1824 - 1904
JOUEUR DE VIOLON
oil on canvas
26½ by 21 in.
67.3 by 53.3 cm
This work will be included in the revision of Gerald Ackerman’s Jean-Léon Gérôme catalogue raisonné now in preparation by Emily M. Weeks, Ph.D., who also wrote this catalogue note.
Examined in the frame. Original unlined condition. The work presents very well. There is minor surface dirt and finely patterned craquelure throughout, as well as faint stretcher bar marks. Under UV: small spots of accretion fluoresce at lower left. Minor inpainting to address prior craquelure is visible on the figure's proper right shoulder. Ready to hang in its current state.
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.
Anderson Galleries, LLC, Beverly Hills, California (acquired in 1999 as Attributed to Jean-Léon Gérôme, Portrait of a Young Man)
Gerald M. Ackerman, Jean-Léon Gérôme, monographie révisée, catalogue raisonné mis à jour, Paris, 2000, p. 210, no. 9.4, illustrated p. 211 (as Attributed to Jean-Léon Gérôme)
Like many Academic students, Jean-Léon Gérôme made copies of famous paintings as part of his early artistic education. This painting—after a work believed to be by Raphael during the nineteenth century but later attributed to Sebastiano del Piombo (1485-1547)—was painted during his residency in Rome in the 1840s, when he visited the collections at the Palace Sciarra-Colonna. The three-quarter profile of the sitter, as well as his appraising look outward at the viewer, had a profound influence on Gérôme’s subsequent portraits, as witnessed in his Tondo of a Child’s Head with Mask and Sword (circa 1861, Private Collection) and the Bisharin Warrior of 1872 (Private Collection). A related drawing was included in the second volume of Charles Bargue’s iconic Cours de dessin, a collaborative venture produced with Gérôme between 1868 and 1871 (plate 44).