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Jean Antoine Watteau

(16841721 ) - Artworks Wikipedia® - Jean Antoine Watteau
WATTEAU Jean Antoine Head And Shoulders Study Of A Faun, His Head Turned To The Left

Sotheby's /Jul 9, 2014
312,734.63 - 437,828.48
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459

Some works of Jean Antoine Watteau

Extracted between 459 works in the catalog of Arcadja
Jean Antoine Watteau - Viosseu

Jean Antoine Watteau - Viosseu

Original 1716
Estimate:

Price:

Lot number: 74
Other WORKS AT AUCTION
Description:
Jean Antoine Watteau VALENCIENNES 1684 - 1721 NOGENT-SUR-MARNE "VIOSSEU" OR CHINESE MUSICIAN; CHINESE WOMAN OF KOUEI TCHÉOU: A PAIR OF PAINTINGS Quantity: 2 a pair, both oil on canvas 9 1/4 by 7 1/4 in.; 23.4 by 18.2 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Painted for the King's cabinet, Château de la Muette, circa 1708-1716; Possibly anonymous sale, Paris 28-29 April 1829, lots 71 and 72 (as lot 71, Antoine Watteau, Composition de deux figures de Chinois, dont l'un joue de la vielle and lot 72, Jeune fille assise dans un jardin; près d'elle est un jeune garcon; Pendant du precedent); Chinese Musician only: Possibly Bezançon de Wagner; Chinese Musician only: Anonymous sale, New York, Sotheby's, 11 January 1996, lot 151; Chinese Woman only: Private collection, Switzerland, 2009; acquired through Sotheby's private treaty sale, November 2009. Exhibited New Orleans, 1997, no. 68 (Chinese Musician only); Brussels, Palais de Beaux-Arts de Bruxelles, Antoine Watteau (1684-1721). La Leçon de musique, 8 February - 12 May 2013, nos. 125 and 126; Paris, Musée Jacquemart-André, De Watteau à Fragonard, Les fêtes galantes, 14 March - 21 July, 2014, nos. 10 and 11. Literature E. de Goncourt, Catalogue raisonné de l'oeuvre peint, dessiné et gravé d'Antoine Watteau, Paris 1875, p. 194, cat. nos. 227 and 228; E. Dacier and A. Vuaflart, Jean de Julienne et les graveurs de Watteau, 1921-1922, cat. nos. 232 and 233 (for the engravings after the paintings); H. Adhémar and R. Huyghe, Watteau, sa vie — son oeuvre, Paris 1950, pp. 203-204, under cat. no. 18 (lost decorations for the Chateau de la Muette; engraving after Chinese Musician reproduced p. 96); F. Gétreau, "Watteau et sa generation: contribution à la chronologie et à l'identification de deux instruments," in Imago Musicae, 1987, pp. 303, 307 (Chinese Musician only); P. Stein, "Boucher's chinoiseries: some new sources," in The Burlington Magazine, vol. 138, September 1996, p. 599, note 8 (Chinese Musician only); M. Eidelberg and S. Gopin, "Watteau's Chinoiseries at La Muette," in Gazette des Beaux-Arts, vol. 130, July/August 1997, p. 26, reproduced fig. 14 (Chinese Musician only; as a copy after the engraving); New Orleans, 1997, pp. 173-175, reproduced; M. Roland-Michel, in The Age of Watteau, Chardin and Fragonard. Masterpieces of French Genre Painting, exhibition catalogue, Ottawa 2003, pp. 115-116, reproduced fig. 77 (Chinese Musician only); K. Scott, "Playing Games with Otherness: Watteau's Chinese Cabinet at the Chateau de La Muette," in Journal of the Warburg and Courtauld Institutes, vol. 66, 2003, pp.196-197, reproduced fig. 3 (Chinese Musician only; as Attributed to Watteau); G. Glorieux, Watteau, Paris 2011, pp. 56-58, reproduced p. 57 (Chinese Musician only; as possibly a modello); N.P. Lallement, in Antoine Watteau (1684-1721). La Leçon de musique, exhibition catalogue, Brussels 2013, pp. 207-208, cat. no. 125 and 126, reproduced; M. Taverner-Holmes, in De Watteau à Fragonard, Les fêtes galantes, exhibition catalogue, Paris 2014, pp. 58-59,209, cat. nos. 10 and 11, reproduced p. 59 (as circa 1708).
Jean Antoine Watteau - Study Of Two Soldiers

Jean Antoine Watteau - Study Of Two Soldiers

Original
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Price:

