A Watteau Abecedario:Fêtes and Scènes Galantes TEXTUAL REFERENCES 1700-1799

FÊTES GALANTES & SCÈNES GALANTES KNOWN THROUGH TEXTUAL REFERENCES

1720-1799

X. A Conversation

Entered December 2018

Whereabouts unknown

Material unknown

35.6 x 61 cm

ALTERNATIVE TITLES

A Conversation

PROVENANCE

London, collection of Charles Jervas (c. 1675-1739; artist). His sale, London, March 11-20, 1739, lot 353: “A Conversation, by Watteau.” Sold for £17 to Conway.

REMARKS

This painting and its pendant (lot 354 in the 1739 sale), the first given to Watteau and the second to Nicolas Lancret, had provocative attributions whose accuracy cannot be determined. Charles Jervas lived in Paris for a decade, from 1699 to 1709, but the early date of his stay makes it unlikely that he knew Watteau, much less Lancret. In all probability, Jervas bought these pendants later, on the London market. He had the means to dabble in the art market: not only did he replace Godfrey Kneller as Principal Painter to King George I in 1723 but he also had married a wealthy widow. If he bought his paintings on the London market, which was rife with spurious attributions from the very start, this might cast doubt on the ascriptions but, on the other hand, the high price brought by this paintings allows the possibility that it was genuine.

X. Un tableau, figures & paysages

Entered December 2018

Whereabouts unknown

Oil on canvas

Measurements unknown

PROVENANCE

Paris, collection of Victor Amadeus, prince de Carignan (1709-1741). His sale, Paris, June 18ff, 1743, lot 88: “Un Tableau sur toile, idem. [dans le gout de Vatau].” Sold for 20 livres, a low price which suggests that the painting had little merit.

REMARKS

Since this painting was described as merely “dans le gout de Vatau,” it normally should not elicit much interest. More provocative is the owner, the Prince de Carignano (or Carignan, to use the French form of his family name). The son of Emmanuel Philibert, prince of Carignano, he married the legitimized daughter of Victor Amadeus II, King of Sardinia, and Jeanne Baptiste d’Albert de Lynes, comtesse de Verrue. In late 1718, the prince de Carignan left Italy for Paris and while there would have traveled in his mother-in-law’s avant-garde circle, perhaps meeting the painters she favored. His mother-in-law was one of the earliest and most important patrons of Watteau, as well as the painters in Watteau’s circle such as Lancret and Bonaventure de Bar.

It is not certain what the phrase “dans le gout de Vatau” was intended to convey. Was the painting by another artist who worked in Watteau’s manner or was the picture a pastiche or copy of a specific composition by the master? The following lot, also described as in the style of Watteau, did not find a buyer. The price of 20 livres achieved for this work suggests that it had merit.

X. Deux tableaux, figures & paysages

Entered December 2018

Whereabouts unknown

Oil on canvas

Measurements unknown

PROVENANCE

Paris, collection of Victor Amadeus I, prince of Carignano (1690-1741). His sale, Paris, June 18ff, 1743, lot 87: “Deux Tableaux sur toile, Figures & Paysages, dans le gout de Vatau.”

REMARKS

Since these pendant paintings were described as merely “dans le gout de Vatau” they normally would not elicit much interest. More provocative is the owner, the Prince de Carignano (or Caignan, to use the French form of his family name). The son of Emmanuel Philibert, prince of Carignano, he married the legitimized daughter of Victor Amadeus II, King of Sardinia, and Jeanne Baptiste d’Albert de Lynes, comtesse de Verrue. In late 1718, the prince de Carignan left Italy for Paris and while there would have traveled in his mother-in-law’s avant-garde circle, perhaps meeting the painters she favored. His mother-in-law was one of the earliest and most important patrons of Watteau, as well as the painters in Watteau’s circle such as Lancret and Bonaventure de Bar.

It is not certain what the phrase “dans le gout de Vatau” was intended to convey. Were the two paintings by another artist who worked in Watteau’s manner or were the pictures pastiches or copies of specific compositions by the master? In contrast to the notations of price recorded for most paintings in this sale, the copy of the catalogue in the Rijksbureau voor Kunsthistorische Documentatie has no indication of price for these two paintings, suggesting that they went unsold. The following lot, also in the style of Watteau, did find a buyer at 20 livres. While dimensions were given for most of the paintings in this sale, they were not indicated for this lot, suggesting that the auctioneer may not have esteemed them sufficiently.

