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Coquettes qui pour voir (copy 1)
Entered January 2019

Coquette qui pour voir copy 1

 

Whereabouts unknown

Oil on panel

23.5 x 31

 

ALTERNATIVE TITLES

Karnevalsszene

 

PROVENANCE

Brussels, private collection.

Vienna, sale, Dorotheum, December 14, 2010, lot 425: “Philippe Mercier . . . zugeschrieben. Karnevalsszene mit vier eleganten Personen und einem Mohren. Öl auf Holz. 23.5 31 cm. gerahmt. € 4.000 – 6.000.    US$ 5.500-8.300 / Provenienz: Privatsammlung, Brüssel.”

 

REMARKS

Although presented as a work by Philippe Mercier, a frequently employed failsafe for copies after Watteau, this picture is simply an anonymous copy after the Thomassin engraving.

 

 

 

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Coquettes qui pour voir (copy 2)
Entered January 2019


Coquettes qui pour voir copy 2

 

Whereabouts unknown

Oil on panel

23.5 x 26 cm

 

ALTERNATIVE TITLES

Le Retour du bal

 

PROVENANCE

Paris, sale, Hôtel Drouot (Ader Picard Tajan, December 20, 1989, lot 58: ”Suiveur d’Antoine WATTEAU, Le Retour du bal, Bois / 23,5 x 26 cm   8000/12 000 F  . . .  Restaurations . . .” Sold together with a pendant (a copy after La Finette), for 27,000 F ($4,536) the pair.

 

REMARKS

As is shown by its reversed direction, the painting was based upon Thomassin’s engraving after Coquettes qui pour voir.  However, the format was changed to a slightly more vertical one, which perhaps better suited thel format of the copy after La Finette with which it was paired.

 

 

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Coquettes qui pour voir (copy 3)
Entered January 2019


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Whereabouts unknown

Oil on panel

22.9 x 30.5 cm

 

ALTERNATIVE TITLES

Les Masques

 

PROVENANCE

London, sale, Christie’s, May 8-9, 1913, lot 160: “WATTEAU SCHOOL. . . . LES MASQUES / On panel—9 in. by 12 in.” Sold for £24.3 to “ Parsons” according to an annotated copy of the sale catalogue in the National Art Library, Victoria and Albert Museum, London.

London, with E. Parsons (art dealer).

 

 

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Coquettes qui pour voir (copy 4)
Entered January 2019


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Whereabouts unknown

Oil on panel

20 x 23 cm

 

PROVENANCE

Paris, collection of baron  Vivant-Jean Brunet-Denon (1778-1866; politician). His sale, February 2, 1846, lot 233: “[WATTEAU (Ecole de) ] . . . Mascarade. Cinq figures  à mi-corps , un sganarelle, un cassandre, un nègre et deux femmes. Tableau sur bois.”

Brussels, collection of John W. Wilson (1815-1883; owner of a textile factory). His sale, Paris, at his home on avenue Hoche, March 14-16, 1881, lot 18: “LECLERC (Dit LECLERC DES GOBELINS, SÉBASTIEN) . . .  La Comédienne italienne, d’après Watteau. C’est une copie du célèbre tableau du Musée de Berlin. Il a été grave par Thomassin. Au premier plan, à gauche, Cassandre, puis derrière un appui en pierre, Colombine, un mezztin, un négrillon, et une actrice vue du profil et tenant un masque de velours noir de la main gauche. Bois. Haut., 20 cent.; larg., 23 cent.”

 

SELECT BIBLIOGRAPHY

Ferré, Watteau (1972), under cat. B30.

Washington, Paris, Berlin, Watteau 1684-1721 (1984), under cat. P19.


 

REMARKS

Until now it had not been recognized that baron Brunet-Denon’s Watteau and Wilson’s Watteau were one and the same painting. Both were panel paintings with identical measurements, they were described in similar terms when they were sold at auction. Both collectors owned other paintings attributed to Watteau or his school.

Ferré suggested that Brunet-Denon’s painting might be the same as the one sold at the Hôtel Drouot in 1922. (our cat. 7). However the Brunet-Denon painting was on panel whereas the painting sold in 1922 was on canvas.

 

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Coquettes qui pour voir (copy 5)
Entered January 2019


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Whereabouts unknown

Oil on panel

32.5 x 42.5 cm

 

ALTERNATIVE TITLES

Les Comédiens

 

PROVENANCE

Paris, sale, Nouveau Drouot (Ader Picard Tajan), December 7, 1983, cat 100: “WATTEAU (d’après) / Ecole français XIXe  siècle . . . Les comédiens. Bois. 32,5 x 42,5.   F 5000.”

 

SELECT BIBLIOGRAPHY

Washington, Paris, Berlin, Watteau 1684-1721 (1984) under cat P19.

 

REMARKS

Despite its relatively recent appearance on the market, it has not been possible to trace this large version of Watteau’s painting. Unfortunately, it was not illustrated in the sale catalogue.


