André Gill

Gautier-Goxe-Belaïsch, Enghien-les-Bains, 25 March 2001, lot 11
Acquired from the above by the present owner

Zola/Bismarck: the panel is flat, even and ensuring a stable support. Ultra-violet light reveals traces of old residual varnish and scattered spots of cosmetic retouching. Alexander III: the panel is flat, even and ensuring a stable support. However, there is a very fine 5 cm vertical split along in the far upper left corner which would benefit from stabilisation. Ultra-violet light reveals traces of old residual varnish and scattered spots of cosmetic retouching, notably along the framing edges and in the left eyebrow. Garibaldi: the panel is flat, even and ensuring a stable support. There is a fine superficial vertical split, circa 13 cm from the left edge, that crosses the panel in its entirety. However this appears to be stable. Ultra-violet light reveals traces of old residual varnish, cosmetic retouching along the aforementioned split and other scattered spots. Duc d'Aumale: the panel is flat, even and ensuring a stable support. There are two superficial vertical splits: one circa 13 cm in length running from the upper edge and 16 cm from the left edge, and one circa 15 cm in length running from the lower edge and 23 cm from the left edge; however these appear to be stable. Ultra-violet light reveals cosmetic retouching along the aforementioned splits and other scattered spots notably in the upper right corner. MacMahon: the panel is flat, even and ensuring a stable support. Ultra-violet light reveals scattered spots of cosmetic retouching, notably in the figure's left eye and right leg. Léopold II: the panel is flat, even and ensuring a stable support. There is a 6cm vertical split running from the lower edge and 18 cm from the left edge. However this appears to be stable. Ultra-violet light reveals scattered spots of cosmetic retouching, notably along the aforementioned split and in the figure's beard. Adolphe Thiers: There is some minor rubbing along the upper edge. Ultra-violet light reveals areas or discoloured varnish and scattered spots of cosmetic retouching, notably towards the centre of the book in the lower half of the composition. Traces of old nail holes are visible on the back of each panel. All pictures are otherwise in good condition and ready to hang. All presented in a wooden frame with gilt inner slip.
"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."

This group of eight caricatures depicting some of the foremost French and international statesmen and public figures of the day was probably painted circa 1870-80 by the French illustrator André Gill. Gill became known for his caricatures of well-known people of his time - intellectuals, politicians and rulers - for the weekly newspaper La Lune, edited by Francis Polo. The journal was censored by Napoleon III who disliked the portrait Gill had painted of him for the December 1867 edition. However, Gill and Polo collaborated again in the newspaper L’Éclipse, which was first published in August 1868. Works by André Gill are now in The Metropolitan Museum of Art, New York, and in the Philadelphia Museum of Art among others.