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La Petite Coquette, ou La Lorgneuse
Details
JEAN-HONORÉ FRAGONARD (GRASSE 1732-1806 PARIS)
La Petite Coquette, ou La Lorgneuse
huile sur panneau
32,5 x 23,7 cm (12 ¾ x 9 1⁄3 in.)
La Petite Coquette, ou La Lorgneuse
huile sur panneau
32,5 x 23,7 cm (12 ¾ x 9 1⁄3 in.)
Provenance
François Hippolyte Walferdin (1795-1880) ; sa vente après décès, hôtel Drouot, Paris, 12-16 avril 1880, (Me Escribe), lot 27 ;
Acquis au cours de celle-ci par le comte Pourtalès (adjugé 1,700 francs) ;
Puis par descendance à la comtesse de Pourtalès, rue Tronchet, Paris, jusqu'au moins 1907 (selon le catalogue d'exposition de 1907, voir infra).
Arthur Georges Veil-Picard (1854-1944), rue de Courcelles, Paris, dès au moins 1938 (selon J. Robiquet, 1938, voir infra) ;
Confisqué auprès de celui-ci à la Banque de France (coffre 63) par le Devisenschutzkommando suite à l'occupation allemande de la France (ERR inv. WP 17), Paris, le 29 octobre 1940 ;
Transféré au musée du Louvre, Paris ;
Transféré à Buxheim, Bavière ;
Transféré au château de Neuschwanstein, Bavière ;
Retourné en France, le 18 octobre 1945 ;
Restitué aux ayants droit d'Arthur Georges Veil-Picard, le 16 avril 1946 ;
Puis par descendance dans la famille.
Acquis au cours de celle-ci par le comte Pourtalès (adjugé 1,700 francs) ;
Puis par descendance à la comtesse de Pourtalès, rue Tronchet, Paris, jusqu'au moins 1907 (selon le catalogue d'exposition de 1907, voir infra).
Arthur Georges Veil-Picard (1854-1944), rue de Courcelles, Paris, dès au moins 1938 (selon J. Robiquet, 1938, voir infra) ;
Confisqué auprès de celui-ci à la Banque de France (coffre 63) par le Devisenschutzkommando suite à l'occupation allemande de la France (ERR inv. WP 17), Paris, le 29 octobre 1940 ;
Transféré au musée du Louvre, Paris ;
Transféré à Buxheim, Bavière ;
Transféré au château de Neuschwanstein, Bavière ;
Retourné en France, le 18 octobre 1945 ;
Restitué aux ayants droit d'Arthur Georges Veil-Picard, le 16 avril 1946 ;
Puis par descendance dans la famille.
Literature
R. Portalis, Honoré Fragonard : sa vie et son oeuvre, Paris, 1889, p. 202 et p. 285.
E. de Goncourt, J. de Goncourt, L'art du XVIIIe siècle, Paris, 1895, III, p. 334.
P. de Nolhac, J.-H. Fragonard 1732-1806, Paris, 1906, p. 114.
J. Robiquet, 'Les Peintres de la Vie Familière', La femme dans la peinture française. XVe-XXe siècle, Paris, 1938, reproduit en couleurs p. 122.
M. Zahar, 'Au musée de l'Orangerie. Oeuvres d'art récupérées', Arts, 14 juin 1946, 72, p. 5.
L. Réau, Fragonard. Sa vie et son oeuvre, coll. Les grands maîtres de l'art français, Bruxelles, 1956, p. 161.
G. Wildenstein, Fragonard, New York, 1960, p. 275, n°346, reproduit en noir et blanc pl. 65.
J. Wilhelm, Fragonard, 1960, p. 166 [manuscrit non publié] (selon J.-P. Cuzin, 1988, voir infra).
D. Wildenstein, G. Mandel, L'opera completa di Fragonard, Milan, 1972, p. 102, n°366, reproduit en noir et blanc.
R. Genevoy, 'Les Veil-Picard. Une famille de financiers bisontins', Archives juives, 1985, 21e année, 1 & 2, p. 24.
J.-P. Cuzin, Jean-Honoré Fragonard. Life and Work. Complete Catalogue of the Oil Paintings, New York, 1988 (traduit du français par A. Zielonka et K.-M. Mooney ; Fribourg-Paris, 1987), p. 185 et p. 322, n°324, reproduit en noir et blanc p. 185, fig. 224 et p. 322.
P. Rosenberg, Tout l'oeuvre de Fragonard, Paris, 1989, p. 96, n°226, reproduit en noir et blanc.
J.-P. Cuzin et al. (dir.), Jean-Honoré Fragonard (1732-1806). Orígenes e influencias. De Rembrandt al siglo XXI, cat. exp., Barcelone, 2006, p. 31, reproduit en noir et blanc p. 30, fig. 25.
