This French artist was documented in Rome in 1622-4 and had returned to Paris by 1631. He seems to have spent much of the intervening period in Umbria. He signed a panels in:
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✴San Michele Arcangelo at Beroide, near Spoleto, in 1625;
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✴San Michele Arcangelo at Sterpete, near Foligno, also in 1625;
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✴San Nicolò at Belfiore, near Foligno in 1626; and
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✴Santa Caterina at Rapecchiano, near Spello, in 1627.
A panel was commissioned from “Novel Dequillerius gallus pictor” for San Silvestro at Cancellara in 1628.
Foligno
Coronation of the Virgin and saints (1626)
In 1626, Ludovico Jacobilli requested permission from the Cathedral Chapter to place “il quadro del Beato Pietro Crisci” in the Cappella di San Domenico di Sora e il Beato Pietro Crisci (later the Baptistery) in the Duomo. (At this time, the chapel contained the relics of the Blessed Peter Crisci). This was almost certainly this panel in the Museo Diocesano, which is attributed to Noel Quillerier. It depicts the Virgin looking down on Foligno while Christ and God the Father hold a crown above her head. St Dominic of Sora and the Blessed Peter Crisci commend the city to her care.
Backdrop to a Crucifix (ca. 1626)
Discovery of the True Cross (1626)
Blessed Tomasuccio da Foligno (ca. 1626)
This panel of the standing figure of the Blessed Tomasuccio, which is attributed to Noel Quillerier, came from the now-demolished chapel of the Ospedale della Trinità in which the Blessed Tomasuccio died. [Where is it now ??]
Madonna and Child with SS Philip and James (17th century)
This panel in the room behind the Chapter Room of the convent of San Giacomo (which can also be reached from the sacristy of the church) is variously attributed to Giovanni Battista Michelini or Noel Quillerier.
