Emile-Jean-Horace Vernet

Oil on canvas

Paris, Hotel Drouot, 27 avril 1994, n°172.

On its original canvas Very small part worn along the frame Several cracks Some lifts in the dark part Some small lifts in the lower part Retouchings in the centre of the background and along the frame Small retouchings on the horse's body Good overall 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. 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."

Horace Vernet débute sa formation dans l'atelier de son père Carle Vernet dont les compositions équestres et les scènes de batailles l'influencent beaucoup. Il se lie d'amitié avec Théodore Géricault, également élève de Carle Vernet. Il réalise de nombreuses études de chevaux.
Notre tableau, que l'on peut rapprocher de la série des "portraits de chevaux des écuries" commandée à Vernet par la maison de l'Empereur en 1813, est peint avec précision et finesse. Il se rattache à la tradition anglaise du cheval, où l'animal, peint avec minutie, occupe le centre de la composition.