Lot 107
  • 107

Théodore Chassériau

Estimate
120,000 - 180,000 GBP
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Description

  • Théodore Chassériau
  • Jeune Fille Mauresque, assise dans un riche intérieur (Almée)
  • signed and dated Thre Chassériau 1853 lower left
  • oil on panel
  • 41 by 32.3cm., 16¼ by 12¾in.

Provenance

Count Oscar de Ranchicourt; thence by descent to the previous owner (their sale: Sotheby's, London, 30 May 2008, lot 102)
Purchased at the above sale by the present owner

Exhibited

Paris, Musée Jacquemart-André, Le Second Empire, 1957, no. 49
Ornans, Musée Courbet, Les Orientalistes chez Courbet, 2001, no. 14, illustrated in the catalogue
Paris, Institut du monde arabe, De Delacroix à Renoir. L'Algérie des peintres, 2003/2004, no. 10, illustrated in the catalogue

Literature

V. Chevillard, Théodore Chassériau, Paris, 1893, no. 104 (Femme mauresque assise) or no. 143 (Almée, vente Chassériau)
Marc Sandoz, Théodore Chassériau, Paris, 1974, no. 224, pl. 189, illustrated

Condition

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. Structural Condition The artist's cradled panel is providing a secure and stable structural support. Paint Surface The paint surface has an even varnish layer. Inspection under ultra-violet light shows small scattered retouchings, the most significant of which are: 1) along the lower horizontal framing edge and a few minor spots on the other framing edges, 2) small retouchings in the dark background to the right of the seated girl's cushion, and other spots and touches. It should be stressed that these are minimal retouchings. Summary The painting would therefore appear to be in excellent and stable condition and no further work is 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."

Catalogue Note

The present work shows an innocent young girl seated in an interior, facing the viewer with a dreamy expression. The scene is intimate and conveys the idea of an uncontrived, spontaneous composition through the carelessly discarded shoe and mandolin in the foreground. Chassériau masterfully captures the effect of light on the rich fabrics worn by the girl and those embellishing the interior. Combining memories of Algeria, which he visited in 1846, with his own fantasies, Jeune fille mauresque captures Chassériau's unique vision of the Orient, the land of his longings and his dreams.

In 1846, Chassériau was invited by Ali-ben-Hamet to visit Constantine in Algeria. He subsequently joined Delacroix, Marilhat and Fromentin as an enthusiast for the light and colour as well as the mystery and exoticism of North Africa. Just as the experience of the Orient transformed the palettes of Delacroix, Fromentin and Gérôme, so Chassériau's journey to Algeria had a profound and lasting influence on his oeuvre, offering him a wealth of new subject matter and introducing him to a dazzling light and colours he had not experienced before.

Chassériau showed his talent for painting from early childhood, and in 1833, aged fourteen, was admitted to the studio of Ingres. He quickly became the master's favourite, who hailed him as the future 'Napoléon of painting', and he first exhibited in 1836. Like Ingres, he always emphasized line and form, but also became fascinated by Delacroix's use of colour to express emotion. The two influences are clearly apparent in the present work.