Charles-Joseph Flipart

Henry Budge (1840-1928), Budge-Palais, Hamburg, by 1906;
Thence by inheritance to his wife, Emma Ranette Budge (1852-1937), Budge-Palais, Hamburg;
Her forced posthumous sale, Berlin, Paul Graupe, 4-6 October 1937 (postponed from 27-29 September), lot 17 (as Charles André (Carle) van Loo);
Anonymous sale, London, Christie's, 8 December 1989, lot 87 (as Attributed to Jacopo Amigoni);
With Albrecht Neuhaus, Würzburg, from whom acquired in 1990 by the present owner.

Berlin, former Gräflich Redern'schen Palais, Werken Alter Kunst aus dem Privatbesitz der Mitglieder des Kaiser Friedrich-Museums-Vereins, 27 January - 4 March 1906, no. 77 (as Carle van Loo);
Hamburg, Kunsthalle, Leih-Austellung aus Hamburgischem Privatbesitz, May 1925, no. 199 (as Carle van Loo).

L. Réau, in Carle Vanloo. Jean Restout. Les Lithographies de Paysages en France à l'Epoque Romantique, L. Réau, J. Messelet and J. Adhémar (eds), Paris 1938, pp. 68-69, cat. no. 122 (as Carle van Loo).

The panel is cradled, flat and stable. The paint surface is clean and the varnish is clear and even. Inspection under ultraviolet light reveals few, very small retouchings scattered lower right, including a line to a surface scratch measuring approx. 5 cm, lower left, in the sky and foreground, to the whippets in the centre, and in the trees centre left. In overall very good condition. Offered in a carved and gilt wood frame in very good condition.
"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 'JA' that may be read on the gentleman's powder pouch, lower right, has in the past been interpreted as the possible signature of Jacopo Amigoni, to whom this painting was previously attributed, most recently by Annalisa Scarpa Sonnino (whose photostat certificate accompanies this lot). Viewed within the context of Amigoni's œuvre, analogies may be drawn between this painting and the artist's work while he was court painter in Madrid 1748-52. Charles-Joseph Flipart, who had started studying with Amigoni in Venice about ten years earlier, travelled with his master to Madrid at this time, and it seems highly possible that the present work was executed during these years or not long after.

Comparison should be made with the Fiesta en un jardín in the Museo del Prado, Madrid (inv. no. P02477), long thought to be the work of Amigoni and now also attributed to Flipart. The gallant subject matter of both these paintings reflect not only the new French Rococo manners and customs in the Spanish upper class, but the influence of Flipart's other great inspiration, Pietro Longhi, whom he had also met in Italy.

The handling, palette and mise-en-scène of the pair of paintings depicting elegant company playing outdoor games, sold New York, Sotheby's, 30 January 2014, lot 120, at that time attributed to the Circle of Antoine Pesne, is all also highly comparable to the present work.

This lot is sold pursuant to a settlement agreement between the present owner and the Estate of Emma Budge.