Gustave-Achille Guillaumet

Resté chez les descendants de l'artiste.

The photography is darker than the work itself. Under the naked eye, we can notice two small repaints on the left edge along the frame, one restored tear under the chesnut horse (visible on the photography) and one old restoration in the upper left hand corner, in the sky. It was formerly relined Under UV light: we can notice several small repaints on the edges along the frame. One small repaint is visible in the upper right hand part in the trees and two very thin repaints are visible above the horsemen in the trees. One old repaint appears in the upper left hand part in the sky
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A la suite d'Eugène Fromentin et de Léon Belly, Guillaumet a contribué fortement au renouveau de l'Orientalisme en France dans les années 1860-1880. Passionné par l'Algérie, il y séjourne une dizaine de fois, surtout à Biskra, Laghouat et Bou Saâda. Il aime la vie austère du désert algérien, les paysages désertiques, les vieilles traditions, qu'il peint avec une précision documentaire et un intérêt particulier pour la lumière et l'atmosphère. Un grand nombre de ses tableaux évoquent l'Algérie rurale et nomade. Selon Durant-Gréville « Les plus belles heures de sa vie se sont passées dans des endroits perdus que nul voyageur n'avait jamais visités et où, ayant pour habitation une masure en torchis, il vivait absolument la vie primitive » (cf. Elisabeth Cazenave Les Artistes de l'Algérie, association Abd-el-Tif 2010, p. 269).