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Jean Antoine Watteau

(1684 -  1721 ) Wikipedia® : Jean Antoine Watteau
WATTEAU Jean Antoine Head Of A Child In A Feathered Hat, Looking To The Right

Christie's /Jul 5, 2016
50,659.83 - 75,989.74
79,156.25

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Artworks in Arcadja
536

Some works of Jean Antoine Watteau

Extracted between 536 works in the catalog of Arcadja
Jean Antoine Watteau - A New Drawing Book Of Heads Exactly Done From The Celebrated Watteau

Jean Antoine Watteau - A New Drawing Book Of Heads Exactly Done From The Celebrated Watteau

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Lot number: 328
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Sale 2450 Lot 328 WATTEAU, JEAN-ANTOINE; ROBERTS, HENRY, engraver. A New Drawing Book of Heads Exactly Done from the Celebrated Watteau. 5 etched plates, including the ornate Rococo title cartouche. Oblong 4to, 8 1/4x13 inches, loosely bound with a single stitch at left edge; first leaf slightly toned, some creased corners. London: John Bowles, circa 1750
Jean Antoine Watteau - Pour Garder L'honneur D'une Belle

Jean Antoine Watteau - Pour Garder L'honneur D'une Belle

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Lot number: 34
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Jean-Antoine Watteau (Valenciennes 1684-1721 Nogent-sur-Marne) Pour garder l'honneur d'une belle (To Protect the Honor of a Beautiful Woman) oil on panel 7 ½ x 10 ½ in. (19 x 26.5 cm.) This delightful little panel, not previously published, is an important rediscovery from Watteau’’’’’’’’s early career. The painting and its lost pendant, “Belle n’’’’’’’’Ecoutez Rien” (“Beautiful Woman, Do Not Listen”), have long been known from engravings (made in the same direction as the original paintings) by Charles-Nicolas Cochin and recorded in 1726 in the estate of Watteau’’’’’’’’s friend and dealer, Pierre Sirois (figs. 1, 2). Subsequently, these and several other prints made for Sirois after Watteau’’’’’’’’s paintings were acquired by Jean de Jullienne and included in the Recueil Jullienne, the complete compendium of engravings after Watteau’’’’’’’’s paintings published in two volumes between 1732-1735. Beneath the image in each of Cochin’’’’’’’’s reproductive prints is a quatrain, the first line of which has given rise to the peculiar titles with which the works are still identified. Lost since the 18th century and known only from Cochin's prints, the compositions are among the most often cited of Watteau's paintings. Both paintings depict stock characters from the commedia dell’’’’’’’’arte. In Pour Garder l’’’’’’’’Honneur d’’’’’’’’une Belle, one can easily identify them from their traditional costumes: Harlequin (in his black mask and diamond-pattern silks); Pierrot (all in white satin and a large ruff); Mezzetin (in a satin tunic, pantaloons and a floppy beret); Colombine (in a tight-fitting bodice and Spanish ruff); and the Doctor (in a black mask, full-length black coat, and black felt hat). Laterally arranged across a garden terrace, the figures appear as on a stage: the seated Columne serenades the reclining Harlequin with her guitar; from behind some trees, the standing Harlequin and Pierrot discreetly observe the music-making couple; while, entering from ‘house right’’’’’’’’ with considerable agitation, the Doctor turns his attention to the couple with a look of grim surprise. The anonymous verses that accompany Cochin’’’’’’’’s print invoke the mood of comic romance that permeates the picture: ‘To keep the Honor of a Beautiful Woman/ Guard it Night and Day,/ Against the pitfalls of Love/ it is too little for Pierrot to be Sentinel.’’’’’’’’ P.J. Mariette, in his Notes manuscrites (t. IX, fol. 191, 12) describes Cochin’’’’’’’’s prints as depicting ‘deux sujets de Scenes du Theatre Italien, l’’’’’’’’un represente. Arlequin amoreux, l’’’’’’’’autre le Docteur trouvant sa fille en teste-a-teste avec son amant…’’’’’’’’ Although Mariette may have been mistaken about the relationship between the Doctor and Columbine, his description captures the spirit of the scene. While the gormless Pierrot and the scheming Harlequin are meant to be safeguarding the virtue of pretty Columbine, the ever-cuckolded Doctor appears and catches her in a tryst with her lover. Although Watteau was to paint characters from the commedia dell’’’’’’’’arte throughout his career, and even included them regularly in his fêtes galantes, it is rare that they can be associated with any specific play that was performed at the popular Fairs or appeared in the repertory of the Théâtre-Italien. With the present painting, however, there is a case to be made -- as François Moureau has done -- that it may correspond to the final scene of a comedy by Pierre-François Biancolelli, known as Domenique Biancolelli (1680-1734), a prolific playwright and actor from a prominent theatrical family, who played Pierrot at the