Jean-Baptiste Greuze

E.-L.-A. and J.-A. de Goncourt (L.1089), acquired before 1857, for 20 FF;
their sale, Paris, 15-17 February 1897, lot 122 (515 FF, to Boullé);
anonymous sale, Paris, Hôtel Drouot, 5 February 1958, lot 26

Paris, Exposition Goncourt: 75e anniversaire de la fondation de la Gazette des beaux-arts, 1933, no. 319

Ph. [Burty], Recueil de 112 photographies tirés par la maison Braun d'aprés 113 dessins de la collection Goncourt, Paris 1879, no. 47;
E. and J. de Goncourt, L'art du dix-huitième siècle, Paris 1880, vol. I, p. 304, reproduced;
E. and J. de Goncourt, La maison d'un artiste, Paris 1881, vol. I, p. 90;
C. Mauclair, Jean-Baptiste Greuze, Paris 1907, no. 53;
E. Launay, Les Frères Goncourt collectionneurs de dessins, Paris 1991, p. 321, no. 129, reproduced fig. 166

Framed. The sheet is a little yellowed with some light foxing. The medium is still strong and fresh.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The putti depicted in this freely-drawn sheet each hold a quill pen, with two sharpening the nib and the other about to dip his into an ink stand.  Although the figures are unconnected, they do resemble the putto in Greuze's finished drawing The Love Letter, formerly in the collection of Emile Wolf, New York, who is handing a quill to his love-struck mistress.¹  The pose of the putto sketched in red chalk at the lower left is particularly close, with his left arm outstretched and his right across his torso.     

The Goncourt brothers, renowned 19th Century collectors who owned this sheet, said of Greuze's draughtsmanship: 'Oui, Greuze a le jaillissement du trait comme inspiré et enthousiaste; son lavis semble avoir la fièvre...'.²

1. E. Munhall, Jean-Baptiste Greuze 1725-1805, exhibition catalogue, Hartford and San Francisco 1976-7, p. 161, cat. no. 78 
2. E. Launay, loc.cit.