View full screen - View 1 of Lot 207. The Cliffs at Etretat.
207

Gustave Courbet and Cherubino Pata

The Cliffs at Etretat

Estimate:

20,000

to
- 30,000 EUR

Gustave Courbet and Cherubino Pata

Gustave Courbet and Cherubino Pata

The Cliffs at Etretat

The Cliffs at Etretat

Estimate:

20,000

to
- 30,000 EUR

Lot sold:

27,720

EUR

Gustave Courbet and Cherubino Pata

Ornans 1819 - 1877 La Tour-de-Peilz and Sonogno 1827 - 1899 Gordola

The Cliffs at Etretat


Bears a signature lower left G. Courbet

Oil on canvas

54 x 65 cm ; 21¼ by 25⅝ in.

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Gustave Courbet et Cherubino Pata

Ornans 1819 - 1877 La Tour-de-Peilz et Sonogno 1827 - 1899 Gordola

Les Falaises d'Etretat


Porte une signature en bas à gauche G. Courbet

Huile sur toile

54 x 65 cm ; 21¼ by 25⅝ in.

The painting is in a satisfactory condition.

It has been relined, not too stiffly.

It seems to be sound and stable.

The paint layer is in a satisfactory condition.

It does not seem to show any visible loss or uplift.

Some retouching visible to the naked eye appear in places, especially in the upper area of the sky, where some blue paint appears on the edging paper.

The varnish layer is yellow and dirty.


Under UV light

Inspection under UV light is made difficult by a very thick varnish layer, especially in the lower part of the composition.

Some minor old retouching seem to appear in the lower area and on the left, especially in the center of the cliff.

The varnish layer seems to have been lightened in the sky.

A few strokes of retouching are visible, especially upper right.


Offered with a gilt and black wood frame.

Please note that Sotheby's does not guarantee the condition of the frame.

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Le tableau est dans un état satisfaisant.

Il a fait l'objet d'un rentoilage.

La tension de la toile est bonne.

Le support est sain et stable.

La couche picturale est en état de conservation satisfaisant.

Elle ne présente ni manque ni soulèvement apparent.

Des repeints visibles à l'œil nu apparaissent par endroits, notamment dans la partie supérieure du ciel où du bleu apparaît sur le papier de bordage.

Le vernis est jaune et encrassé.


À la lampe UV

L'examen à la lampe UV révèle un vernis très épais et rendant la lecture difficile dans la partie inférieure du tableau.

Des repeints anciens de faible étendue semblent apparaître dans le bas et à gauche, principalement au centre sur la falaise.

Le vernis semble avoir été allégé dans le ciel.

Quelques repeints sont également visibles, notamment en haut vers la droite.


Vendu dans un cadre en bois doré et noir.

Veuillez noter que Sotheby's ne garantit pas l'état des cadres.


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 Acheteurs (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.


Collection of Professeur Reveuil (?) sold to Jacques Jafry (?) in November 1968, as per an handwritten inscription on the stretcher.
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Collection du Professeur Reveuil (?) cédée à Jacques Jafry (?) en novembre 1968 selon une inscription manuscrite au dos sur le châssis.
A Swiss painter based first in Lyon and later in Paris, Patà was a pupil of Gustave Courbet and one of his closest friends. From 1870, in life as in art, the paths of the two painters were intimately connected.  Cherubino Patà remained Courbet’s close confidant in the master’s darkest moments, especially after the Commune, when his involvement cost him a stretch in prison, ruin and finally exile in Switzerland. It was also Patà who managed Courbet’s studio and acted as an intermediary with dealers. As a result he frequently travelled back and forth between Switzerland, Ornans and Paris. At the end of his life, Courbet worked in collaboration with Patà, sometimes leaving his friend to create the composition of his paintings, which he would then revise and sign, thus affirming his authorship of the work.

The Cliffs at Etretat inspired many painters in the second half of the nineteenth century. Courbet travelled there in the summer of 1869 and returned to the theme on numerous occasions. Many of his marine paintings of this period show the site in stormy weather, in scenes dominated by waves and foam, painted with a very free brushstroke and with impasto emphasising the density of the rocks and the power of the swelling sea.

The authentication to Gustave Courbet in collaboration with Cherubino Pata has been endorsed by the Institut Gustave Courbet in a letter dated 11 June 2008.
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Peintre suisse installé à Lyon, puis à Paris, Patà fut l’élève de Gustave Courbet et l’un de ses plus fidèles amis. A partir de 1870, dans la vie comme dans la peinture, les parcours des deux hommes sont intimement liés. Cherubino Patà reste le confident de Courbet dans ses moments les plus sombres, plus particulièrement après la Commune, puisque son implication lui vaudra un séjour en prison, la ruine et finalement l’exil en Suisse. C’est également Patà qui organise l’atelier et joue le rôle d’intermédiaire auprès des marchands. Il fait ainsi de nombreux allers-retours entre la Suisse, Ornans et Paris. A la fin de sa vie, Courbet travaille de concert avec Patà, le maître laissant parfois son ami composer le tableau qu’il reprend ensuite et signe, affirmant ainsi sa paternité sur l’œuvre.

Les Falaises d’Etretat ont inspiré de nombreux peintres de la seconde moitié du XIXe siècle. Courbet s’y rend durant l’été 1869 et peint ensuite plusieurs fois ce motif ; un grand nombre de marines de la même période représente le lieu par gros temps, dans des scènes chargées de vagues et d’écume. La facture de ces toiles est très libre, avec des empâtements qui soulignent la densité de la roche et la puissance de la houle.

L'attribution à Gustave Courbet en collaboration avec Cherubino Pata a été confirmée par l'Institut Gustave Courbet dans un courrier en date du 11 juin 2008.