Catalogue d’Estampes des plus grands Maîtres Italiens, Flamands & François, de divers Recueils d’Estampes, d’Architecture de différents Maîtres, & autres Traités sur les Arts, dépendants de la succession de M. Mariette, Contrôleur de la Grande-Chancellerie de France, Honoraire Amateur de l’Académie Royale de Peinture & Sculpture, & de l’Académie de Florence, Dont la vente commencera le 1er Février 1775…& jours suivans…Par F. Basan, graveur.
Catalogue d’Estampes des plus grands Maîtres Italiens, Flamands & François, de divers Recueils d’Estampes, d’Architecture de différents Maîtres, & autres Traités sur les Arts, dépendants de la succession de M. Mariette, Contrôleur de la Grande-Chancellerie de France, Honoraire Amateur de l’Académie Royale de Peinture & Sculpture, & de l’Académie de Florence, Dont la vente commencera le 1er Février 1775…& jours suivans…Par F. Basan, graveur.
Catalogue d’Estampes des plus grands Maîtres Italiens, Flamands & François, de divers Recueils d’Estampes, d’Architecture de différents Maîtres, & autres Traités sur les Arts, dépendants de la succession de M. Mariette, Contrôleur de la Grande-Chancellerie de France, Honoraire Amateur de l’Académie Royale de Peinture & Sculpture, & de l’Académie de Florence, Dont la vente commencera le 1er Février 1775…& jours suivans…Par F. Basan, graveur.
Catalogue d’Estampes des plus grands Maîtres Italiens, Flamands & François, de divers Recueils d’Estampes, d’Architecture de différents Maîtres, & autres Traités sur les Arts, dépendants de la succession de M. Mariette, Contrôleur de la Grande-Chancellerie de France, Honoraire Amateur de l’Académie Royale de Peinture & Sculpture, & de l’Académie de Florence, Dont la vente commencera le 1er Février 1775…& jours suivans…Par F. Basan, graveur.
Catalogue d’Estampes des plus grands Maîtres Italiens, Flamands & François, de divers Recueils d’Estampes, d’Architecture de différents Maîtres, & autres Traités sur les Arts, dépendants de la succession de M. Mariette, Contrôleur de la Grande-Chancellerie de France, Honoraire Amateur de l’Académie Royale de Peinture & Sculpture, & de l’Académie de Florence, Dont la vente commencera le 1er Février 1775…& jours suivans…Par F. Basan, graveur.

The Mariette Art Collection

Catalogue d’Estampes des plus grands Maîtres Italiens, Flamands & François, de divers Recueils d’Estampes, d’Architecture de différents Maîtres, & autres Traités sur les Arts, dépendants de la succession de M. Mariette, Contrôleur de la Grande-Chancellerie de France, Honoraire Amateur de l’Académie Royale de Peinture & Sculpture, & de l’Académie de Florence, Dont la vente commencera le 1er Février 1775…& jours suivans…Par F. Basan, graveur.

Added engraved title-page (by J.M. Moreau le jeune). viii, 79 pp. 8vo, polished green vellum over boards. Paris: Basan & Chariot, 1775.

[bound with]:

(—). Supplément au Catalogue des Estampes de la succession de feu M. Mariette, dont la vente a commencé le premier Février dernier, & laquelle continuera en Mai prochain, après la vente de Bibliothèque, qui finira le treize [May 1775]. 23 pp. 8vo. [Paris: 1775].

[bound with]:

(—). [From engraved title-page]: Catalogue raisonné des différens objets de curiosités dans les Sciences et Arts, qui composaient le Cabinet de feu Mr. Mariette…Par F. Basan, graveur. [15 November, 1775–30 January, 1776]. Five engraved plates (one double-page). xvi, 418 pp. 8vo. [From the engraved title]: Paris: Basan, 1775.

Special copies of the three momentous catalogues of the entire art collection of Mariette (1694-1774), each priced throughout in a contemporary hand and with buyers’ names. These catalogues, bound together here in fine green vellum, present valuable information on French art collecting in the second half of the 18th-century. Mariette, the celebrated print dealer, publisher, writer, expert, and collector, was one of the great art connoisseurs of his time. “His special interest was provenance, and his 1741 sale catalogue of the Crozat collection was the first to use provenances to verify attributions and the first to place the individual works within their time, defining their specific characteristics and comparing them to other works of art…

“Mariette’s will stipulated that his collections be sold and the proceeds shared by his wife and four children. Louis XVI was offered the collection, but his offer of 300,000 livres was refused by the family, and the collections were sold at auction in Paris in 1775-76. Among the buyers were the Crown (1000 drawings now in the Louvre), Louis François, Prince de Conti, Paul Randon de Boisset, and other notable collectors, French and foreign” (Grove).

