Frédéric Bazille

Madame Gaston Bazille, née Camille Vialars (the mother of the artist)
André Bazille (by descent from the above)
Madame Rachou-Bazille (by descent from the above)
Private Collection (acquired from the above in December 1961)

Montpelier, Exposition Internationale; Rétrospective Bazille, 1927, no. 35
Montpelier, Musée Fabre, Centenaire de Frédéric Bazille, 1941, no. 12
Paris, Wildenstein Gallery, Bazille, 1950, no. 12 
Montpelier, Musée Fabre, Frédéric Bazille, 1959, no. 6 
Tokyo, Wildenstein Gallery, Les Impressionnistes: Collection Wildenstein, 1973, illustrated in the catalogue
New York, Wildenstein Gallery, The Object as Subject, 1975, no. 3
Chicago, The Art Institute of Chicago, Frédéric Bazille and Early Impressionism, 1978, no. 11, illustrated in the catalogue
Brooklyn, Brooklyn Museum; Memphis, The Dixon Gallery and Gardens, Frédéric Bazille: Prophet of Impressionism, 1992-93
Atlanta, High Museum of Art, Monet & Bazille: A Collaboration, 1999, no. 15, illustrated in color in the catalogue

Gaston Poulain, Bazille et ses amis, Paris, 1932, no. 6
Jacques Guérif, À la recherche d'une esthétique protestante: Frédéric Bazille, Aix-en-Provence, 1943, p. 32
Daniel Wildenstein, "Le peintre de natures mortes," in Arts, June 9, 1950, p. 8
François Daulte, Frédéric Bazille et son temps, Geneva, 1952, no. 8, illustrated fig. 8
François Daulte, Frédéric Bazille et les débuts de l'Impressionnisme: catalogue raisonné de l'oeuvre peint, Paris, 1992, no. 8, illustrated pp. 23 & 156
Frédéric Bazille et ses amis impressionnistes (exhibition catalogue), Montpelier, Pavillon du Musée Fabre, 1992, pp. 95 & 97
Valérie Bajou, Frédéric Bazille 1841-1870, Aix-en-Provence, 1993, fig. 24, illustrated p. 62
Colin B. Bailey, "Exhibition Review: Bazille: 'The Astonishing Fullness of Light'," in Apollo, CXXXVII, no. 373, March 1993, p. 185
Michel Schulman, Frédéric Bazille, 1841-1870: catalogue raisonné, Paris, 1995, no. 12, illustrated p. 119

Canvas has been lined and the edges have been reinforced with tape. There is some frame abrasion to the extreme outer edges of the canvas. Surface is somewhat dirty. Under UV light: a few nailhead-sized areas of inpainting fluoresce in the upper left quadrant near the depicted fly. There are perhaps a few strokes of inpainting to the upper and lower edges to address prior frame abrasion, and there is a small spot of retouching on the left edge just above the lower left corner. Overall the work is in very good condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

An exceptionally rare and sophisticated work by one of the finest draughtsman of the nineteenth century, the present picture was a favorite of Bazille's mother, its original owner. This work was painted in 1864, when the artist was only twenty three, and in a letter dated April 12, 1865, his mother wrote to him beseeching its return to her: "Remember my white bird, unless it is absolutely necessary to keep it in your studio, which I do not understand. Bring it to me. I feel its absence acutely... The place where my bird hangs is still empty and I would really like to see it returned" (as quoted in Schulman, op. cit., p. 346).