CHARLES-ANTOINE COYPEL (PARIS 1694-1752) - photo 1
CHARLES-ANTOINE COYPEL (PARIS 1694-1752) - photo 2
CHARLES-ANTOINE COYPEL (PARIS 1694-1752) - photo 3

CHARLES-ANTOINE COYPEL (PARIS 1694-1752)

Lot 24
15.11.2023 14:30UTC +01:00
Classic
Starting price
€ 30 000
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 1071556
Lot 24 | CHARLES-ANTOINE COYPEL (PARIS 1694-1752)
Estimate value
€ 30 000 – 50 000
CHARLES-ANTOINE COYPEL (PARIS 1694-1752)

La diseuse de bonne aventure

huile sur toile, sur sa toile d'origine

81,1 x 64,7 cm. (31.15⁄16 x 25 ½ in.)





Provenance

Peut-être collection d'Ange Laurent Lalive de Jully (1725-1779), Paris, 1764 (dans la 'Première pièce sur la Cour' (P.-J. Mariette, 1764, op. cit. infra)) ; sa vente, Paris, 2-14 mai 1770, lot 81 (comme 'Charles Coypel') ; d'où peut-être acquis par 'Métra p. la Czarine' pour 160 [liv] (selon une annotation dans le Catalogue historique du cabinet de peinture et sculpture françoise, de M. de Lalive conservé dans les collections Jacques Doucet à la Bibliothèque de l'Institut National d'Histoire de l'Art) ou 'Hebert' (selon une annotation dans le catalogue de vente de 1770 conservé dans les collections Jacques Doucet à la Bibliothèque de l'Institut National d'Histoire de l'Art).

Peut-être vente anonyme, hôtel Drouot, Paris, (Me Bellier), 1er juin 1931, lot 55 (comme 'atelier de Carle Vanloo').

Vente anonyme, Sotheby's, New York, 2 février 2018, lot 230.

Collection particulière européenne.



Literature

Peut-être P.-J. Mariette, Catalogue historique du cabinet de peinture et sculpture françoise, de M. de Lalive, Paris, 1764, pp. 14-15.

Peut-être M. Hébert, Dictionnaire pittoresque et historique, ou Description d'Architecture, Peinture, Sculpture [...] de Paris, Versailles, Marly [...], Paris, 1766, I, p. 118.

Peut-être C. Blanc, Histoire des peintres de toutes les écoles. École française, Paris, 1865, II, p. 8.

Peut-être L. Courajod, Livre-journal de Lazare Duvaux, marchand-bijoutier ordinaire du roy 1748-1758, Paris, 1873, I, p. 281.

Peut-être A. Siret, Dictionnaire historique et raisonné des peintres de toutes les écoles depuis l'origine de la peinture jusqu'à nos jours, Bruxelles, Paris-Leipzig-Londres, 1883 (troisième édition originale), I, p. 238.

Peut-être R. James, Painters and their works: a dictionary of great artists, who are not now alive, giving their names, lives and the prices paid for their works at auction, Londres, 1896, I, p. 247.

Peut-être H. Mireur, Dictionnaire des ventes d'art faites en France et à l'Étranger pendant les XVIIIe et XIXe siècles, Paris, 1902, II, p. 305 (erronément repris sous 'Charles-Louis Coypel').

Peut-être I. Jamieson, Charles-Antoine Coypel. Premier Peintre de Louis XV et Auteur Dramatique (1694-1752). Sa vie et son oeuvre artistique et littéraire d'après des documents inédits, suivies d'une de ses comédies inédites, Paris, 1930, p. 2, sous la note 1.

Peut-être C. B. Bailey, Ange-Laurent De La Live De Jully: a Facsimile Reprint of the Catalogue Historique (1764) and the Catalogue Raisonné des Tableaux (March 5, 1770), New York, 1988, pp. 14-15 (catalogue de 1764) et p. 42 (catalogue de 1770).

Peut-être T. Lefrançois, Charles Coypel. Peintre du roi (1694-1752), Paris, 1994, p. 398, n°P. 377 (comme 'perdu').



Further details

CHARLES-ANTOINE COYPEL, THE FORTUNE TELLER, OIL ON CANVAS, UNLINED

Here a fortune-teller leans over a young man's hand to read the lines on his palm, a mischievous glint shimmers in the eyes she raises to his face. The young man's comparatively tender gaze may evoke a love story whose end he wishes to know. This subject holds a notable position in Charles-Antoine Coypel’s (1694-1752) work. At the age of twelve, in 1706, he produced his first etching, also showing a man eagerly learning his future from two gypsy women. The young pupil dedicated this etching to his uncle, Augustin Bidaud.

The history of the present painting remains unclear. There are two known versions of the subject, as well as a preparatory drawing of the two main characters. The latter, now in a private collection, is signed by Coypel. The other version of the painting, formerly in the Collection of J.E. Safra, bears the signature of Carle van Loo (1705-1765), which was evidently added at a later date. Thierry Lefrançois, author of the catalogue raisonné, confirmed the attribution to Coypel at the time of th sale of the former Safra painting in New York in 2000.

At that time, the Safra painting was also identified as likely being that which belonged to the great collector Ange-Laurent Lalive de Jully, Marquis de Removille (1725-1779), described in Mariette's work (P.-J. Mariette, 1764, op. cit. supra) and in the catalogue of his sale in 1770, in which it was entitled 'Une Bohémienne'. However, two clues indicate that it is more likely that the Lalive de Jully version is the present painting. Firstly, the dimensions given in the 1764 catalogue, 'two feet six and a half inches high and two feet wide' (Ibid, pp. 14-15), correspond more precisely to this version than to the one in the Safra collection. And secondly because the description of the painting in the 1770 catalogue specifies that a black person appeared between the two main figures. Although the Safra version shows a sketch of this third person, this figure is more clearly defined in the present version of the painting.
Artist:Charles-Antoine Coypel (1694 - 1752)
Applied technique:Oil on canvas
Art style:Old Masters
Genre:Genre art
Place of origin:Western Europe, France, Europe
Auction house category:Paintings
Address of auction CHRISTIE'S
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