Old Masters Evening Sale

Old Masters Evening Sale

View full screen - View 1 of Lot 26. The Offering to Love (L'Offrande à l'Amour) 《獻給愛神的祭品》.

The Property of a Lady

François Boucher and Studio

The Offering to Love (L'Offrande à l'Amour) 《獻給愛神的祭品》

Auction Closed

December 8, 08:20 PM GMT

Estimate

60,000 - 80,000 GBP

Lot Details

Description

The Property of a Lady

François Boucher and studio

Paris 1703–1770,

with later additions

The Offering to Love (L'Offrande à l'Amour)


bears signature and date lower left: f.Boucher/ 1757 and inscribed on the pedestal: AIMER/ C'EST LE BONHEUR

oil on canvas

313.5 x 183.3 cm.; 84 x 72 in.


私人收藏

弗朗索瓦.布雪及其畫室

1703 - 1770年,巴黎,及後補筆

《獻給愛神的祭品》


款識:附藝術家簽名及紀年f.Boucher/ 1757(左下);題款AIMER/ C'EST LE BONHEUR(柱座)

油彩畫布

313.5 x 183.3 公分;84 x 72 英寸

The following Provenance, Exhibited and Literature is for lots 25 and 26 combined:

Possibly the Manufacture Royale de Tapisseries de Beauvais, until sold by order of the Vicomte de Rochefoucauld to benefit the ‘Caisse des Vétérans’ (Veterans Fund), 22 August 1829;

Private collection, France, by 1846 (see note 10 to preceding lot);

Elizabeth Ridgway, née Willing (1818–1904), 5 Rue Francois 1er, Paris, c. 1900;

By whom possibly lent to her son-in-law, Etienne Aimé de Ganay, 5th Marquis de Ganay (1833–1903), for the Dining Room of his Paris Residence (according to the catalogue of the 1902 exhibition below);

Sold by Madame Ridgway in June 1902 to Reginald Vaile, The Priory, Drayton Gardens, London;

His sale, London, Christie's, 23 May 1903, lots 58 and 59 (with companions) for 22,300 guineas to Tooth acting for Sir Joseph Robinson;

Sir Joseph Benjamin Robinson (1840–1929), by whom hung at Dudley House, 110 Park Lane, London, and subsequently in store;

His sale, London, Christie's, 6 July 1923, lot 105 (with companions), bought back at 18,000 guineas;

By descent to his daughter Princess Ida Labia (1879–1961), Wynberg, Cape Town, South Africa;

By descent to Count Natale Labia (1924–2016), Wynberg, Cape Town, South Africa, by 1968, at Casa Labia, Muizenberg, from c. 2008;

Thence by descent to the present owner.

M.R., ‘English Sales – Pictures’, in The Burlington Gazette, July 1903, vol. I, no. 4, p. 112 (review of the sale of the Vaile Collection at Christie's);

J. Foster, French Art from Watteau to Prud'hon, vol. II, London 1906, the set of four reproduced p. 119;

H. Macfall, Boucher: the man, his times, his art and his significance, London 1908, p. 119, reproduced;

Probably J. Badin, La manufacture de tapisseries de Beauvais depuis ses orgines jusqu'à nos jours, Paris 1909, pp. 37, 62, 90–91 and p. 105, no. XXXI, where listed under ‘Modèles existant en 1820 portés sur l'inventaire: Tableaux par Boucher. Tentures Pastorales... La Fontaine d'Amour... 8 bandes’;

A. Graves, A Century of Loan Exhibitions, London 1913, p. 90;

G. Townsend, ‘A Pastoral by François Boucher’, in Bulletin of the Museum of Fine Arts, Boston, vol. 38, no. 230, December 1940, p. 86 (incorrectly as on panel);

A. Scharf, ‘The Robinson Collection’, in The Burlington Magazine, vol. 100, no. 666, September 1958, p. 304;

T.C. Howe, ‘Vertumnus and Pomona by François Boucher’, in Museum Bulletin of the California Palace of the Legion of Honor, vol. I, no. 5, March–April 1968;

A. Ananoff and D. Wildenstein, François Boucher, 1976, vol. II, pp. 18–19, under no. 321 (as of a decorative character inspired by Boucher);

J.-L. Bordeaux, ‘The Epitome of the Pastoral Genre in Boucher’s Oeuvre: The Fountain of Love and The Birdcatcher from The Noble Pastoral’, J. Paul Getty Museum Journal, vol. 3, 1976, p. 100, n. 18;

P. Cannon Brookes, in Twenty Masterpieces from the Natale Labia Collection, exh. cat. Wildenstein & Co., London, 1978, pp. 289, nos 15 and 16, reproduced (as signed and dated 1757);

A. Ananoff and D. Wildenstein, L’opera completa di François Boucher, Milan 1980, pp. 112–13, under no. 333 (as lost – Evening only);

E.A. Standen, ‘The ‘Fragments d'Opéra’: A Series of Beauvais Tapestries after Boucher’, in Metropolitan Museum Journal, vol. 21, 1986, p. 133, n. 46 (Evening only);

P. Rosenberg and M.C. Stewart, French Paintings 1500-1825. The Fine Arts Museums of San Francisco, San Francisco 1987, p. 124;

M. Stevenson, Old Masters and Aspirations. The Randlords, art and South Africa, Ph.D thesis, University of Cape Town 1997, pp. 298–99, 430, Appendix 5;

C. Bremer David in French Art of the Eighteenth Century at the Huntington, S.M. Bennett and C. Sargentson (eds), New Haven and London 2008, p. 313, and p. 315 n. 10, under no. 121 (Evening only);

E. Effmann Clifford, K. Harnda and S. Kleiner, ‘Behind the scenes. Considering Boucher’s Paintings' relationship to Tapestry Production’, 10 April 2020, https://deyoung.famsf.org/conserving-boucher.

 

London, Guildhall, Works by French and English painters of the Eighteenth Century, 1902, nos 9 and 25 (lent by Madame Ridgway);

London, Royal Academy, The Robinson Collection, 2 July – 14 September 1958, nos 40 and 42;

Cape Town, National Gallery of South Africa, The Joseph Robinson Collection, 1959, nos 103 and 104;

Zurich, Kunsthalle, Sammlung Sir Joseph Robinson 1840–1929. Werke europäischer Malerie von 15. bis 19., August–September 1962, nos 47 and 48;

London, Royal Academy, France in the Eighteenth Century, 1968, nos 53 and 54 (lent by Count Natale Labia);

London, Wildenstein, Twenty Masterpieces from the Natale Labia Collection, 26 April – 26 May 1978, nos 15 and 16;

Birmingham, City Museum and Art Gallery (on loan) 1977–78;

Cardiff, National Museum of Wales (on loan) 1979–86;

National Gallery of South Africa, Cape Town, and located at The Fort (Casa Labia), Muizenberg, c. 1989–2000 (it is not certain that they were on public view).