X. Un petit Sujet

Entered September 2018

Whereabouts unknown

Oil on canvas

40.6 x 32.5 cm

PROVENANCE

Paris, collection of Charles Godefroy (1684-1753; banker and jeweler). His sale, April 22ff, 1748, lot 42: “Un petit Sujet de Watteau peint sur toile, haut de quinze pouces, & large de douze pouces.” It sold for 13.10 livres according to the annotated copy of the sale catalogue in the Frick Art Reference Library.

REMARKS

Although not specified as a fête galante, this “petit sujet” was undoubtedly just that. There was no standardized names for such subjects in the first half of the eighteenth century. Describing it as “petit” is misleading in relation to Watteau’s oeuvte.

Godefroy was a significant collector who also owned Watteau’s L’Indifférent and La Finette. This and the early date of the attribution gives hope to believe that this picture was also by the master. The copy of the Godefroy sale catalogue in the Bibliothèque nationale is annotated with all the purchase prices and names of buyers, except for lot 42 where, curiously, the purchaser’s name is not indicated.

X. Une Danse

Entered September 2018

Whereabouts unknown

Oil on canvas

27.9 x 50.8 cm

PROVENANCE

Paris, collection of Marin de la Haye [Delahaye] (fermier general). His sale, Paris, January 1, 1754, lot 45: “Un Tableau peint sur toile, représentant une danse, par Vatteau, de 15 pouces de haut sur 20 pouces de large, dans sa bordure dorée.” Sold for 30 livres to Dèlabrosse according to the annotated copy of the sale catalogue in the Frick Art Reference Library, New York.

Paris, with Dèlabrosse.

REMARKS

X. A Small Conversation

Entered September 2018

Whereabouts unknown

Material unknown

Measurements unknown

PROVENANCE

London, collection of Dr. Richard Mead (1673-1754, doctor to King George II) or James Gibbs (1682-1754; architect). Their sale, London, March 25-26, 1756, lot 25: “WATTEAU . . . A Small Conversation.”

REMARKS

In that the 1756 sale contained paintings from both Richard Mead’s and James Gibbs’ collections, the situation is slightly muddied. If the “small conversation” was from Mead’s collection, one would be justified in presuming that it was by Watteau; not only did Mead and Watteau know each other but also Mead owned at least two other of the artist’s paintings: L’Amour paisible and Les Comédiens italiens. On the other hand, if the picture came from Gibbs’ collection, the circumstances are quite different. There are no known associations between Gibbs and Watteau, and we cannot be certain that he did not buy one of the many false attributions then flooding the London art market.

Curiously, despite the prominence of Mead’s relation to Watteau, the Watteau literature has not paid attention to this painting.

X. Un Jardin avec cinq figures

Entered September 2018

Whereabouts unknown

Oil on canvas

33 x 40.6 cm

PROVENANCE

Paris, collection of Carl Heinrich von Heineken (1707–1791; German art historian and art advisor). His sale, Paris, December 12, 1757- February 18, 1758, lot 144: “Antoine Watteau. . . . Un Jardin, dans lequel on voit cinq Figures de caractere comique, dont une femme jouant de la guitarre; Tableau peint sur toile de treize pouces de haut, sur seize de large.” Sold for 170.1 livres to René Michel Slodtz for M. Perrier.

Paris, with Perrier.

REMARKS

X. Un Concert

Entered September 2018

Whereabouts unknown

Oil on canvas

81.3 x 106.7 cm

PROVENANCE

Paris, collection of Jacques Gaultier (or Gautier) (d. 1759; Sécretaire du Roi). His sale, Paris, April 6ff, 1759, lot 71: “Un Concert, id. [peint sur toile], de trent-deux pouces de haut sur quarante-deux de large, par Wateau.”

