Nicolas Lancret

Window mounted and framed so that both the recto and verso are visible. There are some light brown stains to the right half of the verso and a small pin prick hole to the lower right corner. There are some indications in black chalk to the recto, possibly to indicate the positioning of an old mount. There are some small stains and areas of surface dirt to the verso. The medium is still very fresh throughout. Sold in a carved giltwood frame.
"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."

This delightful double sided drawing is a characteristic example of Lancret's handling of the red chalk medium, with both of the figures portrayed, recto and verso, connected to known paintings by the artist. The reclining male figure (recto) can be found in the right foreground of Lancret's Réunion galante en plein air,¹ housed at Sanssouci, Potsdam, whilst the standing female figure (verso), is used by the artist as the central figure in two closely comparable paintings depicting Le Berger Indécis,² one of which is housed in the collection of the Victoria and Albert Museum, London.

1. G. Wildenstein, Lancret, Paris, 1924, p. 93, no. 333, fig. 94

2. Ibid., pp. 101-102, nos. 472 and 474, figs. 120 and 122