Null FRANÇOIS WATTEAU, DIT WATTEAU DE LILLE Valenciennes 1758 - 1823 Lille
Huber…
Description

FRANÇOIS WATTEAU, DIT WATTEAU DE LILLE Valenciennes 1758 - 1823 Lille Hubert, drunk, leaving the cabaret circa 1800 Walnut panel Inscribed on the back: Watteau de Lille 22 x 28 cm - 8 11/16 x 11 in. Hubert drunk, leaving the cabaret, panel PROVENANCE Probably Cailleux collection, Paris (1936); Private collection; Delarue collection, Etretat (1994); Acquired by current owner in 1996. BIBLIOGRAPHY Paul Marmottant, Notice historique et critique sur les peintres Louis et François Watteau, dits : Watteau de Lille, Paris, Plon, 1889, p. 61 (not illustrated); Gaëtane Mäes, Les Watteau de Lille. Louis Watteau (1731 - 1798). François Watteau (1758 - 1823), Paris, Arthena, 1998, pp. 384 - 385, no. FP90 (ill. and dated circa 1800, when the painting was probably exhibited); the author re-attributes it to François, not Louis. EXHIBITIONS 1800 (an VIII), Lille, no. 8 Sortie de cabaret Vraisemblablement 1936, Paris, no. 103 (as by Louis Watteau).

68 

FRANÇOIS WATTEAU, DIT WATTEAU DE LILLE Valenciennes 1758 - 1823 Lille Hubert, drunk, leaving the cabaret circa 1800 Walnut panel Inscribed on the back: Watteau de Lille 22 x 28 cm - 8 11/16 x 11 in. Hubert drunk, leaving the cabaret, panel PROVENANCE Probably Cailleux collection, Paris (1936); Private collection; Delarue collection, Etretat (1994); Acquired by current owner in 1996. BIBLIOGRAPHY Paul Marmottant, Notice historique et critique sur les peintres Louis et François Watteau, dits : Watteau de Lille, Paris, Plon, 1889, p. 61 (not illustrated); Gaëtane Mäes, Les Watteau de Lille. Louis Watteau (1731 - 1798). François Watteau (1758 - 1823), Paris, Arthena, 1998, pp. 384 - 385, no. FP90 (ill. and dated circa 1800, when the painting was probably exhibited); the author re-attributes it to François, not Louis. EXHIBITIONS 1800 (an VIII), Lille, no. 8 Sortie de cabaret Vraisemblablement 1936, Paris, no. 103 (as by Louis Watteau).

Auction is over for this lot. See the results

You may also like

Jean Baptiste PATER (Valenciennes 1695 - Paris 1736) Artist's presumed self-portrait Canvas 82 x 65 cm (old restorations and scratches) Old sales label on reverse of stretcher Bibliography: another version by Florence Ingersoll-Smouse, Pater, Paris, 1928, p.81, no. 551, repr. p.195, ill. 172. This painting revives the question of the portraits occasionally painted by painters renowned for their gallant scenes. gallant scenes. Their place in the work of Antoine Watteau, Pater's master, is wide open and still debated. debated. The Portrait d'un gentilhomme, said to be by Jean de Jullienne (Musée du Louvre), is generally considered to be as autograph, unlike the Portrait dit d'Antoine Pater, sculptor and father of the painter, which has been refused (Valenciennes, Musée des Beaux-Arts). Florence Ingersoll-Smouse, in her 1928 monograph on Pater, lists a dozen portraits reported in early sales, or that of his sister Marie-Marguerite Pater (Valenciennes, Musée des Beaux-Arts), documented in the model's will in 1769. For our composition, the Portrait presumed to be by the painter in his thirtieth year, is catalogued as "attributed to Pater", the version in the Alvin-Beaumont collection in Paris, and lists as a copy the one then held at the Société d'agriculture, de sciences et des arts de Valenciennes, now in the museum. It is on this canvas that the traditional traditional identification of the model. We propose to consider our canvas as the original. The artist is dressed in black, perhaps be interpreted as mourning the death of his master in 1721. He presents himself as a history painter holding a drawing board and a red-tipped stylus for the sanguine, under the aegis of Minerva, goddess of reason reason and the Arts, depicted in the painting on the easel. The influence of the portrait painters of his time Nicolas de Largillierre, Hyacinthe Rigaud and François de Troy, but it is above all Watteau's Watteau's influence shines through in the pictorial material and elegance. The face is close to the various figures of Pierrot (le Gilles, Musée du Louvre). We would like to thank Martin Eidelberg for his help in describing this lot.