Nicolas Lancret

Collection Leriche ;
Sa vente, Joigny, Me Deffaux, 29 mai 1910 (1250 francs) ;
Vente anonyme, Paris, Hôtel Drouot, 13 novembre 1922, lot n°6 ;
Vente anonyme, Paris, Hôtel George V, Tajan, 25 juin 1996, lot n°53

J. Daurelle, « La Curiosité », in Mercure de France, juin 1910, p. 762

On the naked eye : The painting appears in an overall very good condition. It has been relined a little strongly about five years ago. We do not notice any restoration on bare eye. Under the UV lamp : The painting appears under a slight uniform varnish. We notice several restoration finely made and localized in the background, the black hat and some small points in the jacket. We can notice some restoration points between the character eyes and on its chin on the right.
"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."

Claude-Pierre Mangot fut nommé conseiller au Grand Conseil en 1742 et secrétaire du roi la même année. La famille Mangot semble avoir entretenu des rapports étroits avec les Lancret sur plusieurs générations puisque le petit neveu du modèle, Pierre-Marie Mangot (né en 1762), épousa en 1800 la petite fille du peintre, Madeleine-Aglaé Lancret.

Ce tableau illustre un aspect méconnu de l’œuvre de Lancret dans laquelle les portraits sont rarissimes. Loin de ses représentations de familles, d’acteurs ou de danseuses dans des paysages ou au sein d’une assemblée mêlant les genres du portrait et de la scène galante, le portrait de Claude-Pierre Mangot étonne par sa sobriété et sa proximité avec le spectateur, témoignant de la complicité entre le peintre et son modèle. 

Nous remercions Mary Tavener Holmes qui nous a confirmé l'authenticité de cette oeuvre d'après photographie.

Claude-Pierre Mangot was nominated Consellor for France’s Great Council in 1742 and was secretary for the king that same year. The Mangot family appears to have had close ties with the Lancrets over several generations because the sitter’s grandnephew, Pierre-Marie Mangot (born in 1762), married the artist’s granddaughter Madeleine-Aglaé Lancret in 1800.

This painting illustrates a little-known aspect of Lancret’s work as a portraitist. Differing from his depictions of family, actors or dancers in landscapes or within a gathering combining the genres of portraiture and the gallant scene, the portrait of Claude-Pierre Mangot is astonishing in its simplicity and proximity to the viewer, proving the complicity between the painter and his model.

We are grateful to Mary Tavener Holmes for confirming the authenticity of this painting, on the basis of a digital photograph.