Jean Antoine Watteau

(16841721 ) - Artworks Wikipedia® - Jean Antoine Watteau
WATTEAU Jean Antoine Five Studies Of Children

Christie's /Jul 2, 2013
350,385.37 - 467,180.50
953,315.10

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Artworks in Arcadja
410

Some works of Jean Antoine Watteau

Extracted between 410 works in the catalog of Arcadja
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

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Lot number: 65
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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

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Lot number: 18
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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.
Jean Antoine Watteau - Ceiling Decoration

Jean Antoine Watteau - Ceiling Decoration

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Lot number: 58
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Probably commissioned by the Marquis de Nointel for his hôtel which was later called Hôtel de Poulpry; Madame de la Béraudière (who purchased the Hôtel de Poulpry circa 1845); Jacques Victor de la Béraudière; M.E. Féral, circa 1897; Bardac, 1920; His sale, Paris, Galerie Georges Petit, 10-11 May 1920, lot 41; There acquired by the Nunès and Figuet collection; Anonymous sale, Paris, 30 November 1971, lot 29; Anonymous sale, New York, Sotheby's, 14 January 1988, lot 196; There purchased by a New York private collector; Thence by descent to the present owner. 58 PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION Jean Antoine Watteau VALENCIENNES 1684 - 1721 NOGENT-SUR-MARNE CEILING DECORATION oil on panel Center medallion: 29 1/4 by 29 in.; 74.5 by 73.5 cm. Shaped outer panels, each: 19 by 23 3/4 in.; 48 by 60 cm. Estimate 150,000 - 200,000 USD Print Please notify me when the condition report is available
Jean Antoine Watteau - Five Studies Of Children

Jean Antoine Watteau - Five Studies Of Children

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Lot number: 57
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Lot Description Jean-Antoine Watteau (Valenciennes 1684-1721 Nogent-sur-Marne) Five studies of children with inscription 'Watteau' (lower right) red chalk 7 7/8 x 14 1/8 in. (20 x 35.9 cm.) Special Notice VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium. Provenance Camille Groult, and by descent to his son Jean Groult, and by descent to to his son Pierre Bordeaux-Groult. with Wildenstein & Co., New York, where acquired by Estée Lauder. Pre-Lot Text PROPERTY OF THE ESTEE LAUDER FUND OF THE NEUE GALERIE, NEW YORK (LOTS 57-59) Literature E. de Goncourt, Catalogue raisonné de l'oeuvre peint, dessiné et gravé d'Antoine Watteau, Paris, 1875, under no. 545. J. Mathey, 'Remarques sur la chronologie des peintures et dessins d'Antoine Watteau', Bulletin de la Société de l'Histoire de l'Art français, 1939 [1940], p. 160. A.F. Blunt and E. Croft-Murray, Venetian Drawings of the XVII & XVIII Centuries in the Collection of Her Majesty the Queen at Windsor Castle, London, 1957, p. 61, under no. 351, and fig. 40, p. 63. K.T. Parker and J. Mathey, Antoine Watteau: Catalogue complet de son oeuvre dessiné, Paris, 1957, II, no. 691, illustrated. M. Cormack, The Drawings of Watteau, London, 1970, p. 34, under pl. 78. M. Morgan Grasselli, in Watteau 1684-1721, Washington, National Gallery of Art and elsewhere, 1984-5, p. 215. M. Morgan Grasselli, The Drawings of Antoine Watteau: Stylistic Development and Problems of Chronology, Ph.D. diss., Harvard University, 1987, pp. 237, 239-40, 246, 302, no. 173, fig. 276. J. Ingamells, The Wallace Collection: Catalogue of Pictures: Vol. 3, French Before 1815, London, 1989, p. 357. F. Vivian, in The Consul Smith Collection: Masterpieces of Italian Drawing from the Royal Library, Windsor Castle, Raphael to Canaletto, exh. cat., Frankfurt, Schirn Kunsthalle, and elsewhere, 1989-90, p. 58, under no. 2, illustrated. P. Rosenberg and L.-A. Prat, Antoine Watteau, 1684-1721: Catalogue raisonné des dessins, Milan, 1996, II, no. 440. L.-A. Prat, in Watteau: The Drawings, exhib. cat., London, Royal Academy of Arts, 2011, p. 128, under no. 53. Exhibited Watteau and his world: French drawings from 1700-1750, New York, The Frick Collection and elsewhere, 1999-2000, no. 22, cat. by A. Wintermute. View Lot Notes >
Jean Antoine Watteau - Two Studies Of A Young Child Standing, And Another Of A Young Girl Seated

