PAST EXHIBITION

Home  ›  Exhibitions  ›  Don Quixote

Complete Checklist

  • Don Quixote on a horse with allegorical figure, maid, and windmill in background

    Louis Surugue père (French, 1686–1762)
    after Charles Coypel (French, 1694–1752)
    Don Quixote, Led by Folly, Sets Out from His Home to Become a Knight Errant
    1723–24
    Engraving 
    Plate: 12 5/8 x 12 3/8 in. (32.1 x 31.4 cm)
    The Hispanic Society of America, New York (LQ 1679)

  • Painting of Don Quixote at an outdoor table with girls from the Inn

    Charles Coypel (French, 1694–1752)
    Don Quixote Served by the Girls of the Inn
    1751
    Oil on canvas
    22 7/8 x 28 3/8 in. (58 x 72 cm)
    Musée Jacquemart-André, Paris— Institut de France (MJAP-P2379)

    Provenance: Probably Charles Coypel, Paris, until 1753 (postmortem sale of the painter, March 27 and following days, 1753, lot 167). Marquis de Véri, Paris, until 1785 (auction sale on December 12, 1785, lot 6). F. de Villars, Paris, until 1868 (auction sale on March 13, 1868, lot 23). Mr. and Mrs. Edouard André, 1886 (acquired in London from Henri Eyre). Given in 1913 with the rest of their collection to the Institut de France.
  • Engraving of Don Quixote Receiving the Order of Knighthood from the Innkeeper

    Charles-Nicolas Cochin père (French, 1688–1754)
    after Charles Coypel (French, 1694–1752)
    Don Quixote Believes He Is Receiving the Order of Knighthood at the Inn
    1724
    Engraving
    Plate: 12 5/8 x 12 3/8 in. (32.1 x 31.4 cm)
    The Hispanic Society of America, New York (LQ 1680)

  • Engraving of Don Quixote wearing the barber's basin as a helmet with Sancho laughing

    Louis Surugue père (French, 1686–1762)
    after Charles Coypel (French, 1694–1752)
    Don Quixote Mistakes the Basin of a Barber for the Helmet of Mambrino
    1723–24
    Engraving
    Plate: 13 1/8 x 12 1/2 in. (33.3 x 31.8 cm)
    The Hispanic Society of America, New York (LQ 1681)

  • Engraving of Don Quixote standing and Sancho riding a wooden horse

    Bernard Picart (French, 1673–1733)
    after a post-1726 engraving by Simon-François Ravenet l’aîné (French, 1706–1774)
    after Charles Coypel (French, 1694–1752)
    Sancho Awakes in Despair at not Finding His Beloved Grison
    1746
    Engraving
    Plate: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm)
    Plate 6 of De voornaamste gevallen van den wonderlyken Don Quichot 
    (The Hague: Pieter de Hondt, 1746) 
    The Hispanic Society of America, New York (98890)

  • Engraving of Dorotea Dressed as a Shepherd by a river, surprised by the Priest and Cardenio

    Bernard Lépicié (French, 1698−1755)
    after Charles Coypel (French, 1694–1752)
    The Priest and Cardenio Surprise Dorotea Dressed as a Shepherd
    after 1734
    Engraving
    Plate: 12 3/4 x 14 in. (32.4 x 35.6 cm)
    The Hispanic Society of America, New York (LQ 1683)

  • Painting depicting a restrained, asleep Don Quixote fighting wineskins

    Charles Coypel (French, 1694–1752)
    Asleep, Don Quixote Fights the Wineskins
    1716
    Oil on canvas
    48 x 50 3/8 in. (122 x 128 cm)
    Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3560)

    Provenance: Gobelins Tapestry Manufactory, from 1716 to 1823. Musée du Louvre, from 1823 to 1832. Château de Compiègne, from 1832 to 1846. Musée du Louvre, from 1846 to 1849. Château de Compiègne, from 1849 to 1939. Chambord, between 1939 and 1946. Château de Compiègne, from 1946 (except when restored at the Musée du Louvre between 1977 and 1981).

