JEAN-BAPTISTE LE PRINCE (METZ 1734-1781 SAINT-DENIS-DU-PONT) - photo 1
JEAN-BAPTISTE LE PRINCE (METZ 1734-1781 SAINT-DENIS-DU-PONT) - photo 2

JEAN-BAPTISTE LE PRINCE (METZ 1734-1781 SAINT-DENIS-DU-PONT)

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€ 23 940
Auction dateClassic
20.03.2024 15:00UTC +02:00
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CHRISTIE'S
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France, Paris
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ID 1172977
Lot 75 | JEAN-BAPTISTE LE PRINCE (METZ 1734-1781 SAINT-DENIS-DU-PONT)
JEAN-BAPTISTE LE PRINCE (METZ 1734-1781 SAINT-DENIS-DU-PONT)

‘La Danse russe’

signé et daté ‘Le Prince 1778’ (en bas à gauche)

pierre noire, sanguine, pinceau, lavis gris

32,3 x 56,6 cm (12 ¾ x 22 ¼ in.)





Provenance

Edmond (1822-1896) et Jules (1830-1870) de Goncourt (L.1089), acquis 15 francs en lot avec un autre paysage russe entre le 24 avril-15 novembre 1858 ; leur vente, Hôtel Drouot, Paris, 17 février 1897, lot 176, acquis par

Henri Pannier (330 francs), Paris, 1907.

Stanley Shaw Bond, Londres, 1932-1944 ; sa vente Christie’s, Londres, 9 juin 1944, lot 66 (acheté par ‘Kahlman’ pour £336).

Possiblement avec Crane Kalman Gallery, Londres.

W. B. Henderson, Esq., 1968.



Literature

P. de Chennevières, ‘Les dessins de maîtres anciens exposés à l’Ecole des beaux-arts’, Gazette des beaux-arts, 1879, II., p. 197.

P. de Chennevières, Les dessins de maîtres anciens exposés à l’Ecole des beaux-arts en 1879, Paris, 1880, p. 100

E. et J. de Goncourt, L’art du dix-huitième siècle, Paris, 1881, I, p. 111.

Lemoisne, in Les arts, n° 63, mars 1907, p. 24, ill. p. 15.

L. Réau, ‘L’exotisme russe dans l’œuvre de J.-B. Leprince’, Gazette des beaux-arts, mars 1921, p. 156, n° 2.

D. Sutton, French drawings of the eighteenth century, Londres, 1949, p. 50, pl. IX.

J. Seznec, J. Adhémar, Diderot, Salons, Oxford, 1957-67, III, p. 32; IV, p. 33.

M.-E. Hellyer, Recherches sur Jean-Baptiste Le Prince (1734-1781), thèse de 3e cycle de l’université Paris-Sorbonne, 1982, II, pp. 198-200, n° 111, ill.

P. Grate, ‘Le Caback de Jean-Baptiste Le Prince’, R.A., 1986, n° 72, p. 22, ill. p. 23, fig., 10.

É. Launay, Les frères Goncourt collectionneurs de dessins, Paris, 1991, p. 191, fig. 207.

P. Grate, French Paintings II. Eighteenth Century. Swedish National Arts Museums, Stockholm, 1994, p. 194, note 8, ill ref. 6.



Exhibited

Paris, École des Beaux-Arts, 1879, n° 610.

Paris, musée des Arts décoratifs, La Turquerie au XVIIIe siècle, 1911, n° 180.

Londres, Royal Academy of Arts, Exhibition of French art, 1200-1900, 1932, n° 825 ou 826.

Paris, 140 Faubourg Saint-Honoré, Exposition Goncourt, organisée par la Gazette, 1933, n° 323 (photo du dessin exposée).

Londres, Matthiesen Gallery, French master drawings of the 18th Century, 1950, n° 44

Londres, Royal Academy of Arts, France in the Eighteenth Century, 1968, n° 437, pl. LXXVI, fig. 213.



Further details

JEAN-BAPTISTE LE PRINCE, THE RUSSIAN DANCE, BLACK CHALK, RED CHALK, BRUSH, GREY WASH, SIGNED AND DATED 1778

Jean-Baptiste Le Prince was one of several French artists who went to work in Russia under the reign of Elisabeth I and Catherine the Great, settling in Saint Petersburg from 1758 to 1764. Although he remained there for only a short time, his work was nonetheless strongly influenced by his time in Russia, which would inspire him throughout his career after his return to France. He produced a number of ‘russeries’, whose exoticism greatly appealed to the French public. He was admitted to the Académie in 1765 with Le Baptême russe (‘The Russian baptism’), now in the Musée du Louvre (inv. 7330), and illustrated – in collaboration with Jean-Michel Moreau le Jeune – Abbé Chappe d’Auteroche’s Voyage en Sibérie fait par ordre du roi en 1761, published in three volumes in 1768.
The present drawing is preparatory to the painting in the Nationalmuseum, Stockholm (inv. NM 6727; see P. Grate, French Paintings, II, Eighteenth Century. Swedish National Arts Museums, Stockholm, 1994, no. 174, ill.), exhibited at the Salon in 1769 and remarked by Diderot (Les critiques de Salons, quoted in Launay, op. cit.). The theme would often recur in Le Prince’s work: around a circle of spectators in the open air, a man and a woman dance to the music of a violin or balalaika. Two studies for groups of figures in th composition are in the Nationalmuseum, Stockholm (inv. NMH 2/1985 and NMH 163/1983; see Grate, op. cit., p. 194, n. 6, fig. ref. 4). Another study for the couple of dancers in the centre of the composition, dated 1764 and kept at the Rosenbach Museum and Library in Philadelphia (inv. 1764-68; see Grate, op. cit., p. 193, n; 4, fig. ref. 3) served as a model for one of the engravings in the Voyage en Sibérie, entitled Danse Russe (pl. XXV), and etching by Augustin de Saint-Aubin finished with the burin by Nicolas de Launay.
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