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PROPERTY FROM THE FAMILY OF EMILE WOLF

Nicolas-Bernard Lépicié
AN OLD BEGGAR
JUMP TO LOT
68

PROPERTY FROM THE FAMILY OF EMILE WOLF

Nicolas-Bernard Lépicié
AN OLD BEGGAR
JUMP TO LOT

Details & Cataloguing

Old Master & British Works on Paper

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Nicolas-Bernard Lépicié
PARIS 1735 - 1784
AN OLD BEGGAR
Black chalk and stumping, heightened with white chalk and touches of sanguine brûlée;
signed in pen and brown ink, lower left: Lépicié 


364 by 281 mm
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Provenance

François Renaud (L.1042),
sale, Paris, 29 March 1779, lot 205 (sold together with a Study for La Bonne Mère);
Collection Forrain, Annecy
With Galerie Cailleux, Paris;
Emile Wolf, New York,
thence by descent

Exhibited

Cambridge, Massachusetts, Fogg Art Museum; Los Angeles, J. Paul Getty Museum; Montreal, Museum of Fine Arts, French Drawings from a Private Collection: Louis XIII, 1980, p. 151, no. 55, reproduced p. 150, fig. 55;
Tampa Museum, Louis XIII - Louis XVI:  French Drawings from a Private Collection, 1982

Literature

P. Gaston Dreyfus, Catalogue Raisonné de L'oeuvre peint et dessins de Nicolas-Bernard Lépicié (1735-1784), Paris 1923, p. 120, no. 419;
Pierre Rosenberg, French Master Drawings of the 17th and 18th Centuries in North American Collections, London, 1972, no. 82, pl. 110

Catalogue Note

A study for the Beggar in Nicolas Bernard Lépicié's painting, The Old Beggar with Child, signed and dated 1777, now in the collection of Jeffrey E. Horvitz, Boston (fig. 1).1 The painting was a pendant to Lépicié's La Bonne Mère and at the 1779 sale (see Provenance) this drawing was sold together with a study for that composition.

Nicolas-Bernard Lépicié enjoyed a successful career as a painter of history and religious subjects but in the later years of his life he also executed a number of genre scenes which he regularly submitted to the biannual Salons.  The present study epitomises Lépicié's gentle and intimate approach to his genre subjects.  His Old Beggar reaches out his hand in a gesture that is tinged with sadness but manages to strike the right balance of sentimentality, one that is not too overt. The present drawing, whilst a study, satisfies as a work of art in its own right due to its level of finish and the fact it is signed.

1. P. Gaston Dreyfus, op.cit., p. 95, no. 259 (Mendiant Vieux et Enfant); A.L. Clark & C. Leribault, From Watteau to David: The Horvitz Collection, exh. cat., Paris, Petit Palais, 2017, no. 174

Old Master & British Works on Paper

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