Rococo Drawings

Red chalk Old Master Sketch of a Battle Scene after Maarten van Heemskerck Follower of Maarten van Heemskerck Netherlands; ca. 1600 Red chalk on l...

La Jeunesse (Youth) Tapestry Polychrome wool and silk France, Aubusson, circa 1750 It measures 107.08 in height x 104.33 in (272 cm height x 265 cm). State of conservation: good The tapestry is accompanied by the engraving from which the subject was taken. The engraving measures 23.50 in x 25.86 in (59.7 cm x 65.7 cm) with the frame. The Aubusson tapestry has controversial origins: some believe that it was the Saracens who imported this type of work into Europe while other authors believe that the production began at the same time as the marriage between Louis I of Bourbon and Maria de Hainaut in 1310. It was at this time that a considerable importation of tapestries from Flanders into France began, followed shortly thereafter by the importation of their production techniques. At the beginning of the seventeenth century a royal edict from Henry IV halted the importation of Flemish tapestries, contributing to the subsequent Expansion of Aubusson production. The status of royal manufacture was to be granted only in 1665, even though the Nantes edict caused a drop in production because of the forced migration of weavers to Germany. The full recovery and the success of the manufacturing took place during the eighteenth century when the great painters and the tapestry manufacturers began to collaborate. Great French artists of the time and specialist painters, the “cartonniers”, painted “cartons de tapisserie” in oil or tempera, all of which were to be a source for the tapestries. As an alternative to the “cartons”, scenes taken from prints and engravings were freely used. The tapestry in question, made of wool and silk, is in good condition; the colors are still fresh and the silks, which give brightness to the scene, are well preserved. There are a small number of integrative restorations present, while the lining and the suspension system have been recently refurbished. The work is made with a flat-weave, according to the custom of the Aubusson manufactures, which is clearly demonstrated by this work since it shows all the technical and material characteristics typical of the first half of the eighteenth-century production: the “Jeunesse” was probably woven in the middle of the XVIII century. The scene itself is compelling: a rural clearing is depicted, centered around a tall tree with dense fronds with lance-shaped leaves. In the shade of this tree some scenes of courtship can be seen. A couple hugs each other, one is caught stealing a kiss and another, lying softly on the grass, is still at the early stages of courtship: together with the suitor the girl looks with smiling malice at the kissing couple. On the right, two young men practice archery while aiming at a target placed on top of a pole. The scene, with male and female characters intent on games and gallantry in a festive atmosphere, is taken - faithfully, but in mirror-image - from an engraving, which in turn was itself taken from the painting (now kept at the National Gallery in London, inv. NG103 and part of a series with the four ages of man) by Nicolas Lancret, produced around 1735. The tapestry is accompanied by a copy of the engraving, which bears, at the bottom, the name of the author (“N. Lancret pinxit”), the name of the engraver (“N. De Larmessin sculpsit”) and four short verses on the subject of love disputes: Pourquoi tous ces combats si chers a la jeunesse, Quels frivoles talents veut-elle mettre au jour? Non: chacun voudroit vaincre aux yeux de sa Maitresse, La Lice est une Scène ou triomphe l’Amour. Why all these fights so dear to youth, What frivolous talents does it want to bring to light? No: everyone would want to win in the eyes of his Mistress, The Lice is a Scene where Love triumphs. At the bottom we read: “A’ Paris chez N. De Larmessin graveur du Roy Rue de Noyer à la 4 (?) porte cochère a droite entrant par la Rue St. Jacques A.P.D.R. [Avec Privilège Du Roy]”. Nicolas Lancret (1690-1743), along with Antoine Watteau, was a pupil of Pierre Durin and Claude Gillot...

A fine French Rococo watercolor depicting and amusing scene of the game 'Blind Man's Bluff', a popular subject in 18th century Europe. Goya, Fragonard and Boucher all painted the subject. This watercolor has similarities to a painting by Nicolas Lancret, (1690-1743) Blindman’s Bluff (Le jeu de colin-maillard). 'The drawing portrays and amorous scene, that of 'jeu d'amour' in which the blindfolded participants are meant to guess the identity of the players who touch them in a play on the blindness of love. Originally a children's game, blindman's bluff was adopted by noble adult society and furnished Lancret with a subject in which he specialized: aristocratic games played indoors.' J P Morgan Library Painted on paper laid down on another sheet, no signature that I can see. In an Empire rosewood frame with gilt wood inner molding. A charming piece of 18th century French art...

These two drawings by are by Jean Pillement, the well-known French artist of the Rococo period. They were executed in red and black chalk, and depict fa...

The oval box with top, bottom and side details.

Mid-18th century Italian school, circle of Circle of Giovanni Battista Tiepolo (b. 1696 - d. 1770), black ink wash drawing of classical figure in garden landscape attended by putti. ...

Rare, 18th century Italian old master for kings and queens, Giosue Scotti, auto portrait of the artist. Signed on the back: Josue Scotti pittore di Milano, circa 1771 Paint...

Allegories of the senses. Pencil and gouache on paper.

This lovely set of drawings in the style of Francois Boucher depict children in nature. Done in ink with white gouache highlights creating a monochromatic yet dramatic statement on ...