I. “[He] owned an important collection of engravings, many of them inherited from other family members. There were approximately 1300 prints by Callot and over 400 by Rembrandt, a copy of van Dyck’s Iconography, and engravings after portraits. He had a valuable library of art books…” (Grove).

This catalogue describes 811 lots of French, Italian, and Flemish prints and books of prints and 164 lots of books. Fully priced and annotated throughout in a contemporary hand with buyers’ names.

II. The supplement to the previous sale which describes 300 lots of prints and several objets d’art.

III. “As a collector, Mariette lacked the great wealth of his predecessors Jabach or Crozat, many of whose drawings entered his collection, but distinguished himself by the consistently high quality of his drawings, which he selected after a critical study of their attributions, based partially on provenance. He preferred, if the choice had to be made, exceptional works by secondary artists to secondary works by famous artists; but he nevertheless owned important drawings by Raphael and Michelangelo, including the latter’s drawing of his own hand (Louvre). At the time of his death, Mariette owned over 3400 mounted drawings and approximately 6000 drawings in portfolios. He especially admired Italian art but also had 1000 French drawings including fine works by Claude Lorrain and Poussin, as well as his own contemporaries, 16 drawings by Dürer, including the Small Owl (Albertina), and works by Rubens, van Dyck, and Velazquez” (Grove).

This encyclopedic catalogue begins with a finely executed allegorical engraving by Choffard and Cochin fils that depicts a bust of Mariette surrounded by the angelic personifications of art and taste. There is then a detailed biography of Mariette, followed by a summary of the sale and a very useful index of artists. Herein are described 1450 lots of paintings (by A. van de Velde, Teniers, Brouwer, Rubens, van Dyck, Poussin, Bourdon, Watteau & Greuze), terracotta, medals, sculpture, and drawings. More than 1300 drawings are detailed, by or after artists such as Carracci, Castiglione, Maratti, Michelangelo (under Buonarroti) Palladio, J.P. Panini, Raphael, Tiepolo, Vasari, Titian, the Breughels, Both, Bril, Cranach, Dürer, van Dyck, Goltzius, Goyen, Holbein, Hollar, Lairesse, Rembrandt, Rubens, Ruysdael, Visscher, Wouwerman, Amand, Boissieu, Bouchardon, Bourdon, Callot, C. Lebrun, S. le Clerc, the Coypels, Fragonard, Greuze, Mariette, Natoire, Oudry, Parrocel, Poussin, van Loo, Watteau, etc., etc. The second portion of this sale [p. 222-418], with a separate numeration, describes Mariette’s vast collection of prints and books of prints. Four of the works described are reproduced with detailed engravings.

It is clear from the names of the buyers that Mariette’s contemporaries greatly respected his taste. The foremost experts of the time, Paillet (usually bidding on behalf of the King), Basan, Piauger, Lebrun, Rémy and Joullain purchased a large number of the lots. Private collectors and institutions such as the Prince de Conti, Julien de Parme, Strange, Motte, and the Louvre, etc. also grasped this singular opportunity to acquire rare and important pieces. For example, the Bibliothèque royale purchased several hundred prints at the sale.

Fine copies of these sale catalogues, containing enormous amounts of information important in art history and provenance research.

❧ I. Lugt 2356. II. Lugt 2417. III. Benezit, Vol. 9, pp. 1280-1282 (Moreau [1741-1814])–“In 1790, he replaced Cochin as Draughtsman to the Cabinet du Roi…he was approved by the Académie…on 25 April 1789. Moreau exhibited a vast number of drawings at the Salon from 1781 to 1810…” Grove Art online (Mariette)–“He had…a few paintings, among which were Watteau’s Shepherds (Schloss Charlottenburg) and Poussin’s Bacchanal (National Gallery-London). His numerous sculptures included 20 terracotta models by his friend Edme Bouchardon, by whom he also owned drawings.” Lugt 2453. For more information on Mariette and these sales, see Blanc, Trésor de la Curiosité, Vol. I, pp. 262-304, & Guichard, Les Amateurs d’Art, A Paris au XVIIIe Siècle.

Price: $5,500.00

Item ID: 6390