Jean-Louis-André-Théodore Géricault

Possibly Alexandre Colin, Paris,
possibly his sale, Paris, Drouot, 22 December 1859 ("Etude femme nue vue de dos. Crayon noir");
With Christopher Powney, London (Early drawings, 1968, no. 33);
Claude Aubry;
Private Collection

L. Eitner, Géricault's Raft of the Medusa, Londres, 1972, p.157, no. 44, fig. 37 (recto);
G. Bazin, Théodore Géricault, Etude Critique, Documents et Catalogue raisonné, Tome II: L'OEuvre: Periode de Formation, Paris 1987, pp. 276, 281, no. 169, reproduced (verso); Tome VI:Génie et folie, le Radeau de la Méduse et les Monomanes, Paris 1994, pp. 23, 132, no. 2003, reproduced (recto)

The drawing has been window mounted. In both the recto and verso the colour of the paper appears much lighter than in the catalogue illustration. The recto has possibly been washed with a beige preparation. Below the wrist of the figure lying down is a small stain with a slight crack, much more visible on the verso and can been seen in the illustration in the catalogue. There are two to three other light grey stains on the recto also visible in the catalogue illustration. There are some glue marks on the verso from previous mounting. Overall the medium on both the recto and verso remain fresh.
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.

The recto is a study for the figres of the mourning father cradling his dead son to the left of Géricault's iconic painting, The Raft of the Medusa, executed in 1818-19 and now in the Louvre.  Géricault made many studies for this elaborate composition, constantly revising the poses and positioning of his figures, but the figures in this drawing are very close to how they appear in the final painting. On the verso is one of Géricault's rare studies of the female nude.

Alexandre Colin made calques after both sides of this drawing,¹ making it likely that the item listed in his sale catalogue with a description corresponding to the verso was probably the present sheet.

1. Bazin, op. cit., nos. 170 and 2003A