Details
François Boucher (Paris 1703-1770)
A reclining female nude
red and white chalk counterproof
11¼ x 16¾ in. (28.5 x 42.4 cm.)
Provenance
The Hon. Irwin Laughlin.
Mrs Hubert Chanler; Sotheby's, London, 10 June 1959, lot 7 (to W.H. Schab).
with Charles E. Slatkin Galleries, New York, where acquired in 1959 by
David Daniels, New York; Sotheby's, London, 25 April 1978, lot 77.
Literature
A. Ananoff and D. Wildenstein, François Boucher, Fribourg, 1976, I, p. 367, no. 251/3.
A. Wintermute, in Watteau and his world, exhib. cat., New York, The Frick Collection, 1999, p. 192, under no. 151.
A. Laing, in The Drawings of François Boucher, exhib. cat. New York, The Frick Collection, and Fort Worth, Kimbell Museum, 2003, p. 235, under no. 27, note 7.
Exhibited
New York, Charles E. Slatkin Galleries, Drawings, Pastels and Watercolours, 1966, no. 21, pl. 51.
Minneapolis, Institute of Arts, and elsewhere, Loan exhibition from the drawing collection of David Daniels, 1968, no. 19.
New York, Stair Sainty Matthiesen, François Boucher: His Circle and Influence, 1987, no. 19.

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Jennifer Wright
Jennifer Wright

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Lot Essay

A counterproof of lot 14 in the present sale.
A contre-épreuve, or counterproof, is made when a moistened sheet of paper is laid over a soft chalk drawing and sufficient pressure is applied to make the surface layer of chalk imprint itself onto the clean sheet; naturally the original drawing is replicated, in reverse. A counterproof was sometimes made as a permanent record of drawings to be kept in the workshop, studied by its members and perhaps reemployed in a future project; another reason for making one was because the artist required a reverse image of the original study. Counterproofs also had the effect of stabilizing the chalk of the original drawing although also making it slightly paler. There was also a financial aspect as in the 18th Century counterproofs were almost as prized as the original drawings.
We thank Alastair Laing for his kind help in cataloguing this lot.

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