1857 - 1939
LES MUSES DANS LA FORÊT
stamped with the artist's studio stamp (lower right)
oil on board
29⅝ by 41⅝ in.
75.2 by 105.7 cm
We are grateful to Véronique Dumas for contributing to this catalogue entry and authenticating the present work from a photograph.
Oil on a rectangular board; the composition is within a painted arch. The current framing shows the areas beyond the painted composition at upper right and upper left. The color remains vibrant. There are scattered nicks and losses to the board at the extreme edges and minor bumping in all four corners, with a 1/4 inch loss with associated lifting in the lower right corner. There is minor surface dirt and dust and a few isolated pin dot accretions. There are some isolated discolored repairs visible in and above the figure group on the left side and in the sky at upper left. Under UV: The aforementioned discolored repairs fluoresce. There are a few additional scattered dots of retouching in the sky and trees at upper right, and a 1 inch vertical area of inpainting at center in the trees.
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.
The artist's studio (until 1939)
Yolande Osbert (daughter of the artist)
Galleria del Levante, Milan (acquired from the above and until 1971)
Sale: Sotheby's, London, June 23, 1981, lot 109, illustrated
Milan, Galleria del Levante, Simbolismo e Art Nouveau, December 2, 1969-January 25, 1970
Florence, Galleria Menghelli; Bologna, Galleria Stivani, Aspetti del Simbolismo, 1973
Ravenna, Pinacoteca Comunale, Europa due tra Sogno e Impegno, 1973
Il Giornale d'Italia, April 1973
Véronique Dumas, Alphonse Osbert (1857-1939): Vie, œuvre, art. Essai et catalogue raisonné de l’œuvre complet, Ph.D. dissertation, Université Blaise Pascal, Clermont-Ferrand II, 1999, p. 52, no. 94, illustrated n.p.
A close acquaintance of Pierre Puvis de Chavannes (Puvis de Chavannes was best man at Alphonse Osbert's wedding in 1894), and friends with Georges Seurat since student days, Osbert's style reflects the calm meditative influence of both artists. Exhibiting frequently across Europe, he participated in a show with Maurice Denis at Saint-Germaine-en-Laye, and with the Nabis at Le Barc de Boutteville in 1891. In 1896 he contributed to both the Salon de l'Art Nouveau at Galerie Bing and the exhibition Artistes de l'Ame at the Théâtre de la Bodinère in Paris. Osbert exhibited in all the Rose + Croix exhibitions from 1892 onwards, and remained its most loyal contributor. The present work is emblematic of the serenity and beautiful color harmonies of Osbert's evocative crepuscules.