Studio of Jean-Baptiste Oudry

Robert Schumann by 1929;
His sale, Paris, Hôtel Drouot, 11-12 April 1951, lot 16 (as Oudry);
Anonymous sale, Paris, Galerie Charpentier, 30 November 1955, lot 29 (as attributed to Oudry).

Paris, Hotel Jean Charpentier, 11e Exposition de la Société des artistes animaliers Français, 1929, no. 22.

J. Vergnet-Ruiz, 'Oudry' in Les Peintres Français Du Xviiie Siècle, Ed. L Dimier, Paris 1928-30, vol. I, no. 279 (with incorrect dimensions);
H. Opperman, Jean-Baptiste Oudry, New York and London 1977, vol I, pp. 79 and 533, cat. no. P. 459 (as a good studio copy).

The canvas has an old relining, which is still sound. The painting is a little dirty and its varnish discoloured, but it is in reasonably good overall condition. The paint surface has suffered from wear in some areas, notably in the darker tones, but much original impasto remains. Inspection under ultraviolet light reveals no major damages. There has been strengthening to most of the shadows in the darks, particularly in the column and plinths below. Other intervention is restricted to local retouchings only, around the violin, the violin bow, and to old stretcher lines. The restoration has discoloured in parts. Offered in a gilt rococo-style frame in generally good condition. Some minor chips and damages.
"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."

The composition is one of a number of related paintings which all derive from an original of 1719 which formed part of a suite of overdoors representing the Four Elements. These remained with Oudry until 1740 when they were acquired for the Royal Palace, Stockholm, where they remain today. Other versions are in a private collection, Paris; the Manufacture de Porcelaine de Sèvres; the Toledo Museum of Art, Ohio (dated 1725); and the Blaffer Foundation, Museum of Fine Arts, Houston, Texas (dated 1722).¹ However, the variations among the versions are great indeed, and the only common elements are the still life with musette and musical manuscript, which appear in all these works. In every other way - from size, to format and setting - each painting is entirely distinctive from the others. The number of autograph variations of the theme indicates that this was one of Oudry's most popular and sought-after compositions. The piece of sheet music is a song by the composer Louis Lemaire, with lyrics by Bruseau, that appeared in a Recueil d'Airs serieux et à boire, published in October 1718. The song is a petition to 'Divine Sleep' to spare drunkards who are first tasting a new wine.

1. H. Opperman in the exh. cat. J.-B. Oudry 1686-1755, Paris, Grand Palais, 1 October 1982 - 3 January 1983, pp. 86-88, under cat. no. 33.