REMARKS

X. Un Bal

Entered September 2018

Whereabouts unknown

Material unknown

71.1 x 83.8 cm

PROVENANCE

Paris, collection of Jacques Gaultier (or Gautier) (d. 1759; Sécretaire du Roi). His sale, Paris, April 6, 1759, lot 101: “Un Bal, id. [peint sur toile] de vingt-huit pouces de haut sur trente-trois de large par Wateau.” It sold for 48 livres.

REMARKS

X. Figures venant du bal

Entered September 2018

Whereabouts unknown

Oil on canvas

68.6 x 94 cm

PROVENANCE

Paris, collection of Jacques Gaultier (or Gautier) (d. 1759; Sécretaire du Roi). His sale, April 6ff, 1759, lot 171: “Des Figures venant du bal, id. [toile], de vingt-sept pouces de haut sur trente-sept de large, par Wateau.” It sold for 5 livres.

REMARKS

The description of “figures coming from the ball” might suggest that this picture was a version of Coquettes qui pour voir since, from its earliest days, that composition was often referred to in such terms. However, this painting is much larger than those associated with the Hermitage composition. Although the painting sold under Watteau’s name only three decades after his death, it brought only 5 livres, a low price—especially for such a large picture—which suggests we should be cautious about this attribution.

X. Un Paysage & figures

Entered December 2018

Whereabouts unknown

Material unknown

Measurements unknown

PROVENANCE

Paris, collection of Louis Guillaume Chubéré (d. 1759; conseiller honoraire au Parlement de Paris). His sale, Paris, January 20ff, 1760, lot 69: “Un Pay[sage] & figures par Vateau.”

REMARKS

Despite the relatively early date of the sale and the elevated status of the owner, there is too little information about the work to draw any conclusion about its attribution.

X. Une Danse

Entered September 2018; revised June 2019

Whereabouts unknown

Oil on canvas

81 x 64.8 cm

PROVENANCE

Paris, sale, May 13, 1765, lot 94: ”Un Tableau représentant une Danse, esquisse de Vateau, sur toile, de 2 pieds 6 pouces de large, sur 2 pouces de haut, dans un bordure dorée.”

REMARKS

Jean-Baptiste Pierre Lebrun, who directed the 1765 sale, chose to describe this large-scale painting as a sketch. This is intriguing, if not worrisome. Was it truly an oil sketch similar to Rubens’ oil sketches or was it a painting left incomplete, in a sketchy state? Unlike Rubens, Watteau did not execute preparatory oil sketches. Although a number of oil sketches on today’s marketplace are attributed to Watteau, none seem worthy of his name.

X. Two Landscapes and Figures

Entered June 2019

Whereabouts unknown

Material unknown

Measurements unknown

PROVENANCE

London, Parker, sale, May 15-16, 1766, “A Gentleman gone Abroad,” lot 24: “Watteau --- A Conversation.”

REMARKS

Despite the relatively early date of the sale, there is too little information to draw any conclusions about this painting. The copy of the sale catalogue in the Rijksbureau voor Kunsthistorisch Dokumentatie has a penned correction: instead of the seller being described as “gone Abroad,” it has been changed to “going Abroad.” Evidently he had not yet left London.

X. Figures Singing and Playing

Entered June 2019

Whereabouts unknown

Oil on canvas

43.2 x 35.6 cm

PROVENANCE

Sale, London, January 21-22, 1767, lot 50: “WATTEAU --- Figures singing and playing.” Sold for £19.7.0; lot 51: “Ditto --- Its Companion.” Sold for £17.6.0.

REMARKS

The sale, according to the title page, was of paintings “Belonging to a Gentleman who Resided many Years in a Public Character at VENICE: COLLECTED from most of the VALUABLE CABINETS in ITALY . . . However, the Watteau paintings are in a section designated as “Pictures consigned from BRUSSES.” The copy of the catalogue in the Rijksbureau voor Kunsthistorische Documentatie has the name “Mundy” or “Manay” added to indicate the principal seller, but the Brussels consignor may have been someone else.

The title’s descriptive phrase “singing and playing” undoubtedly implies “singing and playing music.”

