Null Circle of Jean-Baptiste Pater,
French 1695-1736-

Studies of elegant figure…

Descrizione

Circle of Jean-Baptiste Pater, French 1695-1736- Studies of elegant figures; blue chalk on buff laid paper, 19.2 x 28.7 cm (unframed).

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Circle of Jean-Baptiste Pater, French 1695-1736- Studies of elegant figures; blue chalk on buff laid paper, 19.2 x 28.7 cm (unframed).

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Stima 500 - 600 GBP

JEAN-BAPTISTE PIGALLE (Paris, 1714-1785). "Michel de Montaigne". Bronze. Signed. Measurements: 37 cm. height. Bronze sculpture signed by Jean-Baptiste Pigalle representing the Renaissance philosopher and writer Michel de Montaigne, author of "Essays" and inventor of the essay genre. He appears here characterized as a humanist with an aristocratic countenance, a ruffed collar, and an open book on his lap. Jean-Baptiste Pigalle was a French sculptor. Born into a family of cabinetmakers, he learned sculpture from Robert Le Lorrain and Jean-Baptiste Lemoyne. He was mainly influenced by Edmé Bouchardon. He moved to Italy from 1734 to 1737. Considered a great master by his contemporaries, his work stylistically straddles the baroque and neoclassical periods. One of his best known works is "Mercury tying his sandals", preserved in the Louvre Museum.

Stima 40 000 - 60 000 GBP

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.

Stima 2 000 - 2 500 GBP

French or Neapolitan master of the late 18th century, follower of Jean-Baptiste-Camille Corot (* 1796 - 1875) Signature not located. Oil on canvas, total framed measurements: 90 x 70 cm

Stima 100 - 200 GBP

A 19TH CENTURY CHINESE VASE BLUE AND WHITE WITH FIGURES AND FLOWERS, 20.5cm h x 14.5cm w Faint double circle to base, drilled for lamp.

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