Gabriel Jacques de Saint-Aubin Sold at Auction Prices

b. 1724 - d. 1780

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  • Gabriel de Saint-Aubin, 1724 Paris - 1780, zug.
    Jun. 28, 2013

    Gabriel de Saint-Aubin, 1724 Paris - 1780, zug.

    Est: €800 - €1,200

    Gabriel de Saint-Aubin, 1724 Paris - 1780, zug. SCHLACHT AM FUSSE EINES MONUMENTS Braune und schwarze Tusche auf Papier, laviert. 23,7 x 21,4 cm. Verso alte Inventarnummern und bezeichnet "Gabriel St. Aubin". Im Passepartout. Um ein hohes Götterdenkmal (?) tobt eine Schlacht. Verwundete und Tote liegen auf den Stufen des Monuments. Krieger befinden sich im Kampf. Rechts hebt eine Frau flehend einen Arm zu der Statue des Thronenden. Die umstehenden Gebäude scheinen teils in Flammen zu stehen, deren Rauch den Himmel verdunkelt. Schöne, meisterliche Zeichnung. (930974)

    Hampel Fine Art Auctions
  • Gabriel Jacques de Saint-Aubin (Zugeschrieben), 1724 - Paris - 1780
    Jun. 06, 2013

    Gabriel Jacques de Saint-Aubin (Zugeschrieben), 1724 - Paris - 1780

    Est: - €1,200

    Gabriel Jacques de Saint-Aubin (Zugeschrieben) 1724 - Paris - 1780 Ein Engel überbringt einer Märtyrerin den Lorbeerkranz Feder in Braun. 16,2 : 11,1 cm. Die Szene spielt in einer groß angelegten Architektur. Die zierliche u. elegante Gestalt der Märtyrerin liegt angekettet auf einem Lager. Von rechts kommt in einer Wolke der Engel mit Kranz u. Märtyrerpalme, im Hintergrund Figuren. - Auf Bütten mit Rest eines Wz. - Die rückseitig gegenseitig sichtbare Zeichnung wohl von anderer Hand mit Feder teils nachgezogen. - Zuschreibung von alter Hand. (207)

    Hauswedell-Nolte
  • Gabriel de Saint-Aubin , Paris 1724 -1780 Un chemin dans les bois de Belleville Pierre noire, plume et encre brune, lavis brun
    Mar. 25, 2009

    Gabriel de Saint-Aubin , Paris 1724 -1780 Un chemin dans les bois de Belleville Pierre noire, plume et encre brune, lavis brun

    Est: €4,000 - €6,000

    Signé, daté et localisé en bas à gauche: G. de S. aubin f. 1778 a Belle Ville Pierre noire, plume et encre brune, lavis brun

    Sotheby's
  • Gabriel-Jacques de Saint-Aubin (Paris 1724-1780)
    Jul. 09, 2002

    Gabriel-Jacques de Saint-Aubin (Paris 1724-1780)

