Lot 316
  • 316

Georges Rouault

80,000 - 120,000 EUR
112,500 EUR
bidding is closed


  • Georges Rouault
  • Petite Ecuyère
  • signed G. Rouault (centre left)
  • oil on card laid down on canvas


Galerie Louis Carré, Paris
Private Collection, Paris (acquired from the above in March 1942)
Thence by descent to the present owner


Paris, Galerie des Beaux-Arts, Tableaux de Collections Parisiennes 1850-1950, 1955, no. 104
Paris, Musée national d'art moderne, Depuis Bonnard, 1957, no. 159
Paris, Galerie André Weil, Le Cheval dans l'art, 1959


Bernard Dorival & Isabelle Rouault, Rouault, L'œuvre peint, vol. II, Monaco, 1988, no. 2227, illustrated p. 211
Gualtieri di San Lazzaro (ed.), 'Hommage à Georges Rouault' in XXe siècle, Paris, 1971, illustrated p. 69

Catalogue Note

Rouault's interest in the world of the circus found its greatest outlet in his art during the 1930s, at the time that Ambroise Vollard had commissioned him to make etchings and woodcuts for the book Cirque de l'étoile filante, published in 1938. These depictions were based on his own childhood memories of the circus.

Edward Alden Jewell states the following about the early years of Rouault's artistic production, 'Though not 'officially' a Fauve, Rouault's style was in those days an art of violent expressionism. And like theirs it represented a revolt against the stuffy academic standards of the day. But Rouault also walked apart. For one thing, he differed from the Fauves in that his art of that period was not decorative. Instead, it was passionately dedicated, as the art of the Fauves in the main was not, to pregnant social issues' (Edward Alden Jewell, Rouault, London, 1947, p. 8).

As so often in his work, Rouault frames the present picture with his own painted border within the composition. He employs his typically rich palette and cloisonniste style, outlining the figure and horse in black, like a stained glass window, thereby imparting a spiritual quality to the work.