Gross Price
Lot number: 85
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Description:
Jean Antoine Watteau VALENCIENNES 1684 - 1721 NOGENT-SUR-MARNE STUDY OF TWO SOLDIERS, ONE KNEELING, ONE LYING DOWN Red chalk within black ink framing lines; bears inscription lower left in brown ink: Vateau 130 by 153 mm; 5 1/8 by 6 in Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance 'Monsieur F,' his sale, Paris, Hôtel Drouot, 16 March 1863, lot 127; Jean Gigoux (1806-1894), his sale, Paris, Hôtel Drouot, 21-23 January 1873, lot 293; Camille Groult (1837-1908), Paris, by descent to his son, Jean Groult (1868-1951), and to his grandson Pierre Bordeaux-Groult (1916-2007), from whom acquired by the present owner in 1983 Exhibited New York, The Frick Collection, Watteau and His World: French Drawing from 1700 to 1750, 1999-2000, no. 4 Literature E. de Goncourt, Catalogue raisonné de l'oeuvre peint, dessiné et gravé d'Antoine Watteau, Paris 1875, p. 254, nos. 430 & 431; K.T. Parker and J. Mathey, Antoine Watteau, Catalogue complet de son Oeuvre Dessiné, 2 vols., Paris 1957, vol. I, p. 37, no. 256, reproduced fig. 256; J. Cailleux, 'Four Studies of Soldiers by Watteau, an Essay on the Chronology of Military Subjects,' Burlington Magazine, vol. CI, nos. 678-679, September-October 1959, non-paginated supplement; also cited in Appendix; M. Cormack, The Drawings of Watteau, London, New York, Sydney and Toronto 1970, p. 12; D. Eckardt, Antoine Watteau, Berlin 1973, under no. 4, reproduced; Y. Zolotov et al., Antoine Watteau: Catalogues Raisonnés of the Paintings and Drawings in Russian Museums, St Petersburg 1973, p. 131, under 1, reproduced p. 132; D. Posner, Antoine Watteau, New York 1984, pp. 33, 40 and 279, nos. 37 and 43; M. Roland Michel, Watteau, un artiste au XVIIIe siècle, London and Paris 1984, pp. 167 & 250; Watteau, exhib. cat., Washington, D.C., National Gallery of Art, and elsewhere, 1984-85, p. 256, under no. P6 , reproduced p. 256, fig. 2; Y. Zolotov, Antoine Watteau: Paintings and Drawings from Soviet Museums, St Petersburg 1985, p. 103, under nos. 17 and 21, reproduced, p. 103; M.M. Grasselli, 'The Drawings of Antoine Watteau: Stylistic Development and Problems of Chronology', (unpublished Ph.D. dissertation, Havard University), 1987, vol. I, pp. 90-92, vol. II, p. 443, no. 31, reproduced, vol. III, fig. 70; P. Rosenberg and L-A. Prat, Antoine Watteau 1684-1721, Catalogue raisonné des dessins, 3 vols., Milan 1996, vol. I, p. 104, no. 66, reproduced, p. 105; Y. Zolotov et al., Watteau, Bournemouth and St. Petersburg 1996, p. 107, reproduced, p. 106; M.M. Grasselli, 'Reviews: Pierre Rosenberg and Louis Antoine Prat, Antoine Watteau, 1684-1721', Master Drawings, vol. XXXIX, no. 3, Autumn 2001, p. 314; C. Hattori, 'Passeports délivrés à des artistes au XVIIIe siècle: à Watteau, à Oudry et à quelques autres', Les Cahiers d'Histoire de l'art, no. 2, 2004, p. 31, note 13; I. Kuznetsova & E. Sharnova, State Pushkin Museum of Fine Arts, Painting Collection, France, 16th-first half 19th Century, Moscow 2005, p. 52; Master Drawings from the Yale University Art Gallery, exhib. cat., Sarasota, Florida, The John and Mable Ringling Museum of Art, 2006-08, p. 189, note 6, under no. 62; G. Glorieux, Watteau, Paris 2011, pp. 92, 373, note 99, reproduced p. 92, fig. 61 Executed with verve and spontaneity, these two studies of soldiers are, as Margaret Morgan Grasselli has noted, larger in scale and drawn with greater assurance than Watteau's earliest studies, which are still strongly influenced by the style of his teacher, Claude Gillot. 1 Both these figures appear in Watteau's painting, The Bivouac ('Camp volant', Moscow, Pushkin Museum), which was commissioned by the print dealer Pierre Sirois, and almost certainly executed at the beginning of 1710. 2 Jean de Julienne noted that Watteau made a number of studies, from life, of soldiers and their camps during a visit to his native Valenciennes in 1709-10, and it is highly likely that the present sheet dates from that trip. 3 In fact, a recently discovered passport, issued to Watteau on 3 September 1710, which granted him permission to travel to Valenciennes for one month, almost certainly defines much more precisely the moment when he made this and the related drawings. 4 A very comparable sheet of studies of soldiers is in the École des Beaux-Arts, Paris. 5 The two studies on this sheet were engraved, separately, by Jean Audran, and these prints were included as plates 75 and 76 in the seminal two-volume compendium of prints after the drawings of Watteau, Les Figures de differents caractères, which Jean de Jullienne had published between 1726 and 1728. A counterproof of the upper figure, now in a Paris private collection, was formerly in the 'Album Groult,' a volume of more than 500 drawings, most of them by Jean-Baptiste Pater, which was previously in the same collection as the present drawing before it was sold and dismembered in 1941. 1. loc. cit., 1987 2. See Watteau, exh. cat., Washington, 1984, no. P6 3. P. Rosenberg, 'Watteau dessinateur,' Revue de l'Art, 69, 1985, pp. 9 and 14. 4. C. Hattori, loc. cit. 5. Rosenberg-Prat, op. cit., no. 67 Fig. 1 Jean Antoine Watteau, The Bivouac , Moscow, Pushkin Museum
Jean Antoine Watteau - Escortes D’’’’equipages