  • Engraving of The False Princess Micomicona Pleading with Don Quixote to be Restored to the Throne

    Louis Surugue père (French, 1686–1762)
    after Charles Coypel (French, 1694–1752)
    The False Princess Micomicona Pleas with Don Quixote to be Restored to the Throne
    1723–24
    Engraving
    Plate: 12 11/16 x 12 1/4 in. (32.1 x 31.1 cm)
    The Hispanic Society of America, New York (LQ 1684)

  • Engraving of Don Quixote hanging from window bars in front of men on horses and Maritornes

    François Joullain (French, 1697–1778)
    after Charles Coypel (French, 1694–1752)
    Don Quixote Bound to the Window by the Mischief of Maritornes
    1724
    Engraving
    Plate: 13 x 12 3/8 in. (33 x 31.4 cm)
    The Hispanic Society of America, New York (LQ 1685)

  • Engraving of three peasant women, Sancho laughing, and Don Quixote kneeling

    Bernard Picart (French, 1673–1733)
    after an engraving by Jean-Baptiste Haussard (French, ca. 1679–1749)
    made ca. 1723−24 after Charles Coypel (French, 1694–1752)
    Sancho Tricks Don Quixote into Mistaking a Peasant Girl for Dulcinea
    1776
    Engraving
    Plate: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm)
    Plate 10 of Les principales aventures de l’admirable Don Quichotte
    (Liege: Jean-François Bassompierre, 1776)
    The Hispanic Society of America, New York (7682a)

  • Engraving of Don Quixote defeating the Bachelor Sansón Carrasco

    Charles-Nicolas Silvestre (French, 1700–1767)
    after Charles Coypel (French, 1694–1752)
    The Bachelor Sansón Carrasco Is Vanquished by Don Quixote
    1723–24
    Engraving
    Plate: 12 1/8 x 12 1/2 in. (30.8 x 31.8 cm)
    The Hispanic Society of America, New York (LQ 1687)

  • Tapestry with an outdoor wedding scene

    Workshop of Peter van den Hecke (Flemish, 1680–1752)
    after Philippe de Hondt (Flemish, 1683–1741)
    Arrival of the Shepherdesses at the Wedding of Camacho
    1730–45 (before 1748)
    Wool and silk
    10 ft. 3 in. x 18 ft. 3 in. (313 x 555.2 cm)
    Signed, lower right: p. van.den.hecke [with both n’s in reverse]
    The Frick Collection, New York (1965.10.20)

    Provenance: French royal collection, Paris, recorded in 1749. Possibly collection of the Vicomte de Fontarce, Paris, ca. 1900. Hubert Mersmann, Los Martines, Granada, Spain. Henry Clay Frick, 1909. Childs Frick, Roslyn, New York. Bequeathed by him in 1965.

  • Engraving of allegorical figures in front of a stage set, Don Quixote and Sancho watch in foreground

    Pierre Tanjé (French, 1706–1761)
    after an engraving by Marie-Magdeleine Horthemels (French, 1687–1774)
    made ca. 1723−24
    after Charles Coypel (French, 1694–1752)
    The Entrance of Love and Treasure at the Wedding of Camacho
    1746
    Engraving
    Plate: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm)
    Plate 13 of De voornaamste gevallen van den wonderlyken Don Quichot
    (The Hague: Pieter de Hondt, 1746)
    The Hispanic Society of America, New York (98826)

  • Engraving of Don Quixote and Camacho with swords drawn and Quiteria holding Basilio

    Nicolas-Dauphin de Beauvais (French, 1687–1763)
    after Charles Coypel (French, 1694–1752)
    Don Quixote Protects Basilio, Who Tricks Quiteria into Marrying Him
    1723–24
    Engraving
    Plate: 12 3/8 x 12 5/8 in. (31.4 x 31.1 cm)
    The Hispanic Society of America, New York (LQ 1690)

  • Engraving of Don Quixote Mistaking Puppets for Moors becase he Believes He Is Rescuing Two Runaway Lovers

