Jean-Baptiste Oudry

Benoist Audran, 
his sale, Paris, 30 March 1772, lot 243;
sale, Paris, Joullain & Hayot, 25 February 1777, lot 149 (both these sale references are for the entire album of 38 drawings);
sale, Paris, Hotel Drouot, 28 May 1971, lot 75

J. Locquin, 'Catalogue Raisonné de l'Oeuvre de Jean-Baptiste Oudry (1686-1755)', Archives de l'art français, Paris, n.s., vol. VI, 1912, no. 1229;
H.N. Opperman, 'Oudry illustrateur: le Roman comique de Scarron,' Gazette des Beaux-Arts, 6^epériode, LXX, 1967, p. 348, no. 28;
Idem, Jean-Baptiste Oudry, New York and London 1977, vol. II, p. 676, no. D197
Idem, J.-B. Oudry, exhib. cat., Paris, Grand Palais, 1982-83, p. 113, no. 28

Laid down on card. The paper has very slightly discolored and there are some very minor stains and areas of surface dirt to the sheet. The medium itself is strong and vibrant throughout. Sold in a carved giltwood frame.
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.

This drawing and lot 155 below both relate to Oudry's ambitious project to publish a large series of engravings after his own designs, illustrating Scarron's Roman Comique. Unlike his subsequent series of 276 drawings illustrating the Fables of La Fontaine, the intention to publish engravings after the Roman Comique drawings was stated from the outset.  In the Mercure de France of August 1727, Oudry announced that he had completed 38 large drawings for the project, and stated that he intended to publish prints after them on a subscription basis, at a price of 40 livres.  As with so many projects of this type, the artist's grand plans were never fully realized, but ultimately 26 of the 38 drawings were engraved, some by Oudry himself, others by Gabriel Huquier, and a few by other artists.¹ Oudry announced the completion of the first six plates, which he had himself executed, in 1729.  Later that year, he produced four more, but then the project lapsed until he ceded the existing plates and the privilège for the whole series to Gabriel Huquier, probably in 1735.  Both the present sheet and lot 155 were engraved in the same direction by an anonymous artist, under Huquier's direction, in 1736. 

At the time of the 1772 and 1777 sales, all 38 of Oudry's drawings were together in an album, and Opperman believes they were probably dispersed in around 1800.  Today the drawings are scattered far and wide, the largest groups in public collections being in the Louvre, and the National Gallery of Art, Washington, D.C.

^1.  Opperman, op. cit. 1977, pp. 280-82, 664-66, 886-87