Jean Antoine Watteau - Escortes D’’’’equipages

Original
Estimate:

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Lot number: 111
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Description:
Jean Antoine Watteau (Valenciennes 1686–1721 Nogent-sur-Marne) Escortes d’’’’Equipages, oil on panel, 28.2 x 31.4 cm, framed Provenance: Jean de Julienne (1686–1766), Paris, by 1731, (sold before 1756); Cardinal Silvio Valenti Gonzaga (1690–1756), Mantua and Rome; bequeathed to his nephews, Marchese Carlo Valenti Gonzaga (d. 1783) and Cardinal Luigi Valenti Gonzaga (1725–1808); Pietro Camuccini (1761–1833), Rome, who purchased it in 1818 with other works from the estate of Cardinal Luigi Valenti Gonzaga, by descent to his nephew, Giovanni Battista, Baron Camuccini (1819/1904), Rome; by descent to the present owners Documentation: 1756, Inventory Cardinal Silvio Valenti Gonzaga, Archivio di Stato di Roma, Segr. Canc. R.C.A., Notaio S.A. Mariotti, vol. 1085,c. 764r, “Inventario dei beni dell’’’’eredità del cardinale Silvio Valenti Gonzaga”, 25-29 November 1756: [484] “Altro quadro largo palmo uno e mezzo ed alto palmo uno, rappresentante un campo di soldati, dipinto in tavola, con sua cornice intagliata dorata, di Antonio Vatteau scudi 50X.” Before 1763, Catalogue of the paintings from the gallery of Cardinal Silvio Valenti Gonzaga, Mantua, Biblioteca Comunale, Misc. 109/11, “Catalogo de’’’’ quadri, tuttavia esistenti nella galleria della Ch. Mem. Dell’’’’E.mo Sig. Cardinale Silvio Valenti”, n. 484, “Quadro di palmi 1., one 10. per larghezza. e palmi 1., once per altezza rappresentante un Accampamento di Soldati, in tavola, di Antonio Watteau” Literature: P.J. Mariette, Notes manuscrites sur les peintres et gravures, IX (manuscript in the Bibliothèque National, Paris, 1740–1770), fol. 194, no. 73; Ph. de Chennevières, A. de Montaiglon, eds., Abecedario de P. J. Mariette, Paris, 1851–1860, vol. 6, p. 109; E. de Goncourt, Catalogue raisonné de l’’’’oeuvre peint, dessiné et gravé d’’ ’’Antoine Watteau, Paris 1875, p. 57, no. 56; E. Heinreich Zimmermann, Watteau, Stuttgart/Paris 1912, no. 7, p. 17 (as a copy); E. Dacier, J. Hérold, A. Vauflart, Jean de Jullienne et les Graveurs de Watteau, Paris, 1921–1929, III, no. 125 (as lost, known through engraving); K. T. Parker, The Drawings of Antoine Watteau, London 1931, pp. 17, 41/2 (as lost, known through engraving); H. Adhémar, Watteau, Sa Vie – Son Oeuvre, Paris 1950, pp. 10, 179, no. 39, pl. 20 (as lost, known through engraving); E. Camesasca, J. Sutherland, The Complete Paintings of Watteau, New York 1968, p. 100, no. 57 (lost, known through engraving); J. Ferré, Watteau, Madrid 1972, I, pp. 86, 89, 208, 277; IV, 1107.1120 (as lost known through engraving); P. Hulton, Watteau. Drawings in the British Museum, London 1980, p. 22, under nos. 2 and 3 (as lost); E. Camesasca, P. Rosenberg, Tout L’’’’Oeuvre peint de Watteau, Paris 1983, p. 96, no. 57 (lost, known through engraving); Watteau 1684–1721, exhibition catalogue, Washington, Paris, Berlin 1984, pp. 95, 97, under nos. 33 & 34 (as lost); D. Posner, Antoine Watteau, Ithaca, NY, 1984, pp. 34 (lost, known through engraving), pp. 40, 279, note 44, fig. 23 (engraving); M. Roland Mitchel, Watteau, An Artist of the Eighteenth Century, London 1984, pp. 97, 167, 169, 170, 266, 300 (as lost); M. Morgan Grasselli, The Drawings of Antoine Watteau: Stylistic Development and Problems of Chronology, unpublished doctoral dissertation, Harvard University, 1987; P. Rosenberg et al., Masterful Studies. Three Centuries of French Drawings from the Prat Collection, exhibition catalogue, New York 1990, pp. 104/5, under no. 35 (as lost); reprinted as Passion of Drawing. Poussin to Cezanne, Works from the Prat Collection, Los Angeles 2004, pp. 114–17, under no. 26 (as lost); P. Rosenberg, L. A. Prat, Antoine Watteau, 1688-1721, Catalogue raisonné des dessins, Milan 1996, I, under nos. 177, 179, 180, 181, 301, 302 (as lost, known through engraving); H. Börsch-Supan, Antoine