ATTRIBUÉ À JEAN-BAPTISTE PATER (1695-1736) L'escarpolette
ATTRIBUÉ À JEAN-BAPTISTE PATER (1695-1736)
L'escarpolette
huile sur toile
59,5 x 71,5 cm (23 3⁄8 x 28 1⁄8 in.)
Provenance
Vente anonyme, galerie Fischer, Lucerne, 02 juin 1981, lot 182 (comme Jean-Baptiste Pater ou son atelier).
Vente anonyme, Nagel Auktionen GmbH, Stuttgart, 22-23 mars 2001, lot 803 (comme attribué à Nicolas Lancret).
Collection particulière, Allemagne.
Literature
ATTTRIBUTED TO JEAN-BAPTISTE PATER (1695-1736), THE SWING, OIL ON CANVAS
Among the fêtes galantes inspired by the work of Antoine Watteau (1684-1721), The Swing is a subject that was treated by many of Pater's (1695-1736) contemporaries, including Nicolas Lancret (1690-1743) and Jacques de Lajoue (1686-1761). Pater, Watteau’s most celebrated follower, produced several versions of the present composition, with variations, which are recorded in Florence Ingersoll-Smouse’s Pater, Paris, 1921, pp. 59-61.
The present painting is a replica of the work formerly in the collection of Baron Ferdinand de Rothschild (1839-1898) at Waddesdon Manor, sold at Christie’s in Paris on 26 June 2002, lot 50. The former Rothschild painting was unknown to Ingersoll-Smouse, as it was first seen in public in 1939. The two versions of this composition share similarities with the one in the Frankfurt Museum (see F. Ingersoll-Smouse, Pater, Paris, 1928, fig. 149), while displaying several minor differences. Here Pater adds a figure to the group on the right, alters the pose of the isolated figure on the left, and adds a little girl.
The present painting is composed of several small groups: on the right, the swing alludes to female inconstancy, while a guitarist, seen from behind, strums a few popular tunes of the day. At the centre, a group of women appear to be engaged in conversation beneath the almost animate gaze of a fountain, while a man watches them, leaning on the balustrade of the steps, seemingly amused by the ingenuousness of this carefree gathering. This isolated figure, positioned as an observer, alludes to Watteau’s The Italian Recreation, now in Charlottenburg Palace (inv. GK I 5599).
ATTRIBUÉ À JEAN-BAPTISTE PATER (1695-1736)
L'escarpolette
huile sur toile
59,5 x 71,5 cm (23 3⁄8 x 28 1⁄8 in.)
Provenance
Vente anonyme, galerie Fischer, Lucerne, 02 juin 1981, lot 182 (comme Jean-Baptiste Pater ou son atelier).
Vente anonyme, Nagel Auktionen GmbH, Stuttgart, 22-23 mars 2001, lot 803 (comme attribué à Nicolas Lancret).
Collection particulière, Allemagne.
Literature
ATTTRIBUTED TO JEAN-BAPTISTE PATER (1695-1736), THE SWING, OIL ON CANVAS
Among the fêtes galantes inspired by the work of Antoine Watteau (1684-1721), The Swing is a subject that was treated by many of Pater's (1695-1736) contemporaries, including Nicolas Lancret (1690-1743) and Jacques de Lajoue (1686-1761). Pater, Watteau’s most celebrated follower, produced several versions of the present composition, with variations, which are recorded in Florence Ingersoll-Smouse’s Pater, Paris, 1921, pp. 59-61.
The present painting is a replica of the work formerly in the collection of Baron Ferdinand de Rothschild (1839-1898) at Waddesdon Manor, sold at Christie’s in Paris on 26 June 2002, lot 50. The former Rothschild painting was unknown to Ingersoll-Smouse, as it was first seen in public in 1939. The two versions of this composition share similarities with the one in the Frankfurt Museum (see F. Ingersoll-Smouse, Pater, Paris, 1928, fig. 149), while displaying several minor differences. Here Pater adds a figure to the group on the right, alters the pose of the isolated figure on the left, and adds a little girl.
The present painting is composed of several small groups: on the right, the swing alludes to female inconstancy, while a guitarist, seen from behind, strums a few popular tunes of the day. At the centre, a group of women appear to be engaged in conversation beneath the almost animate gaze of a fountain, while a man watches them, leaning on the balustrade of the steps, seemingly amused by the ingenuousness of this carefree gathering. This isolated figure, positioned as an observer, alludes to Watteau’s The Italian Recreation, now in Charlottenburg Palace (inv. GK I 5599).
