Eugène-Samuel-Auguste Fromentin

Jérôme Ottoz, Paris (acquis auprès de l'artiste);
Resté depuis chez ses descendants

The panel is in good condition, flat and even. There are a few spots of retouching visible under ultraviolet light, notably along the extreme edges of the panel and to the periphery of the figure seated on the horse. This work is in overall very good condition, with a clean surface and fine details and tone.
"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."

Jérôme Ottoz, important encadreur, marchand de toiles et de couleurs, était un ami de Fromentin. Celui-ci dédicaça cette oeuvre à Ottoz, à qui il avait confié la garde de son appartement et de son atelier pendant la guerre franco-prussienne et la Commune.

Dans ses oeuvres de maturité Fromentin aime faire des variations sur un thème qui lui plaît. Durant l'année 1872 il peint un certain nombre de scènes montrant des cavaliers faisant boire leurs chevaux. Le groupe central de notre tableau se retrouve, pratiquement sans variantes, dans l'oeuvre de  plus grandes dimensions Arabes faisant boire leurs chevaux dans une rivière, conservée au Palais Dolmabahçe à Istanbul (cf James Thompson et Barbara Wright, Eugène Fromentin, Editions ACR, 2008 reproduit p.348)