Lot Essay
Avec deux autres versions à l’aquarelle composées de multiples oiseaux, ce dessin est sans doute l’une des dernières feuilles aujourd’hui connues et réalisées par Melchior d’Hondecoeter (British Museum, Londres, inv. 1861,0810.23 ; et South Kensington, Londres, 7 décembre 2016, lot 70). L’attribution d’une feuille double face de croquis à la sanguine de qualité plus faible, dont l'étude d'un paon dans une position similaire, a récemment était remise en question (M. Rikken, Melchior d’Hondecoeter, Bird Painter, Amsterdam 2008, pp. 52-53, fig. 44). La vivacité ainsi que la qualité de cette présente étude ne laissent aucun doute quant à son attribution, d’ailleurs confirmée par la figure de cet oiseau dans un tableau signé d’Hondecoeter et daté des années 1660 (fig. 1; Christie’s, Londres, 7 avril 1995, lot 3).
This sheet is arguably the most accomplished surviving drawing by the celebrated bird painter, together with two versions of a composition in watercolour containing several birds (British Museum, London, inv. 1861,0810.23; and Christie’s South Kensington, London, 7 December 2016, lot 70). The attribution of a weaker double-sided sheet with sketches in red chalk, among them one of a peacock in a similar pose, has recently been questioned (M. Rikken, Melchior d’Hondecoeter, Bird Painter, Amsterdam 2008, pp. 52-53, fig. 44). The liveliness and quality of the present study leave little doubt over its attribution to d’Hondecoeter, an attribution that is further confirmed by the inclusion of the bird in a signed painting by d’Hondecoeter, dated to the 1660s (fig. 1; Christie’s, London, 7 April 1995, lot 3).
Fig. 1 Melchior d'Hondecoeter
This sheet is arguably the most accomplished surviving drawing by the celebrated bird painter, together with two versions of a composition in watercolour containing several birds (British Museum, London, inv. 1861,0810.23; and Christie’s South Kensington, London, 7 December 2016, lot 70). The attribution of a weaker double-sided sheet with sketches in red chalk, among them one of a peacock in a similar pose, has recently been questioned (M. Rikken, Melchior d’Hondecoeter, Bird Painter, Amsterdam 2008, pp. 52-53, fig. 44). The liveliness and quality of the present study leave little doubt over its attribution to d’Hondecoeter, an attribution that is further confirmed by the inclusion of the bird in a signed painting by d’Hondecoeter, dated to the 1660s (fig. 1; Christie’s, London, 7 April 1995, lot 3).
Fig. 1 Melchior d'Hondecoeter