EUR

FR   EN   中文

CONNECTION
Turkish embassy in front of the St Cloud waterfall circa 1742
Turkish embassy in front of the St Cloud waterfall circa 1742 - Paintings & Drawings Style Louis XV Turkish embassy in front of the St Cloud waterfall circa 1742 - Turkish embassy in front of the St Cloud waterfall circa 1742 - Louis XV Antiquités - Turkish embassy in front of the St Cloud waterfall circa 1742
Ref : 96912
35 000 €   -   SALE PENDING
Period :
18th century
Provenance :
France
Medium :
Oil on copper
Dimensions :
l. 29.92 inch X H. 22.44 inch
Paintings & Drawings  - Turkish embassy in front of the St Cloud waterfall circa 1742 18th century - Turkish embassy in front of the St Cloud waterfall circa 1742 Louis XV - Turkish embassy in front of the St Cloud waterfall circa 1742 Antiquités - Turkish embassy in front of the St Cloud waterfall circa 1742
Franck Baptiste Paris

16th to 19th century furniture and works of art


+33 (0)6 45 88 53 58
Turkish embassy in front of the St Cloud waterfall circa 1742

The Turkish embassy in front of the St Cloud waterfall, around 1742.



Important oil on copper representing the embassy of the sublime golden door in front of the great waterfall of the castle of St Cloud.
The scene, lined with trees, is presented in two planes, the rear part where we can see the large waterfall in a water buffet fountain made at the request of Monsieur, brother of the king, by the architect André Le Pautre in the years 1664 -1665.
And the central part made up of the large basin and the water jets added by the architect Jules Hardoin Mansart in 1698.
On the esplanade, in the foreground, the painter illuminates his main scene with a beautiful red parasol, a luxurious marker to indicate to us the visit of the Ottoman representatives dressed in kaftans and turbans who are received by an emissary prostrating himself before them.
If the important waterfall of two hundred meters long and more than twenty meters in height is indeed the main subject, the aim is also to show the admiration it arouses throughout the world.
Like a miniaturist, our artist will therefore conscientiously describe this luxurious water theatre, the subtle blue-green tints of the water which contrast with the whiteness of the crystal chandeliers, nicknames given at the time to the jets of water from the large basin. The frogs, dolphins and gilded lead masks that light up the flowerbeds, as do the marble statues that line the aisles where around sixty richly dressed characters stroll peacefully.
If the elite of the nobility is there, represented by a couple and their little child walking the dog, or gallant couples sitting on benches, our artist is also eager to show the real life of the park without frills.
We can see in the corner a gardener of the castle who passes the rake and discusses with his wife dressed as a washerwoman while his son is about to implement a small mill with fins.
The painter wants to capture these moments of life, far from the protocol of Versailles, so he shows us the joy that the fountain arouses, with many children walking dogs, a stick and a ball strewn on the ground, and adults who roll up their pants, getting ready to dip their feet in the basin of water.
The scene clearly takes place on a summer or autumn afternoon, as the yellow of the leaves suggests.
This date corresponds perfectly to the arrival of the Turkish Embassy which was received by the young King Louis XV, in the Hall of Mirrors of Versailles in 1742 after several years of absence and a last reception which dated back to 1715.
The government elite, Les Orléans, the Condés, Conti … will rush to show Mehemet Zaïd Effendy their luxurious residences and will lead him on festive hunts for several weeks.
Our dating is also reinforced by the presence at the top of the high waterfall of the new sculpture "The junction between the Seine and the Marne" commissioned by Louis d'Orléans from the sculptor Lambert Sigisbert Adam in 1733.

Oil on copper, very good state of conservation.

Frame à la Bérain in oak wood (formerly gilded).

French school, beginning of the Louis XV period around 1740.

Dimensions :

Frame: Height: 76 cm; Width: 57cm.
Copper: Height 65 cm; Width: 47cm.

A slightly earlier engraving by Jacques Rigaud (1680-1754) (circa 1730) has a very similar composition.

Our opinion :

The work that we present is very clearly a historical document representing one of the marvels of the French 18th century that we are lucky enough to still be able to admire today.
The French classicism of our work is sublimated by this small oriental touch and this teeming life which transforms this architectural view into a true bucolic rural scene.
The subtlety of the colors and the lighting of the composition make it a very decorative work ; the copper support, particularly rare in this large size, allows us to appreciate it, thanks to optimal conservation conditions.

Franck Baptiste Paris

CATALOGUE

18th Century Oil Painting Louis XV