Jean-Antoine WATTEAU (Valenciennes 1684 - Nogent-sur-Marne... Lot 38

Jean-Antoine WATTEAU (Valenciennes 1684 - Nogent-sur-Marne 1721) To keep the honor of a Belle Prepared oak panel, one board, not parqueted 20 x 27,5 cm Restorations Provenance: Probably collection of Jeanne Baptiste d'Albert de Luynes, Countess de Verrue (1670-1736), Paris ; Sale after death of the Countess of Verrue, Paris, rue du Cherche-Midy, March 27, 1737, n°83 "Watteau / two small paintings"; or n°70, "Two small paintings, painted by Gillot or by Watteau"; Probably Jean-Corneille Landgraff collection (died after 1790), Paris; Sale L., Paris, Master Boileau, December 21, 1784, n°25: "A. Watteau. Two paintings, representing companies of men & women in Gardens; in the one we notice a group (sic) of figures, busy making music; in the other, for main character, a young Lady & a man under a Pierrot's dress. These two paintings are warm of color & graceful for their composition. On wood, height 9 inches, width 11 inches and a half; Acquired 402 livres by the merchant Saubert ; Probably Antwerp, private collection; Probably sale Antwerp, Raedt, July 30, 1812, n°44 : " Two small Paintings, painted by Watthot, representing Carnival revels " ; Bibliography of the painting: L. SCHARIFZADEH, Claude Gillot: Scène de la Comédie Italienne: un nouveau point de contact avec Watteau, Paris, Galerie Duchemin, 2013, pp. 31-32, reproduced figs. 29, 30 and 32. Our painting will be included in the catalogue raisonné of WATTEAU by Alan Wintermute, it will also be included in the Abecedario that Martin Eidelberg is completing. Essential bibliography of the engraving: P.J. MARIETTE, Notes Manuscrites sur les Peintres et Graveurs, t. IX, fol. 191, 12 (manuscript, Paris, BnF); A-C. Philippe, comte de CAYLUS, Abrégé de la Vie de Watteau, Paris 1735; E. and J. de GONCOURT, L'Art au XVIIIème siècle, Paris 1880, vol. I, p. 56; E. de GONCOURT, L'œuvre peint, dessiné et gravé d'Antoine Watteau, Paris, 1875, n°77, p. 74 ; É. DACIER, J. HEROLD, A. VUAFLART, Jean de Julienne et les graveurs de Watteau au XVIIIe siècle, Paris, 1921-1929, vol. III, pp. 40-41, no. 83 et passim; D. PANOFSKY, "Gilles or Pierrot? Iconographic Notes on Watteau", Gazette des Beaux-Arts, May-June 1952, CLXII, pp. 319-340; E. CAMESASCA and P. ROSENBERG, Tout l'œuvre peint de Watteau, Paris, 1970, n°15; M. EIDELBERG, "Watteau and Gillot: An additional Point of Contact", The Burlington Magazine, September 1974, CXVI, p. 536; M. ROLAND MICHEL and D. RABREAU, Les Arts du Théâtre de Watteau à Fragonard, exhibition catalogue, Bordeaux, Galerie des Beaux-Arts, 1980, pp. 102, 110, 183; M. ROLAND MICHEL, Watteau. Un artiste au XVIIIe siècle, Paris, 1984, pp. 176-177, 212, 291, pl. 173 ; G. HANSEN, Formen der Commedia dell'Arte in Deutschland, Emsdetten, 1984, p. 281; M. MORGAN GRASSELLI and P. ROSENBERG, Watteau 1684-1721, cat. exp. Washington, Paris, Berlin, 1984, pp. 510, 516, 527, fig. 90 ; H. COURTEAUX-ENAULT, Une œuvre retrouvée de Watteau : Commedia dell'arte ? ou la métamorphose d'un sol, thesis, Université Paris I, 1990; F. MOUREAU, De Gherardi à Watteau, présence d'Arlequin sous Louis XIV, Paris, 1992, pp. 96, 108, 122, 127 ; F. MOUREAU, Claude Gillot et l'univers du théâtre, in Claude Gillot (1673-1722), Comédies, sabbats et autres sujets bizarres, cat. exp. Langres, musée d'art et d'histoire, 1999, n°5; I.TISSEROT, "Engraving Watteau in the Eighteenth Century: Order and Display in the Recueil Jullienne," Getty Research Journal, 2011, no. 3, p. 50 ; F. RAYMOND (ed.), Antoine Watteau (1684-1721) : La Leçon de Musique, cat. exp. Brussels, Palais des Beaux-Arts, 2013, pp. 92-93, under no. 33.