Louis-Maurice Boutet de Monvel

The canvas is in an overall good condition. It is very spectacular. The canvas does not have a stretcher and will be delivered rolled up. The squared up lines are visible in the clearer areas. The preparatory drawing is visible in some areas. Some gold highlights on the dresses and on the armure are in relief. A few parts are missing in the golden areas. A few pentimenti are visible in the trees behind Joan of Arc. The painting was previously rolled up : the corners are worn a bit, especially on the left of the composition. A certain number of scratches and wears are barely visible, given the size of the canvas. The canvas has suffered in the upper part by the border (visible on the photograph). The painting was not finished : the matter is thin and the canvas is visible in some areas, especially in the background and the carnations. Some parts were not treated, especially the sheep on the right hand side, and some parts which are sketched. To receive visuals of these observations, please contact us by email.
"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."

En 1896 paraît l'album de Maurice Boutet de Monvel, Jeanne d'Arc, qui lui vaut un succès retentissant (voir les lots 113 à 115). Peu après, à l'occasion de la construction de la basilique du Bois-Chenu (ou Sainte-Jeanne-d'Arc) à Domrémy-la-Pucelle, dans les Vosges, l'architecte Paul Sédille (1836 – 1900) commande à l'artiste six panneaux racontant la vie de Jeanne. Deux compositions sont entreprises dont une seule sera achevée, Jeanne à la cour de Chinon, médaillée d'or à l'Exposition universelle de 1900 (localisation inconnue).

Le tableau présenté ici, resté inachevé, bien que très abouti, est la première des six compositions prévues pour la basilique. Il représente Jeanne d’Arc au moment où lui apparait l'archange Saint Michel entouré des Saintes Catherine et Marguerite d'Antioche tenant respectivement le casque et l’épée avec laquelle la jeune fille devra défendre le royaume de France.

L'album Jeanne d'Arc illustre la vision de celle qui n’était, encore qu’une jeune bergère et l’accompagne du texte suivant, écrit de la main de l’artiste : "Un jour d'été, elle avait treize ans, comme il était midi, une voix se fit entendre à elle dans le jardin de son père; une grande lueur éclata, et l'archange saint Michel lui apparut. […] Lui racontant la grande pitié qui était au royaume de France, il lui annonça qu'elle irait au secours du Dauphin et qu'elle le mènerait sacrer à Reims. "Messire, je ne suis qu'une pauvre fille, je ne saurais chevaucher ni conduire les hommes d'armes. - Dieu t'assistera", répliqua l'archange [...]."

Au début du XXème siècle, le sénateur William A. Clark (1839 - 1925) commande à Maurice Boutet de Monvel six répliques de petite taille des panneaux devant figurer à Domrémy, qui seront sa dernière joie artistique et seront livrés entre 1905 et 1911. Ce bel ensemble est aujourd’hui conservé à la Corcoran Gallery, Washington.

Circa 1896, the architect Paul Sédille commissioned Maurice Boutet de Monvel to paint six large panels representing scenes from Joan of Arc's life, to be placed in the basilica of Bois-Chenu in Domrémy, which was being built. The painting we are here presenting was meant for the basilica, but remained unfinished. At the beginning of the 20th Century, Senator William A. Clark commissioned six smaller replicas, which are now at the Corcoran Gallery, Washington.