Jean Antoine Watteau - Two Studies Of A Young Child Standing, And Another Of A Young Girl Seated

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Lot number: 128
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Jean-Antoine Watteau (Valenciennes 1684-1721 Nogent-sur-Marne) Two studies of a young child standing, and another of a young girl seated red, black and white chalk 9¾ x 12 5/8 in. (24.8 x 32 cm.) Grand Duke Hesse-Nassau (on loan to the Landesmuseum, Darmstadt). W. Hanhart (according to Parker and Mathey). Anonymous sale; Sotheby's, London, 15 December 1954, lot 120. Minnie Cassatt, Philadelphia; by descent to the present owner. K.T. Parker and J. Mathey, Antoine Watteau, catalogue complet de son oeuvre dessiné, Paris, 1957, II, no. 718, illus. D. Posner, Antoine Watteau, London, 1984, pp. 237, 288, note 19. M.M. Grasselli, The drawings of Antoine Watteau, stylistic development and problems of chronology, unpubl. Ph.D, Cambridge, Harvard University, 1987, pp. 216, 290, note 72. M.M. Grasselli, 'News' in The Watteau Society Bulletin, III, 1994, p. 54. P. Rosenberg and L.-A. Prat, Antoine Watteau, 1648-1721, catalogue raisonné des dessins, Milan, 1997, II, no. 508. Dated to circa 1716-1717 by Rosenberg and Prat this sheet of two studies of a child standing, and another of a seated girl, perhaps a few years older is related to at least four published works by Watteau, and a recently rediscovered painting on copper which will be sold in these rooms, 30 January 2013 (lot 37). It is utterly characteristic of the artist in several respects -- in its handling of trois crayons, in its arrangement of figures on the page, and in their adaptation and inclusion in multiple painted compositions. Among 18th Century artists, Watteau is the unsurpassed master of the trois crayons drawing. This technique derived from Rubens in the 17th Century but was tranformed by later French artists such as Charles de la Fosse and ultimately reached its zenith with Watteau. In the present sheet, red chalk predominates while black is used in the hair of all three figures, but as accents only on the figures at the right and left. The white chalk is used for all three figure to highlight both their faces and clothing. In his handling of the red chalk alone, the diversity of technique is extraordinary. Short, jagged strokes and softer passages of hatching are combined to evoke the crisp folds of fabric. In contrast, an undulating line around the neck of the seated girl enhanced by a bit of white perfectly suggests the translucency and delicacy of her ruffled collar. It is difficult, and indeed was unimportant to Watteau for the purpose of the drawing, to tell whether the two children at the left are boys or girls. Again, this is typical of Watteau's approach to these figures where the precise identity or use of them was less important than the pose he was trying to capture at that moment. As one of his 18th Century biographers, the Comte de Caylus noted: 'The exercise of drawing had infinite charms for him and although sometimes the figure on which he happened to be at work was not a study undertaken with any particular purpose in view, he had the greatest imaginable difficulty in tearing himself away from it...in general he drew without a purpose...It was his habit to do his drawings in a bound book, so that he always had a large number of them that were readily available. He possessed cavalier's and comedian's costumes in which he dressed up such persons as he could find, of either sex, who were capable of posing adequately, and whom he drew in such attitudes as nature dictated...When he took his fancy to paint a picture, he resorted to his collection of studies, choosing such figures as suited him for the moment. These he usually grouped so as to accord with a landscape background that he had already conceived or prepared.' The figures in this drawing appear with some modifications in at least five painted works by Watteau. The central figure with the child in three quarter view was used most frequently, appearing in L'accordée de village, Assemblée galante (fig. 1) and Entretiens amoureux (Recueil Jullienne, D.V. 116; D.V. 139 and D.V. 124). The child at the far left of the sheet appears, very definitely as a girl and wielding a Harlequin's sword which is only suggested in the drawing, in the painting Heureux âge! âge d'or.. (Kimbell Art Museum, Fort Worth; Watteau (1684-1721), exhib. cat., Washington, D.C., National Gallery of Art and elsewhere, 1984, pp. 365-67, no. 50). Two of the children appear in a small painting on copper entitled La Déclaration which is being sold in these rooms on 30 January 2013 (lot 37). In this painting, as in the three others, the young child from the center of the drawing stares out at the viewer, her gaze all the more arresting because she is the only figure facing us. Watteau has then taken the seated girl in the right side of the drawing and reversed her pose, including her face which instead of facing three-quarter view towards the viewer, now faces almost in profile towards the amorous couple behind her. Here Watteau's inventiveness is on full display -- having taken two seemingly unconnected figure studies from one drawing -- he has reconceived them as a coherent assembly in La Déclaration.
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