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Jean-Baptiste Pater

France (1695 -  1736 ) Wikipedia® : Jean-Baptiste Pater
PATER Jean-Baptiste Fête Galante: La Barque De Plaisir

Sotheby's
Jun 21, 2018
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Artworks in Arcadja
268

Some works of Jean-Baptiste Pater

Extracted between 268 works in the catalog of Arcadja
Jean-Baptiste Pater - The Guitar Player

Jean-Baptiste Pater - The Guitar Player

Original 1976
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Lot number: 1126
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Jean-Baptiste-Joseph Pater (Valenciennes 1695-1736 Paris) The guitar player with number '76' in pen (lower left) red chalk 5 ¾ x 5 in. (14.5 x 13 cm.) Provenance Camille Groult, Paris (1837-1908) and by descent to his son Jean Groult (1868-1951); Pierre Bordeaux-Groult. Anonymous sale; Galerie Charpentier, Paris, 19 December 1958, lot 58 bis. Anonymous sale; Hôtel Drouot, Paris, 16 December 1960, lot 66. Anonymous sale; Palais Galliera, Paris, 30 March 1963, lot 42 (reproduced on the cover). with Charles E. Slatkin Galleries, New York; where acquired by the late owners, 1966.
Jean-Baptiste Pater - Fête Galante: La Barque De Plaisir

Jean-Baptiste Pater - Fête Galante: La Barque De Plaisir

Original
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Lot number: 43
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FÊTE GALANTE: LA BARQUE DE PLAISIR Jean-Baptiste Pater VALENCIENNES 1695 - 1736 PARIS Oil on canvas 74.6 x 93.7 cm; 29 3/8 by 36 5/8 in. Provenance Collection J.W.G. Dawis, Esq., London; his sale, Paris, Féral/Lechat, 25 February 1869, lot 55 (as « Les baigneuses », sold 4 000 francs); Private collection. Exhibited New York, Berry-Hill Galleries, Visions and Vistas, 25 January - 4 March 2000, no cat. number (catalogue by R.B. Simon). Literature F. Ingersoll-Smouse, Pater, Paris 1928, p. 46, no. 98 (as "Promenade sur l'eau"). Catalogue Note Dr. Christoph Voghterr has kindly confirmed the attribution on the basis of photographs. Accepted into the Académie in 1728 with his reception piece Fête champêtre. Soldiers rejoicing [1], Jean-Baptiste Pater perpetuated the genre of the fête galante invented by his master, Antoine Watteau. The artist himself confessed how indebted he was to Watteau, whose apprentice he was for only a few weeks, during which, however, he learned nearly everything he knew about the art of painting. The present canvas, called 'Fête galante: The Barque of Pleasure', and datable of the beginning of the 1730s, clearly carries within it the legacy of Watteau's Pilgrimage to the Isle of Cythera [2]. Nicolas Lancret, Watteau's other follower, painted another work inspired by the master (circa 1735, [3]), not long after the present work. Like Lancret, Pater specialised in fêtes galantes, staging scenes of elegant figures delighting in elite pastimes such as dance and music. Pater was born in Valenciennes where he trained with Jean-Baptiste Guidé, a fellow citizen. When the latter died, in 1711, Pater went to Paris where he lived and worked for the remain of his life, besides a short period (1716/18), during which he returned to his native city. It is only after the death of Watteau, at a young age, in 1721, that the demand for his paintings increased considerably. Pater's reputation was by then well established, and with a status as 'Académicien', he received prestigious orders - a Chinese Hunt for the Petit Galerie of the Château de Versailles for instance [4] - and the Prussian king, Frederic II was an avid collector of his works, since he owned not less than fourteen of Pater's works [5]. In the present landscape, built up in bold contrasts, young elegant people, probably aristocrats, more or less undressed, are preparing to board a small boat for a pleasure outing on the water. On the deck is a tent decorated for the occasion with flowers. It is also surmounted by the attributes of Love, a subtle message left by the artist marked by his master's libertine spirit and will to return to nature [6]. An autograph variant of this charming composition exists, although with reduced dimensions (62.5 x 79 cm). It has not resurfaced on the market for more than a century; it is mentioned as having been in London in 1884, in the collection of Alfred de Rothschild, and was exhibited at the Royal Academy in 1896 (no. 77) [7]. [1] Oil on canvas, 114 x 154 cm, Paris, musée du Louvre, inv. 7137. [2] Oil on canvas, 129 x 194 cm, Paris, musée du Louvre, inv. 8525. [3] Oil on canvas, 97 x 145 cm, Paris, musée du Louvre, inv. R.F. 1990-20. [4] La chasse chinoise, 1736, oil on canvas, 138 x 128 cm, Amiens, Musée de Picardie. [5] See: F. Ingersoll-Smouse, Pater, Paris, 1928, n° 26-35-38-46-47-54-57-58-61-229-233-235-239-241-292-293-309-314-326-329-392-416-451-289-502-507-541-558-561. [6] See De Watteau à Fragonard, les fêtes galantes, cat. exp., Paris, musée Jacquemart-André, 14 March-21 July 2014. [7] F. Ingersoll-Smouse, op. cit., n° 70, fig. 166.
Jean-Baptiste Pater -  A Military Encampment

