Anne-Louis Girodet de Roucy-Trioson

Estate of the artist (sale: Paris, 11 April 1825, probably lot 45, as Etude plus grande que nature, d'un jeune Turc à moustaches, vu de face et les yeux levés)
Louis-Philippe d'Orléans (probably purchased shortly after the above sale, via the intermediary Pierre Auguste Vallé; branded with the LPO monogram on the stretcher)
Acquired by the present owner in 1994

Jean Vatout, Notice historique sur les tableaux de la galerie de S.A.R. Monseigneur le duc d'Orléans, 1826, vol. IV, p. 465, no. 172 (described as: Girodet et Gros. 22 pouces par 18 pouces. Cette tête, plus grande que nature, peinte par Girodet, n'était pas finie, lorsque ce grand peintre fut enlevé aux arts qui deploreront longtemps la perte d'un génie si brillant et si poétique. C'est Monsieur Gros dont le digne pinceau a achevé, dans cette étude, ce que son illustre rival n'aurait pas eu le temps de terminer)
Pierre Alexandre Coupin, Girodet-Trioson, Œuvres posthumes, suivies de sa correspondance, Paris, 1829, p. 68, listed (described as: Etude plus grande que nature, d'après un jeune Turc ayant des moustaches. Vu de face, et les yeux levés. L'ajustement n'est qu'ébauché. Le masque est dans l'ombre: une partie du front et du nez sont seuls frappés la lumière)

The canvas has an old relining, with the royal brand on the verso and 'LPO' on the stretcher. There are some scattered localised lines of hairline craquelure. Ultra-violet light reveals some scattered signs of retouching notably a circa 5cm repair in the drapery towards the lower right corner (patched on the reverse), thin strokes towards the framing edges (apparently addressing the old light stretcher mark), and some very minor spots in the figure's face. There are some minor spots primarily in the figure's ear and part of his moustache which fluoresce green under U.V. light and may possibly also relate to retouching. Although the figure's face is well preserved overall, as visible in the catalogue illustration parts of the later additions in the drapery and background have been partially removed (please see the catalogue note for full details on the extent of the additions). The colours in reality are somewhat richer overall, with less of a yellow-brown cast. Presented in a substantial Neoclassical-style frame.
"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."

According to Coupin (op. cit.), the present work was begun by Girodet in 1812, however only the figure's face, neck and ears appear to have been completed by the time of the artist's death twelve years later. According to a stencil inscription on the reverse and also Vatout's account, Girodet's friend and fellow pupil of David, Antoine-Jean Gros, later took up the composition, and it is likely that the clothing of the figure were Gros' additions. A third hand later intervened, primarily in the dark pigments of the background, however these additions have subsequently been partially removed.

The present work was acquired shortly after Girodet's estate sale by Louis-Philippe d'Orléans (1773-1850), King of the French from 1830-48.