Paul Camille Guigou

Private Collection
Sale: Christie's, London, 4 April 1978, lot 9
Private Collection, Belgium

François Daulte, 'Un Provençal pur: Paul Guigou', Connaisance des Arts, April, 1960, p. 76, illustrated
Sylvie Lamort de Gail, Paul Guigou: catalogue raisonné, vol. I, Paris, 1989, p. 104, no. 91, illustrated

The canvas has been strip-lined. There is some faint hairline craquelure, notably in the lower left corner. Ultra-violet light reveals some scattered strokes of strengthening in the sky, and an area of fluorescence towards the lower-right corner which does not clearly correspond to retouching, and probably relates to the varnish layers. The picture is in good overall condition and ready to hang. Presented in a decorative gilt 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."

Encouraged by Emile Loubon (1809 -1863) to paint from nature, Guigou moved to Marseille in 1854 where he participated in the Salon of the Société Artistique des Bouches-du-Rhône and became acquainted with the tradition of Provençal painting, of which he became such an exquisite interpreter.  Guigou's use of warm colours and luminous hues in Collines de Lubéron, as in his many other southern landscapes, is clearly indebted to the Barbizon school and to the works of Camille Corot which he must have seen in Marseille and in Paris, where he finally moved in 1862.