Jean-Baptiste Pater - A Military Encampment

Original 2011
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Lot number: 105
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Jean Baptiste Pater (Valenciennes 1695–1736 Paris) A military encampment, oil on canvas, 63 x 76 cm, framed Provenance: Collection Henri Michel-Levy (1844–1914), Paris; his sale, Galerie Georges Petit, Paris, 12 May 1919, lot 25 (as Pater, \‘Le Bivouvac\’); Private collection, France; art market, Southern France (2017); where acquired by the present owner Literature: M. Eidelberg, Defining the Oeuvre of Bonaventure de Bar (Part 1), online publication, revised 2016, ill. no.20 (as Pater) We are grateful to Alistair Laing for confirming the attribution and for his help in cataloguing the present painting. Pater, like his teacher Antoine Watteau (1684-1721), was a native of Valenciennes and would have had many opportunities in his youth to study the soldiers garrisoned in the town during the later years of the War of Spanish Succession (1701-1713). Indeed, it is possible that as a boy Pater first came to know Watteau when the celebrated artist returned to his hometown for a brief visit in 1710, a period during which Watteau himself made a number of paintings and drawings of military subjects. Pater followed his master\’s example in becoming a specialist in paintings of military themes and in 1728 he submitted the canvas Soldiers Celebrating (Louvre, Paris) as his reception piece to the Académie Royal. The present scene of a traveling military encampment is a superb example of Pater\’s works in the genre. It closely follows a scheme established by Watteau: ordinary soldiers, officers and servants, and the women and children who follow the garrison from one encampment to another, are depicted at their leisure, far from the heat of battle, as they rest, sleep, smoke, play cards, amiably converse, and daydream. Each is characterised with a lively wit and energy and executed in fluent and colourful brushstrokes. Alastair Laing noticed the stylistic similarities with works like the Blindekuhspiel in Potsdam (C. Vogtherr et al., Französische Gemälde I, Berlin 2011, no. 36 (there dated to circa 1732). Specialist: Mark Mac Donnell
Jean-Baptiste Pater - Recto: Study Of A Seated Woman Verso: Standing Figure Study

Jean-Baptiste Pater - Recto: Study Of A Seated Woman Verso: Standing Figure Study

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Lot number: 66
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Provenance With L'Art Ancien, Paris; Emile Wolf, New York, thence by descent Exhibited New York, American Federation of the Arts, 17th and 18th Century European Drawings, 1966, no. 27 Montreal, Museum of Fine Arts; Los Angeles, J. Paul Getty Museum; Cambridge, Massachusetts, Fogg Art Museum, Louis XIII - Louis XVI: French Drawings from a Private Collection, 1980, no. 29 Florida, Tampa Museum, Louis XIII - Louis XVI: French Drawings from a Private Collection, 1982, no. 24 Catalogue Note Linked directly to Pater's painting Le Colin-Maillard, at Sanssouci, Potsdam (Fig.1) this delicate red chalk study of a seated woman is preparatory for the woman depicted nonchalantly seated in the left foreground of the composition. Fig. 1 Jean-Baptiste Pater, Le Colin-Maillard, Potsdam, Sanssouci Red chalk (recto); black chalk (verso) 153 by 171 mm Red chalk (recto); black chalk (verso) 153 by 171 mm Please notify me when the condition report is available
Jean-Baptiste Pater - An Elegant Lady And A Maid Holding A Jug , A Seated Woman

Jean-Baptiste Pater - An Elegant Lady And A Maid Holding A Jug , A Seated Woman

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Lot number: 97
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Jean-Baptiste-Joseph Pater (Valenciennes 1695-1736 Paris) An elegant lady and a maid holding a jug (recto), A seated woman (verso) with number '.67' red chalk (recto), red chalk counterproof (verso), irregular 7¾ x 8 7/8 in. (19.6 x 22.5 cm.)

The recto is possibly a study with differences for one of the central figures in Pater's picture Une fête galante, Le repos dans un parc, formerly in the collection of the Earls of Pembroke and now in the City Art Museum, Saint Louis. Comparable drawings of two female figures by Pater are in Rotterdam (P. Rosenberg and L.-A. Prat, Antoine Watteau, 1684-1721, Catalogue raisonné des dessins, Milan, 1996, III, no. R728) and in the Louvre (inv. 27546). The numbering on this drawing indicates that it comes from an album commonly called 'Groult album' which originally contained more than five hundred sheets by Pater and Watteau (see P. Rosenberg, 'L'album Groult, dit aussi album Lepeltier', in Preussen: die Kunst und das Individuum. Beiträge gewidmet Helmut Borsch-Supan, Berlin, 2003, pp. 29-39).

Provenance Camille Groult; Hôtel Drouot, Paris, 19 December 1941, lot 55. with W. M. Brady, New York, 1989. Anonymous sale; Sotheby's, London, 4 July 1991, lot 46. Anonymous sale; Christie's, New York, 24 January 2008, lot 80, where acquired by the present owner. Pre-Lot Text PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR Literature F. Raymond, La fortune critique de Jean-Baptiste Pater (1695-1736) et son œuvre dessiné, Paris, 2005, fig. 165 (unpublished). Exhibited Paris, Galerie Cailleux, Le dessin français de Watteau à Prud'hon, 1951, no. 102. New York, The Frick Collection and Ottawa, National Gallery of Canada, Watteau and His World: French Drawing from 1700 to 1750, 1999-2000, no. 73 (cat. note by A. Wintermute).
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