Lot 776
  • 776

Rosa Bonheur

Estimate
20,000 - 30,000 USD
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Description

  • Rosa Bonheur
  • Stag in an Autumn Landscape
  • signed Rosa /Bonheur (lower left); with the Vente Rosa Bonheur wax seal on the stretcher
  • oil on canvas 
  • 32 by 25 3/4 in.
  • 81 by 65.5 cm

Provenance

The artist's estate (and sold, Vente Rosa Bonheur, Galerie Georges Petit, Paris, May 30 - June 2, 1900, lot 323)
Sale: Sotheby's, Gleneagles, Scotland, September 2, 1998, lot 1368, illustrated
Sale: Sotheby's, New York, October 23, 2007, lot 128, illustrated 
Acquired at the above sale

Condition

Lined. The surface is clean. Under UV: an old varnish fluoresces green unevenly across the entire picture surface. Spots of old retouching fluoresce at the lower left.
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

A precocious talent from a young age, Rosa Bonheur began copying the masters in the Louvre at the age of 14 and she first exhibited at the Salon in 1841, at only 19. Her meticulous draughtsmanship and deep-felt affection for the animals she portrayed made her one of the most celebrated and successful animaliers of the nineteenth century. 

By 1860, Bonheur left Paris for a quieter life at her Château de By, on the outskirts of the Forest of Fontainebleau. As evidenced by the noble stag of the present work, Bonheur had clearly absorbed the influence of British masters such as Edwin Landseer, whose works she would have seen while on tour with The Horse Fair in the mid-1850s.

We would like to thank Annie-Paule Quinsac for kindly confirming the authenticity of this lot.