    François de Poilly le jeune (French, 1671–1723)
    after Charles Coypel (French, 1694–1752)
    Don Quixote Mistakes Puppets for Moors and Believes He Is Rescuing Two Runaway Lovers
    1723
    Engraving
    Plate: 12 x 12 in. (30.5 x 30.5 cm)
    The Hispanic Society of America, New York (LQ 1691)

  • Engraving of Sancho on foot asking the Duchess to Grant Don Quixote Permission to See Her

    Jacob van der Schley (Dutch, 1715–1779)
    after a 1723 engraving by Louis Surugue père (French, 1686–1762)
    after Charles Coypel (French, 1694–1752)
    Sancho Panza Asks the Duchess to Grant Don Quixote Permission to See Her
    1776
    Engraving
    Plate: 8 1/2 x 6 1/2 in. (21.6 x 16.5 cm)
    Plate 16 of Les principales aventures de l’admirable Don Quichotte
    (Liege: Jean-François Bassompierre, 1776)
    The Hispanic Society of America, New York (7682b)

  • Engraving of Don Quixote being dressed by the Duchess’s Damsels

    Louis Surugue père (French, 1686–1762)
    after Charles Coypel (French, 1694–1752)
    Don Quixote Is Served by the Duchess’s Damsels
    1724
    Engraving
    Plate: 13 1/8 x 13 3/4 in. (33.3 x 34.9 cm)
    The Hispanic Society of America, New York (LQ 1693)

  • Tapestry of dogs and people hunting a boar and Sancho climbing a tree, all framed by a red, gold, and floral border

    Gobelins Tapestry Manufactory (French)
    under the direction of Michel Audran (French, 1701–1771) "
    and his son Jean Audran fils (French, d. 1794)
    Main scene after Charles Coypel (French, 1694–1752)
    Alentour after Claude Audran III (French, 1658–1734),
    Jean-Baptiste Belin de Fontenay fils (French, 1668–1730),
    and Alexandre-François Desportes (French, 1661–1743) 
    The Cowardice of Sancho at the Hunt
    1772
    Wool and silk; modern cotton support straps and lining
    12 ft. 1 in. x 13 ft. 4 in. (368 x 406 cm)
    Signed, lower right corner of field: audran; lower right corner of border: audran.g.1772 [the “2” woven sideways]
    The J. Paul Getty Museum, Los Angeles (82.DD.69)

    Provenance: Given by Louis XVI on August 20, 1786 to Albert and Marie-Christine (sister of Queen Marie-Antoinette), Duke and Duchess of Saxe-Teschen and Joint Governors of the Austrian Netherlands. By descent to Karl Ludwig Johann Joseph Lorenz, Duke of Teschen, 1822. By descent to Albrecht Friedrich Rudolf, Duke of Teschen, 1847. By descent to Friedrich Maria Albrecht Wilhelm Karl, Duke of Teschen, Schloss Halbturn, Burgenland, Austria, 1895 (removed to London, 1936). Alice Bucher, Lucerne, Switzerland (offered for sale, Sotheby’s, London, December 8, 1967, lot 1). Galerie Römer, Zurich, 1981. Sold Sotheby’s, Monaco, June 14, 1982, lot 571. J. Paul Getty Museum, 1982.
  • Painting of The Distressed Countess Trifaldi, Afflicted by Her Beard, Imploring Don Quixote to Avenge Her

    Charles Coypel (French, 1694–1752)
    The Distressed Countess Trifaldi, Afflicted by Her Beard, Implores Don Quixote to Avenge Her
    probably 1716
    Oil on canvas
    48 3/8 x 51 in. (123 x 130 cm)
    Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3575)

    Provenance: Gobelins Tapestry Manufactory, probably from 1716 to 1823. Musée du Louvre, from 1823 to 1832. Château de Compiègne, from 1832 to 1846. Musée du Louvre, from 1846 to 1849. Château de Compiègne, from 1849 to 1939. Chambord, between 1939 and 1946. Château de Compiègne, from 1946 (except when restored at the Musée du Louvre in 1977–78).
  • Engraving of Don Quixote and Sancho Ride a Wooden Horse through an Imaginary Sky before the court

