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Lot Essay
The attribution of this canvas to Chardin was questioned by Rosenberg in his 1979 exhibition on the artist, but then endorsed by him and Temperini in their 1999 catalogue. Goldschmidt (loc. cit., 1945 and 1947) was the first to draw attention to the picture and stress its importance, observing that the spaniel on the left of this picture is identical to the one in the artist's Water Spaniel (private collection, Paris: Rosenberg and Temperini, op. cit., no. 50).
Rosenberg (1979) had noted the existence of a drawing owned and attributed to Chardin by the Goncourts that was sold in 1791 (today lost but known from an engraving by Edmond de Goncourt (loc. cit, no. 51a). Known as the Jacquet, this would be preparatory for the figure of the little boy with his tricorn hat on the left of the present canvas. Rosenberg also had acknowledged in 1979 the fact that the pitcher, the basket and the bowl on the ground to the right of the composition are close to certain still-life objects painted by Chardin. In his 1999 catalogue entry he discussed the technique of the work, which, with its 'savoureux empâtements', recalls the tableaux de chasse of the 1730s, further noting the similar colouring in the Hare in the Musée de la Chasse, Paris (loc. cit., no. 43).
No-one has yet fully explained the subject-matter. Traditionally and somewhat mysteriously called the Conjuror's Box -Boîte du prestidigitateur-, Rosenberg and Temperini suggest that it may in fact illustrate a popular story or dictum. Dated 1730, this picture seems to be an attempt by Chardin to revisit the scènes populaires of his earlier career. It also points the way forward to the scènes de genre, that he was to take up three years later, and which are today recognized as among his greatest masterpieces.
Rosenberg (1979) had noted the existence of a drawing owned and attributed to Chardin by the Goncourts that was sold in 1791 (today lost but known from an engraving by Edmond de Goncourt (loc. cit, no. 51a). Known as the Jacquet, this would be preparatory for the figure of the little boy with his tricorn hat on the left of the present canvas. Rosenberg also had acknowledged in 1979 the fact that the pitcher, the basket and the bowl on the ground to the right of the composition are close to certain still-life objects painted by Chardin. In his 1999 catalogue entry he discussed the technique of the work, which, with its 'savoureux empâtements', recalls the tableaux de chasse of the 1730s, further noting the similar colouring in the Hare in the Musée de la Chasse, Paris (loc. cit., no. 43).
No-one has yet fully explained the subject-matter. Traditionally and somewhat mysteriously called the Conjuror's Box -Boîte du prestidigitateur-, Rosenberg and Temperini suggest that it may in fact illustrate a popular story or dictum. Dated 1730, this picture seems to be an attempt by Chardin to revisit the scènes populaires of his earlier career. It also points the way forward to the scènes de genre, that he was to take up three years later, and which are today recognized as among his greatest masterpieces.