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Impressionisten & Moderne, Gemälde 19. und 20. Jahrhundert

critique, avec le

critique, avec le catalogue raisonné l’œeuvre du maître, Paris 1868. Charles Clément, Géricault. Étude biographique et critique, avec le catalogue raisonné l’œuvre du maître, 3. Ausgabe, Paris 1879. Léon Rosenthal, Les maîtres de l’Art. Géricault, Librairie de l’Art ancien et moderne, Paris 1905. Lorenz Eitner, Géricault’s Raft of the Medusa. London 1972. Josef Adolf Schmoll, Géricault Sculpteur. A propos de la découverte d'une statuette en plâtre d’un moribund, in: Bulletin de la Société de l’Histoire de l’Art Français, 1978, S. 319-343. Charles Clément, Géricault. Étude biographique et critique, avec le catalogue raisonné l’œeuvre du maître, Neuauflage mit Katalogergänzungen von Lorenz Eintner (reprinted, with catalogue supplement by Lorenz Eitner), New York 1974. Klaus Berger, Géricault and His Work, New York 1978. Philippe Grunchec, Tout l'ouvre peint de Géricault, Paris 1978. Philippe Grunchec, Tout l'ouvre peint de Géricault, Paris 1991. Lorenz Eitner, Gericault. His Life and Work, London 1983. Germain Bazin, Théodore Géricault. Étude critique, documents et catalogue raisonné, 7 Bände, Paris 1987-1997. Ausstellungskatalog: Italo Rota; Jean-Thierry Bloch; Géricault. Galeries Nationales du Grand Palais, Paris, 10. Oktober 1991 - 6 Januar 1992, Editions de la Réunion des musées nationaux, Paris, 1991. Ausstellungskatalog: Géricault. Dessins & estampes des collections de l’École des Beaux-Arts, 25 November 1997 - 25. Januar 1998, École nationale supérieure des Beaux-Arts, Paris 1997. Ruth Butler, Suzanne Glover Lindsay., European Sculpture of the Nineteenth Century, National Gallery of Art Systematic Catalogues, Washington, D.C. 2000, S. 252-253. Lorenz Eitner, French Paintings of the Nineteenth Century, Part I: Before Impressionism, National Gallery of Art Systematic Catalogues, Washington, D.C. 2000, S. 244-246. (1260511) (10) „Course de chevaux libres“, 1817. Théodore Géricault, Petit Palais Musée des Beaux Arts de la Ville de Paris. Théodore Géricault, 1791 – 1824 Paris TÊTE DE CHEVAL D’APRÈS RUBENS. ÉTUDE POUR LE COURSE DE CHEVEAUX LIBRES (A HORSE HEAD STUDY AFTER RUBENS. SKETCH FOR THE RACE OF THE RIDERLESS HORSES) Graphite with white charcoal highlights on paper, without watermark. Horizontal central crease, edges reinforced with Washi paper. 58.8 x 39.5 cm. In Empire style frame with mount under glass. A copy of a detailed expert’s report by Bruno Chenique, Paris, 12 June 2015 is enclosed, as is a copy of Bruno Chenique’s report dated Reims, 1 March 2017. In one of his earliest known oil paintings, a small study in oil of two horses in a landscape dating to ca. 1808-1809 (The Philipps Collection, Washington, USA, inv. no. 0768, see comparative image), it quickly became apparent that Géricault would not become a portrait, or even less a landscape painter, but an excellent and passionate painter of horses. He initially trained with the artist Carle Vernet (1758-1836) and since 1811 he continued his studies at the École des Beaux Arts with Pierre-Narcisse Guérin (1774-1833), a stringent exponent of Academic Classicism. He soon attended classes infrequently and copied Old Masters at the Louvre or the Musée Napoléon – where Napoleon’s collection from his foreign raids were held – instead. In doing so, he was influenced profoundly by artists such as Rembrandt, Velázquez, Titian and especially Rubens, whose horse motifs would also become his favourite subject. In 1812 he created one of his most important works within a period of five weeks. It is today held at the Louvre and titled Officier de chasseurs à cheval de la garde impériale chargeant (The Charging Chasseur). Géricault exhibited this large-format painting at the Salon in Paris and, aged only 21, he received a gold medal for his depiction of a horse. The painting rejected Academic Classicism and instead, visibly channelled the spirit of Rubens’ style, as for example in his painting of Saint George and the Dragon held at the Prado in Madrid (1607). In 1816 he travelled to Italy, where he created studies for a monumental painting during the spring of 1817. The subject was the culmination of the carnival festivities in Rome, which he attended personally between the 9th and 16th of February of that year: The Riderless Horse Race from the Piazza del Popolo, via the Via del Corso, to the Piazza Venezia. Géricault transformed the modern scene into a timeless frieze of athletes fighting with horses (see comparison image). The drawing on offer