Jean-Baptiste-Camille Corot
La Vachère de Ribagnac
Estimate:
80,000 - 120,000 USD
Authenticity guarantee
What is guaranteed?
Jean-Baptiste-Camille Corot
French
1796 - 1875
La Vachère de Ribagnac
signed COROT (lower left)
oil on panel
panel: 16½ by 10¼ in.; 42 by 26 cm
framed: 23 by 17½ in.; 58.4 by 44.4 cm
The panel is beveled on all four sides. Fine pigment separation in the dark colors. Under UV light, retouching along left and right edge to address some frame abrasion; a few very minor touches to address pigment in the lower right area.
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.
Collection of Ch. Alluaud de Limoges (purchased from M. Knoedler & Co., 1888)
Collection of Charles H. Senff, Anderson Galleries, 1928
Property of the Estate of the late Colonel James Elverson, Jr., by 1930
Sale: American Art Association Anderson Galleries, Inc., New York, 30 January, 1930, lot 38
Newhouse Galleries, New York
Private collection, Rancho Santa Fe, California
Thence by descent to the present owner
When Jean-Baptiste-Camille Corot painted La Vachère de Ribagnac around 1855-60 he was already enjoying critical and popular success in Paris where he regularly showed at the official, state-sponsored Salon exhibitions. His poetic treatment of light and emphasis on atmospheric effects began a radical approach to landscape painting that directly inspired the development of Impressionism. Several Impressionists, including Camille Pissarro (1830-1903), would later describe themselves as pupils of Corot, who they felt bridged the classical landscapes of such Old Master painters as Nicolas Poussin (1594-1665) and their new artistic ambitions, painting en plein air. Veiled by a misty morning light, the present scene reveals itself slowly, as Corot intended, granting a glimpse of everyday life in the bucolic countryside.
We would like to thank Martin Dieterle and Claire Lebeau for kindly confirming the authenticity of this lot, which will be included in their forthcoming sixth supplement to Alfred Robaut's L'oeuvre de Corot catalogue raisonné et illustré (Paris, 1965).