Léon-François Comerre French, 1850-1934

King of Siam (acquired at the Paris Salon in 1908)
French Private Collection
Acquired by the present owner in France in 1995 

Paris, Salon de 1908, no. 421

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Examination report unconditional and without prejudice Leon-Francois Comerre Le Triomphe du Cygne Oil on canvas Structural Condition The canvas is unlined and is providing a stable and structural support. Paint surface The paint surface has an even varnish layer. Inspection under ultra-violet light shows a number of scattered retouchings predominately on the flesh tones of the reclining woman. These are undoubtedly excessive and, if required, could be removed and considerably reduced. This is certainly not required, however, for reasons of conservation and as the overall appearance is so good it would be probably be felt that the painting should remain in its present state. Summary The painting is therefore in good and stable condition and the retouchings (that are only visible under ultra-violet light and not in natural light) could be reduced if required.
"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."

'A Greek myth tells how Leda, the wife of Tyndareus, king of Sparta, was loved by Jupiter. He came to her by the river in the form of a swan and lay with her. As a result of their union she laid one or perhaps two eggs from which were hatched the heavenly twins Castor and Pollux, Helen of Troy and Clytemnestra.' (James Hall, Dictionary of Subjects and Symbols in Art, 1974, p. 191)

Like other painters working in the academic tradition at the time, Comerre uses the figure of Leda as a subterfuge for painting a seductive woman. The swan is equally suggestive, adding to the implicit eroticism of the image. In true nineteenth-century tradition, Comerre has established a convincing 'cover' by setting the nude in a timeless scenario far removed from the viewer's own realm of experience.