88
88

PROPERTY FROM THE COLLECTION OF J. E. SAFRA

Jean-Baptiste Oudry
STILL LIFE WITH A VIOLIN, A RECORDER, BOOKS, A PORTFOLIO OF SHEET OF MUSIC, PEACHES AND GRAPES ON A TABLE TOP
Stima
600.000900.000
Lotto. Venduto 610,000 USD (Prezzo di aggiudicazione con commissione d'acquisto)
VAI AL LOTTO
88

PROPERTY FROM THE COLLECTION OF J. E. SAFRA

Jean-Baptiste Oudry
STILL LIFE WITH A VIOLIN, A RECORDER, BOOKS, A PORTFOLIO OF SHEET OF MUSIC, PEACHES AND GRAPES ON A TABLE TOP
Stima
600.000900.000
Lotto. Venduto 610,000 USD (Prezzo di aggiudicazione con commissione d'acquisto)
VAI AL LOTTO

Details & Cataloguing

Master Paintings

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Jean-Baptiste Oudry
PARIS 1686 - 1755 BEAUVAIS
STILL LIFE WITH A VIOLIN, A RECORDER, BOOKS, A PORTFOLIO OF SHEET OF MUSIC, PEACHES AND GRAPES ON A TABLE TOP
signed lower right: J.B. Oudry
oil on canvas
23 3/4  by 30 1/4  in.; 60.3 by 76.8 cm.
Leggi la scheda di conservazione Leggi la scheda di conservazione

Provenienza(e)

Henry Didier, Paris, by 1860
His sale, Paris, Hôtel Drouot, 15-17 June 1868, lot 72, for FF 1,200;
Madame Denain, Paris;
Her sale, Paris, Galerie Georges Petit, 6-7 April 1893, lot 20, for FF 2,550, to Coblenz;
With Galerie Cailleux, Paris;
George Encil;
By whom sold, London, Sotheby's, 12 December 1990, lot 111;
Anonymous sale ("Property of a French Bank"), New York, Sotheby's, 30 January 1998, lot 94;
There acquired by the present collector.

Esposizione

Paris, Tableaux et dessins de l'Ecole française principalement du XVIIIe siècle tirés de collections d'amateurs, catalogue by Ph. Burty, 1860, no. 217;
Paris, Galerie Cailleux, Peintres de la réalité au XVIIIe siècle, 1945, no. 27;
Rennes, Musée des Beaux-Arts, Natures mortes anciennes et modernes, 30 September - 30 October 1953, no. 20;
Saint-Etienne, Musée d'art et d'industrie, Natures mortes de l'antiquité au XVIIIe siècle, 1954, no. 51;
Rotterdam, Boymans Museum, Vier Eeuwen Stilleven in Frankrijk, 10 July - 20 September 1954, no. 39;
London, Royal Academy, European Masters of the Eighteenth Century, 27 November 1954 - 27 February 1955, no. 163;
Zurich, Kunsthaus, Schönheit des 18. Jahrhunderts, September - October 1955, no. 225;
Bordeaux, Musée des beaux-arts de Bordeaux, Paris et les ateliers provinciaux au XVIIIe siècle, 10 May - 31 July 1955, no. 11;
Paris, Galerie Heim, Hommage à Chardin, 5 June - 10 July 1959, no. 47.

Bibliografia

J. Locquin, "Catalogue raisonné de l'Oeuvre de Jean-Baptiste Oudry," in Archives de l'Art Français; Société de l'Histoire de l'Art Français, vol. II, 1912, cat. no. 56;
J. Vergnet-Ruiz, Les Peintres Français du XVIIIe Siècle; Histoires des Vies et Catalogue des Oeuvres, Paris and Brussels 1930, vol. II, p. 171, cat. no. 286;
J. Cailleux, Le Dix-Huitième Siècle. Collection Connaissance des Arts, Paris 1956, p. 20, reproduced;
M. Faré, La Nature Morte en France, vol. II, Geneva 1963, reproduced pl. 335;
M. and F. Faré, La Vie Silencieuse en France; La Nature Morte au XVIIIe siècle, Fribourg 1976, p. 113, reproduced pl. 182;
H. Opperman, Jean-Baptiste Oudry, New York 1977, vol. I, p. 562, cat. no. P.532, and vol. II, p. 947, reproduced fig. 130;
V. Prat, in Experience and Adventures of a Collector, Paris 1989, pp. 180-81, reproduced in color p. 181;
Sotheby's Highlights, London 3 December 1997 and New York 30 January 1998 sales, reproduced.

Nota a catalogo

Oudry was one of the most successful and versatile artists of the 18th century.  Initially trained as a portrait painter under Nicolas de Largillierre, he went on to make great contributions to the genres of landscape, animal, and still life painting.  Through the Marquis de Beringhen, Premier Ecuyer du Roi, he was introduced to Louis XV and obtained his first royal commission in 1724.  Oudry exhibited at the Place Dauphine (1722-25) and subsequently in the Salon, beginning with twelve paintings in the Salon of 1725.  The present still life has been dated to around this same moment.  In a beautifully balanced composition, Oudry depicts a violin propped against a stack of books; a recorder rests between music sheets positioned precariously close to the table ledge, ready to tumble out of the picture plane.  Offsetting these objects on the left side are four peaches and a bunch of deep purple grapes.  The simplicity of the composition and subtle lighting bring to mind the works of Chardin who, thirteen years Oudry’s junior, had just begun producing still lifes and was certainly aware of the works of the elder master.  Indeed, the two artists would mutually influence one another from the mid-1720s onward, always mindful of what the other was doing.Oudry’s still lifes incorporating music and musical instruments proved enormously popular and were much in demand.  The music depicted in this painting has not been identified but is, most likely, beginning practice notations.

Hal Opperman (see Literature) has suggested that this still life may have been en suite with Still Life with a Musette and Music, which is of almost the same dimensions (65 by 80 cm.), in a private collection, Paris;2 he dates both pictures to circa 1725 and suggests that they were, perhaps, part of the same decorative scheme. Opperman corrects all previous literature and exhibitions concerning the present work, from 1860 on and including Prat (see Literature), with regard to the painting’s provenance and that it was said to bear a date of “1725.”  There is no evidence, as had been previously recorded, that this painting was owned by the Marquis de Beringhen at the Château d’Ivry or that it was shown in the Salon of 1741.  The Marquis’ painting, a devant de cheminée, which was exhibited at that Salon (no. 34), is traceable to a sale at Paris, Hôtel Drouot on 26 February 1942, lot 42, but has since disappeared.3

 

 

1.  See H. Opperman, J.-B. Oudry, exhibition catalogue, Fort Worth 1983, pp. 75-77.
2.  See Opperman, under Literature, vol. I, p. 563, cat. no. P533, vol. II, p. 947, reproduced p. 1037, fig. 129; and Georges de Lastic (1927-1988): Le Cabinet d'un amateur collectionneur et conservateur, exhibition catalogue, Paris, Senlis and Clermont-Ferrand 2010-2011, no. 36, reproduced.
3.  See Opperman, op.cit.,vol. I, p. 565, cat. no. P538.

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