JEAN-BAPTISTE LE PRINCE (METZ 1734-1781 SEINE-ET-MARNE)

Lot 30
15.11.2023 14:30UTC +01:00
Classic
Vendu
€ 37 800
AuctioneerCHRISTIE'S
Lieu de l'événementFrance, Paris
Archive
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ID 1071531
Lot 30 | JEAN-BAPTISTE LE PRINCE (METZ 1734-1781 SEINE-ET-MARNE)
Valeur estimée
€ 30 000 – 50 000
JEAN-BAPTISTE LE PRINCE (METZ 1734-1781 SEINE-ET-MARNE)

Scène de banquet en extérieur

huile sur panneau

54,2 x 75,5 cm. (21 1⁄3 x 29 ¾ in.)





Provenance

Eugène Tondu ; sa vente, hôtel Drouot, Paris, (Me Pillet), 10-15 avril 1865, lot 85 (comme 'Honoré Fragonard').

François Thièbault Sisson (1856-1944), Paris, en 1910 (selon le catalogue d'exposition de 1910, op. cit. infra).

Acquis par Karl Ernst Henrici (1879-1944), Berlin, pour le 'Führermuseum' (no. 1891), en 1941 (comme 'Fragonard').

Récupéré par l’unité Monuments Fine Arts and Archives Section des mines de sel d'Altaussee (no. 5951).

Transféré au centre de collecte de Munich le 19 octobre 1945 (no. 10737).

Renvoyé en France le 27 mars 1946.

Restitué à Madame Thièbault Sisson, Paris, le 31 octobre 1951.

Vente anonyme, Christie's, Manson & Woods, Londres, 7 juillet 1972, lot 33 (comme 'Jean Honoré Fragonard').

Henri Cuvet, en 1982 (selon Parisien Libéré, 1982, op. cit. infra).

Vente anonyme, Drouot Richelieu, Paris, (Mes Chayette & Cheval), 18 décembre 1995, lot 11 (comme 'Jean-Baptiste Leprince').

Vente anonyme, hôtel des ventes Anticthermal, (Me Teitgen).

Collection particulière de la région Grand Est, France.



Literature

'Ce Fragonard (2 millions de francs) a été dérobé chez un expert parisien', Parisien libéré, 2 septembre 1982, s. p. (comme 'Fragonard'), reproduit en noir et blanc.



Exhibited

Leipzig, Leipziger Kunstverein, Ausstellung Französischer Kunst des 18., 19. und 20. Jahrhunderts, octobre-novembre 1910, n°299 (comme 'Fragonard, Jean-Honoré').



Further details

JEAN-BAPTISTE LE PRINCE, OUTDOOR BANQUET SCENE, OIL ON PANEL

This playful sketch by Jean-Baptiste Le Prince (1734-1781) displays the rococo influence of his teacher François Boucher (1703-1770), with whom the young artist studied in Paris after an initial period of training in his native Metz. Here Boucher's elegant style is interwoven with the traces of his journey to Russia, which he undertook in 1758. For six years, the painter travelled around the country, first working for Empress Catherine the Great (1729-1796) at the imperial palace in St. Petersburg, then visiting the remote regions of Siberia and Kamchatka before returning to Paris in 1764. This period of his life marked his work forever, the drawings and studies of the people he met and the landscapes he travelled through left their mark on the paintings and engravings he produced once he returned to France. These russeries were part of the culture of exoticism that was widespread in France at the time, including chinoiseries and turqueries.

Our painting shows a group of peasants getting drunk in front of a small inn, a young man has fallen off the bench and is grabbing the edge of the apron of a pretty waitress in a red dress. An older man, likely the innkeeper, also wearing a red apron, observes the scene. Behind the table stands a small tent; a calm landscape stretches across the bluish horizon. There are several motifs in common between this painting and The Cabak, an inn outside Moscow, now in the National Museum in Stockholm (inv. no. NM6727), such as the fallen figure with one foot in the air, the tent decorated with a wreath of flowers and the leaping dog. Although the Swedish painting, one of the artist's masterpieces, is more compositionally complex than ours, both share a similar lively energy. Interestingly, Le Prince had evidently originally conceived the composition differently. Pentimenti can still be seen in the sky to the right of the small inn, tracing the roof of another, larger building. This first view of the composition would have been much more similar to the Cabak.
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