    Est: $109,200 - $156,000

    A group of designs for the engraved panels of gold and silver boxes: 1. A woman in a landscape looking into a mirror ; signed and dated 'G. de S taubin inv. 1751.'; 69 x 90 mm. 2. Musical instruments in a landscape ; signed 'de S t aubin inv.'; 27 x 54 mm. 3. idem ; 26 x 65 mm. 4. idem ; 29 x 65 mm. 5. idem ; 29 x 54 mm. 6. A shepherdess by a watermill ; signed and dated 'de S t aubin 1761'; 59 x 81 mm. 7. A seated putto ; 62 x 82 mm. 8. A putto crowning another ; inscribed 'devant'; 40 x 63 mm. 9. Putti drawing arrows from a quiver ; 39 x 85 mm. 10. Putti sharpening arrows ; inscribed 'derier'; 38 x 85 mm. 11. Putti drawing arrows from a quiver ; 40 x 64 mm. 12. A sleeping putto ; 63 x 83 mm. 13. A gentleman declaring his love to a shepherdess ; in an inscribed circle; 80 x 75 mm. 14. A woman at a harpsichord in a landscape ; 54 x 63 mm. 15. Apollo crowning a seated woman reading a book ; signed 'gabriel de S t aubin inv.'; 53 x 64 mm. 16. A woman at a harpsichord ; signed 'gabriel de S t aubin inv.'; 54 x 63 mm. 17. Putto playing in a landscape ; signed 'g de S t aubin inv.'; in an inscribed oval; 63 x 79 mm. 18. Two river goddesses by a river ; 63 x 85 mm. 19. A woman writing at a table in a landscape ; 34 x 59 mm. 20. A woman reading in a landscape ; 33 x 78 mm. 21. A woman reading in a landscape ; 34 x 80 mm. 22. A woman doing embroidery in a landscape ; 34 x 59 mm. 23. A woman writing a letter on the breasts of another ; 65 x 84 mm. 24. A figure dancing in a Turkish building ; 65 x 85 mm. 25. A putto in a laboratory ; 41 x 55 mm. 26. Figures playing music (possibly by a different hand); 38 x 59 mm. 27. A woman giving fruit to a boy (possibly by a different hand); 38 x 53 mm. 28. A man by a cottage, with a woman feeding peacocks at which a putto is aiming his bow ; 40 x 53 mm. 29. A couple hunting deer ; 59 x 80 mm. with inscription 'Dessins de G. de S t. Aubin pour la d‚coration de bo‰tes d'orfŠvrerie' in a cartouche on the mount pen and grey ink, grey wash, heightened with white (25, 28 and 29) (mount) 23 1/8 x 30 1/8 in. (588 x 766 mm.) in an 18th Century French frame (29) PROVENANCE with Marius Paulme. G. Dormeuil (L. 1146a). LITERATURE E. Dacier, Gabriel de Saint-Aubin, Paris and Brussels, 1931, nos. 847-858. EXHIBITION Paris, Hotel Charpentier, Exposition des Saint-Aubin, 1925, no. 56. NOTES Having failed to win the Prix de Rome three times, Saint-Aubin turned away from the Academy and in addition to larger paintings began to produce designs for the decorative arts at the direction of marchands-merciers. His almost manic desire to draw was famous - Greuze refered to it as the 'priapism of draughtsmanship' - and the constant invention required to feed the Parisian market for fashionable baubles provided a ready outlet. The designs in the present lot, a remarkable survival given the rough treatment that transferring the designs onto an engraved surface necessarily entailed, show Saint-Aubin's enjoyment of subtle and not so subtle play with images. Three of the columns of drawings show complete designs for the top, four sides and base of a complete box. Five other drawings for boxes were in the sale of the collection of the Marquis de Biron in 1914, E. Dacier, op. cit., nos. 842-6.

    Christie's
  • Gabriel-Jacques de Saint-Aubin (Paris 1724-1780)
    Apr. 11, 2002

    Gabriel-Jacques de Saint-Aubin (Paris 1724-1780)

