Jacques-Louis David

Sale, London, Christie's, 4 July 1989, lot 185,
where acquired by the present owner

New York, Wildenstein, The Winds of Revolution, 1989-1990, no. 80, also cited in introductory essay, pp. 7-8 and 69, under no. 62, reproduced p. 82, fig. 80

J. Gildea, 'Higher Prices for Old Master Drawings', The Journal of Art, vol. II, September-October 1989, p.3, reproduced;
J. Baillio, 'De Voltaire à Bonaparte:  Révolution et Réaction', L'Œil, no. 412, November 1989, p. 35, reproduced, fig. 13;
A. MacAdam, 'Reviews:  The Winds of Revolution, Wildenstein', Art News, vol. LXXXIX, no. 2, February 1990, p. 156;
P. Rosenberg and L.-A. Prat, Jacques-Louis David 1748-1825:  catalogue raisonné des dessins, Milan 2002, vol I, p. 139, no. 125, also cited pp. 136 and 175, reproduced

Laid down. Overall in good condition. There is a small area of abrasion at the lower right margin, just above the word 'David' the paper has thinned here and mount below is slightly visible. An extra strip of paper has been added along the left margin. There are pen and brown ink numbers on the verso that are visible on the recto. Medium retains its strength and the image is strong. Sold in a gilded 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.
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.

Georges Jacques Danton (1759-1794) became one of the principal figures of the French Revolution, when in 1790 he used his renowned oratorical skills, no doubt honed during his career as a Parisian lawyer, to become the leader of the ultra left wing Cordeliers Club.  By 1792 Danton’s influence had grown, having served as a member of the Legislative Assembly, and he is widely regarded as having played an integral role in the events that led to the storming of the Tuileries Palace and the overthrow of the French monarchy in August of the same year.  However, by July 1793 Danton began to waver from his previous hard line, adopting a more conciliatory approach to foreign policy, and distancing himself in the process from his political ally, Robespierre.  This move was ultimately to cost Danton his life, and after attacking the dictatorship of Robespierre he was charged on 30 March 1794 with conspiracy to overthrow the government.  He defended himself vociferously at his hastily arranged trial, but was guillotined on 5 April 1794.

David’s own political involvement in the French Revolution make the present drawing all the more fascinating.  Having served on the powerful committees of Public Instruction and General Security, David was elected to the National Convention in 1792, where he sat alongside Danton, with whom he was apparently on friendly terms.  But as Danton’s loyalties to Robespierre diminished, David’s only grew, culminating in his turning violently against the Dantonistes in late 1793.  By the time Robespierre brought them to trial in 1794, David was among the most vehement in his condemnation of his former ally and was even reported to have tried to influence the judges at his trial.

The present work is the last of the four known bust length portraits of Danton in profile¹ to remain in private hands, and is also the only drawing from this group executed in pen and ink, like David's cruel depiction of Marie Antoinette on her way to the scaffold, now in the Louvre.²  Indeed, the manner in which the artist has endowed his subject with such animalistic features, his eye deep set and his jaw locked in an eternal scowl, is indicative of just how dramatically David's attitude towards the sitter had changed during this short but bloody period of French history.  Danton's final words to his executioner were, "Don't forget to show my head to the people. It's well worth seeing".  In this instance David seems to have agreed.

1. Rosenberg and Prat, op. cit., vol I, p. 139, nos. 123, 124 and 126, reproduced

2. Ibid., pp. 136-137, no. 122, reproduced