E. de Goncourt, J. de Goncourt, L'art du XVIIIe siècle, Paris, 1895, III, p. 334.
P. de Nolhac, J.-H. Fragonard 1732-1806, Paris, 1906, p. 114.
J. Robiquet, 'Les Peintres de la Vie Familière', La femme dans la peinture française. XVe-XXe siècle, Paris, 1938, reproduit en couleurs p. 122.
M. Zahar, 'Au musée de l'Orangerie. Oeuvres d'art récupérées', Arts, 14 juin 1946, 72, p. 5.
L. Réau, Fragonard. Sa vie et son oeuvre, coll. Les grands maîtres de l'art français, Bruxelles, 1956, p. 161.
G. Wildenstein, Fragonard, New York, 1960, p. 275, n°346, reproduit en noir et blanc pl. 65.
J. Wilhelm, Fragonard, 1960, p. 166 [manuscrit non publié] (selon J.-P. Cuzin, 1988, voir infra).
D. Wildenstein, G. Mandel, L'opera completa di Fragonard, Milan, 1972, p. 102, n°366, reproduit en noir et blanc.
R. Genevoy, 'Les Veil-Picard. Une famille de financiers bisontins', Archives juives, 1985, 21e année, 1 & 2, p. 24.
J.-P. Cuzin, Jean-Honoré Fragonard. Life and Work. Complete Catalogue of the Oil Paintings, New York, 1988 (traduit du français par A. Zielonka et K.-M. Mooney ; Fribourg-Paris, 1987), p. 185 et p. 322, n°324, reproduit en noir et blanc p. 185, fig. 224 et p. 322.
P. Rosenberg, Tout l'oeuvre de Fragonard, Paris, 1989, p. 96, n°226, reproduit en noir et blanc.
J.-P. Cuzin et al. (dir.), Jean-Honoré Fragonard (1732-1806). Orígenes e influencias. De Rembrandt al siglo XXI, cat. exp., Barcelone, 2006, p. 31, reproduit en noir et blanc p. 30, fig. 25.
Exhibited
Paris, Galerie Georges Petit, Chardin & Fragonard, juin-juillet 1907, n°133.
Paris, Orangerie des Tuileries, Les chefs-d'oeuvre des collections privées françaises retrouvés en Allemagne par la Commission de récupération artistique et les services alliés, juin-août 1946, n°20.
Berne, musée des beaux-arts, Fragonard, 13 juin-29 août 1954, n°37.
Londres, Royal Academy of Arts, European Masters of the Eighteenth Century, 27 novembre 1954-27 février 1955, n°216.
Zurich, Kunsthaus, Schönheit des 18. Jahrhunderts. Malerei, Plastik, Porzellan, Zeichnung, 10 septembre-6 novembre 1955, n°90.
Besançon, Fragonard. Peintures & Dessins en commémoration du cent-cinquantenaire de sa mort 1806-1956, 1956, n°7.
Paris, Orangerie des Tuileries, Les chefs-d'oeuvre des collections privées françaises retrouvés en Allemagne par la Commission de récupération artistique et les services alliés, juin-août 1946, n°20.
Berne, musée des beaux-arts, Fragonard, 13 juin-29 août 1954, n°37.
Londres, Royal Academy of Arts, European Masters of the Eighteenth Century, 27 novembre 1954-27 février 1955, n°216.
Zurich, Kunsthaus, Schönheit des 18. Jahrhunderts. Malerei, Plastik, Porzellan, Zeichnung, 10 septembre-6 novembre 1955, n°90.
Besançon, Fragonard. Peintures & Dessins en commémoration du cent-cinquantenaire de sa mort 1806-1956, 1956, n°7.
Further Details
JEAN-HONORÉ FRAGONARD, THE LITTLE COQUETTE, OR THE LORGNEUSE, OIL ON PANEL
This delightful small painting by Jean-Honoré Fragonard perfectly illustrates the virtuosity and freedom of execution of one of the most inspired masters of the French eighteenth century. Undoubtedly one of the most joyful images in the Veil-Picard collection, it has not been shown to the public since 1956 and has not appeared at auction since 1880. Its subject is simple: a young woman shown half-length, her hands resting on the corner of a table. She looks at us with a complicit, mischievous expression.
In this composition, the small scale of the format and the use of a panel support contribute to the private, intimate spirit of the work. It is not a painting intended for display, but rather a private painting, a precious image conceived for visual pleasure, meant to be viewed up close, almost in secret. The painter expresses here an art of spontaneous gesture: the brushstrokes, rapid and heavily laden with paint, suggest more than they describe, allowing light to play within the impasto and glazes. This pictorial energy, so characteristic of Fragonard, evokes the outpouring of an emotion rather than the meticulous observation of a model.