X. A Conversation

Entered June 2019

Whereabouts unknown

Oil on canvas

43.2 x 35.6 cm

PROVENANCE

Paris, sale, March 9, 1767, lot 71: “Une Femme & un jeune Homme qui font de la Musique; Tableau du mîeme Maître [Watteau] peint sur toile: sa hauteur est d’un pied 5 pouces, & sa largeur d’un pied 2 pouces. On y reconnoît les graces ordinaires de Watteau.” It sold for 30 livres to the dealer Joullain.

REMARKS

X. Une Femme & un jeune homme qui font de la musique

Entered September 2018

Whereabouts unknown

Oil on canvas

43.2 x 35.6 cm

PROVENANCE

Paris, sale, March 9, 1767, lot 71: “Une Femme & un jeune Homme qui font de la Musique; Tableau du mîeme Maître [Watteau] peint sur toile: sa hauteur est d’un pied 5 pouces, & sa largeur d’un pied 2 pouces. On y reconnoît les graces ordinaires de Watteau.” It sold for 30 livres to the dealer Joullain.

REMARKS

X. Une Troupe des comédiens masqués

Entered September 2018

Whereabouts unknown

Material unknown

30.5 x 40.6 cm

PROVENANCE

Collection of François, baron de Maenzi, comte de Talgum et Talgut, comte Palatin. His sale, Bruges, June 22ff, 1767, [premier cabinet], lot 75: “[Deux Tableaux d’Antoine Watteau] Une Troupe des Comédiens masques en habit de Théatre, qui se divertissent dans un Jardin. Haut. un pied, large 1. pied 4. pouces.”

Bruges, December 12, 1807, lot 182 (?).

REMARKS

This picture had a pendant, sold in 1767 as lot 76: Une Troupe de masques.

X. Une Troupe des masques

Entered September 2018

Whereabouts unknown

Material unknown

30.5 x 40.6 cm

PROVENANCE

Collection of François, baron de Maenzi, comte de Talgum et Talgut, comte Palatin. His sale, Bruges, auction house Jacques Rycke, June 22ff, 1767, [premier cabinet] lot 75: “[Deux Tableaux d’Antoine Watteau] Une Troupe de masques. Même grandeur du précédent [Hauteur un pied, large 1. pied 4. pouces].”

Bruges, December 12, 1807, lot 182 (?) as style of Watteau.

REMARKS

This picture had a pendant, sold in 1767 as lot 75: “Une Troupe des Comédiens masqués en habit de Théatre, qui se divertissent dans un Jardin.”

X. Un Concert champêtre
Entered June 2019

Whereabouts unknown

Oil on canvas

64.8 x 70.2 cm

PROVENANCE

Paris, sale, December 2, 1768, lot 71: “Un Tableau représentant un Concert champêtre, fond de paysage, peint par Antoine Wateau, sur toile, dans sa bordure dorée; il porte deux pieds sept pouces de large sur deux pieds deux pouces de haut.” Sold for 33.10 livres according to an annotated copy of the catalogue.

REMARKS

Despite the relatively early date of the sale, there is too little information to draw any conclusions about this painting.

X. Une Promenade

Entered September 2018

Whereabouts unknown

Oil on canvas

17.8 x 22.9 cm

PROVENANCE

Versailles, collection of Jean Pierre Guignon (1702-1774; musical composer and premier violin du Roi). His sale, Versailles, March 22, 1774, lot 45: “Un Tableau sur toille, de Watteau, représentant une promenade; il porte 9 pouces de large sur 7 de haut.“ Sold together with its pendant for 68 livres.

REMARKS

Its pendant in the 1774 sale was lot 46: Une Rencontre espagnole.

X. Une Rencontre espagnole
Entered September 2018

Whereabouts unknown

Oil on canvas

17.8 x 22.9 cm

PROVENANCE

Versailles, collection of Jean-Pierre Guignon (1702-1774; musical composer and premier violin du Roi). His sale, Versailles, March 22, 1774, lot 46: “Un Tableau sur toille, représentant une rencontre Espagnole; il porte 9 pouces de large sur 7 de haut.“ Sold together with its pendant for 68 livres.

REMARKS

Its pendant in the 1774 sale was lot 45: Une Promenade.

