Lot 124
  • 124

Bon Boullogne

Estimate
10,000 - 15,000 USD
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Description

  • Bon Boullogne
  • Pan and Syrinx
  • signed lower left: Boullogne / L'ainé
  • oil on canvas
  • 90cm by 117.5cm

Provenance

Anonymous sale, Paris, Hôtel Drouot, Maître Rheims, 3 March 1961, lot 13;
Acquired at the above by a French private collector;
By whose grandchildren anonymously sold, Paris, Sotheby's, 21 June 2012, lot 16;
There acquired by the present collector.

Condition

The canvas has an old glue relining and is firm on its stretcher. The paint surface is slightly pressed but otherwise stable with some minor losses in the lower right corner. There are some minor areas of tenting in the lower section but these are stable and do not distract from the image. Inspection under UV reveals retouching and strengthening scattered throughout and some slightly larger old filled losses in the lower right corner and a filled restored loss above the shoulder of the bearded at left. Offered in a decoratively carved gilt wood 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

Bon Boullogne was the son of the painter Louis Boullogne.   Born in Paris, he began his training under his father, but soon went to Rome to study at the Académie de France as a Pensionnaire du Roi.  From there he spent time to Lombardy, where he was studied the work of the great Bolognese masters; indeed his later mythological paintings, such as the present example, exhibit the influence of the Carracci and Guido Reni. He returned to Paris in the 1670s and became an official painter of the court, working at Versailles under the direction of Le Brun as well as for several large Parisian churches,  including the chapels of Saint Ambroise and Saint-Jérôme at Les Invalides.