Watteau, 1684–1721, Cologne, 2000, p. 44 (as lost); D. Sogliani, Il catalogo a stampa dei quadri della galleria del cardinale Silvio Valenti Gonzaga, in: Ritratto di una Collezione. Pannini e la Galleria del Cardinale Silvio Valenti Gonzaga, exhibition catalogue, Mantua 2005, p. 314, no. 484; R. Piccinelli, L’’’’inventario dei beni del cardinale silvio Valenti Gonzaga (1756), in: Ritratto di una Collezione. Pannini e la Galleria del Cardinale Silvio Valenti Gonzaga, exhibition catalogue, Mantua 2005, p. 343 (as lost); C. Michel, Le Célèbre Watteau, Geneva 2008, p. 259 (lost, known through engraving) An engraving executed by Laurent Car, which identifies the painting Escortes d’’’’équipages as “du Cabinet de Mr. de Jullienne”, is the first documented reference of the present painting. The print was included in the Recueil Jullienne, which was a compilation of engravings after Watteau’’’’s paintings in the collection of Jean de Jullienne published in two volumes in 1735. The painting passed from the de Jullienne Collection to Cardinal Silvio Valenti Gonzaga (1690–1756) in the mid eighteenth Century. He was one of the most distinguished art collectors of the time and an active promoter of arts: The present painting was inventoried in his collection at the time of his death in 1756 and in his posthumous catalogue before 1763 with the inventory number “484”, that is inscribed in an eighteenth century hand written inscription on the reverse of the present panel: De Vattau/Sil.o.Card. Valenti/No.484. Watteau’’’’s hometown of Valenciennes (French Flanders) was a military base during the years of Louis XIV’’’’s devastating war of the Spanish Succession (1701– 13). During the artist’’’’s return to his native city in the autumn of 1709, he had the opportunity to study life in a military camp. Most of Watteau’’’’s military paintings go back to this early phase of his career between 1709 and 1710, after he left the workshop of Claude Audran. However, the present painting may be later and the last one of this genre that he executed, as the composition is more subtle and complex than those of his earlier paintings and some details, as the cloudy blue sky, the dry grass, as well as the small intricate figures, can be compared to Watteau’’’’s painting Fête Galante (Boston, Museum of Fine Arts), dated to 1716/17 (see A. Wintermute in: C. B. Bailey, ed., The Age of Watteau, Chardin and Fragonard: Masterpieces of French Genre Painting, New Haven/London 2003, p. 126). Six preparatory drawings for the present composition are known (see P. Rosenberg, L. A. Prat, Antoine Watteau, 1688-1721, Catalogue raisonné des dessins, Milan 1996, I, figs. 177, 179, 180, 181, 301, 302). One of these drawings (Paris, collection of Louis-Antoine Prat) shows a kneeling woman next to a baby in a basket, and has been dated to around 1715 (see P. Rosenberg, ibid., p. 480). This would suggest that the present painting was executed in 1715 or immediately after. A comparison of the painting to Car’’’’s engraving shows that a strip of about six centimetres of landscape has been cut off on the right side of the painting, and the dimensions recorded in the Valenti Gonzaga inventory confirm that it had been already cut in 1756. The reduction of size of the composition may have occurred after it had entered the Cardinal’’’’s collection, perhaps to make it a pair with another work or in an effort to make the composition more symmetrical. The painting was bought in 1818 in Rome from the heirs of Cardinal Valenti Gonzaga by Pietro Camuccini, brother of the famous painter Vincenzo and one of the most prominent Roman art dealers. Later the painting disappeared and was recorded in recent Watteau literature as lost and known after the engraving, until its recent rediscovery. The present painting will be included in the forthcoming catalogue raisonné of Watteau’’’’s paintings by Alan Wintermute.
Jean Antoine Watteau - Head And Shoulders Study Of A Faun, His Head Turned To The Left

