Jean Antoine Watteau

Camille Groult;
by descent to his son, Jean Groult;
by descent to his son, Pierre Bordeaux-Groult

K.T. Parker and J. Mathey, Antoine Watteau, catalogue complet de son oeuvre dessiné, Paris 1957, vol. I, p. 4; p. 6, no.4, reproduced;
J. Mathey, Antoine Watteau, peintures réapparues... identification par les dessins... , Paris 1959, p. 66;
E. Croft-Murray, "Watteau's Design for a Fan-Leaf", Apollo, XCIX, no. 145, March 1974, p. 178; p. 181, note 12; reproduced p. 180, fig. 7;
P. Hulton, Watteau Drawings in the British Museum, exhib. cat., London, British Museum, 1980-1981, p. 23, cited under no. 6;
M. Morgan Grasselli, The Drawings of Antoine Watteau: Stylistic development and problems of Chronology, unpublished Ph.D. dissertation, Harvard University, 1987, vol. I, pp. 36-37, 53-54; vol. II, p. 433, no. 2; vol. III, reproduced fig. 13;
P. Rosenberg and L.-A. Prat, Antoine Watteau, catalogue raisonné des dessins, Milan 1996, vol. I, p. 14, no. 8, reproduced;
J. Tonkovitch, Claude Gillot and the Theater, with a Catalogue of Drawings, unpublished Ph.D. dissertation, Rutgers, The State University of New Jersey, 2002, p. 43, note 115

Laid down on an 18th century mount, hinged at the top edge to an early 20th century mount. Stain top right edge near corner and another stain behind her legs, and another slight one below her hands; some small dark spots scattered across the sheet; some surface dirt. Chalk strong.
"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 dating of this drawing has varied.  Parker and Mathey saw it as related to, but not used for, Watteau's painting Le Départ des comédiens italiens, a work still heavily influenced by Gillot.  Croft Murray saw a rather tenuous connection with a fan design in the British Museum (Rosenberg-Prat, no. 189), which is much later.  Grasselli proposed 1703-4, whereas Rosenberg and Prat prefer circa 1707.  The scale of the drawing is unusual, but the handling of the red chalk is characteristic and foreshadows Watteau's later works.