    Nicolas-Henri Tardieu (French, 1674–1749)
    after Charles Coypel (French, 1694–1752)
    Don Quixote and Sancho Ride a Wooden Horse through an Imaginary Sky to Avenge the Distressed Countess Trifaldi
    after 1724
    Engraving
    Plate: 12 7/8 x 13 5/8 in. (32.7 x 34.6 cm)
    The Hispanic Society of America, New York (LQ 1696)

  • Tapestry of people wishing Sancho well as he departs for the Island of Barataria

    Workshop of Peter van den Hecke (Flemish, 1680–1752)
    after Philippe de Hondt (Flemish, 1683–1741)
    Sancho Departs for the Island of Barataria
    1730–45 (before 1748)
    Wool and silk
    10 ft. 4 in. x 19 ft. 5 in. (314.6 x 591.2 cm)
    Signed, lower right: p.van.den.hecke [with both n’s in reverse]
    The Frick Collection, New York (1965.10.21)

    Provenance: French royal collection, Paris, recorded in 1748. Possibly collection of the Vicomte de Fontarce, Paris, ca. 1900. Hubert Mersmann, Los Martines, Granada, Spain. Henry Clay Frick, 1909. Childs Frick, Roslyn, New York. Bequeathed by him in 1965.
  • Tapestry of Sancho arriving on the Island of Barataria with townspeople framed by a red, gold, and floral border

    Gobelins Tapestry Manufactory (French)
    under the direction of Michel Audran (French, 1701–1771)
    and his son Jean Audran fils (French, d. 1794)
    Main scene after Charles Coypel (French, 1694–1752)
    Alentour after Claude Audran III (French, 1658–1734),
    Jean-Baptiste Belin de Fontenay fils (French, 1668–1730),
    and Alexandre-François Desportes (French, 1661–1743)
    Sancho Arrives on the Island of Barataria
    1772
    Wool and silk; modern cotton support straps and lining
    12 ft. 1 in. x 13 ft. 7 in. (368 x 414 cm)

    Signed, lower right corner of field: audran; lower right corner of border: audran.g. 1772 The J. Paul Getty Museum, Los Angeles (82.DD.68)
     
    Provenance: Given by Louis XVI on August 20, 1786 to Albert and Marie-Christine (sister of Queen Marie-Antoinette), Duke and Duchess of Saxe-Teschen and Joint Governors of the Austrian Netherlands. By descent to Karl Ludwig Johann Joseph Lorenz, Duke of Teschen, 1822. By descent to Albrecht Friedrich Rudolf, Duke of Teschen, 1847. By descent to Friedrich Maria Albrecht Wilhelm Karl, Duke of Teschen, Schloss Halbturn, Burgenland, Austria, 1895 (removed to London, 1936). Alice Bucher, Lucerne, Switzerland (offered for sale, Sotheby’s, London, December 8, 1967, lot 1). Galerie Römer, Zurich, 1981. Sold Sotheby’s, Monaco, June 14, 1982, lot 571. J. Paul Getty Museum, 1982.
  • Engraving of Sancho sitting on a throne with columns and judging two men

    François Joullain (French, 1697–1778)
    after Charles Coypel (French, 1694–1752)
    The Memorable Judgment of Sancho
    ca. 1731
    Engraving
    Plate: 13 1/4 x 13 7/8 in. (33.7 x 35.2 cm)
    The Hispanic Society of America, New York (LQ 1699)

  • Engraving of Sancho dining on an empty table, surrounded by citizens of Bataria and a wizard

    Nicolas-Dauphin de Beauvais (French, 1687–1763)
    after Charles Coypel (French, 1694–1752) 
    Sancho Dines on the Island of Barataria
    1723–24
    Engraving
    Plate: 13 1/4 x 13 7/8 in. (33.7 x 35.2 cm)
    The Hispanic Society of America, New York (LQ 1700)