Comédie-Italien in 1717. His play, Arlequin, fille malgré lui, seems to have been performed only once at the Foire Saint-Laurent in 1713, but its storyline is very suggestive of Watteau’’’’’’’’s painting. In it, Léandre (as Mezzetin) despairs of not being able to marry his beautiful love, Colombine, who is jealously guarded by the Doctor, who wishes her hand for himself. Only after many comic misadventures will Léandre and Colombine be united through the unexpectedly benevolent interventions of Harlequin. In Act III, Scene 5, the Doctor arrives on the scene, catching Colombine in gallant conversation with Léandre. Pierrot hides in the background with Harlequin, who has only just shed the female attire that had disguised him. Might the incongruously prominent basket in the left foreground of Watteau’’’’’’’’s painting, which overflows with a bright pink gown that all but obscures a sleeping dog beneath, allude to Harlequin’’’’’’’’s recently discarded dress? The association between the play and Watteau’’’’’’’’s painting is seductive but far from established. With their common stock characters and formulaic plot devices, the comic plays of the Théâtre de la Foire are often difficult to distinguish one from the other with certainty. Furthermore, Watteau’’’’’’’’s painting might predate the single recorded performance of Arlequin, fille malgré lui that took place in 1713. Even from the evidence of Cochin’’’’’’’’s prints alone, scholars have long presumed that the present painting and its pendant were early works by Watteau which display a youthful dependence on the subject matter and manner of his teacher, Claude Gillot (1673-1722), whose shop Watteau worked in from approximately 1705-1709. Although Gillot was primarily a draftsman and printmaker, he made occasional paintings and, as Martin Eidelberg among others has observed, paintings by Gillot such as Le Tombeau de Maître André and Les Deux Carosses (both, Louvre) are clearly the inspiration for Pour Garder l’’’’’’’’Honneur d’’’’’’’’une Belle and its companion piece. As Eidelberg notes, ‘Gillot’’’’’’’’s theatrical narrative…is factual and documentary.’’’’’’’’ His paintings of commedia subjects are enacted virtually as they must have appeared on the actual stage, with his characters lined up across a shallow foreground in front of a backdrop as flat and unconvincing as a painted curtain. Already, in Pour Garder l’’’’’’’’Honneur d’’’’’’’’une Belle, Watteau is integrating his figures more naturally into their setting than Gillot did and breaking down his master’’’’’’’’s rigid planarity, but the composition is still more stage-bound than his compositions would soon be, even by the time of his earliest fêtes galantes. Although no drawings for the present painting survive to assist us in dating the work, its dependence on Gillot’’’’’’’’s models argues for a date not too long after Watteau’’’’’’’’s departure from the older artist’’’’’’’’s shop. Nevertheless, the bright delicacy of the palette and subtle nuances of paint handling in the picture already far outshine what Gillot was capable of achieving in paint, and in the best-preserved areas of the panel -- the exquisite figures of Mezzetin and Columbine, the liquidy glazes of white over white in Pierrot’’’’’’’’s costume, the glorious translucent shimmers of the pink satin gown tumbling from the basket -- the genius of Watteau is already in full evidence. Cochin’’’’’’’’s engraving is silent on the subject of the painting’’’’’’’’s first owner. Martin Eidelberg has suggested that the two paintings in the collection of the Comtesse de Verrue (sold in Paris, 27 March 1737 and thereafter) identified as “deux tableaux de Gillot ou Vatteau” might well have been Pour Garder l’’’’’’’’Honneur d’’’’’’’’une Belle and its pendant and, indeed, few works by Watteau are as similar to Gillot’’’’’’’’s example than these and as likely, therefore, to lead to that particular confusion. Eidelberg has further considered that two paintings sold from the collection of the jeweler Jean Corneille Landgraff might have been our painting and its pair: the sale catalogue fully attributes them to Watteau, and describes them as executed on wooden panels of the same dimensions as the present painting; furthermore, one includes a man dressed as Pierrot. Many copies of the present painting (and its pendant) are known, most derived from Cochin’’’’’’’’s prints, and trade frequently at auction. A pair of 18th-century copies on panel measuring 21.4 x 31.4 cm. was recently on the Paris art market. None of these have any claim to authenticity. The present painting will appear in the forthcoming catalogue raisonné of Watteau’’’’’’’’s paintings by Alan Wintermute, currently in preparation. It will also be included in the online ‘A Watteau Abecedario’’’’’’’’ by Martin Eidelberg, who has seen the painting in person and confirmed its attribution to Watteau.
Jean Antoine Watteau - Eight Comedians, One Of Them Riding A Donkey, And Two Dogs