         

 

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Coquettes qui pour voir (copy 6)
Entered January 2019


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Whereabouts unknown

Oil on canvas

26 x 32 cm

 

PROVENANCE

Paris, sale, Salle de feu Lebrun, February 2ff,1829, lot 77: “VATTEAU (attribué) . . . Réunion de quatre personnes avec un negre: composition pleine d’esprit, gravée, et qu’il a répétée plus d’une fois. T. l .32, h. 26.”


 

REMARKS

The note in the sale catalogue that several copies of this composition were known accords with the large number of copies that have come down to us, but none can be traced as far back as 1829.

 

 

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Coquettes qui pour voir (copy 7)
Entered January 2019


 

Coquettes qui pour voir copy 7

 

Whereabouts unknown

Oil on canvas

27 x 33 cm

 

ALTERNATIVE TITLES

Le Bal masqué

 

PROVENANCE

Paris, Hôtel Drouot, April 10, 1922, lot 116: “WATTEAU (Atelier d’Antoine) . . . Le Bal masqué. Toile. Haut., 27 cent.; 33 cent. Ce même sujet a été gravé par THOMASSIN, d’après WATTEAU. Cadre en bois sculpté et doré de l’époque de Louis XV. (Voir la Reproduction.) The painting sold for 3,100 francs.

 

SELECT BIBLIOGRAPHY

Ferré, Watteau (1972), under cat. B30.

Washington, Paris, Berlin, Watteau 1684-1721 (1984) under cat P19.

 

REMARKS

Despite the claims in 1921 and 1922 that this was executed by someone in Watteau’s studio, the painting is merely an anonymous copy of uncertain date and was based on Thomassin’s engraving after the original painting.

Ferré suggested that the painting sold at Drouot in 1922 might be the same as the in the Brunet-Denon collection (our copy 4). However the 1922 painting was on canvas whereas  the Brunet-Denon painting was reported as being on panel.

 

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Coquettes qui pour voir (copy 8)
Entered January 2019


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Whereabouts unknown

Oil on canvas

23.5 x 27.5 cm

 

PROVENANCE

France, Private collection

 

SELECT BIBLIOGRAPHY

Washington, Paris, Berlin, Watteau 1684-1721 (1984) under cat P19.

 

REMARKS

As its reversed direction reveals, this painting was based on the Thomassin engraving after Watteau’s composition.

 

 

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Coquettes qui pour voir (copy 9)
Entered January 2019


Accord parfait copy 9

 

Whereabouts unknown

Oil on canvas

47 x 66.5 cm

 

ALTERNATIVE TITLES

Les Coquettes

           

PROVENANCE

London, sale, Christie’s South Kensington, July 12, 2002, lot 153: “AFTER JEAN ANTOINE WATTEAU / Les Coquettes / oil on canvas / 18 ½ x 26 ¼ in. (42 x 66.5 cm.) Estimate £2,000 – 3,000   $3,000-4,000    € 3,200-4,300 / After the picture, in reverse, in the Hermitage, St. Petersburg.” The picture was bought in.

 

REMARKS

As is revealed by its reversed direction, this copy was made from Thomassin’s engraving. It is an unusually large repetition of the composition.

           

 

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Coquettes qui pour voir (copy 10)
Entered January 2019


coquettes qui pour voir copy 10

 

Whereabouts unknown

Oil on copper

21.5 x 26 cm

 

ALTERNATIVE TITLES

Karnevalszene

 

PROVENANCE

Bern, Switzerland, sale, Auktionshaus Stuker, May 15, 1998, lot 1503: After Jean Antoine Watteau, Karnevalszene, Oil on copper, Height 8.5 in.; Width 10.2 in. / Height 21.5 cm.; Width 26 cm.  est. 6,400 - 7,000 CHF  (6,386 – 6,985 USD)  Bought in.

 

REMARKS

As can be seen by its reversed direction, the painting was based upon the Thomassin engraving.

 

 

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Coquettes qui pour voir (copy 11)
Entered January 2019


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Private collection, Champagne region, France,

Medium unknown

Measurements unknown

 

SELECT BIBLIOGRAPHY

Washington, Paris, Berlin, Watteau 1684-1721 (1984) under cat P19.

 

REMARKS

This painting is known only by a photo seen by Pierre Rosenberg in the Service de documentation, Départment des peintures, Musée du Louvre, Paris.

 


 

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Coquettes qui pour voir (copy 12)
Entered January 2019


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Whereabouts unknown

Medium unknown

Measurements unknown

 

ALTERNATIVE TITLES

A Group of Five Masquerade Figures

 

PROVENANCE

Collection of M. De Lattre

London, sale, Christie’s, February 25, 1893, lot 47: “WATTEAU. . . . A GROUP OF FIVE MASQUERADE FIGURES / Engraved / From the Collection of M. De Lattre.” Sold for £39.18 to Watts according to an annotated copy of the sale catalogue in the National Art Library, Victoria and Albert Museum, London.

