Lot 89
  • 89

Théodore-Nicolas-Pierre Maillot

Estimate
12,000 - 18,000 EUR
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Description

  • Théodore-Nicolas-Pierre Maillot
  • Nu au vase grec
  • Signé, situé et daté vers le bas à droite T Maillot Roma 1856
  • Huile sur toile
  • Diamètre : 151.5cm ; Diameter 59 5/8 in
  • Frame: 173 x 173 x 8 cm

Condition

Nice frame, probably original. Relined. Under UV light, small repaints are scattered on the surface especially in the backgrounds; as well as a an old repaint on the lower left, probably due to an old tear. On the right, a long vertical restoration appears in the background, and a parallel one appears on top of the lady's head. Small retouches are visible in the hair, on the right shoulder, on her body, her hands, her belly, her left arm, her legs, feet. A scratch appears on the legs and the drapery. An old restorated tear appears on the lady's nose, chin, cheeks. The colors in the catalogue are slightly too white.
"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

Elève de Drolling et Picot, Théodore Maillot remporta le grand prix de Rome en 1854 avec Abraham lavant les pieds aux anges (voir le lot 101 du présent catalogue pour l'esquisse préparatoire). Il exposa régulièrement au Salon de Paris des portraits et tableaux d'histoire dans une veine classicisante. Cette touche, du goût de l'Etat, lui valut de nombreuses commandes publiques pour des églises (dont l'église Sainte-Geneviève à Paris) et d'autres monuments publics, qui occupèrent une grande partie de sa carrière.
Dans cette composition, le vase à décor grec ainsi que le thème du nu sont caractéristiques du style classique antiquisant.