X. Un Paysage, un homme vêtu à l’espagnol
Entered June 2019

Whereabouts unknown

Oil on canvas

75.6 x 54 cm

PROVENANCE

Paris, sale, Nov. 13-14, 1775, lot 52: “ANTOINE WATTEAU . . . Un Paysage au milieu duquel se voit un homme vêtu à l’Espagnole & tenant une guitare; sur la gauche est une femme ayant un enfant près d’elle; à côté un homme joue de la flute; un moulin, des brossailles & lointains terminent le fond de ce tableau; il a le couleur & la touche spirituelle que l’on connoit à ce Maître: largeur 28 pouces, hauteur 20 pouces. . . . T.” According to the Getty Provenance Index, the painting was sold for 296 livres to the dealer Jean François Pierre Lebrun.

REMARKS

The description of the painting is quite specific but it does not match up with any extant work, certainly not one by Watteau. In fact, it sounds more like a composition by Nicolas Lancret.

X. Un Concert
Entered September 2018; revised June 2019

Whereabouts unknown

Oil on panel

32.4 x 37.8 cm

PROVENANCE

Paris, with Guillaume Martin (1736-1800; painter and art dealer). His sale, Paris, February 5ff, 1776, lot 82: “Deux autres tableaux dans le style de Watteau, & que l’on croit de lui, parcequ’ils annoncent du mérite; l’un représente une recreation champêtre, & l’autre un concert; ils sont sur bois & chacun porte 12 pouces de haut; sur 14 de large.” The pair of paintings seem to have sold for 532 livres to Petit.

REMARKS

The subjects and descriptions of these two paintings are too generic to be useful. Although the Getty Provenance Index indicates that these paintings sold for either 132 or 532 livres, the latter seems correct. This would suggest that at least some of the buyers at the auction thought the paintings were by Watteau.

X. Une Récréation champêtre
Entered September 2018; revised June 2019

Whereabouts unknown

Oil on panel

32.4 x 37.8 cm

PROVENANCE

Paris, with Guillaume Martin (1736-1800; painter and art dealer). His sale, Paris, February 5ff, 1776, lot 82: “Deux autres tableaux dans le style de Watteau, & que l’on croit de lui, parcequ’ils annoncent du mérite; l’un représente une recreation champêtre, & l’autre un concert; ils sont sur bois & chacun porte 12 pouces de haut; sur 14 de large.” The pair of paintings seem to have sold for 532 livres to Petit.

REMARKS

X. Pastorale
Entered September 2018

Whereabouts unknown

Oil on canvas

55.9 x 68.6 cm

PROVENANCE

Paris, collection of Guillaume Martin [Morain?]. His sale, Paris, February 5ff, 1776, lot 101: “Une Pastorale attribué à Watteau, sur une toile de 22 pouces de haut, sur 27 de large.” The painting sold for 96 livres to the dealer Petit.

REMARKS

The seller’s name is listed as “Mortain” by Frits Lugt, Répertoire des catalogues de ventes publiques.

The cautionary phrase “attribué à Watteau” serves as a warning, especially since the collector owned both a reduced copy after Watteau’s L’Amour au théâtre italien and supposedly the original of Watteau’s Portrait d’Antoine de la Roque and La Ruine.

X. Country Amusements
Entered June 2019

Whereabouts unknown

Material unknown

Measurements unknown

PROVENANCE

England (“in the country”), collection of “a nobleman.” His sale, London, Christie’s, April 3f, 1776, lot 36: “WATTEAU --- Country Amusements.” Sold for £10.10 to Douty.

REMARKS

There is too little information about this painting to draw any conclusions about its attribution.

X. Vue d’un jardin
Entered September 2018

Whereabouts unknown

Oil on canvas

50.8 x 43.2 cm

PROVENANCE

Paris, Antoine Charles Dulac collection. His sale, November 30, 1778, lot 398: “ANTOINE WATTEAU. Peint sur toile, haut 20 pouces & demi, large 17. . . . La vue d’un Jardin: l’on y voit trois personsonnes [sic] se promener, & plus loin un enfant.”

