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拍品專文
Extremely popular throughout the 18th century, Don Quixote was a very successful theme for the Manufacture des Gobelins, where at least nine different versions were woven between 1717 and 1778. The cartoons from which the central panels are taken were painted by Charles-Antoine Coypel (1694-1752). Of the twenty-eight cartoons that he produced between 1714-51, twenty-seven are preserved at the Château de Compiègne and a descriptive list of the group was drawn up by M. Fenaille (op.cit., pp. 164-5). On 10 February 1720 Coypel received 900 livres for his design representing Sancho's Supper, executed in 1719, which served as the model for this tapestry. The painting was also engraved by Beauvais and used in a series of engravings published between 1723-34 - la suite de Don Quichotte publicées à Paris chez Louis Surugue, au bas de la Montagne Sainte Geneviève.
The first series was woven between 1717 and 1718 for the duc d'Antin (d. 1736). It was sold from the Anténor Patiño collection, sold Ader, Picard, Tajan, Palais Galliera, Paris, 9 - 10 June 1976, lot 229 (nos. A - P) and anonymously at Christie's, London, 10 June 1993, lot 110. The examination of the Tableau des Tentures de Don Quichotte, Fenaille (op.cit., pp. 281-2) shows that the majority of the subsequent weavings were presented as gifts and not sold on the market. The second weaving, also commissioned by the duc d'Antin and executed between 1721 and 1735, was offered by Louis XV to the Prince de Campo-Florido in 1745.
The third weaving was executed between 1732 and 1733 and commissioned by Louis, duc d'Orléans (1703-1752) to be offered as a gift to the Comte d'Argenson. It is now in the Musée du Louvre (Cinq années d'enrichissement du Patrimoine National, 1975-1980, no. 60).
The fourth series executed between 1746 and 1749 was sold to Philippe, duc de Parme in 1749. Louis XV retained a group of twelve tapestries which he sent to the château de Marly in 1758 and which formed part of a group of twenty-four tapestries from the fifth series for which weaving had started in 1749.
Tapestries from many subsequent weavings have survived and are now preserved in both private and public collections. These include:
Four tapestries from the fifth weaving known as 'de Marly' were acquired by the 3rd Duke of Richmond, ambassador in Paris in 1765-66 and exhibited at Goodwood House, Sussex.
A further tapestry from the latter weaving, which had by repute been presented as a gift by Napoleon I to the prince de Hesse-Darmstadt in 1810, was sold at Christie's, London, 11 June 1989, lot 49.
A series of four tapestries from the eighth weaving, executed on a crimson damask ground, was offered by Louis XVI to the duc and duchesse de Saxe-Teschen (formerly in the JP Getty Museum).
Further tapestries from this weaving are now in the collection of the Duke of Rutland at Belvoir Castle.
The ninth weaving, woven on a yellow damask ground, was offered to the baron de Breteuil (1730-1807) by Louis XVI in 1785. Several tapestries from this weaving are now in the Musée du Louvre, Nouvelles acquisitions du departement des Objets d'art, 1985-1989, Musée du Louvre, Paris, 1990, pp. 133-7.
This tapestry features borders which are related to those from the third weaving probably designed by Peyrotte and commissioned by the duc d'Orléans for the comte d'Argenson. A largely simplified version of that same border was then used for purposes of the tapestries from the fifth series delivered to the château de Marly. The warrior featured on the cartouche, beneath the central composition, is also represented on the second 'alentour', that is the border adorning the second weaving offered to the prince du Campo-Florido. This motif can also be found on the fourth weaving sold to the duc de Parme.
It is very likely that the tapestry here offered was one of the two tapestries described by M. Fenaille (op.cit., p.201) and that sold in Paris, 3 May 1904 for 71,000 French francs. The second one featuring Don Quixote asking Sancho to obtain on his behalf the duchesse's permission to see her, was sold for 23,000 French francs and it is most probably the same tapestry which was sold at Christie's, London, 24 July 1977, lot 166. It would seem that the latter two tapestries form part of a weaving which is unrecorded and woven in the Gobelins in the atelier of Michel Audran, probably on account of a private commission.
The first series was woven between 1717 and 1718 for the duc d'Antin (d. 1736). It was sold from the Anténor Patiño collection, sold Ader, Picard, Tajan, Palais Galliera, Paris, 9 - 10 June 1976, lot 229 (nos. A - P) and anonymously at Christie's, London, 10 June 1993, lot 110. The examination of the Tableau des Tentures de Don Quichotte, Fenaille (op.cit., pp. 281-2) shows that the majority of the subsequent weavings were presented as gifts and not sold on the market. The second weaving, also commissioned by the duc d'Antin and executed between 1721 and 1735, was offered by Louis XV to the Prince de Campo-Florido in 1745.
The third weaving was executed between 1732 and 1733 and commissioned by Louis, duc d'Orléans (1703-1752) to be offered as a gift to the Comte d'Argenson. It is now in the Musée du Louvre (Cinq années d'enrichissement du Patrimoine National, 1975-1980, no. 60).
The fourth series executed between 1746 and 1749 was sold to Philippe, duc de Parme in 1749. Louis XV retained a group of twelve tapestries which he sent to the château de Marly in 1758 and which formed part of a group of twenty-four tapestries from the fifth series for which weaving had started in 1749.
Tapestries from many subsequent weavings have survived and are now preserved in both private and public collections. These include:
Four tapestries from the fifth weaving known as 'de Marly' were acquired by the 3rd Duke of Richmond, ambassador in Paris in 1765-66 and exhibited at Goodwood House, Sussex.
A further tapestry from the latter weaving, which had by repute been presented as a gift by Napoleon I to the prince de Hesse-Darmstadt in 1810, was sold at Christie's, London, 11 June 1989, lot 49.
A series of four tapestries from the eighth weaving, executed on a crimson damask ground, was offered by Louis XVI to the duc and duchesse de Saxe-Teschen (formerly in the JP Getty Museum).
Further tapestries from this weaving are now in the collection of the Duke of Rutland at Belvoir Castle.
The ninth weaving, woven on a yellow damask ground, was offered to the baron de Breteuil (1730-1807) by Louis XVI in 1785. Several tapestries from this weaving are now in the Musée du Louvre, Nouvelles acquisitions du departement des Objets d'art, 1985-1989, Musée du Louvre, Paris, 1990, pp. 133-7.
This tapestry features borders which are related to those from the third weaving probably designed by Peyrotte and commissioned by the duc d'Orléans for the comte d'Argenson. A largely simplified version of that same border was then used for purposes of the tapestries from the fifth series delivered to the château de Marly. The warrior featured on the cartouche, beneath the central composition, is also represented on the second 'alentour', that is the border adorning the second weaving offered to the prince du Campo-Florido. This motif can also be found on the fourth weaving sold to the duc de Parme.
It is very likely that the tapestry here offered was one of the two tapestries described by M. Fenaille (op.cit., p.201) and that sold in Paris, 3 May 1904 for 71,000 French francs. The second one featuring Don Quixote asking Sancho to obtain on his behalf the duchesse's permission to see her, was sold for 23,000 French francs and it is most probably the same tapestry which was sold at Christie's, London, 24 July 1977, lot 166. It would seem that the latter two tapestries form part of a weaving which is unrecorded and woven in the Gobelins in the atelier of Michel Audran, probably on account of a private commission.