Jean Antoine Watteau - Head And Shoulders Study Of A Faun, His Head Turned To The Left

Original
Estimate:

Price:

Lot number: 65
Other WORKS AT AUCTION
Description:
Mailand Collection, sale, Paris, Drouot, 4-19 April 1881, lot 148; Henri Michel-Lévy, his sale, Paris, Georges Petit, 12-13 May 1919, lot 122; purchased at the sale by Marius Paulme, for Georges Dormeuil (L.1146), thence by descent to the present owners LOTS 64-71: PROPERTY FROM THE GEORGES DORMEUIL COLLECTION Jean Antoine Watteau VALENCIENNES 1684 - 1721 NOGENT-SUR-MARNE HEAD AND SHOULDERS STUDY OF A FAUN, HIS HEAD TURNED TO THE LEFT Red, black and white chalk with touches of graphite 205 by 178 mm Hinged down right side to backing card. Paper somewhat discoloured, except in very narrow band around edges of the sheet. Lightly foxed throughout, and particularly at extreme edges of the sheet. Chalk still very good and fresh. Sold in a carved and gilded frame. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Jean Antoine Watteau - Fêtes Vénitiennes

Jean Antoine Watteau - Fêtes Vénitiennes

Original -
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Starting price:

Price:

Lot number: 18
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Description:
Lot 18: Jean -Antoine Watteau - after, 'Fêtes Vénitiennes', circa 1900 Antoine Watteau (1684-1721) Description: Oil on canvas Presumably France, circa 1900 After Jean-Antoine Watteau (1684 -1721) - French Rococo painter Copy after Watteau's original composition in the National Gallery of Scotland, Edinburgh (1718 /19) Gilded stucco frame Overall dimensions, with frame: 51 x 45 cm Good condition Provenance: German private collection Watteau was a master of gallant scenes, which were widely spread through his prints The present work derives from the painting 'Fêtes Vénitiennes' (1718/19) of the French Rococo painter Jean-Antoine Watteau (1684 -1721), now in the National Gallery of Scotland in Edinburgh. The artist has painted the present version after a print of 1732. The seated musician is traditionally identified with a self-portrait of Watteau, while the dancer in the center is considered the mistress of the Duke of Orleans. Her dancing partner is Nicolas Vleughels, a Flemish painter and friend of Watteau. The painting is in good condition showing some wear marks. There a few parts with barely visible dents caused by the pressure of the stretcher. The gilt stucco frame is overall in good condition, showing some cracks and losses at the lower right. The overall dimensions, with frame, are 51 x 45 cm, and the stretcher measures 42 x 36 cm. Jean-Antoine Watteau (1684-1721) Jean-Antoine Watteau began his artistic education at the age of 10 with Jacques-Albert Gérin in Valenciennes. In 1702, the young artist moved to Paris, where he started working as a stage painter with Claude Gillot, and later as a decoration painter with Claude Audran, the custodian of the Galerie du Luxembourg. He was accepted at the Academy in 1708, and he became a member in 1717, after applying for it with his painting 'The Embarkation for Cythera' (now in the Louvre). Watteau is often considered the most important painter of the French Rococo and is known as the inventor of the 'Fêtes Galantes'. His works are on display in major museum collections, for example in the Louvre or Eremitage. Greater collections of his works can be found in Sanssouci castle in Potsdam, and in the Wallace Collection in London.
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