Lot 177
  • 177

Théodore Géricault

Estimate
25,000 - 35,000 USD
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Description

  • Théodore Géricault
  • Recto: Descent from the CrossVerso: Venus and Adonis
  • Black chalk (recto and verso)
  • 9 1/4 x 12 3/4 inches

Provenance

A. Ströhlin, Lausanne;
Hans E. Bühler, Winterthur,
his sale, London, Christie's, 15 November 1985, lot 36 (as Attributed to Théodore Géricault),
where acquired by the present owner

Exhibited

Winterthur, Kunstmuseum, Géricault, 1953, no. 126

Literature

P. Dubaut and P. Nathan, Géricault 1791-1824, Sammlung Hans E. Bühler, Winterthur, 1956, no. 32, reproduced (recto);
G. Bazin, Théodore Géricault: étude critique, documents et catalogue raisonné, Paris 1987, vol. II, pp. 319 and 502, no. 523 (recto), reproduced; Paris 1997, vol. VII, p. 277, no. 2697 (verso), reproduced

Condition

Hinged to window mount. Some light staining around the edges of the recto and verso. Black chalk strong recto and verso. 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.

Catalogue Note

When the present drawing was last offered for sale in 1985, from the celebrated collection of works by Géricault assembled by Hans E. Bühler, the traditional attribution, previously supported by Pierre Dubaut and Peter Nathan, was called into question by Lorenz Eitner on stylistic grounds.  Eitner’s doubts did not, however, prevent Germain Bazin from publishing the recto of the present drawing in 1987 as an autograph work, describing Gericault’s composition for the Descent from the Cross as an original take on the scene, in which the artist has freed himself from many of the traditional restraints of the subject; Bazin notes in particular the very naturalistic way in which one of Christ’s companions holds His thigh.1  The verso, portraying Venus and Adonis, was subsequently published by Bazin in 1997 in a supplement to his earlier catalogue.

1 Bazin, op. cit., vol. II, p. 319