The female figure, represented here in profile with her head slightly tilted back, seems almost to breathe. Her face, bathed in golden light, conveys a hint of impertinence and an almost playful insouciance. This attitude perfectly reflects the spirit of the late eighteenth century, that of a refined yet libertine society, where grace and mischief came together to give a light-hearted atmosphere. Fragonard, heir to the gallant rococo tradition, captured in this gaze and movement the very essence of an era devoted to pleasure, youth, and subtle sensuality. Subject and painterly language alike are marked by perfect tonal balance.
The palette, dominated by warm reds and golden harmonies, underscores the warmth and liveliness of the figure. The small red ribbon in the hair—a charming, almost anecdotal detail—draws the eye and gives the model a distinct personality, a touch of feminine coquetry that completes the sense of a living, vibrant presence.
Through its execution, La coquette stands as a brilliant illustration of the painter’s mastery and his evident delight in painting, qualities that secured his fame and lasting legacy. Its handling may be compared to some of Fragonard’s most dazzling works, such as the Figures de fantaisie, painted in the second half of the 1760s, many of which are now housed in the Louvre. The present painting was most certainly executed a few years later than these however, around the mid-1770s, at a time when the artist favored smaller formats and delighted in painting and describing intimate subjects. In this respect, it may be closely compared to La Lettre, held in a private collection (fig. 1).
Beyond its aesthetic and expressive qualities, this panel is also distinguished by its prestigious provenance. It comes from the collection of Hippolyte Walferdin (1795–1880), a great connoisseur and champion of the eighteenth century masters who played a crucial role in Fragonard’s rediscovery in the nineteenth century. The painting later entered the collection of the Comte de Pourtalès, one of the most discerning collectors of his time, renowned for the quality and coherence of his acquisitions. The stamp of the Veil-Picard collection further completes this illustrious lineage of collectors.
Thus, this small painting, through its modest format, refined support, and free, dazzling execution, perfectly embodies the quintessence of Fragonard’s art: a painting of pleasure and spontaneity, at once controlled and effervescent, intimate and timelessly seductive.
This delightful small painting by Jean-Honoré Fragonard perfectly illustrates the virtuosity and freedom of execution of one of the most inspired masters of the French eighteenth century. Undoubtedly one of the most joyful images in the Veil-Picard collection, it has not been shown to the public since 1956 and has not appeared at auction since 1880. Its subject is simple: a young woman shown half-length, her hands resting on the corner of a table. She looks at us with a complicit, mischievous expression.
In this composition, the small scale of the format and the use of a panel support contribute to the private, intimate spirit of the work. It is not a painting intended for display, but rather a private painting, a precious image conceived for visual pleasure, meant to be viewed up close, almost in secret. The painter expresses here an art of spontaneous gesture: the brushstrokes, rapid and heavily laden with paint, suggest more than they describe, allowing light to play within the impasto and glazes. This pictorial energy, so characteristic of Fragonard, evokes the outpouring of an emotion rather than the meticulous observation of a model.
The female figure, represented here in profile with her head slightly tilted back, seems almost to breathe. Her face, bathed in golden light, conveys a hint of impertinence and an almost playful insouciance. This attitude perfectly reflects the spirit of the late eighteenth century, that of a refined yet libertine society, where grace and mischief came together to give a light-hearted atmosphere. Fragonard, heir to the gallant rococo tradition, captured in this gaze and movement the very essence of an era devoted to pleasure, youth, and subtle sensuality. Subject and painterly language alike are marked by perfect tonal balance.
The palette, dominated by warm reds and golden harmonies, underscores the warmth and liveliness of the figure. The small red ribbon in the hair—a charming, almost anecdotal detail—draws the eye and gives the model a distinct personality, a touch of feminine coquetry that completes the sense of a living, vibrant presence.
Through its execution, La coquette stands as a brilliant illustration of the painter’s mastery and his evident delight in painting, qualities that secured his fame and lasting legacy. Its handling may be compared to some of Fragonard’s most dazzling works, such as the Figures de fantaisie, painted in the second half of the 1760s, many of which are now housed in the Louvre. The present painting was most certainly executed a few years later than these however, around the mid-1770s, at a time when the artist favored smaller formats and delighted in painting and describing intimate subjects. In this respect, it may be closely compared to La Lettre, held in a private collection (fig. 1).
Beyond its aesthetic and expressive qualities, this panel is also distinguished by its prestigious provenance. It comes from the collection of Hippolyte Walferdin (1795–1880), a great connoisseur and champion of the eighteenth century masters who played a crucial role in Fragonard’s rediscovery in the nineteenth century. The painting later entered the collection of the Comte de Pourtalès, one of the most discerning collectors of his time, renowned for the quality and coherence of his acquisitions. The stamp of the Veil-Picard collection further completes this illustrious lineage of collectors.
Thus, this small painting, through its modest format, refined support, and free, dazzling execution, perfectly embodies the quintessence of Fragonard’s art: a painting of pleasure and spontaneity, at once controlled and effervescent, intimate and timelessly seductive.
Brought to you by
Pierre Etienne
International Director, Deputy Chairman of Christie's France, Old Master Paintings