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FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER

Honoré Daumier
LE DÉFENSEUR (AVANT L'AUDIENCE - LE PLAIDOYER)
ACCÉDER AU LOT
28

FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER

Honoré Daumier
LE DÉFENSEUR (AVANT L'AUDIENCE - LE PLAIDOYER)
ACCÉDER AU LOT

Details & Cataloguing

Impressionist, Modern & Surrealist Art Evening Sale

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Honoré Daumier
1810 - 1879
LE DÉFENSEUR (AVANT L'AUDIENCE - LE PLAIDOYER)
watercolour, pen and ink, wash and pencil on paper
21 by 29cm.
8 1/4 by 11 3/8 in.
Executed circa 1862-65.
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Provenance

(possibly) M. Béguin, Paris (acquired by 1878)

Auguste-Marie Boulard, France (sold: Hôtel Drouot, Paris, 10th April 1900, lot 150)

M. G. Mühlbacher, France (sold: Galeries Georges Petit, Paris, 13th-15th May 1907, lot 159)

(possibly) F. Collet, Paris

Gabriel Cognacq, Paris (acquired by 1919)

Galerie Max Kaganovitch, Paris

Nehama Jaglom, New York (acquired from the above. Sold: Sotheby's, New York, 3rd May 2005, lot 3)

Purchased at the above sale by the late owner

Exposition

(possibly) Paris, Galerie Durand-Ruel, Exposition des peintures et dessins de Honoré Daumier, 1878, no. 144 (titled En Cour d'assises)

(possibly) Paris, Ecole des Beaux-Arts, La Caricature, 1888, no. 389 (titled En Cour d'assises)

Paris, Ecole des Beaux-Arts, Exposition Daumier, 1901, no. 186 (titled La Délibération)

Paris, Petit Palais, 1919 (on loan from Gabriel Cognacq)

Paris, Musée de l'Orangerie, Honoré Daumier: Peintures, aquarelles, dessins, 1934, no. 126

Paris, Galerie Max Kaganovich, Œuvres choisies du XIXe siècle, 1950, no. 14 (titled Au tribunal)

Paris, Galerie Max Kaganovich, Les 30 ans de la Galerie. Dessins, aquarelles, tableaux, sculptures des XIXe et XXe siècles, 1966

Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 107, illustrated in colour in the catalogue

Bibliographie

Erich Klossowski, Honoré Daumier, Munich, 1908, no. 135A, listed p. 99

Karl-Erich Maison, Honoré Daumier, Catalogue Raisonné of the Watercolours and Drawings, London, 1967, vol. II, no. 653, illustrated pl. 247

Bruce Laughton, Honoré Daumier, New Haven & London, 1996, no. 125, illustrated p. 100 (as dating from 1867-70)

Description

Daumier is best known for his satirical drawings and watercolours depicting French nobility, politicians, magistrates, lawyers and other bureaucrats. Considered among the best caricature and social satire drawings of the 19th Century, these pictures offered pointed critiques of contemporary society and captured the flavour of modern life during the Second Empire. In addition to their cultural and political significance, Daumier's drawings also demonstrated his unrivalled skill as a draughtsman and his eye for singling out the most expressive physical details of those whom he depicted. Discussing the present work and its counterpart in The Phillips Collection (fig. 1), Bruce Laughton writes: 'The single defendant in the Phillips drawing, probably a criminal, is replaced by a whole gang of ruffians in another rendering of Le défenseur [the present work] [...]. Here one of the accused, evidently the ringleader, leans over to speak to the defending counsel as if threatening him, while the counsel holds out his hands in despair. This lively piece of characterisation is so spontaneous in execution, and yet complete in its expression, that one could speculate the first owner might have bought it outright before it was finished' (B. Laughton, op. cit., p. 100).

In this work which probably dates from the early 1860s, Daumier portrays the defence attorney as he is counselled by a member of the courtroom audience. Daumier depicted this same lawyer in a series of watercolours dating between 1862-65. When several of these works were exhibited in Paris in 1878, the lawyer and aspiring politician worried that Daumier's depictions were too recognisable. The critic Geoffroy-Dechaume assured him that all of the characters were imaginary, but explained that Daumier 'knows lawyers, and above all, the lawyer, better than they know themselves. Whence the resemblance that so surprises you' (quoted in Daumier (exhibition catalogue), National Gallery of Canada, Ottawa, 1999-2000, p. 271).

Impressionist, Modern & Surrealist Art Evening Sale

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Londres