Léon-Augustin Lhermitte

The artist’s studio
Allard
Barbizon House, London, 1926
Newman, London
Sir John Reid, Glasgow (thence by descent)
Mrs. E. M. Salvesen, Glassel, Scotland (thence by descent)

D. Coral Thomson, Barbizon House: An Illustrated Record, London, 1926, no. 15
Monique Le Pelley Fonteny, Léon Augustin Lhermitte: catalogue raisonné, Paris, 1991, p. 151, no. 247, illustrated 

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This work on canvas does not appear to be lined. The work is clean and in very good condition. Lhermitte's technique in this case is very rapid and relies heavily on the texture of the original canvas. There is no abrasion or no weakness at all to the paint layer, and no retouches are apparent. The work should be hung as is.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Foins, fauchers et deux femmes le matin is an exemplary late work on a theme that Lhermitte revisited frequently: a harvested landscape with three French field workers, carefully drawn and masterfully executed.

One figure rests with his back to the viewer, addressing two standing women. The figure on the right, who strikes a graceful pose while resting on a pitchfork, was a favorite of Lhermitte and he depicted her often both on her own and as part of larger figural groups, as seen in Harvesters at rest (1888, National Gallery of Ireland) and La fin de la journée (1897, The Dayton Art Institute, Ohio).  The seated man with his scythe was another cherished figure and can be seen in earlier compositions such as La Fenaison (1890, Mildred Lane Kemper Art Museum, Washington University, St Louis, fig. 1), which shares another similarity to the present work in that it describes the same trees and landscape setting, the hazy outline of a building in the distance possibly Rue Chailly farm in the artist’s native village. 

Lhermitte’s interest in representing the lives of rural laborers in France, including harvesters, shepherds and gleaners, developed from his own humble origins in the village of Mont-Saint-Père, in the Aisne region of France. Encouraged by the success of his painting La paye des moissoneurs (1882, Musée d’Orsay, Paris), the artist dedicated his career to the description of rustic life and the heroic dignity of its laborers.