for sale in this lot is one of several studies and oil sketches that are known, others are also held at the Louvre and the Getty Museum. The horse’s ears are pricked upright, its mane is swirling around them, similar to Rubens’ painting of Saint George at the Prado, although in a less sweeping manner. Its forelegs also appear to be inspired by Rubens depiction (see illustration). The head is considered to be a preliminary sketch for the painting Course de chevaux libres (The Race of the Riderless Horses) at Lille (see illustration), where it served as a template for the head of the central white grey horse. The studies were obviously intended for a planned large-format painting, of which the following was reported in 1841: “A Rome, il commenca un grand tableau représentant des courses de chevaux: les études peintes qu’il avait faites pour cette composition sont d’une grande beauté, et montrent queile influence avait exercé sur lui le génie de Michel-Ange(.). Le tab leau ne fut pas achevé.” (Magasin pittoresque, vol. IX, 1841, p. 110). When Jean Dollfus, the great-great-grandfather of the seller died in 1911, he left his extensive art collection behind and the majority of it was sold at auction in 1912. On this occasion, a five-volume catalogue with a preface by André Michel was published. Naturally, works that remained in the possession of the family were not listed in the catalogue, which includes the drawing now on offer for sale in this lot. It is one of many works by Géricault that Jean Dollfus managed to collect, as the 1912 auction catalogues included 19 of his works. Provenance: Collection Jean Dollfus (1823–1911), wife: Ida Huyssen van Kattendyke. To their son: Adrien Dollfus (1891–1921), wife: Anna Schlumberger. To their son: Jean Dollfus (1891–1983), wife: Juliette Warnod. Gifted to their grandchild, the seller of this drawing, by Jean Dollfus in 1971. Notes: The drawing on offer for sale in this lot will be included in the forthcoming Catalogue Raisonné des dessins inédits et retrouvé de Théodore Géricault by Bruno Chenique. Literature regarding Géricault: Charles, Blanc, Théodore Géricault, in: Histoire des peintres français au dix neuvième siècle, vol I, Paris 1845, pp. 405-443. Charles Blanc et al. Histoire des peintres de toutes les écoles: Ecole française, 14 vol., Paris 1861-1876. Charles Clément, Géricault, in: Gazette des Beaux- Arts, 9. Jahrgang, vol 22, Paris 1867 (1 March 1867), pp. 209-250; (1 April 1867): pp. 321-349; 1 May 1867: pp. 449-483. Charles Clément, Géricault. Étude biographique et critique, avec le catalogue raisonné l’œuvre du maître, Paris 1868. Charles Clément, Géricault. Étude biographique et critique, avec le catalogue raisonné l’oeuvre du maître, 3rd edition, Paris 1879. Léon Rosenthal, Les maîtres de l’Art. Géricault, Librairie de l’Art ancien et moderne, Paris 1905. Lorenz Eitner, Géricault’s Raft of the Medusa, London 1972. Josef Adolf Schmoll, Géricault Sculpteur. A propos de la découverte d’une statuette en plâtre d’un moribund, in: Bulletin de la Société de l’Histoire de l’Art Fran çais, 1978, pp. 319-343. Charles Clément, Géricault. Étude biographique et critique, avec le catalogue raisonné l’œuvre du maître, Neuauflage mit Katalogergänzungen von Lorenz Eintner (reprinted, with catalogue supplement by Lorenz Eitner), New York 1974. Klaus Berger, Géricault and His Work, New York 1978. Philippe Grunchec, Tout l’ouvre peint de Géricault, Paris 1978. Philippe Grunchec, Tout l’ouvre peint de Géricault, Paris 1991. Lorenz Eitner, Gericault. His Life and Work, London 1983. Germain Bazin, Théodore Géricault. Étude critique, documents et catalogue raisonné. 7 vol., Paris 1987- 1997. Exhibition catalogue: Italo Rota; Jean-Thierry Bloch; Géricault. Galeries Nationales du Grand Palais, Paris, 10 October 1991 - 6 January 1992, Editions de la Réunion des musées nationaux, Paris, 1991. Exhibition catalogue: Géricault. Dessins & estampes des collections de l’École des Beaux-Arts, 25 November 1997 - 25 January 1998, École nationale supérieure des Beaux-Arts, Paris 1997. Ruth Butler, Suzanne Glover Lindsay., European Sculpture of the Nineteenth Century, National Gallery of Art Systematic Catalogues, Washington, D.C. 2000, pp. 252-253. Lorenz Eitner, French Paintings of the Nineteenth Century, Part I: Before Impressionism, National Gallery of Art Systematic Catalogues, Washington, D.C. 2000, pp. 244-246. € 80.000 - € 120.000 Sistrix INFO | BIETEN all texts can be translated in your preferred language via google * HAMPEL FINE ART AUCTIONS 127

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