- 79
Théodore Chassériau
Description
- Théodore Chassériau
- Portrait of Comte Oscar de Ranchicourt Leaving for the Hunt; Portrait of Comtesse de Ranchicourt Leaving for the Hunt: a pair
- both signed Th. Chassériau and dated 1854. (lower left)
- oil on canvas
- both 45 7/8 by 35 1/4 in.
- 116.5 by 89.5 cm
Provenance
Thence by descent
Sale: Galerie Charpentier, Paris, June 16, 1960, lot 36, 37, illustrated
Marianne Feilschenfeldt, Zurich
Walter Feilschenfeldt, Zurich
Thence by descent until 2009
Exhibited
Bordeaux, Galerie des Beaux-Arts, La Femme et l'artiste-de-Bellini à Picasso, May 22 - September 20, 1964, no. 104 (Portrait of Comtesse de Ranchicourt)
Paris, Galeries Nationales du Grand Palais; Strasbourg, Musée des Beaux-Arts; New York, Metropolitan Museum of Art, Théodore Chassériau (1819-1856): The Unknown Romantic, February 26, 2002 - January 5, 2003, no. 211 and 212 (lent by Walter Feilschenfeldt, Zurich)
Literature
Valbert Chevillard, Un Peintre romantique: Théodore Chassériau, Paris, 1893, no. 249
Léonce Bénédite, Théodore Chassériau: Sa vie, son oeuvre, Paris, 1931, vol. II, pp. 356-7
Remy de Saisselin, "The Portrait in History: Some Connections between Art and Literature," Apollo, October 1963, pp. 281-8, illustrated
Marc Sandoz, "Théodore Chassériau (1819-1856) et la peinture des Pays-Bas," Bulletin des Musée Royaux des Beaux-Arts de Belgique, 17, nos. 3-4, 1968, pp. 182 and 184
Marc Sandoz, Théodore Chassériau, 1819-1856: Catalogue raisonné des peintures et estampes, Paris, 1974, pp. 384-6, no. 240-1, pl. 206-7, illustrated
Louis-Antione Prat, Musée du Louvre. Cabinet des dessins. Inventaire général des dessins, École Français. Dessins de Théodore Chassériau, 1819-1856, Paris, 1988, vol. I, p. 326, illustrated
Condition
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
Catalogue Note
These remarkable portraits were the product of intense study, as demonstrated by Chassériau’s numerous preparatory works: two studies in conté crayon and graphite for the valet and hounds to the right of the Comte are in the collection of the Louvre, Paris; a larger number of sketches for the Comtesse; the oil painting, Chestnut Horse (Musée des Beaux-Arts de La Rochelle), which Louis-Antoine Prat believes to be a study for the Comtesse’s horse; and the bust-length Portrait of Comtesse de Ranchicourt (stolen from the family in the 1980s) which Sandoz considers a further study for the full length portrait (Pomarède, p. 346).
This careful preparation points to Chassériau's study in Jean-Auguste-Dominique Ingres' studio, which he entered in 1830 at the age of eleven, later falling under the Romantic influence of Eugène Delacroix (a bitter disappointment to Ingres). Chassériau's work is often considered Romantic color and form. Moreover, the portraits reveal Chassériau's appreciation of the Dutch and Flemish schools, particularly Rubens and Van Dyck, and English portrait painters including Gainsborough.