View full screen - View 1 of Lot 27. FRANÇOIS LEMOYNE | PUTTI PLAYING IN A LANDSCAPE .
27

FRANÇOIS LEMOYNE | PUTTI PLAYING IN A LANDSCAPE

Estimate:

15,000

to
- 20,000 USD

FRANÇOIS LEMOYNE | PUTTI PLAYING IN A LANDSCAPE

FRANÇOIS LEMOYNE | PUTTI PLAYING IN A LANDSCAPE

Estimate:

15,000

to
- 20,000 USD

FRANÇOIS LEMOYNE

Paris 1688 - 1737

PUTTI PLAYING IN A LANDSCAPE 


oil on panel

painted surface: 5⅜ by 4¼ in.; 13.5 by 10.6 cm.

with additions: 5¾ by 4½ in.; 14.6 by 11.5 cm.

The panel is uncradled and beveled on all four edges. It has a stable, yet very faint convex bow along the vertical grain. There are very thin wooden additions (about .5 cm) at each edge of the panel. The painted surface reads well beneath the varnish, with good retention of color and brushstrokes. There is one thin, stable, vertical crack in the upper left corner that extends into the background from the upper edge. UV light reveals a slightly milky varnish, a few thin strokes of retouching to address the aforementioned crack, and some feathery retouching along the extreme lower edge and lower right edge. There is one concentrated area of retouching in the rocks of the upper central background, and some feather retouching in the foliage at upper center. The painting is in overall good condition and can certainly be hung in its present condition. Offered in a decoratively carved gilt frame.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Jean François de Troy (1679 - 1752);

His sale, Paris, Remy, 9 April - 5 May 1764, lot 133, along with pair, for 230 livres to Menageot (as François le Moine . . . Deux Tableaux des plus précieux de ce grand Peintre, ils représentent des enfans, les uns qui jouent avec les armes de Dieu Mars, & les autres avec des fleches; ils sont sur bois & portent chacun 4 pouces 9 lignes de haut, sur 4 pouces de large);

François Michel Harenc de Presles, Paris;

His sale, Paris, Lebrun, 16-24 April 1792, lot 55, along with pair, where probably withdrawn (as F. Le Moine);

His sale, Paris, Lebrun, 30 April 1795, lot 64, along with pair, to Joseph Alexandre Lebrun (as F. Le Moine);

Wakefield Christie-Miller (née Christy, d. 1898), Britwell Court, Burnham, Bucks;

Thence by descent to Sydney Richardson Christie-Miller (d. 1931);

Thence by descent to Major Samuel Vandeleur Christie-Miller, Salisbury, Clarendon Park;

Anonymous sale "The Property of a Lady", London, Sotheby's, 7 July 1976, lot 50 (as A. Watteau);

There acquired by Faustus Gallery;

With Bob P. Haboldt & Co., New York;

From whom acquired. 

J. Mathey, “Early Paintings of Watteau,” in Art Quarterly, 1956, p. 21-22 (as Antoine Watteau);

J. Lévy, "Antoine Watteau et Le Moyne," Gazette des Beaux-Arts, Paris 1958, p. 347-52;

F.J.B. Watson, “Watteau, Peintre Inconnu,” in The Burlington Magazine, vol. 104, no. 708, 1962, p. 126 (as Lemoyne);

G. Macchia and E.C. Montagni, L’opera completa di Watteau, Milan 1968, cat. 1o-A;

J.L. Bordeaux, Francois Le Moyne and his Generation, Neuilly-sur-Seine 1984, p. 89, cat. no. P39, reproduced fig. 35;

J. Baillio, The Arts of France from Francois Ier to Napoleon Ier, New York 2005, p. 148, under cat. no. 41, note 4 (as François Lemoyne).

London, Royal Academy, Winter Exhibition, European Masters of the Eighteenth Century, 1954-1955, no. 243 (as Watteau). 

This small sketch by François Lemoyne, along with its pendant in the Harvard Art Museums (inv. no. 1930.184), once belonged to the artist Jean François de Troy. Both were engraved as a pair by Nicolas Charles de Silvestre, but by the early 19th century, the two were separated from one another and their attributions. Having once been called Fragonard and Watteau, the present example was returned to Lemoyne's corpus in 1958 by Levy, though Lemoyne seems to have drawn direct inspiration from Watteau's Cupid's Realm of circa 1709.1 


1. Oil on canvas, 13 by 17.8 cm, private collection. See Baillio 2005, cat. no. 41.