 

REMARKS

Although the painting was not specifically named, the  fact that it had just five figures and that it was engraved strongly suggests that it was a copy after Coquettes qui pour voir.

 

 

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Coquettes qui pour voir (copy 13)
Entered January 2019


Accord parfait copy 13

 

Whereabouts unknown

Oil on canvas

30 x 37 cm

 

ALTERNATIVE TITLES

Au Balcon

 

PROVENANCE

Montpellier, sale, Commissaires Priseurs de Monpellier, December 16, 1996, “Ecole de WATTEAU, Au balcon. 30 x 37 cm.”

 

REMARKS

Although copied from Thomassin’s engraving, the original composition was compressed into a spaceless oval.

 

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Coquettes qui pour voir (copy 14)
Entered January 2019


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Whereabouts unknown

Medium unknown

25 x 35 cm

 

 

REMARKS

This work is known through an unannotated photograph in the archives of the Getty Research Institute. Nothing is known about its provenance or attribution. As can be seen by its reversed direction, the painting was based upon the Thomassin engraving.

 

 

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Coquettes qui pour voir (copy 15)
Entered January 2019


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Whereabouts unknown

Oil on canvas

160 x 90 cm

 

ALTERNATIVE TITLES

Galante Gesellschaft im Park

 

PROVENANCE

Bamberg, Kunstauktionshaus Schlosser, November 28, 2015, lot 682: “Mercier, Philippe -zugeschr. Galante Gesellschaft im Park . . . Unter einem mit Draperie geschmüctkem Baum vor einer Brüstung stehende Grüppe mit einer junge dame im Zentrum, umgeben von Herren und einem Mohrenknaben als Diener, wohl Schauspieler der Commedia dell’arte. Öl/Lwd. doub. 160 x 90 cm, in schönen Rokokoschnitzrahmen – Lit. Thieme/Becker 24. €  10,000.”

 

REMARKS

This large decorative canvas is just that—a decorative canvas. Although it was presented as a work by Philippe Mercier, that is a frequently employed failsafe for otherwise anonymous copies after Watteau. As can be seen by its reversal of direction, the painting was based upon the Thomassin engraving. The actor at the left was extended lengthwise and a grassy knoll was squeezed into the corner to justify the additional height of the composition, and the background was augmented with an elaborate swag of drapery and a tree—the sorts of flourishes that a decorative artist might add to enrich the work. This copy is not necessarily from Watteau’s era and is probably not French.


 

 

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Coquettes qui pour voir (copy 16)
Entered January 2019

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Whereabouts unknown

Medium unknown

61 x 74.5 cm

 

ALTERNATIVE TITLES

Le Retour du bal

 

PROVENANCE

New York, sale, Sotheby Parke Bernett, December 3, 1974, lot 116: “AFTER ANTOINE WATTEAU . . . LE RETOUR DU BAL / 24 x 29¼ inches / 61 x 74.5 cm.” Although estimated at $500/700, it sold for only $250 to American Art Gallery Ltd., according to an annotated sale catalogue at the Frick Art Reference Library, New York.

New York, with American Art Gallery, Ltd.

 

REMARKS

The low price that this painting sold for at the 1974 auction does not augur well for its quality.

 

 

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Coquettes qui pour voir (copy 17)
Entered January 2019


 

Whereabouts unknown

Medium unknown

Measurements unknown

 

PROVENANCE

London, collection of L. Morant in 1933, according to an annotated photograph in the Witt Library, London.

 

BIBLIOGRAPHY

Washington, Paris, Berlin, Watteau 1684-1721 (1984), under cat P19.

 

REMARKS

The photograph of this painting on file at the Witt Library bears a notation claiming that it was Watteau’s sketch for a version of Coquettes qui pour voir that was sold in Paris in 1922 (our copy 7). The cataloguer was apparently unaware that Watteau’s original painting was in the Hermitage. In any event, this mediocre rendering was not a sketch by the artist for his painting but, more probably, a copy after Francesco Bartolozzi’s 1785 engraving, A Favourite Sultana, which in turn copied just the actress seen at the side of Coquettes qui pour voir.

 

 

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Coquettes qui pour voir (copy 18)
Entered February 2019


 

Whereabouts unknown 

Oil on canvas, pasted on canvas

44.5 x 55.5 cm

            
ALTERNATIVE TITLES

Acteurs de la Comédie Français

 

PROVENANCE

Brussels, Belgium, sale, Vanderkindere Auctioneer, February 19, 2019, lot 115: “WATTEAU Antoine. Atelier de. Huile sur toile maroufflé sur toile 'Acteurs de la Comédie Française'. Portant sur l'entablement une trace de signature Watteau. Atelier d'Antoine Watteau (?). Ecole française. Epoque XVIIIème. Dim.:44,5x55,5cm." Estimation : 700 € - 1.000 €.

 

REMARKS

The attribution of this noticeably large copy to the eighteenth century is an optimistic assessment.

 

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