- 253
Charles de la Fosse
Estimate
18,000 - 22,000 USD
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Description
- Charles de La Fosse
- Sheet of studies of four figures
- Red and black chalk heightened with white, on buff paper;
bears numbering in black chalk, verso: 10
Provenance
With Charles E. Slatkin Gallery, New York, Selected Drawings, 1967, no. 20a, pl. 25
Exhibited
Ottawa, National Gallery of Canada, Watteau and His World, 2000 (exhibited but not included in catalogue)
Literature
E.A. Standen, 'Ovid's Metamorphoses: A Gobelins Tapestry Series', Metropolitan Museum Journal, New York, vol. 23, 1988, pp.159-160, fig. 21;
A. Chéreau, Charles de La Fosse et le Grand Décor (1637-1716), Paris 1992, no. 47, reproduced;
P.J. Fidler, 'A drawing by Charles de La Fosse identified', Source Notes in the History of Art, vol. XIV, no. 4, 1995, p.34-38;
C. Gustin-Gomez, Charles de La Fosse 1636-1716 Catalogue raisonné, Dijon 2006, vol. II, p. 263, no. D. 198, reproduced
A. Chéreau, Charles de La Fosse et le Grand Décor (1637-1716), Paris 1992, no. 47, reproduced;
P.J. Fidler, 'A drawing by Charles de La Fosse identified', Source Notes in the History of Art, vol. XIV, no. 4, 1995, p.34-38;
C. Gustin-Gomez, Charles de La Fosse 1636-1716 Catalogue raisonné, Dijon 2006, vol. II, p. 263, no. D. 198, reproduced
Condition
There are some water stains in the corners and the tip of the lower left corner has been replaced. An ink inscription on the verso is partly showing through on the cloud and seated figure of the upper left quarter. There is a little rubbing but the overall condition is good.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Clémentine Gustin-Gomez in her catalogue raisonné suggests that the four figures represented here are all part of the same design. She points out that their placement on clouds and their positioning on the sheet indicate that they were probably part of a decorative scheme on a grand scale. Edith Standen (loc. cit.) suggested that the female figure at the lower right might be related to Diana in De La Fosse's painting, The Rest of Diana, now in the Hermitage, St. Petersburg.1 Whilst both figures share a similar pose (but in reverse) and placement of the drapery, it seems more likely that this figure is for a ceiling, judging from the perspective used and the fact she is sitting on a cloud.
In the upper section of the sheet is the goddess Minerva, wearing her helmet and carrying a lance. Gustin-Gomez mentions that Colin Bailey suggested a connection with The Birth of Minerva, De la Fosse's ceiling painting in Crozat's house in the rue de Richelieu2, but that this must remain hypothetical as the ceiling has been destroyed.
1. Gustin-Gomez, op.cit., vol. II, p. 70, no. P.102
2. Gustin-Gomez, op.cit., vol. II, p. 113, no. P.170
In the upper section of the sheet is the goddess Minerva, wearing her helmet and carrying a lance. Gustin-Gomez mentions that Colin Bailey suggested a connection with The Birth of Minerva, De la Fosse's ceiling painting in Crozat's house in the rue de Richelieu2, but that this must remain hypothetical as the ceiling has been destroyed.
1. Gustin-Gomez, op.cit., vol. II, p. 70, no. P.102
2. Gustin-Gomez, op.cit., vol. II, p. 113, no. P.170