Jean Antoine Watteau - Eight Comedians, One Of Them Riding A Donkey, And Two Dogs

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Lot number: 94
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Jean-Antoine Watteau (Valenciennes 1684-1721 Nogent-sur-Marne) Eight comedians, one of them riding a donkey, and two dogs red chalk counterpoof 6 1/8 x 8 3/8 in. (15.3 x 21.4 cm.) This sheet is a counterproof of a drawing in the Hessisches Landesmuseum, Darmstadt (inv. AE 2398; P. Rosenberg and L.-A. Prat, Antoine Watteau 1684-1721. Catalogue raisonné des dessins, Milan, 1996, I, no. 114), as dating from circa 1711.
Jean Antoine Watteau - Head Of A Child In A Feathered Hat, Looking To The Right

Jean Antoine Watteau - Head Of A Child In A Feathered Hat, Looking To The Right

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Lot number: 46
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Lot Description Jean-Antoine Watteau (Valenciennes 1684-1721 Nogent-sur-Marne) Head of a child in a feathered hat, looking to the right red, black and white chalk, on grey paper 5 x 4 1/8 in. (12.9 x 10.5 cm.) Provenance John, Lord Northwick, and by descent; Sotheby's, London, 5-6 July 1921, lot 48, ill. (£205 to Agnew). Henry George Charles Lascelles, 6th Earl of Harewood, and by descent to the present owner. Pre-Lot Text THE PROPERTY OF THE 7th EARL OF HAREWOOD’’’’S WILL TRUST, SOLD BY ORDER OF THE TRUSTEES Literature K.T. Parker and J. Mathey, Antoine Watteau, Paris, 1957, no. 697. P. Rosenberg and L.-A. Prat, Antoine Watteau, 1684-1721, Catalogue raisonné des dessins, Milan, 1996, II, no. 449. View Lot Notes >
Jean Antoine Watteau - La Lorgneuse

