- 125
JEAN-BAPTISTE-CAMILLE COROT | Standing Bohemian with a mandolin
Estimate
60,000 - 80,000 EUR
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Description
- Jean-Baptiste-Camille Corot
- Standing Bohemian with a mandolin
- Bears an inscription on the reverse on the stretcher by M. Legay, liner, Je certifie que le châssis d'origine de ce tableau portait le cachet : Vente Corot J. Legay
- Oil on canvas
- 65 x 53 cm ; 25 5/8 by 20 7/8 in.
Provenance
Corot's posthumous sale, Paris, 1875, n° 1860 ;
Purchased at the above by M. Klotz ;
Jules Paton Sale, Paris, 24 April 1883, n°45 ;
Galerie Paul Vallotton, Lausanne ;
Philippe Bemberg, Paris & Lausanne ;
Thence by descent
Purchased at the above by M. Klotz ;
Jules Paton Sale, Paris, 24 April 1883, n°45 ;
Galerie Paul Vallotton, Lausanne ;
Philippe Bemberg, Paris & Lausanne ;
Thence by descent
Literature
Alfred Robaut, Oeuvre de Corot, Catalogue raisonné et illustré, Tome III, Paris, 1905, n° 1556, illustrated ;
Bernheim de Villers, Corot, peintre de figures, Paris, 1930, n° 250
Bernheim de Villers, Corot, peintre de figures, Paris, 1930, n° 250
Condition
- good overall condition; the painting is dirty and would benefit from a superficial cleaning; - relined; - thin reversed T-shaped rip in the background on the left of the head (visible in the catalogue picture); - very thin and little rip or scratch above the head (visible in the catalogue picture); - small restorations visible on the T-shaped rip; - thin repainted area in the background, along the woman's left elbow; - some repainted areas along the edges near the frame, especially along the lower edge; - the paint layer is rather thin along the edges near the frame, especially in the backgrounds (probably willingly as this is a study) (visible in the catalogue picture); - the catalogue picture is slightly darker than the painting
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
According to Martin Dieterle and Claire Lebeau, our painting is the one illustrated in the Robaut. There is another version (or copy) at the National Gallery, Washington, which isn't listed in the Robaut.
Our painting could be a study for the one in Washington. In fact, the sale catalogue for the Jules Paton Collection in 1883 states that this is a study.
Corot considered painting figures as a distinct activity from his usual work : he took great pleasure in painting them. He would dress his models with items from his collection, and give them a palette, a book or a mandolin. The young mandolin player thus becomes a muse.
In the 1860s and 1870s, amateurs would collect studies by Corot : Castagnary for instance prefered them to the final compositions.
A series of portraits of mandolin players are known, painted in the 1860s and 1870s (Robaut, op. cit. n° 1555, 1557, 1558, 1559, 1560, 1566, 1571, 1575).
Our painting could be a study for the one in Washington. In fact, the sale catalogue for the Jules Paton Collection in 1883 states that this is a study.
Corot considered painting figures as a distinct activity from his usual work : he took great pleasure in painting them. He would dress his models with items from his collection, and give them a palette, a book or a mandolin. The young mandolin player thus becomes a muse.
In the 1860s and 1870s, amateurs would collect studies by Corot : Castagnary for instance prefered them to the final compositions.
A series of portraits of mandolin players are known, painted in the 1860s and 1870s (Robaut, op. cit. n° 1555, 1557, 1558, 1559, 1560, 1566, 1571, 1575).