REMARKS

X. Colation dans un jardin & balançoire
Entered September 2018

Whereabouts unknown

Oil on canvas

86.4 x 134.6 cm

PROVENANCE

Paris, collection of Monsieur Le Doux. His sale, Paris, February 25ff, 1782, lot 51: “A. WATTEAU . . . Colation dans un jardin & balançoire, composition agréable de neuf figures d’hommes & femmes. Hauteur 2 pieds 10 pouces. Largeur 4 pieds 5 pouces. T.” Bought back by Le Doux for 78 livres.

REMARKS

Despite the attribution of the painting to Watteau in 1782, the unusual combination of a picnic meal with someone, presumably a woman, on a swing suggests that the picture was a variant or composite by someone from the generation of Pater and Lancret, or perhaps still later.

X. La Vue d’un paysage
Entered September 2018; revised March 2020

Whereabouts unknown

Oil on panel

29.2 x 41.9 cm

PROVENANCE

Paris, sale, March 20-24, 1787, collections of Charles Jean Goury de Champgrand, known as the marquis de Champgrand (1732 – 1799; military officer), Pierre Jean Berthold de Proli (1752-1794; banker and journalist), Charles Paul Jean-Baptiste Bourgevin de Vialart, comte de Saint-Morys (1743-1795), and Buillac, lot 200: “ANT. WATTEAU. . . . La vue d’un Paysage champêtre, dans lequel divers personnages, hommes & femmes se sont rassemblés pour se devertir; on distingue dans ce grouppe intéressant, une jeune femme & un homme qui dansent un menuet.
On ne peut rien voir de plus spirituel & de plus agréablement rendu dans les ouvrages de cet Artiste, qui a poussé le coloris au plus haut dégré de perfection. Hauteur 11 pouces 6 lignes, largeur 16 pouces 16 lignes [for 6 lignes?]. B.” It was bought by Demarest for 900 livres.

Paris, with Demarest.

REMARKS

X. Un Sujet champêtre
Entered September 2018

Whereabouts unknown

Oil on panel

36.8 x 59.7 cm

PROVENANCE

Paris, sale, March 20-24, 1787, collections of Charles Jean Goury de Champgrand, known as the marquis de Champgrand (1732 – 1799; military officer), Pierre Jean Berthold de Proli (1752-1794; banker and journalist), Charles Paul Jean-Baptiste Bourgevin de Vialart, comte de Saint-Morys (1743-1795), and Buillac, lot 202: “PAR LE MÊME [ANT. WATTEAU] . . . Un sujet champêtre dans un paysage agréable, on y compte sept figures d’hommes & femmes, dont un jeune homme dansant devant les autres personnages. Hauteur 14 pouces & demi, largeur 23 pouces & demi. B.” Sold to Alexandre Joseph Paillet for 72 livres.

Paris, with Alexandre Joseph Paillet (1743-1814; art dealer).

REMARKS

X. Paysage de neuf figures
Entered September 2018

Whereabouts unknown

Oil on canvas

61 x 55.9 cm

PROVENANCE

Paris, collection of Louis Jean François Collet (1722-1787; royal censor, playwright, and secretary of the Order of de Saint-Michel). His sale, Paris, May 14, 1787, lot 287: “PAR LE MÊME [A. WATTEAU] . . . Un Tableau, Paysage orné de neuf figures principales sur le devant; elles sont occupées à faire de la musique. Cette composition agréable est des premiers tems de ce Maitre. Hauteur 24 pouces, larg. 22. T.” The painting sold for 60 livres.

REMARKS

It is interesting that the expert, Jean-Baptiste Pierre Lebrun, distinguished this painting as being one of Watteau's early works, although this still does not allow us to identify this picture.

X. L’Intérieur d’un parc avec une escarpolette
Entered September 2018

Whereabouts unknown

Oil on canvas

49.5 x 41.9 cm

PROVENANCE

Paris, collection of Vieux Viller. His sale, Paris, February 18, 1788, lot 107: “ANTOINE WATTEAU. . . . L’intérieur d’un parc, où l’on voit de grands arbres élevés & une femme sur une escarpolette, qu’un homme vêtu de rouge se dispose à faire aller, tandis que dix autres figures d’hommes & de femmes sont spectateurs, les uns couchés, les autres debout & assis; à droite & sur le devant, l’on voit un homme qui s’entretient avec une femme; près d’eux est un chien lévrier, un manteau & une guittare. Ce Tableau capital, est d’un effet séduisant & de beau faire de Vatteau. Hauteur 19 pouces & demi, largeur 16 pouces & demi. T.” Sold for 400 livres to Jean-Baptiste Pierre Lebrun.

