The employees who compose it are aware that beyond the pure satisfaction of the social purpose of the company, a company can have other ambitions, another role to exercise in society. This responsibility is found at Hugau Gestion in its collaboration with the Louvre Museum for more than ten years then with the Domaine de Chantilly, this sponsorship is of interest in terms of communication, but remains essentially motivated by the taste of the partners for art. and culture in general, thus making it possible to promote culture and perpetuate a universal heritage.

Venus and the Love of Louis XIV :

For the year 2021/2022, Hugau Gestion is proud to renew its Sponsorship partnership with the Louvre Museum and provide its support through The cameo Venus and the Love of Louis XIV with the agate cup of which it is the superb lid.

© Louvre Museum, dist. RMN-GP / Hervé Lewandowski

Giovanni Ambrogio Miseroni, a talented Italian Renaissance hardstone engraver who is credited with the cameo, used a Grisons agate with a vague, cloudy structure, without the clearly contrasting layers traditionally used in glyptics. At the heart of the cameo, Venus and Cupid are depicted sleeping against each other. Naked on a drapery, Venus embraces her son within the large agate shell that shelters them. The cameo is surrounded by a silver gilt mount. Marrying the shape of the agate shell, it is topped by a swan, which could be associated with a metamorphosed Jupiter to seduce Leda. Historically, the cameo was designed as the lid of an oval shell-shaped agate cup. Its chiseled and gilded silver foot represents a dolphin, itself placed on a shell. Engraved on its foot, the number 376 allowed in 1968, when it reappeared in a public sale in Paris, to identify the cup as belonging to the Gems of the Crown, which led the Louvre to pre-empt it. The large shell formed by the cameo is like a trompe-l'oeil of the real shell formed by the cup: thus, Venus and Love seem to float inside, on invisible waves.

2019 / 2020

The Hugau Gestion team continues its partnership with the Domaine de Chantilly, which attaches particular importance to environmental and societal criteria and is committed to responsible development through the eco-management of the château's park and the organization of building sites. professional integration.

© 2019 - Domaine de Chantilly – Sophie Lloyd 

Landscape and forest plantations in the park:

The Chantilly estate has launched a major forestry project in order to restore its historical composition. These reforestation works of 500 trees over 5000m² and the planting of 100,000 bulbs each year make it possible to reintroduce and diversify numerous botanical species while taking into account the historical prerogatives and the climatic evolution of the ecosystems. The gardeners of the estate are assisted by the integration projects in these landscape plantations, trained in the forest management of the park.

Training and professional integration:

The Domaine de Chantilly is the contracting authority for many professional integration projects thanks to its partnership with the UPCE association “Un château pour l’emploi”. Since 2006, men and women have benefited from professional training and have joined the integration project, particularly in the preservation of the historical monuments of the Domaine de Chantilly, which allows the transmission of experience know-how and results in a rate high retraining (63% from 2007 to 2018 in Oise).


Naked Mona Lisa

For this year 2019, Hugau gestion is pleased to announce its new sponsorship partnership with the Domaine de Chantilly.

La Joconde Nue

© 2018 Condé Museum  - RMN-Grand Palais / Gérard Blot 

Hugau Gestion supports the Condé de Chantilly museum, which exhibits the most famous presentation of the Monna Vanna, better known as Naked Jonconde, which will also be exhibited from June 1 to October 6, 2019.

The prestigious work of the Naked Mona Lisa was acquired by the Duc d'Aumale in 1862. Designed on the model of the Mona Lisa, this masterpiece was the support for a play between pictorial genres and a polysemy worthy of the fruitful spirit of Leonardo da Vinci.

The Italian master perfected his work for a long time. Laboratory analyzes have shown that Chantilly's drawing served as a cliché for the paintings probably created in his studio.

For the first time, they will be exceptionally brought together for the exhibition at the Chantilly museum!

