François Desportes

Probablement collection Pillet-Will ;
Probablement collection Lassus ;
Vente anonyme, Paris, Hôtel Drouot, Millon & Associés, 18 juin 1997, lot n°27 ;
Acquis à cette vente

P. Jacky, François Desportes (1661-1743), Thèse de Doctorat, Université de Paris IV-Sorbonne, 1999, t. IV, p. 722-723 ;
G. de Lastic et P. Jacky, Desportes, catalogue raisonné, Saint-Rémy-en-l’Eau, 2010, p. 182, n° P676

The painting appears in good condition. It has been correctly relined and cleaned (about 15 years ago). The composition was painted by Desportes with the original dimensions 101 x 155 (39 ¾ by 55 in.) and then enlarged by the artist himself to 120 x 155 cm. (47 ¼ by 55 in.). The parrot featured by the artist allowed him to unify the junction between the two sizes. Later on, the corners originally curved, were made rectangular. Inspection under UV light: Reveals numerous small scattered restoration spots mainly in the background (sky, column, wall and floor). There is a minor restoration on the top of the dog's head and on its tail. There are also some minor restoration spots on the game bird on the floor.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Ces deux grandes compositions magistrales reflètent le talent de l’artiste dans sa maturité au milieu des années 1720. Les angles supérieurs mis aux rectangle et le point de vue di sotto in sù nous amènent à penser que ces deux pendants constituaient initialement des dessus de portes. En ce début de XVIIIe siècle l’usage d’une salle exclusivement destinée aux repas tend à se développer en France et la distribution des résidences s’en trouve ainsi modifiée. L’ancienne salle de buffet attenante à des salons devient salle à manger et par la même occasion un espace plus solennel nécessitant des aménagements plus somptueux. Ces deux compositions illustrent ces changements du goût.
Dans la composition à l’épagneul située à l’extérieur, Desportes déploie tous les éléments qui ont fait sa célébrité : chien [1], perroquet [2], cardons, et volatiles aussi divers que colvert, perdreaux gris et rouge ou caille. Le succès de notre composition est attesté par deux versions postérieures avec variantes ; l’une, exposée au Salon de 1725, est conservée au musée de l’Ermitage à Saint-Pétersbourg et l’autre, datée de 1730, est actuellement conservée dans une collection particulière [3].
L’image de ce chien contemplant son trophée est saisissante et l’émotion qui se dégage de son regard tout à fait troublante. Nous pourrions presque l’imaginer se remémorant sa chasse, le moment durant lequel il marqua l’arrêt, celui où son maître tira le coup de fusil final, celui enfin durant lequel il rapporta le gibier mort. Le perroquet semble le regarder sans comprendre l’intensité des émotions qu’est en train de vivre ce magnifique épagneul.
Une feuille d’études (fig. 1) peinte à l’huile démontre clairement que nos deux tableaux ont étés conçus comme des pendants. L’on y retrouve à la fois le perroquet du premier tableau et le chat du second.
Dans la composition au chat la formule est elle aussi largement éprouvée avec succès par l’artiste. Dans un garde-manger au sol à cabochon noir, un chat tente de s’approprier un pigeon. La coupe en porcelaine de Chine contenant des pêches est un morceau d’un raffinement extrême. Champignons, carottes, choux-fleurs et oignons rouges nous offrent un éventail de couleurs déjà automnales.

[1]. Un dessin préparatoire pour le chien est répertorié. Voir P. Jacky, op.cit., vol. II, n° D 12.
[2]. De nombreuses études pour ce ara Ararauna, seul ou parmi d’autres, sont référencées par P. Jacky : ibid., n° P 63, P 249
[3]. Ibid., n° P 699 et P 742

These two large masterful compositions thoroughly reflect the artist's talent during his mature period in the mid 1720s. The upper angles forming rectangles and the di sotto in sù perspective lead one to believe that this pair was initially overdoor paintings. During the early 18th century the use of a room exclusively for meals began developing in France, therefore the layouts for residences changed. The former buffet room adjoining parlors became dining rooms, and at the same time a more solemn space required more beautiful furnishings. Both compositions illustrate these trends.

In the format with the spaniel lying outside, Desportes employed all elements that made him famous: dog [1], parrot [2], cardoons, and fowl as diverse as mallard ducks, gray and red partridges, and quail. The popularity of our composition is attested by two versions with variants painted later: one, exhibited at the Salon of 1725, in the collections of the Hermitage Museum in St. Petersburg and the other, dated 1730, is currently part of a private collection [3].

The image of this dog contemplating the trophy is striking and the emotion that emerges from its eyes is quite unsettling. One could almost imagine it remembering the hunt, perhaps the moment when it pointed at the target then its master pulled the gun shot, and resulting with the retrieved dead game. The parrot seems to look at it without understanding the intensity of emotions that this beautiful spaniel is experiencing.

A sheet with oil-painted studies (fig. 1) clearly shows that the two paintings were conceived as matching. The parrot from the first painting is found, as well as the cat on the second work.

In the cat composition the layout was well conceived by the artist. Inside a pantry atop a floor with some black tiling, a cat tries to capture a pigeon. A Chinese porcelain bowl containing peaches is a fragment revealing extreme refinement. Mushrooms, carrots, cauliflowers and red onions display a range of peak fall colors.

[1]. A preparatory drawing for the dog is listed. Consult Jacky P., op.cit., Vol. II, n°12. D
[2]. Many studies for the blue and yellow macaw, alone or among others, are referenced by P. Jacky: ibid., n°P 63, P 249
[3]. Ibid., n°P 699 and P 742