Paris, sale, December 9, 1788, lot 213: “PAR LE MÊME. [ANTOINE WATTEAU] . . . La Vue d’un Parc où l’on voit de grands arbres élevés & une femme sur une escarpolette, qu’un homme vêtu d’un ajustement rouge se dispose à faire aller, tandis que d’autres figures d’hommes & de femmes les regardent: l’on remarque sur le devant une conversation d’un homme & d’une femme; près d’eux est un lévrier, un manteau & une guittare. Ce Tableau, d’un effet piquant, est d’une riche composition, & du beau faire de ce Maitre. Hauteur 19 pouces, largeur 16 pouces. T.” Sold for 300 livres to Brillaux.

REMARKS

X. Deux concerts champêtres
Entered September 2018

Whereabouts unknown

Oil on panel

33 x 24.1 cm

PROVENANCE

Paris, collection of Vieux Viller. His sale, Paris, February 18, 1788, lot 108: “Deux Copies, représentant des concerts champêtres. Hauteur 13 pouc., larg. 9 pouc. & demi. B.”

REMARKS

The annotated copy of the sale catalogue in the Bibliothèque nationale bears no indication of price or buyer’s name, suggesting that they did not sell. Although presented at this sale as copies after Watteau, it is quite probable that after the Revolution they were passed off as being by Watteau himself.

X. Cinq figures de différents caractères
Entered September 2018

Whereabouts unknown

Oil on panel

15.2 x 20.3 cm

PROVENANCE

Paris, collection of Barthélémy Henri Loliée (Lollier) (prosecutor in the Chambre des Comptes). His sale, Paris, April 6ff, 1789, lot 55: “PAR LE MÊME [A. WATTEAU] . . . Un autre Tableau, représentant une composition de cinq figures vêtues de différens habillemens de catactères & vues jusqu’aux genoux formant un groupe très-agréable, Ce petit morceau bien conservé est du meilleur tems de ce fameux Coloriste. Hauteur 9 pou. 6 lig., largeur 7 pou. B.” sold for 901 livres to Marin.

Paris, with Alexandre Joseph Paillet (1743-1814; art dealer). His sale, February 7, 1792 (postponed to February 13, 1792), lot 24: “Ant Watteau . . . Un petit tableau de la première finesse dans le ton de couleur & de la touche la plus spirituelle; il représente un sujet de cinq figures dans différents habillemens de caractère, vues jusqu’aux genoux, dans un paysage. Ce tableau, qui provient du Cabinet de feu M. Lollier, y jouissoit du rang le plus distingué. Haut. 11 p. larg. 7. B.”

REMARKS

X. Huit figures qui se promenent
Entered September 2018

Whereabouts unknown

Oil on canvas

33 x 43.2 cm

PROVENANCE

Paris, collection of Charles Alexandre de Calonne (1734-1802; statesman). His sale, Paris, April 21-30, 1788, lot 232: “ANTOINE WATTEAU. . . . L’intérieur d’un parc, où l’on voit huit figures d’hommes, de femmes & d’enfans qui se promenent. Haut. 13 pouc. Larg. 17. T.” Sold to [or taken back by] Lebrun for 133 livres.

Sale, Paris, supposedly from a collection in Montmartre, May 3, 1790, lot 75: “ANT. WATTEAU. . . . L’intérieur d’un Jardin, où l’on voit huit figures d’hommes & de femmes & variés sur differens plans. Haut. 14 pouc. Larg. 18 pouces. T.”

REMARKS

The paintings that appeared at the two sales, just two years apart, would seem to have been one and the same. They were described in similar terms and were almost identical in measurement (differing by just one pouce in each direction). Most important, Le Brun was the expert at both sales and may have been the actual owner.