Book of Hours of Francis I

Hugau Gestion continued its sponsorship operations in 2018 with the Louvre by participating in the acquisition of:

© 2017 Louvre Museum / S. J. Phillips

A manuscript entirely covered in a sumptuous binding of gold and precious stones, this jewel of French goldsmithing has no equal. François I had chosen to offer this book of hours to his niece Jeanne d'Albret, brought up under his authority at the court of France. Henri IV and Cardinal Mazarin then possess the collection of prayers, a small everyday object but whose design is of incredible richness.

The only vestige of the Valois treasures that were totally dispersed at the end of the 16th century, the Book of Hours of François I became the property of collectors in England at the start of the 18th century. Its acquisition by the Louvre, for a total amount of approximately 10 million euros, allows the return to France of this magnificent masterpiece.

We invite you to come and see it at the Louvre Museum.


After the success of the Table de Teschen in 2016, Hugau Gestion has the honor of participating in the acquisition of an exceptional work:

The chapel of the mastaba of Akhethotep

© 2016 Louvre Museum / Thierry Ollivier

At the time of the pyramids, only the great dignitaries had the privilege of resting in a monumental tomb, the "mastaba". Akhethetep, a high figure of the Old Kingdom and close to the pharaoh, was one of them. Sent to the Louvre Museum in 1903, the chapel of its mastaba, 4000 years old, is one of the flagship works of the Department of Egyptian Antiquities, both for the virtuosity of its sculpted decoration and for its abundance and the vitality of its motifs. : banquet, dances, processions, flourishing nature...


Thanks to the sponsorship program, Hugau gestion supports the Louvre Museum by participating in the acquisition of:

The Teschen Table, also known as the Breteuil Table

© 2014 Louvre Museum / Philippe Fuzeau

Remaining in private hands since its creation in 1779, the Teschen Table is a masterpiece of 17th century furniture. Both jewel and table, it is considered by its form, its materials and the technique used, as one of the most astonishing and extraordinary objects of its time.

Classified as a “national treasure”, then as a “work of major heritage interest”, the Teschen Table is also a commemorative monument of European history. Its acquisition is a unique opportunity to preserve a masterpiece in France. The symbolic, historical and artistic dimensions resonate with the missions of the Louvre Museum.

 Tapestry of St Anatoile de Salins, The Miracle of Water

© 2014 Louvre Museum / Erich Lessing

One of the first missions of the Louvre is to participate in major restoration projects in order to preserve, restore and study the collections. The Louvre preserves nearly 400,000 works (including drawings) of which approximately 35,000 are actually exhibited in the rooms of the museum. This large number suggests the extent of the restoration campaigns that must be carried out to allow the most vulnerable pieces to retain their eternal youth. Indeed, many masterpieces in the Louvre have been weakened by the test of time. In order to regain their former glory and allow museum visitors to discover or rediscover their exceptional character, their restoration is necessary. These operations also offer curators the opportunity to carry out in-depth analyzes of the works (X-rays, infrared), to better understand their technical specificities and their history. In order to allow these masterpieces to regain their brilliance, the Louvre offers companies or private individuals through the Friends of the Louvre society to participate in the maintenance and conservation of the museum's collections by participating in a sponsorship this time no longer acquisition but restoration. Hugau Gestion, after participating in the enrichment of the Louvre collections through the acquisition of two major works (The Three Graces and the Ivory statuettes) decided to opt for a restoration sponsorship this year. This operation is particularly interesting because it allows members of the company and its customers to follow the progress of the restoration work and the work accomplished. This sponsorship is done over time and is no longer carried out this time as part of an operation classified as a National Treasure but as a classic sponsorship. The restoration envisaged concerns a very old tapestry "the Miracle of Water", hanging of Saint Anatoile de Salins. It is the oldest surviving tapestry of Bruges origin today. It retraces the Life of Saint Anatoile, commissioned by the canons of the collegiate church of Salins in the Jura. The tapestry, in wool and silk, was executed between 1502 and 1506, but only three pieces, kept in the Louvre, have survived. A restoration campaign started in 2010 has restored the scene of the Funeral of Saint Anatoile, it is now a question of restoring another significant episode in the life of the saint, The Miracle of Water, an astonishing scene where the procession behind the chief reliquary of the saint and the representation of the hydraulic system used in the saltworks at the beginning of the 16th century. The fragility of the fabric, 5 centuries old, further accentuates the complexity of the delicate restoration of this piece, which testifies to the technical virtuosity of the artists of the time.

