JEAN-ANTOINE WATTEAU (VALENCIENNES 1684-1721 NOGENT-SUR-MARNE) - photo 1
JEAN-ANTOINE WATTEAU (VALENCIENNES 1684-1721 NOGENT-SUR-MARNE) - photo 2

JEAN-ANTOINE WATTEAU (VALENCIENNES 1684-1721 NOGENT-SUR-MARNE)

Lot 43
18.05.2022 14:30UTC +01:00
Classic
Sold
€ 100 800
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 761280
Lot 43 | JEAN-ANTOINE WATTEAU (VALENCIENNES 1684-1721 NOGENT-SUR-MARNE)
Estimate value
€ 100 000 – 150 000
JEAN-ANTOINE WATTEAU (VALENCIENNES 1684-1721 NOGENT-SUR-MARNE)Couple se promenant dans un vaste paysage (recto); Étude architecturale avec un rempart (verso)deux tons de sanguine, estompe, filigrane vase surmonté d'une fleur-de-lys17,8 x 30 cm (7 x 11 3⁄4 in.) Provenance Antoine-Jean Dezallier d'Argenville (1680-1765), Paris (L.2951) avec son numéro associé '3296' et son paraphe ; sa vente, Paris, 18-28 janvier 1779, partie du lot 392, 393, ou 394.Comte Jan-Pieter van Suchtelen (1751 -1836), Saint-Pétersbourg, Stockholm (L.2332).Vente Christie's, Londres, 10 juillet 2001, lot 106. Literature J. Labbé, L. Bicart Sée, La collection de dessins d'Antoine Joseph Dezallier d'Argenville, Paris, 1996, p. 328.P. Rosenberg, L. -A. Prat, Antoine Watteau 1684-1721, Catalogue Raisonné des dessins, Paris et Milan, 1996, II, no. G194 (Dessins connu par une gravure, comme perdu, de la collection Dezallier).P. Rosenberg, L. -A. Prat, M. Eidelberg, Watteau et les paysagistes français du XVIIIe siècle, cat. exp., London, The Royal Academy, 2011, p. 19, note 3.M. Eidelberg, Revêries italiennes. Watteau et les paysagistes français du XVIIIe siècle. cat. exp., Valenciennes, Musée des Beaux-Arts, 2015-2016, p. 37, note 38 (comme douteux). Post lot text JEAN-ANTOINE WATTEAU, A COUPLE WALKING IN AN EXTENSIVE LANDSCAPE (RECTO); AN ARCHITECTURAL STUDY WITH A RAMPART (VERSO), RED CHALK (TWO TONES), STUMPRediscovered in the last 20 years after the publication of the catalogue raisonné of drawings of the artist by Louis Antoine Prat and Pierre Rosenberg, where it is referenced as ‘known after the engraving’, this sanguine by Antoine Watteau is related to the painting, La promenade sur les remparts, conserved in a private collection and recently exhibited (Rêveries italiennes. Watteau et les paysagistes français au XVIIIe siècle, exh. cat., Valenciennes, 2016, no. 21). Through this exhibition, Martin Eidelberg reiterates his hypothesis that this may be a view of the Camp Vaccino and the Farnese Gardens on Mount Palatine, a familiar setting to daily Roman life at the time when the livestock market was set up there. This couple is depicted in a barely sketched background, drawn in red chalk and only visible in the background of the painting, to the left of the seated figures. According to scholars, the couple is also found in another later painting by Watteau, dated between 1713 and 1715, on the far left of the Paysage lacustre, kept in the Hermitage museum (inv. ГЭ-7766; Watteau 1684-1721, exh. cat., National Gallery of Art, Washington, Galeries nationales du Grand Palais, Charlottenburg Palace, Berlin, 1984-1985, no. 33). In addition, the two figures are part of a larger print by Jean-Charles François in which the couple is placed next to a woman with a fan sitting next to her dog (Rosenberg, Prat, op. cit.). Both drawings were in the collection of Dezallier d'Argenville (see provenance).The verso of the sanguine features an architectural study with a succession of blind arcades similar to the building in the painting, with one of the pavilions on the Farnese garden on the left. Various differences between the painting and the drawing must be noted. For example, the drawing features two blind arcades on the tower verus the painting's four, as well as the façade of the temple on the far right of the composition, wherein the drawing we see an architectural element that is absent from the painting.There is another architectural study by Watteau in the Museum Boijmans Van Beuningen in Rotterdam – drawn by nature according to Meg Grasselli – similar to the background of the painting, where the very quickly sketched building lines, sometimes with a lack of perspective, are similar to the graphic treatment of the present sketch (inv. F.I. 152 verso; exh. cat., 2016, no. 26).Of a prestigious provenance, the drawing belonged to the Dezallier d’Argenville collection, as indicated by the initials at the bottom left of the sheet numbered '3296'. He owned no less than 35 drawings by Antoine Watteau according to the catalogue of his death sale. Labbé and Bicart Sée referenced twenty-two of these in their monograph on the collector published in 1996 (La collection de dessins d'Antoine-Joseph Dezallier d'Argenville, Paris, 1996, p. 356). The drawing later passed into the hands of Count Jan-Pieter van Suchtelen, who probably acquired it after 1810 during his stay in Sweden as Russian ambassador.
Artist:Jean-Antoine Watteau (1684 - 1721)
Applied technique:Chalk
Medium:Acrylic glass, Paper, Plastic, Stone
Art style:Old Masters
Place of origin:Western Europe, France, Europe
Auction house category:Drawings
Address of auction CHRISTIE'S
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