Jean Antoine Watteau - La Lorgneuse

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Lot number: 25
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Lot Description Jean-Antoine Watteau (Valenciennes 1684-1721 Nogent-sur-Marne) La Lorgneuse oil on panel, unframed 12 7/8 x 9 3/8 in. (32.6 x 23.8 cm.) Provenance Jean de Jullienne (1686-1766), Paris. Germain-Louis Chauvelin, Marquis de Grosbois (1685-1762), ministre d’’’’état, commandeur des ordres du roi & ancien garde des sceaux; his sale, Hôtel de M. Chauvelin, Paris, 21 June 1762,lot 27 as one of a pair, with L’’’’Accord parfait:‘Deux agréables Tableaux, peints sur bois, par Antoine Watteau; ils portent chacun 12 pouces de haut, sur 9 pouces de large. On les trouve gravés sous les titres de La Lorgneuse & de l’’’’Accord parfait, le premier par Scotin, le second par Baron.’’’’(304 livres 19 deniers for the pair). M. le Rebourg; his sale, l’’’’Hôtel de feu M. le President le Rebourg, Paris, 27 April 1778, lot 32. (Possibly) Jean-Baptiste-Pierre Le Brun (1748-1813); his sale, une Salle des Révérends Peres Augustins du Grand Couvent, Paris, 12 December 1778 [=3rd day], lot 110 (97 livres to anonymous). with Mathieu-François-Louis Devogue; his sale, Hôtel de Bullion, Paris, 15 March 1784 [=1st day], lot 119 (130 livres to Joseph-Alexandre Le Brun). Jean-Baptiste-Pierre Le Brun (1748-1813); his sale, rue de Cléry, no. 95, Paris, 14 April 1791, lot 202, where described as ‘…d’’’’une belle couleur, et tient beaucoup du Titien’’’’ (122 livres to Henry Walton). Sir Samuel Rogers (1763-1855), London, by 1831; his sale (†), Christie’’’’s, London, 28 April-10 May 1856 [5th day], lot 596 (140 gns. to the following), with Agnew’’’’s, London, where acquired on23 May 1856 by Lt. Col. Thomas Birchall, Ribbleton Hall, Preston, R.R. Rothwell [on behalf of Thomas Birchall]; Christie’’’’s London, 6 February 1904, lot 150 as‘The Music Lesson’’’’ (270 gns. to Lesser). F. Robertson, from whom acquired by Charles Sedelmeyer, Paris, 23 December 1904 (13,130 francs); his sale, Galerie Sedelmeyer,4 rue de la Rochefoucauld, Paris, 16-18 May 1907, lot 254 (18,000 francs to Gustave Dreyfus for the Compte de Heugel). Private collection, Paris, by 1950, and by descentto the present owner. Pre-Lot Text PROPERTY OF A FAMILY Literature E. de Goncourt, Catalogue raisonné de l’’’’oeuvre peint, dessiné, et gravé d’’’’Antoine Watteau, Paris, 1875, pp. 95 and 132-3, no. 147. J.W. Mollett, Jean Antoine Watteau, London, 1883, p. 69. ‘Foreign Sales of the Month’’’’, American Art News, 5, 15 June 1907, p. 10. C. Ricketts, ‘In Memory of Charles Conder’’’’, The Burlington Magazine, XV, 73, April 1909, p. 13. H. Adhémar, Watteau: sa vie – son oeuvre, Paris, 1950, p. 222, no. 166. G. Finley, ‘Ars longa, vita brevis: The Watteau Study and Lord Percy by J. M. W. Turner’’’’, Journal of the Warburg and Courtauld Institutes, 44, 1981, p. 246. E. Camesasca, Tout l’’’’oeuvre peint de Watteau, Paris, 1982, p. 103, under no. 103. M.R. Michel, Watteau. An Artist of the Eighteenth Century, London, 1984, pp. 266 and 287. S. Whittingham, ‘Watteau and “Watteaus” in Britain c. 1780-1851,’’’’ in F. Moreau and M. Morgan Grasselli (eds.), Antoine Watteau (1684-1721): The Painter, His Age and His Legend, Paris and Geneva, 1987, p. 272, fig. 8. M. Eidelberg, Watteau et la fête galante, exhibition catalogue, Paris, 2004, p. 200, under no. 56. C. Bailey, P. Conisbee and T.W. Gaehtgens, The Age of Watteau, Chardin and Fragonard: Masterpieces of French Genre Painting, exhibition catalogue, New Haven and London, 2004, p. 38, note 204. K. Ireland, Cythera Regained? The Rococo Revival in European Literature and the Arts, 1830-1910, Cranbury, NJ, 2006, p. 108. C. Michel, Le «Célèbre Watteau», Geneva, 2008, p. 254. D.H. Solkin, Turner and the Masters, exhibition catalogue, London, 2009, p. 177. R. Ziskin, Sheltering Art. Collecting and social identity in early eighteenth-century Paris, Pennsylvania, 2012, p. 117. N. Parmantier Lallement in Antoine Watteau (1684-1721), La Leçon de Musique, exhibition catalogue, ed. F. Raymond, Brussels, 2013, no. 40, as lost, known only from engraving. Engraved G. J.-B. Scotin. View Lot Notes >
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