- 59
CHARLES-ANTOINE COYPEL | Study of the bust of an old man, for The Supper at Emmaus
Estimate
8,000 - 12,000 EUR
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Description
- Study of the bust of an old man, for The Supper at Emmaus
- Black and white chalk, squared in black chalk for transfer
- 458 x 307 mm
Provenance
Collection Albert Van Loock (né en 1917), Bruxelles (sa marque L. 3752, en bas à droite) ;
Acquis à sa galerie en 1971.
Acquis à sa galerie en 1971.
Exhibited
Rennes, 2012, no 59a (notice par Nicole Garnier) ;
Sceaux, 2013 (sans catalogue)
Sceaux, 2013 (sans catalogue)
Literature
T. Lefrançois, Charles Coypel Peintre du Roi (1694-1752), Paris, 1994, cat. D. 88, pp. 455-456, repr. p.339
Condition
Hinged to the mount at upper margin. A few light brown stains scattered across sheet. Band of discolouration at upper and lower margins. A slight crease running vertically down the left side of the sheet, near the margin. Left margin has uneven edges. Chalk remains strong and vibrant. Sold unframed.
"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."
"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."
Catalogue Note
This highly expressive and animated study of the bust of an old man is another preparatory drawing for Charles Antoine Coypel’s painting, The Supper at Emmaus (see the previous lot). Executed in the same medium as the study of Christ and also squared for transfer, the figure is a study for the central seated pilgrim. Coypel’s drawing, very close to the final figure in the painting, shows the artist carefully studying the awestruck face of the Pilgrim as he clasps his hands together and looks towards Christ. This study embodies the theatricality that Coypel was able to bring to his compositions, achieving great success in communicating the feelings of his figures and enhancing the story-telling aspect of his paintings.
As Monsieur Adrien has aptly observed, Charles Antoine Coypel must have seen his father Antoine Coypel’s study of Two Old Men, now in the Louvre, Paris. The Louvre study, a preparatory drawing for Jesus in the Temple with the Doctors, commissioned for Notre Dame Cathedral, Paris, portrays a similar bearded man with hands clasped together.1
1. Paris, Musée du Louvre, inv. no. RF 25706; T. Lefrançois, op. cit., Paris 1994, p. 339, no. D. 88A
As Monsieur Adrien has aptly observed, Charles Antoine Coypel must have seen his father Antoine Coypel’s study of Two Old Men, now in the Louvre, Paris. The Louvre study, a preparatory drawing for Jesus in the Temple with the Doctors, commissioned for Notre Dame Cathedral, Paris, portrays a similar bearded man with hands clasped together.1
1. Paris, Musée du Louvre, inv. no. RF 25706; T. Lefrançois, op. cit., Paris 1994, p. 339, no. D. 88A