watermark: See Churchill 429: Strasbourg bend and lily, after 1683. Image size: 330x230mm. Price: $3500.
Jean-François de Neufforge, Comblain-au-Point, 1714-1791 Paris), Man screaming. The subject matter would perhaps have been determined by larger composition, perhaps showing warriors in battle; perhaps one of the damned in Hell. Red chalk on laid paper. Watermark similar to Churchill 432, Strasbourg bend and lily, after 1686. Image size: 300x356mm. Price: $3500.
Jean-François de Neufforge, Comblain-au-Point, 1714-1791 Paris), Seated male nude. Black & red chalk on laid paper. Signed "I:N:D" ( Jean Neufforge delineavit / Jean Neufforge drew it) lower center. Watermark Churchill 189: 2 elelpants on either side of and facing a very elaborate "R" dated 1786. Image size: 551x382mm. Price: SOLD.
Jean-François de Neufforge, Comblain-au-Point, 1714-1791 Paris), Man in toga looking left / Cicero. Red chalk on laid paper. No watermark. Image size: 420x330mm. Price: $4750.
Jean-François de Neufforge, Comblain-au-Point, 1714-1791 Paris), Classically-attired man weeping. Red chalk on laid paper. The subject may be Heraclitos the "weeping philosopher" who grieved at the folly of man. Unidentified watermark. Image size: 425x310mm. Price: $4750.
Jean-François de Neufforge, Comblain-au-Point, 1714-1791 Paris), Classically-attired man weeping. Black chalk on laid paper. Signed "de Neufforge" with flourish before and after (see detail with signature below). No watermark. The subject may be Heraclitos the "weeping philosopher" who grieved at the folly of man. Image size: 423x304mm. Price: $5500.
Jean-François de Neufforge, Comblain-au-Point, 1714-1791 Paris), Man debating. Red chalk on laid paper with an elephant watermark similar to Churchill 189 (after 1786). Signed I:D:N lower right. Image size: 307x227mm. Price: $4000.
Jean-François de Neufforge, Comblain-au-Point, 1714-1791 Paris), Man debating. Red chalk on laid paper with an elephant watermark similar to Churchill 189 (after 1786). Image size: 314x233mm. Price: $3500.
Moor with turban. Red and black chalk on laid paper watermarked with a fleur-de-lis and IV (see Churchill 406-408, dated after 1733). Signed "I:D:N" lower right. Image size: 470x350mm. Price: $5500.

18th-Century Drawings / 19th-Century Drawings / 20th-Century Drawings

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