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Le Colin maillard (copy 1)
Entered January 2019

 

copy1

Whereabouts unknown

Oil on copper

16 x 21 cm

 

PROVENANCE

Crewkerne (Somerset), England, Lawrence & Son, sale, March 17, 1977, lot 87: “J. B. PATER . . . Jeu de Colin-Maillard, on copper 6 ¼ in by 8 ¼ in / 16 cm by 21 cm / (See Illustration).”

 

REMARKS

fig

Anonymous artist after Brion, Le Colin Maillard.

fig

Etienne Brion after Watteau, Le Colin Maillard, engraving.

 

Although the painting was given to Pater when it appeared at auction in 1977, that attribution is meaningless. This picture is a straightforward copy of the Brion engraving after Watteau’s composition. It is in the same direction as the engraving. There are, however, significant changes, most notably in the omission of most of the landscape to the left and right of the central group, and the deletion of a substantial portions of the sky above. The result is a more compact picture in which the figures dominate their setting, quite unlike Watteau’s original composition.

 

 

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Le Colin Maillard (copy 2)
Entered January 2019

 

fig

Whereabouts unknown

Materials unknown

Dimensions unknown

 

PROVENANCE

Paris, sale, Hôtel des ventes, December 28-29,1845, Lot 137: “MÊME ÉCOLE [WATTEAU (genre de)]. Deux jolis pendants représentant des sociétés jouant l’une au Colin-Maillard et l’autre dansant le menuet.”

Paris, sale, Hôtel des ventes, February 19-20, 1847, lot 73: “WATTEAU (genre de). . . . Le Colin Maillard, et le Menuet. Ces deux tableaux sont pendants.”

Paris, sale, Hôtel des commissaires-priseurs, September 20-21, 1860, lot 37: “WATTEAU (D’après). Le Colin-Maillard.” The following lot was its pendant: “Le Bal.”

Paris, sale, Hôtel Bullion, December 20-21, 1850, lot 52: “WATEAU. . . . “Le collin-maillard. Dans le milieu du tableau un jeune homme, les yeux bandés, conduit par une jeune fille, pacourant l’allée d’un parc où se trouvent réunies plusieurs personnes qui s’amusent de la embarrass du colin-maillard. Ce tableau est d’une composition gracieuse et d’un couleur qui tient aux peintures vénitiennes.”  The following lot was its pendant: “Amusements champêtres dans un jardin.”

Paris, collection of Monsieur, G . . . G . . . His sale, Hôtel Drouot, April 2-3, 1869, lot 116: “WATTEAU (D’APRÈS) . . . Le Colin-Maillard.” The preceding lot was its pendant: “La Danse champêtre.”

 

REMARKS

All five references appear to be to the same painting, especially since each time they were accompanied by a pendant with a fête galante featuring a scene of dancing.  At each instance the paintings was classified as a work after Watteau rather than by Watteau. This suggests that it was a modest painting.  While we cannot be certain that the painting was actually after Watteau's compostion as recorded in Etienne Brion's engraving, still, nothing in the description suggests the variations by Lancret and Pater.

 

 

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