X. Un Paysage avec figures
Entered September 2018

Whereabouts unknown

Oil on canvas

38.1 x 30.5 cm

PROVENANCE

Paris, collection of Charles Edouard Chaise (1759-1798; artist). His sale, Paris, February 3ff, 1791, lot 95: “Une petit tableau, esquisse de Watteau, représentant un paysage, avec figures. Hauteur, 15 pouces; largeur, 12 pouces. T.”

REMARKS

As always, the idea that this painting was a sketch should make us cautious that it was actually by Watteau since he is not known to have painted such sketches.

X. Amusements champêtres
Entered September 2018

Whereabouts unknown

Oil on panel

20.3 x 22.9 cm

PROVENANCE

Paris, with Alexandre Joseph Paillet (1743-1814; art dealer) or others. His sale, February 7, 1792 (postponed to February 13, 1792), lot 27: “PAR LE MÊME [ANT. WATTEAU]. . . Un autre tableau, même sujet & genre [a fête galante similar to Watteau’s Amusements champêtres], qui tient aussi de la brilliante couleur de Watteau. Haut. 8 p. larg. 9. B.”

REMARKS

X. Amuseuments champêtres avec quatre figures
Entered September 2018

Whereabouts unknown

Oil on panel

27.9 x 20.3 cm

PROVENANCE

Paris, collection of Madame Goman. Her sale, Paris, February 6ff, 1792, lot 85: “A. Watteau. . . . Un tableau de quatre figures représentant des amusements champêtres, Ce morceau est connu par les temps. Haut. 11 pouces, largeur, 8 pouces.” Sold for 121 livres to Jean Duval.

Versailles, collection of Jean Duval. His sale, Versailles, June 13, 1803, lot 3: ”A. Watteau . . . Un tableau de quatre figures repréntant des Amusements champêtres.” Sold for 14.19 francs.

REMARKS

X. Un Homme vêtu à l’espagnol avec une jeune dame
Entered September 2018

Whereabouts unknown

Oil on panel

45.7 x 33 cm

PROVENANCE

Paris, with Vincent Donjeux (d. 1793; art dealer). His sale, Paris, April 29ff, 1793, lot 349: “Antoine Watteau. Deux tableaux d’une bonne couleur, offrant différents sujets champêtres: dans l’un on compte quatre figures dans des habillements de caractère, dont une jeune femme coëffée d’une toque, et un pierrot assis à ses pieds, tenant une guitarre; l’autre tableau égalament agréable, représente dans les principals figures, un homme vêtu à l’espagnol, qui s’entretient avec une jeune dame. Hauteur 18 pouces larg. 13 p. B.” The pair sold for 445 (or 449) livres to Jean-Baptiste Pierre Lebrun.

REMARKS

The pendant, “quatre figures dans des habillements de caractère,” is either the original or a copy of Watteau’s Harlequin jaloux, engraved by P. Chedel.

X. Une Conversation & amusement champêtres
Entered September 2018

Whereabouts unknown

Oil on canvas

24.1 x 33 cm

PROVENANCE

Paris, collection of Louis Joseph Charles Amable d’Albert, duc de Luynes (1748-1807). His sale, Paris, November 21ff, 1793, lot 30: “A. WATTEAU. . . . Un Tableau, représentant une Conversation & amusement champêtres. Haut. 8 p. & demi sur 13 p. T.” Sold for 86 livres to Dufour.

REMARKS

X. A Musical Conversation

Entered December 2018

Whereabouts unknown

Material unknown

Measurements unknown

PROVENANCE

Collection of Colonel Hume. Sale, London, Christie’s, July 2-3, 1799, lot 28: “Watteaux . . . An Encampment, and a musical conversation.” The pair of pictures sold together for £0.17.0 the pair to Wyatt.

REMARKS

Although the pairing of a fête galante with a military scene may seem odd, there are examples of sother uch disparate subjects being conjoined as pendants. See, for example, the history of Watteau’s L’Amour aiguissant ses fleches and its supposed pendant, Pater’s Un Départ de troupes (or Soldats près d’une torre). Although such pairings were made in the eighteenth century, this does not confer any claim of authenticity on the present paintings, for which there is too little data.