    Est: $14,300 - $21,450

    Portrait of King Louis XVI as Dauphin black chalk and black lead, watermark fleur-de-lys and M 279 x 217 mm. PROVENANCE A. Beurdeley (L. 421); Paris, 13-15 March 1905, lot 223, as a portrait of Madame de Choiseul (555 fr. to Lemoine). Anonymous sale; Christie's, London, 11 April 1978, lot 143 (to Dreesmann). Dr Anton C.R. Dreesmann (inventory no. B-59). LITERATURE E. Dacier, Gabriel de Saint-Aubin, peintre, dessinateur et graveur (1724-1780), II, Paris, 1931, no. 265 (as a 'Portrait de Femme'). EXHIBITION Paris, Exposition de la Ville de Paris, 1900. NOTES The sitter of this portrait has traditionally been identified as Queen Marie-Antoinette or the duchesse de Choiseul. However, Alastair Laing, in a letter dated 12 January 2002, has pointed out that the attributes and symbols more closely relate to the Dauphin, later King Louis XVI. Mr Laing notes that this image of the Dauphin dressed in riding attire, his hair held in a catogan, is an early study for the drawing formerly in the Goncourt Collection, E. Dacier, op. cit., no. 212, and E. Launay, Les frŠres Goncourt collectionneurs de dessins, Paris, 1991, no. 291, fig. 50. Mr Laing suggests a date of 1770 for the project, by deduction from the medal of King Louis IX, since that year was the 500th Anniversary of the Saint-King's death. It was also the year that the sixteen-year-old Dauphin married Marie-Antoinette of Austria, the sitter for the pendant portrait to the finished version, E. Dacier, op. cit., no. 219. The portrait of the Dauphine was engraved by Dambrun and published by Croissy in 1770 and again in 1776, with alterations for her accession to the throne as King Louis XVI's consort. The portrait of the Dauphin does not appear to have been engraved. In the present drawing, the Dauphin is flanked by a tiller symbolising wise government, and a yoke and plough, symbolising peace and prosperity. The tiller is inscribed with the name of Etienne Fran‡ois, duc de Choiseul, who was the King's leading minister from 1758 to 1770, while a cartouche in the lower left is inscribed 'Le duc de La Vauguyon', referring to the Dauphin's tutor. A study in the Statens Museum for Kunst, Copenhagen, shows an intermediate design for the lower section, in which the reference to Choiseul has been removed, possibly due to his fall from favour in 1770 resulting from the machinations of Madame Du Barry, E. Dacier, op. cit., no. 78. In the Copenhagen drawing King Louis IX is replaced by Triptolemus, King of Eleusis, who was taught the mysteries of agriculture by Ceres. This refers to the Dauphin's alleged interest in farming which led to him being dubbed 'Le nouveau TriptolŠme', as recorded in number of popular prints of the period, E. Dacier, op. cit., II, p. 14.

    Christie's
  • Attributed to Gabriel-Jacques de Saint-Aubin (Paris 1724-1780)
    Oct. 26, 2001

    Attributed to Gabriel-Jacques de Saint-Aubin (Paris 1724-1780)

    Est: $15,000 - $20,000

    A seated lady wearing a feathered hat in profile to the left, bust length black and white chalk 180 x 240 mm. PROVENANCE J. Masson (L. 1694a); sale, Galerie Georges Petit, Paris, 7-8 May 1923, lot 215. LITERATURE E. Dacier, Gabriel de Saint-Aubin, Paris, 1931, vol. II, no. 267* (where the attribution to Saint-Aubin is rejected). EXHIBITION Boston, Fogg Art Museum, on loan (no. 11371).

    Christie's
  • Gabriel-Jacques de Saint-Aubin (1724-1780)
    Jul. 10, 2001

    Gabriel-Jacques de Saint-Aubin (1724-1780)

    Est: $11,280 - $16,920

    Elegant figures leaving the Colis‚e, Paris black chalk, extended at the left edge 117 x 174 mm. NOTES The Colis‚e was designed as a public arena for concerts, exhibitions, balls, fireworks and naval spectacles. Built by the architect Le Camus between 1769 and 1771, it occupied the area bounded by the rue du Colis‚e, the Faubourg Saint-Honor‚, avenue Matignon and the Champs-Elys‚es. The entrance of the building was on the Champs-Elys‚es and consisted of a large courtyard covered in sand. Going through a series of vestibules, the visitor entered a large rotunda sixty feet in diameter spanned by a dome. Beyond the rotunda was the last courtyard, as depicted in the present drawing, a vast semicircular colonnade in the Tuscan order. A pool intended for naval battles, visible on the right of the drawing, was dug in the middle of the courtyard. The Colis‚e remained open for scarcely ten years. In 1772, immediately after its construction, Saint-Aubin drew a number of interior and exterior views of the Colis‚e. An album of sixteen sheets dated 1772 which depict almost the entire complex, including the rear courtyard, was recorded by Emile Dacier as in the David-Weill collection in 1929, E. Dacier, Gabriel de Saint-Aubin, peintre, dessinateur et graveur, Paris and Brussels, II, 1931, no. 497, the rear courtyard illustrated pl. XVIII). Further drawings of the Colis‚e are in the Wallace Collection, the Louvre, the British Museum and formerly in the Koenigs Collection, E. Dacier, op. cit., nos. 498-504.

    Christie's
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