William Bouguereau

Samuel P. Avery (acquired through his intermediary George Lucas directly from the artist December 21, 1887 as Fille portant un enfant)
Mrs. Charles H. Keep
Knoedler, New York (August 1919, no. 14809)
John Levy Galleries, New York
Sale: Christie's, New York, February 13, 1981, lot 36, illustrated
Private Collector (and sold: Christie's, New York, November 1-2, 1995, lot 30, illustrated)
Acquired at the above sale

Franqueville, William Bouguereau, Paris, 1895
Mark Steven Walker, "William-Adolphe Bouguereau, A Summary Catalogue of the Paintings," William-Adolphe Bouguereau, L'Art Pompier, exh. cat., Borghi & Co., New York, 1992, p. 73
Damien Bartoli and Frederick Ross, William Bouguereau Catalogue Raisonné, Woodbridge, Suffolk, (forthcoming), no. 1887/04, p. 244, illustrated

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This painting has recently been cleaned and varnished. The lining, which is quite old, is not properly supporting the cracking in the hands of the sister. However, the main reason for the lining is likely to be a fairly large vertical tear in the canvas which runs from the sister's right hand through to the waist of her purple dress. The retouches which have been applied to this damage are not as effective as they could be. As unfortunate as this damage is, it seems to be isolated and there do not appear to be any other restorations in the remainder of the picture. The painting could be hung in its current state however it would be a shame to display it without making a good effort to eliminate the fairly significant damage. Changing the lining would make an enormous difference to the way this picture is perceived. There is a slight pentiment beneath the chin of the sister which is un-retouched. Despite the structural damage, we are very comfortable with the overall condition of this painting.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

In 1850, Bouguereau was awarded the Prix de Rome, which provided him the opportunity to travel and study throughout Italy.  Over three years, the young artist filled sketch books and canvases with copies of Renaissance masterpieces, drawings of ancient artifacts, the people he encountered, and the colorful landscapes of the idyllic hill towns around Rome.  The trip profoundly moved the artist, evidenced in works like Frère et Soeur, in which a young girl carries her baby brother along a shallow brook. Bouguereau's study of Antique sculpture seems to inform the sister's carefully balanced body in contrapposto as she steps along the brook's edge, one foot extended, the other supporting her weight, while her hip pivots upwards as she holds her brother. The composition's saturated, jewel-like colors recall the Renaissance masters: the rich blue of the sister's skirt complimented by deep purple-blacks, and the vibrant greens and yellows of blooming flowers contrasting with the shadows of the path beyond.  Overall, there is a naturalistic truth in this representation: the baby grips the inside of his sister's chemise, while her splayed fingers press against the soft skin of his legs.  The artist frequently referred to his sketchbooks, filled with drawings of the children of the adult models he employed, in order to accurately paint the musculature of young bodies (James F. Peck, In the Studios of Paris, William Bouguereau & His American Students, exh. cat., New Haven, 2006, p. 102). Painted as nearly life-size, full-length portraits, and set in a vertical picture space in front of a loosely painted landscape, Bouguereau's models have an iconic stature. At the same time, the composition's smooth brushwork erases the presence of the painter, and creates a balance between immobile, static form and rich surface details. Despite an explicit narrative, the viewer can appreciate the tender emotion shared between the sister, who glances up at her smiling brother, while he looks toward the viewer.  Bouguereau's interest in visualizing this connection is especially striking when compared with his Allant au Bain (also from 1887) -- in which a young woman and child are similarly posed, yet without the emotive connection as the baby looks toward his sister, who seems not to acknowledge him as they walk in an extensive landscape.