Jean-Baptiste Jacques Augustin (French, 1759-1832)
Jean-Baptiste Jacques Augustin (French, 1759-1832)
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Prospective purchasers are advised that several co… Read more
Jean-Baptiste Jacques Augustin (French, 1759-1832)

Jean-Baptiste Jacques Augustin (French, 1759-1832)
Frédéric Duvernoy (1765-1838), famous horn soloist at the Paris Opéra, holding a cor solo, Paris horn, wearing the badge of the Royal French Order of the Legion of Honour and the médaille de la fidélité
Signed and dated ‘Augustin / 1817.’ (lower left)
On ivory
Rectangular, 224 x 176 mm., gilt-metal frame with oak leaf motif
The artist’s own collection.
Jean-Baptiste Jacques Augustin’s sale of the contents of his Studio, 20 December 1839, lot 104, purchased by Pauline Augustin (1781-1865).
By descent to her niece Justine-Henriette Cornut de La Fontaine de Coincy (1810-1898), in 1865.
Léon de Coincy (1838-1920), eldest son of the above and representative of the artist’s heirs.
Acquired by John Pierpont Morgan (1837-1904) in 1906.
John Pierpont Morgan Collection, New York; Christie’s, London, 25 June 1935, lot 731 (65 gns to Schidlof).
With Leo R. Schidlof, from whom acquired by Ernst Holzscheiter in Paris, 5 January 1936 (inv. nos. MD/0092 and 25).
Augustin 1853, II, p. 27.
Augustin 1862, XV, p. 41.
Save 1888, p. 29.
Williamson 1906, IV, pp. 122-123, no. 683, illustrated pl. CCXLVI.
Bouchot 1907, pp. 162, 168, 172, illustrated opposite p. 146.
Bouchot 1910, p. 224.
Schidlof 1911, p. 69.
Peccatte 1913-14, vol. 39, p. 69.
Darmon 1927, p. 14.
Coincy Saint-Palais 1930, p. 99.
de Langle / Schlumberger 1957, p. 105.
Schidlof 1964, II, p. 910, illustrated III, pl. 26, fig. 48.
Exhibition catalogue Saint-Dié-des-Vosges 2010, pp. 23 and 27 footnote 130.
Pappe 2015, p. 334, no. 932, illustrated.
Paris, Salon, 1817, no. 15.
Paris 1830, no. 300 (part).
Paris 1906, no. 21 (lent by John Pierpont Morgan).
Arenenberg 1954, no. 2.
Geneva 1956, no. 18, illustrated.
London 1972, no. 969.
Special notice

Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.
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Lot Essay

The sitter was a famous horn soloist, a composer and professor of horn music at the Paris Conservatory. He is thought to have been self-taught and in 1788 he entered the orchestra of the comédie italienne in Paris. In 1790 he formed part of the Musique des Gardes Françaises. In 1797 he was admitted to the orchestra of the Paris Opéra and in 1801 he became a solo horn player. He played in the Chapelle Musique which was established by Napoleon.
According to Williamson, supra, the horn was a gift from Emperor Napoleon to the sitter and it mostly likely had a gold mouthpiece. The design on the horn is based on a drawing by the French architect Charles Percier (1764-1838). The instrument was most likely made by Lucien-Joseph Raoux (1753-1823), a member of three generations of the Raoux family who were both designers and the lead manufacturers of the French horn, based in Paris. Records show that the Paris Opéra was commissioning horns from the Raoux family for its leading soloists and that a horn made specifically for Duvernoy was delivered to the Opéra in 1802. This may well be the horn depicted in the present portrait. An example of a horn made by Marcel-August Raoux (son of Lucien-Joseph Raoux) is in the Victoria & Albert Museum, inv. no. W.83 to E-1926. It was made for the Italian-born virtuoso Giovanni Puzzi (1797-1876), and presented to him by the King of France. For a detailed article about the Raoux family, see Giannini 2014.
The present portrait, which was exhibited by Augustin in the year of its execution, 1817, can be seen in a watercolour of the artist’s studio, to the left of the chimney piece. The watercolour is now in the Musée d’art et d’histoire, Geneva, inv. no. 2134 (see exhibition catalogue Bordeaux / Geneva / Paris 1995-1996).
A pencil on paper study for the present portrait is illustrated in Pappe 2015, p. 334, no. 930, and a further similar work on paper is listed as no. 931.
We are indebted to Professor Tula Giannini at the Pratt Institute for her generous help with our research on the horn in the present portrait.

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