Study of Valet with Coffee Pot

CC0 Public Domain Designation

Prints and Drawings

c. 1739

François Boucher
French, 1703-1770

Status: Currently Off View
Department: Prints and Drawings

Artist: François Boucher
Title: Study of Valet with Coffee Pot
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1734–1744
Medium: Red chalk, with black chalk, and touches of graphite, heightened with white chalk, on buff laid paper
Dimensions: 34.6 × 19.5 cm (13 5/8 × 7 11/16 in.)
Credit Line: Helen Regenstein Collection
Reference Number: 1959.183
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/10053/manifest.json

E. and L. de Goncourt, L’Art du Dix-Huitième Siècle, I (Paris, 1880), p. 199.
André Michel, François Boucher (Paris, 1906), no. 1279.
Art Quarterly, XXIII (Spring 1960), p. 110 (ill).
Galerie Cailleux, François Boucher (Paris, 1964).
Jean Vallery-Radot, French Drawings from the 15th to the early 19th Century (New York, 1964), no. 54 (ill.).
Victor Carlson, “Three Drawings by François Boucher,” Master Drawings, IV (1966), p. 157-163 (ill.).
Harold Joachim, French Drawings and Sketchbooks of the 18th Century (Chicago, 1977), no. 1A8.

New York, Wildenstein and Company, “Master Drawings from The Art Institute of Chicago,” October 17-November 30, 1963, n.p., cat. 47.
The Art Institute of Chicago, “The Helen Regenstein Collection of European Drawings,” 1974, pp. 64-65, cat. 31 (ill.), cat. by Harold Joachim.
Washington, D.C., The National Gallery of Art, “François Boucher in North American Collectons: 100 Drawings,” December 23, 1973-March 17, 1974, cat. 36; traveled to The Art Institute of Chicago, April 4-May 12, 1974.
The Art Institute of Chicago, “Selected Works of 18th Century French Art in the Collections of The Art Institute of Chicago,” January 24-March 28, 1976, pp. 52-53, cat. 40 (ill.).
Paris, Musée du Louvre, “Dessins français de l’Art Institute de Chicago de Watteau à Picasso,” October 15, 1976-January 17, 1977, n.p., cat. 7 (ill.).
Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 24-25, cat. 7 (ill.).
New York, Wildenstein and Company, “François Boucher,” November 11-December 19, 1980, cat. 46.
The Art Institute of Chicago, “The Helen Regenstein Collection of European Drawings,” 1974, pp. 64-65, cat. 31 (ill.), cat. by Harold Joachim.
The Art Institute of Chicago, August 1988-June 1990.
New York, The Frick Collection, “Watteau and His World: French Drawing from 1700-1750,” October 19, 1999-January 9, 2000, cat. 52.
New York, The Frick Collection, “The Drawings of François Boucher,” October 8-December 14, 2003, p. 125, cat. 41 (ill. p. 32), cat. by Alastair Laing; traveled to the Kimbell Museum of Art, Fort Worth, Tex., January 25-April 18, 2004.

Louis-Pierre-Martin Norblin de la Gourdaine (died 1830), Paris [according to Slatkin invoice]; by descent to Madame la Baronne de Connantre (or Connaitre?) [according to Slatkin]; by descent to Baronne de Ruble [according to Slatkin]; by descent to Madame de Witte [according to Slatkin]; by descent to Marquise de Bryas [according to Slatkin]. M. Cailleux, Paris [according to Chicago 1974]. Sold by Charles E. Slatkin Gallery, New York, to the Art Institute, 1959.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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