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JEAN-MARC NATTIER | Recto: An academy study of a female figureVerso: Drapery study for a female figure
估價
40,000 - 50,000 EUR
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招標截止
描述
- After Jean-Marc Nattier
- Recto: An academy study of a female figureVerso: Drapery study for a female figure
- Black chalk heightened with white chalk (recto and verso) on buff paper
- 268 x 210 mm
來源
Vente, Paris, Hôtel Drouot, Me Tilorier, 29 octobre 1980, n°183 (comme Jean François de Troy) ;
Acquis à cette vente par Jacques Petithory (1929-1992) ;
Acquis par échange auprès de ce dernier en novembre 1982.
Acquis à cette vente par Jacques Petithory (1929-1992) ;
Acquis par échange auprès de ce dernier en novembre 1982.
展覽
Versailles, Musée National des Châteaux de Versailles et de Trianon, Jean-Marc Nattier (1685-1766), 1999-2000, n°34, repr. ;
Rennes, 2012, n°55 (notice par Xavier Salmon) ;
Sceaux, 2013 (sans catalogue)
Rennes, 2012, n°55 (notice par Xavier Salmon) ;
Sceaux, 2013 (sans catalogue)
出版
X. Salmon, "The drawings of Jean-Marc Nattier. Identifying the master's hand", Apollo, vol. CXLVI, n°429, novembre, 1997, pp.6, 11, repr. p.5, fig.5 (verso), p.6, fig.8 (recto)
Condition
Window mounted. Narrow strip of fine tissue paper suck around all four edges, verso (to permit mounting). Remains of glue from another, previous mounting down left edge, verso. Overall condition good, fresh and strong. 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."
拍品資料及來源
On each side of this large and beautifully preserved, double-sided sheet is an exceptionally fine study by Nattier, but the two drawings are fascinatingly different in approach and function, and taken as a whole this is not only one of the most impressive of the artist’s surviving drawings, but also one of the most revealing as regards his working method. On the recto is a bold, rapidly drawn study of a standing female nude holding a bow. The emphasis in the study is very much on the fall of light on the torso, which despite the energetically applied strokes of black and white chalk is very effectively sculpted, and the figure’s lower legs and head are only summarily indicated. The study on the verso, on the other hand, is all about the clothes that are absent from the study on the other side of the sheet: again, the head and the lower legs of this standing woman are hardly indicated, and again the fall of light is clearly a primary concern of the artist, but here this light falls not on the model’s naked body, but on the rich costume that this, different, sitter is wearing.
The two studies relate to two different paintings, both executed in 1742. The nude study on the recto served as the basis for the signed and dated Portrait of Mademoiselle de Migieu as Diana (fig. 1), a painting now in the Huntington Art Gallery, San Marino, California.1 As Xavier Salmon notes in his Rennes exhibition catalogue entry for the drawing, it seems to have been fairly normal practice for Nattier to establish the pose and movement of the body of his sitter, in her absence, by way of a nude figure study such as this, before developing the portrait in the studio, with the sitter, clothed in the chosen costume, in front of him. The very beautiful resultant painting was much copied, and Salmon notes that one of these copies makes it possible to identify the subject as Mademoiselle de Migieu, daughter of the marquis of Savigny-lès-Beaune, Abraham François de Migieu.
As for the costume study on the verso, this is related to the portrait of Elisabeth Catherine de Besenval de Browstad, marquise de Broglie (1718-1777), the prime version of which (fig. 2) is in a private collection. Here again, though, the drawing sheds fascinating light on Nattier’s working method, as we know a surprising amount about the actual clothes depicted and the progress of the commission. It seems that the marquise wished to be shown ‘à la sultane’ (as a sultan’s wife), and contacted her friend, the great Swedish collector Count carl Gustaf Tessin (1695-1770), for advice regarding where to obtain such a costume. Tessin’s correspondence, extensively quoted by Xavier Salmon in his 1999-2000 Versailles exhibition catalogue entry for the drawing, reveals that the count wrote to his wife on 6 April 1742, reporting that the marquise had sent him off to the Comédiennes in search of the desired exotic outfit, which was eventually borrowed from Mademoiselle Grandval, a well-known actress at the Comédie-française. Countess Tessin herself commissioned from Nattier a replica of the portrait, which is now in the Nationalmuseum, Stockholm. In both paintings, Nattier incorporated the costume almost exactly as it appears in the drawing, only without the dagger that is here seen tucked into the waistband.
Although Nattier surely made many drawings of this type during the course of his long career, very few of them survive today, and the Adrien sheet, with its two very different but equally accomplished sides, is one of the most important and revealing of the artist’s known drawings.
1. Inv. no. 78-20-13
The two studies relate to two different paintings, both executed in 1742. The nude study on the recto served as the basis for the signed and dated Portrait of Mademoiselle de Migieu as Diana (fig. 1), a painting now in the Huntington Art Gallery, San Marino, California.1 As Xavier Salmon notes in his Rennes exhibition catalogue entry for the drawing, it seems to have been fairly normal practice for Nattier to establish the pose and movement of the body of his sitter, in her absence, by way of a nude figure study such as this, before developing the portrait in the studio, with the sitter, clothed in the chosen costume, in front of him. The very beautiful resultant painting was much copied, and Salmon notes that one of these copies makes it possible to identify the subject as Mademoiselle de Migieu, daughter of the marquis of Savigny-lès-Beaune, Abraham François de Migieu.
As for the costume study on the verso, this is related to the portrait of Elisabeth Catherine de Besenval de Browstad, marquise de Broglie (1718-1777), the prime version of which (fig. 2) is in a private collection. Here again, though, the drawing sheds fascinating light on Nattier’s working method, as we know a surprising amount about the actual clothes depicted and the progress of the commission. It seems that the marquise wished to be shown ‘à la sultane’ (as a sultan’s wife), and contacted her friend, the great Swedish collector Count carl Gustaf Tessin (1695-1770), for advice regarding where to obtain such a costume. Tessin’s correspondence, extensively quoted by Xavier Salmon in his 1999-2000 Versailles exhibition catalogue entry for the drawing, reveals that the count wrote to his wife on 6 April 1742, reporting that the marquise had sent him off to the Comédiennes in search of the desired exotic outfit, which was eventually borrowed from Mademoiselle Grandval, a well-known actress at the Comédie-française. Countess Tessin herself commissioned from Nattier a replica of the portrait, which is now in the Nationalmuseum, Stockholm. In both paintings, Nattier incorporated the costume almost exactly as it appears in the drawing, only without the dagger that is here seen tucked into the waistband.
Although Nattier surely made many drawings of this type during the course of his long career, very few of them survive today, and the Adrien sheet, with its two very different but equally accomplished sides, is one of the most important and revealing of the artist’s known drawings.
1. Inv. no. 78-20-13