View full screen - View 1 of Lot 63. L'ACCORD PARFAIT.
63

JEAN-BAPTISTE PATER

L'ACCORD PARFAIT

JEAN-BAPTISTE PATER

JEAN-BAPTISTE PATER

L'ACCORD PARFAIT

L'ACCORD PARFAIT

JEAN-BAPTISTE PATER

1695 - 1736

L'ACCORD PARFAIT


oil on canvas

16 by 13 3/8 in.; 40.5 by 34 cm

The canvas has a glue relining. The surface is under a slightly yellowed varnish and there is beautiful detail throughout the landscape and the satins of the costumes which have remained nicely. In some of the more thinly painted areas, a slight pressing of the paint layer is noticeable but this is not terribly disturbing and is typical of paintings that have been relined. Under ultraviolet light, restorations that are visible are for the most part around the edges. There are a few pinhead-sized touches visible in her dress, but otherwise very little inpainting is evident. This painting could possibly benefit from a light clean and fresh varnish, which would brighten the image overall and bring the colors and details out further.


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. 

There is additional provenance, exhibition history, and literature for this lot which was not included in the printed catalogue. Please refer to the online catalogue at sothebys.com for further information.

Anonymous sale ("Property of a Gentleman"), London, Christie's, 12 July 1879, lot 102 (as Watteau)

With Gimpel & Wildenstein, New York

Where acquired by William Salomon, New York, after 1903

His sale, New York, The American Art Association, 14-17 April 1923, lot 377, where acquired by William Chester (possibly on behalf of the below)

Mrs. William Salomon, New York

Her sale, New York, The American Art Association, 4-7 January 1928, lot 764, where acquired by R. Rosenfeld

With Wildenstein & Co., New York

By whom sold to the Nelson Atkins Museum, Kansas City, Missouri in 1934

By whom deaccessioned ("sold by Order of the University Trustees of the William Rockhill Nelson Trust, Kansas City, Missouri") and sold, New York, Christie's, 15 January 1986, lot 69

With Galerie Segoura, Paris

There acquired in 1991

F. Ingersoll-Smouse, Pater, Paris 1928, cat. no. 594, p. 85, reproduced p. 195, fig. 173

The William Rockhill Nelson Collection Housed in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City 1940, p. 40, 46

The William Rockhill Nelson Collection Housed in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City 1949, p. 60

H. Adhémar and R. Huyghe. Antoine Watteau, sa vie—son oeuvre, Paris 1950, p. 215, under cat. no. 120

M. Davies, National Gallery Catalogues: French School, London 1957, p. 223, under cat. no. 2962

Nelson-Atkins Museum: Handbook of the Collection, Kansas City 1959, cat. no. 196

G. Macchia and E. C. Montagni, L’opera completa di Watteau, Milan 1968, p. 120, under cat. no. 196

R. T. Coe, “The Baroque and Rococo in France and Italy,” Apollo, 96, December 1972, p. 538

M. Eidelberg, Watteau Abecedariohttp://watteau-abecedario.org/accpcopies.htm, 2014. 


ENGRAVED

C.-N. Cochin

Springfield, Massachusetts, The Springfield Museum of Fine Arts, Catalog of the Opening Exhibition in Honor of James Philip and Julia Emma Gray, 1933, no. 61 (as after Watteau)

South Hadley, Massachusetts, Mount Holyoke College, The Eye Listens: Music in the Visual Arts, an exhibition to celebrate the fiftieth anniversary of Dwight Art Memorial, 23 October - 15 November 1950, no. 25

Kansas City, Nelson-Atkins Museum of Art, The Century of Mozart, 15 January - 4 March 1956, no. 82

New York, Wildenstein, Paris-New York: A Continuing Romance, 3 November - 17 December 1977, no. 47

This charming fête galante epitomizes Pater’s elegant style and favorite subject matter. Using his distinctive feathery brushwork, with richly colored figures set against pale, misty backgrounds, he created depictions of a charmed and idealized rustic world.  Here, elegantly clad figures lounge about in lush landscapes, with seemingly no cares, playing music, strolling through gardens and flirting with one another. His teacher, Jean-Antoine Watteau, created this genre and Pater successfully continued the tradition; indeed Pater copied a number of compositions by Watteau, the present example included.1  


1. The original by Watteau is now in the Los Angeles County Museum of Art, inv. no. AC1999.18.1 https://collections.lacma.org/node/188655