  • Engraving of Doña Rodríguez, Conversing in the Night with Don Quixote, Surprised by the Duchess’s Damsels

    Louis Surugue père (French, 1686–1762)
    after Charles Coypel (French, 1694–1752)
    Doña Rodríguez, Conversing in the Night with Don Quixote, Is Surprised by the Duchess’s Damsels
    1723–24
    Engraving
    Plate: 13 1/8 x 12 1/2 in. (33.3 x 31.8 cm)
    The Hispanic Society of America, New York (LQ 1701)

  • Painting of Don Quixote at Don Antonio Moreno’s Ball

    Charles Coypel (French, 1694–1752)
    Don Quixote at Don Antonio Moreno’s Ball
    1731
    Oil on canvas
    65 3/8 x 105 1/8 in. (166 x 268 cm)
    Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3566)

    Provenance: Gobelins Tapestry Manufactory, from 1731 to 1810. Musée du Louvre, from 1810 to 1832. Château de Compiègne, from 1832 to 1846. Musée du Louvre, from 1846 to 1849. Château de Compiègne, from 1849 to 1939. Chambord, between 1939 and 1946. Château de Compiègne, from 1946 (except when restored at the Musée du Louvre in 1976–78).
  • Painting of Don Quixote Consulting the Enchanted Head at the House of Don Antonio Moreno

    Charles Coypel (French, 1694–1752)
    Don Quixote Consults the Enchanted Head at the House of Don Antonio Moreno
    1732
    Oil on canvas
    62 1/4 x 71 7/8 in. (158 x 185 cm)
    Palais Impérial de Compiègne; long-term loan from the Musée du Louvre, Paris (3584)

    Provenance: Gobelins Tapestry Manufactory, probably from 1732 to 1823. Musée du Louvre, from 1823 to 1832. Château de Compiègne, from 1832 to 1846. Musée du Louvre, from 1846 to 1849. Château de Compiègne, from 1849 to 1939. Chambord, between 1939 and 1946. Château de Compiègne, from 1946 (except when restored at the Musée du Louvre in 1977–78).
  • Tapestry of Don Quixote and Sancho and figures of Folly by Wisdom with a red, gold, and floral border

    Gobelins Tapestry Manufactory (French)
    under the direction of Michel Audran (French, 1701−1771)
    and his son Jean Audran fils (French, d. 1794)
    Main scene after Charles Coypel (French, 1694–1752)
    Alentour after Claude Audran III (French, 1658−1734),
    Jean-Baptiste Belin de Fontenay fils (French, 1668−1730),
    and Alexandre-François Desportes (French, 1661−1743) 
    Don Quixote Delivered from Folly by Wisdom
    1773
    Wool and silk; modern cotton support straps and lining
    12 ft. 2 in. x 12 ft. 8 in. (370.8 x 386.1 cm)
    Signed, lower right corner of field: audran [the n incomplete]; lower right corner of border: audran.g. 1773
    The J. Paul Getty Museum, Los Angeles (82.DD.66)

    Provenance: Given by Louis XVI on August 20, 1786 to Albert and Marie-Christine (sister of Queen Marie-Antoinette), Duke and Duchess of Saxe-Teschen and Joint Governors of the Austrian Netherlands. By descent to Karl Ludwig Johann Joseph Lorenz, Duke of Teschen, 1822. By descent to Albrecht Friedrich Rudolf, Duke of Teschen, 1847. By descent to Friedrich Maria Albrecht Wilhelm Karl, Duke of Teschen, Schloss Halbturn, Burgenland, Austria, 1895 (removed to London, 1936). Alice Bucher, Lucerne, Switzerland (offered for sale, Sotheby’s, London, December 8, 1967, lot 1). Galerie Römer, Zurich, 1981. Sold Sotheby’s, Monaco, June 14, 1982, lot 571. J. Paul Getty Museum, 1982.

     

Facebook Twitter Threads