Saint John, Unknown Author, XIIIth

© 2012 Louvre Museum / Martine Beck-Coppola

The acquisition of the two statuettes, Saint John represented at the foot of the Cross as a pendant to the Virgin and the allegory of the Synagogue, symmetrical to that of the church, constitute a whole composing the group of the descent from the Cross preserved in the Louvre. and representing one of the key works of French Gothic art thanks to the finesse of the layout and the elegance of the curves of the ivory statuettes. The story of the recovery of this magnificent work begins more than a hundred years ago, in 1896, when the heart of the group was acquired by the Louvre Museum from the expert Charles Mannheim. It then consisted of the Virgin and Joseph of Arimathea supporting the body of Christ, and the isolated statuette of the Church. Mannheim said he had brought him from Italy, twice. The group was joined in 1947 by the statuette of the "Prophet" donated by the children of Baron and Baroness Robert de Rothschild. At that time, the belonging of the statuette of the prophet to the "Descent from the Cross" was not obvious, it was in 1988 that Danielle Gaborit-Chopin, curator at the Louvre, devoted a meticulous study to the "Descent from the Cross". and demonstrated that the "Prophet" completed this group well and that it was the character of Nicodemus unnailing the feet of Christ with the help of long pincers.

This rare group lacked two statuettes, Saint John traditionally represented at the foot of the Cross as a pendant to the Virgin and the allegory of the Synagogue, symmetrical to that of the Church, symbolizing the victory of the Church over Judaism. Saint John, wearing a coat draped over his robe, holds in his left hand the Book "the apocalypse of Saint John" which is none other than the new testament in the Bible containing the message to the seven churches and the future of the world, the redemptive lamb who takes away the sin of the world….. In his right hand, he holds a piece of his coat towards his face, to wipe away his tears. His face marked by deep pain corresponds perfectly to those of the particular style of the Virgin, of Christ, of Joseph of Arimathea and of Nicodemus.

On the left side of the veil of the Virgin, the tail of her coat falls in large folds with interlocking beaks, in a rhythm quite similar to the folds of the left side of the veil of the Virgin as well as those of the coat tied as an apron. of Joseph of Arimathea.


The synagogue, in accordance with a widespread iconography in the 13th century, is known above all in monumental sculpture. On the portals of the cathedrals of Reims and Strasbourg she is depicted as a fallen queen, unlike the triumphant Church. The synagogue is represented in the Middle Ages in the form of two figurines and this from the Carolingian period. In the descent of Saint John, she bends her head and turns her face away from Christ. Her blindfolded eyes symbolically evoke her blindness because she did not recognize the Messiah. Its slender silhouette offers details of unprecedented virtuosity for the time. Although defeated, the Synagogue is therefore represented as being of rare beauty.

This masterpiece of Gothic art is the work of one of the greatest sculptors of the Middle Ages, an anonymous master still unidentified.

The faces of Joseph and Nicodemus are similar to those of Christ and Saint Thomas on the north tower of the western facade of Reims Cathedral around 1260, so the work can be roughly dated to the last quarter of the 13th century.

The two statuettes were part of the collection of Mr Paul Corbin, a Polytechnician from Metz, a region very rich in Carolingian art. The first representations of the Church and the Synagogue in the form of two allegorical female figures appear on crucifixions carved from ivory plaques in Metz. This owner, related to Eugène Corbin who founded the Ecole de Nancy museum, can explain the origin of these pieces and their region of manufacture. His heirs wanted to part with them and sell them. After having toured the various experts on the subject, no one realized the greatness of these two pieces before they were finally presented to the curator of the Louvre Museum who identified them. The operation was launched; €2.6 million had to be found and Hugau Gestion is particularly proud to have been able to participate in such an operation.

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