View full screen - View 1 of Lot 113. Sun effect on the plain | Effet de soleil sur la plaine.
113

Georges Michel

Sun effect on the plain | Effet de soleil sur la plaine

VAT reduced rate

Estimate:

8,000 - 12,000 EUR

Georges Michel

Georges Michel

Sun effect on the plain | Effet de soleil sur la plaine

Sun effect on the plain | Effet de soleil sur la plaine

Estimate:

8,000 - 12,000 EUR

Georges Michel

Paris 1763 - 1843

Sun effect on the plain


Oil on paper laid down on canvas

74,5 x 105,2 cm ; 29⅓ by 41⅜ in.

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Georges Michel

Paris 1763 - 1843

Effet de soleil sur la plaine


Huile sur papier contrecollé sur toile

74,5 x 105,2 cm ; 29⅓ by 41⅜ in.

L'œuvre se présente dans un bel état. Le support est sain et stable. La couche picturale est en bel état, et ne présente ni manque ni soulèvement. Quelques pliures du papier sont à noter : une longue pliure verticale avec de très légers soulèvements, à 10 cm du bord gauche d'environ 40 cm ; une autre est visible en éclairage rasant en arc-ce-cercle d'environ 25 cm au niveau du nuage gris. Le vernis est clair. Vendu dans un cadre en bois doré. Veuillez noter que Sotheby's ne garantit pas l'état des cadres.


The painting seems to be in a good condition. It seems to be sound and stable. The painting surface seems to be in a good condition. It does not seem to show any loss or uplift. We can observe some folding: a long vertical folding with very small uplifts, is visible at 10 cm from the left edge on circa 40 cm ; another one can be seen with raking light, as a circular arc of circa 25 cm on the grey cloud. The varnish layer is clear. Offered with a gilt wood frame. Please note that Sotheby's does not guarantee the condition of the frame.


Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l'Article XVI des Conditions Générales de Vente applicables aux Vendeurs (Ventes Effectuées Exclusivement en Ligne) n'est pas applicable pour ce lot.)


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Private collection, South Germany;

Anonymous sale, Koln, Lempertz, 21 May 2016, lot 1505.

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Collection particulière, sud de l'Allemagne ;

Vente anonyme, Cologne, Lempertz, 21 mai 2016, lot 1505.

Views of Paris, and more specifically the Montmartre windmill, are not uncommon in Michel's oeuvre. Perhaps they were inspired by memories of the restoration work he undertook on works by Rembrandt and Ruisdael at the Musée du Louvre? Michel revisits and reinterprets the grey tones of Dutch skies and their wide panoramas in shades of brown and grey. His broad brushstroke, his pursuit of contrasts and light effects make him one of the precursors of the naturalistic movements that would emerge later, in the 1840s.

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Les vues de Paris, et plus spécifiquement du moulin de Montmartre, ne sont pas rares dans l'œuvre de Michel. Peut-être sont-elles des réminiscences des restaurations qu'il a effectuées au musée du Louvre sur des œuvres de Rembrandt ou Ruisdael ? Michel reprend les tonalités grises des ciels hollandais et les larges panoramas dans des camaïeux bruns et gris, tout en les réinterprétant. Sa touche plus large, sa recherche de contrastes et d'effets de lumière font d'ailleurs de lui l'un des précurseurs des mouvements naturalistes émergeant plus tard, dans les années 1840.