Details
FOLLOWER OF JEAN-BAPTISTE GREUZE
L'OISELEUR: A BIRDCATCHER TUNES HIS GUITAR
oil on panel
23 5/8 x 19 1/8 in. (60 x 48.6 cm.)
Provenance
Private collection, France.
with Wildenstein, New York.
Literature
M. Florisoone, Le Dix-huitième Siècle, Paris, 1948, pl. 83.
H. Peyre, Logic and Passion, Art News, February 1948, (illustrated pp. 34 and 50.
Catalogue of the exhibition, European Masters of the Eighteenth Century, London, Royal Academy of Arts, 1954, under no. 178.
European Masters of the Eighteenth Century, Winter Exhibition, Royal Academy, London, 1954-1955, under no. 178.
Catalogue of the exhibition, Le Siècle du Rococo, Munich, Residenz, under no. 77, p. 59.
Catalogue of the exhibition, Il settecento a Roma, Rome, Palazzo delle Esposizioni, 1959, under no. 277.
J. Valler-Radot, 'Le Dessin preéparatoire de Greuze pour 'L'Oiseleur accordant sa guitare'', Gazette des Beaux-Arts, October 1959, pp. 217, 219, note 9.
W. Sauerländer, 'Pathosfiguren im oeuvre des Jean-Baptiste Greuze', in Walter Friedlaender zum 90. Geburstag, Berlin, 1965, p. 184, note 11.
E. Munhall, catalogue of the exhibition, Jean-Baptiste Greuze 1725-1805, Hartford, 1976, p. 47, under no. 12
Catalogue of the exhibition, Jean-Baptiste Greuze, Musée de Dijon, 1977, under no. 12.
Catalogue of the exhibition, Europäische Malerei des Barock aus dem Nationalmuseum in Warschau, Braunschweig, Herzog Anton Ulrich Museum, 1988-90, pp. 142, under no. 40; 144, note 15.
Exhibited
Dallas, Museum of Fine Arts, The Pendulum Swings from Classic to Romantic in French Painting, 1942, p. 12.
Baltimore, Museum of Art, Musical Instruments and Their Portrayal in Art, 1946, no. 42.
Buffalo, Albright Art Gallery, Eighteenth-Century Paintings, 1948, no. 7.
New York, Wildenstein & Co., French XVIIIth Century Painting, 1948, no. 17 (catalogued with false Boyer de Fonscolombe and Branicki provenance).
South Hadley, Massachusetts, Dwight Art Memorial, Mount Holyoke College, The Eye Listens: Music in the Visual Arts, 1950, no. 37.
Providence, Rhode Island School of Design, Keyboard and Strings, 1951, no number.
Milwaukee, Wisconsin, Art Institute, Of Music and Art, 1954, no. 57.
Hartford, Wadsworth Atheneum, Homage to Mozart, 1956, no. 22.
New Haven, Yale University Art Gallery, Musical Instruments, 1960, no. 36.
Greenville, North Carolina, Art Centre, Inaugural Loan Exhibition, 1960, p. 42 (catalogued with false Boyer de Fonscolombe and Branicki provenance).
Jacksonville, Florida, Cummer Gallery of Art, Masterpieces of French Painting through Two and a Half Centuries, 1961, p. 18.
Engraved
Pierre-Etienne Moitte.
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.
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