Lot

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Circle of Piat-Joseph Sauvage (French, 1744-1818), "Recumbent Bacchus with Bacchant, Bacchante, an

In Two Day Winter Estate Auction

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Circle of Piat-Joseph Sauvage (French, 1744-1818), "Recumbent Bacchus with Bacchant, Bacchante, an
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New Orleans, Louisiana

Circle of Piat-Joseph Sauvage (French, 1744-1818), "Recumbent Bacchus with Bacchant, Bacchante, an Infant Satyr, and a Goat," c. 1780s, oil on canvas in `overdoor` format, unsigned, 29 in. x 39 in., period frame. Note: This truly superb scene is richly and beautifully painted in trompe-l`oeil to simulate a white marble or stucco figural relief, overlaid on a fictive marble ground representing a deep mulberry-red slab of the characteristic stone that comes from Monte Gargano in Apulia. The technique of an illusionistic monochrome scene set against a colored ground (as opposed to a gray background, called grisaille) is highly typical of the so-called camaïeux pioneered by Sauvage, who—though he lived in France—was a native of Flanders, the region in which the artifice of illusionistic trompe-l`oeil originated, under Dutch influence. The term refers to the `cameo-like` effect of gemstones (usually ancient ones) of large size and complex iconography, in which whitish layers of stone are selectively cut away from a sardonyx ground, to form actual relief compositions. The Antique prototypes are of course considerably smaller than the spectacular example represented here, though this design is strikingly similar to the compositions of actual Imperial Roman and Renaissance examples. The `relief` style here is very strikingly reminiscent of the sculptural compositions of Claude Michel, called Clodion (1738-1814), whose plaster, terracotta, and marble bas-reliefs Sauvage very frequently copied in his trompe-l`oeil pictures; in Sauvage`s Paris sale of 21 December 1808, indeed, the painter is recorded as owning a large number of original reliefs by Clodion. The present painting has perhaps a more concentrated composition and finer detail than any known relief by Clodion, although the group at the left is very closely similar to a lost work by that sculptor—a Sleeping Satyress with her right arm on an urn, and a child satyr behind, holding a bunch of grapes (a relief recorded in two sales of 1779, respectively of the Prince de Conti and the Abbé de Gévigney, and sketched by Saint-Aubin in the margin of the Prince`s sale catalogue). The confident, fluid handling of the `loaded brush,` the incisive details, and masterly treatment of light and shade—on which, after all, the effective illusion of depth and spatial projection completely depend—combine to make this masterpiece of trompe-l`oeil one of the most important additions to that rare pictorial type to have been found in recent years. References: Françoise Maison and Susan B. Taylor, "Compiègne," Grove Dictionary of Art, ed. Jane Turner, 34 vols., London, 1996, vol 7, p. 677 (for Sauvage`s overdoors of 1782-86 with colored grounds, in the Salon des Jeux of that royal château); Ian Dunlop, "Fontainebleau," ibid., vol. 11, p. 261 (for Sauvage`s overdoors of 1785-86 in the royal residence); Joseph Baillo, et al., The Arts of France, New York, 2005, pp. 294-296, no. 125, and 407-408 (for Sauvage`s illusionistic mural decorations of 1781-89 at Versailles, for the Château de Belleville, and in a pavilion of Marie-Antoinette`s Laiterie at the Château de Rambouillet); Guilhem Scherf, "Autour de Clodion: variations, imitations, repetitions," in Revue de l`Art, no. 91 (1991), pp. 47-59 (for the association with Sauvage); Anne L. Poulet and Guilhem Scherf, Clodion, 1738-1814, Paris, 1992, esp. p. 441, for the Saint-Aubin sketch of the cognate composition to this design.

Circle of Piat-Joseph Sauvage (French, 1744-1818), "Recumbent Bacchus with Bacchant, Bacchante, an Infant Satyr, and a Goat," c. 1780s, oil on canvas in `overdoor` format, unsigned, 29 in. x 39 in., period frame. Note: This truly superb scene is richly and beautifully painted in trompe-l`oeil to simulate a white marble or stucco figural relief, overlaid on a fictive marble ground representing a deep mulberry-red slab of the characteristic stone that comes from Monte Gargano in Apulia. The technique of an illusionistic monochrome scene set against a colored ground (as opposed to a gray background, called grisaille) is highly typical of the so-called camaïeux pioneered by Sauvage, who—though he lived in France—was a native of Flanders, the region in which the artifice of illusionistic trompe-l`oeil originated, under Dutch influence. The term refers to the `cameo-like` effect of gemstones (usually ancient ones) of large size and complex iconography, in which whitish layers of stone are selectively cut away from a sardonyx ground, to form actual relief compositions. The Antique prototypes are of course considerably smaller than the spectacular example represented here, though this design is strikingly similar to the compositions of actual Imperial Roman and Renaissance examples. The `relief` style here is very strikingly reminiscent of the sculptural compositions of Claude Michel, called Clodion (1738-1814), whose plaster, terracotta, and marble bas-reliefs Sauvage very frequently copied in his trompe-l`oeil pictures; in Sauvage`s Paris sale of 21 December 1808, indeed, the painter is recorded as owning a large number of original reliefs by Clodion. The present painting has perhaps a more concentrated composition and finer detail than any known relief by Clodion, although the group at the left is very closely similar to a lost work by that sculptor—a Sleeping Satyress with her right arm on an urn, and a child satyr behind, holding a bunch of grapes (a relief recorded in two sales of 1779, respectively of the Prince de Conti and the Abbé de Gévigney, and sketched by Saint-Aubin in the margin of the Prince`s sale catalogue). The confident, fluid handling of the `loaded brush,` the incisive details, and masterly treatment of light and shade—on which, after all, the effective illusion of depth and spatial projection completely depend—combine to make this masterpiece of trompe-l`oeil one of the most important additions to that rare pictorial type to have been found in recent years. References: Françoise Maison and Susan B. Taylor, "Compiègne," Grove Dictionary of Art, ed. Jane Turner, 34 vols., London, 1996, vol 7, p. 677 (for Sauvage`s overdoors of 1782-86 with colored grounds, in the Salon des Jeux of that royal château); Ian Dunlop, "Fontainebleau," ibid., vol. 11, p. 261 (for Sauvage`s overdoors of 1785-86 in the royal residence); Joseph Baillo, et al., The Arts of France, New York, 2005, pp. 294-296, no. 125, and 407-408 (for Sauvage`s illusionistic mural decorations of 1781-89 at Versailles, for the Château de Belleville, and in a pavilion of Marie-Antoinette`s Laiterie at the Château de Rambouillet); Guilhem Scherf, "Autour de Clodion: variations, imitations, repetitions," in Revue de l`Art, no. 91 (1991), pp. 47-59 (for the association with Sauvage); Anne L. Poulet and Guilhem Scherf, Clodion, 1738-1814, Paris, 1992, esp. p. 441, for the Saint-Aubin sketch of the cognate composition to this design.

Two Day Winter Estate Auction

Sale Date(s)
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4038 Magazine Street
New Orleans
Louisiana
70115
United States

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Saturday 23rd February at 10am: Main Gallery (4038 Magazine Street, New Orleans)
Sunday 24th Februaru at 11am: Carondelet Gallery (3923 Carondelet Street, New Orleans)

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