Louis-Auguste Lapito

Paris, Salon de 1863, no. 1093.

Good overall condition. Original canvas. A small correctly restored tear (3cm) on the rock on the right-hand side. Some other small restorations on the architecture and on the bell-tower (there is a patch on the back side). One more little patch on the reverse on the lower part on the left-hand side of the painting. Under ultraviolet light: Tiny minor scattered repaints Beautiful gilt wood frame.
"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."

Lapito entra dans l'atelier de Louis-Etienne Watelet l'année de ses 15 ans puis devint l'élève de François-Joseph Heim. Il peignit de nombreuses vues à l'aquarelle durant ses voyages en Allemagne, Hollande, Suisse, Italie et Corse. Lapito a surtout aimé représenter les paysages pittoresques du Dauphiné, de l'Auvergne ou encore de la Normandie, ou encore de l'Italie et de la Hollande.

Ses grands paysages, peints suivant les règles du paysage classique, montrent en général un souci certain du détail et de la vérité topographique. Les couleurs sont claires et très séduisantes. Sa peinture était très appréciée à l'époque et l'Etat acquit plusieurs toiles maintenant conservées dans les musées de Menton, Valence, Saint Lô, Villefranche-sur-Saône, etc.