Lot 602
Cornice
Raumbeispiel
602
Jean-Baptiste Camille Corot
Femme assise, tenant une mandoline, 1826-1828.
Olio su tela
Stima:
€ 30,000 / $ 33,000 Risultato:
€ 55,880 / $ 61,468 ( commissione inclusa)
Femme assise, tenant une mandoline. 1826-1828.
Oil on canvas.
Robaut II 94. Signed in lower right. With old French custom stamps on the reverse. 33.5 x 25.5 cm (13.1 x 10 in).
• Created during the first trip to Italy from 1825-1828, which had a lasting influence on Corot's work.
• "Girl with mandolin" becomes an emblematic motif in his further oeuvre.
• Renowned provenance: once in the important Georges Renand Collection, Paris.
• Dreamy-lyrical expression as the epitome of Corot paintings.
• Paintings of the mandolin motif are in the National Gallery of Art, Washington, the Museu de Arte de São Paulo, the Musée du Louvre and the Musée d'Orsay, Paris.
Accompanied by a certificate issued by Claire Lebeau-Dieterle, Paris, from March 17, 2023, on basis of the physical condition.
PROVENANCE:
Private collection France (acquired from a friend of the artist in 1873/74).
Georges Renand Collection (until 1942).
Private collection, Paris.
Private collection (until 1960).
Collection Bruno Lohse (until 1984).
Private collection Switzerland.
Private collection Southern Germany.
Extensive provenance research was carried out for this painting. There are no indications of a difficult provenance.
EXHIBITION:
L'Impressionnisme dans les collections romandes, Fondation de l'Hermitage, Lausanne, June 17 - October 21, 1984, no. 3 (with illu. p. 134).
LITERATURE:
Alfred Robaut, Charles Desavary (photographs), Répertoire préparatoire au catalogue raisonné de l'œuvre de Camille Corot, Bibliothèque nationale de France, département Estampes et photographie, DC-282 (O)-4 [magazine] and DC-282 (O+)-FOL [Digitalisat].
Alfred Robaut, Etienne Moreau-Nélaton, L'œuvre de Corot, catalogue raisonné et illustré, Paris 1905, p. 36, no. 94 (with illu.).
Claude Bernheim de Villiers, Corot peintre de figures, Bernheim-Jeune, Paris 1930, no. 14 (with illu.).
Germain Bazin, Corot, Berlin 1942, pp. 33, 51 (with illu. plate 16).
Germain Bazin, Corot, Paris 1951, p. 34 (with illu. plate 20).
Hôtel Drouot, ca. 1960.
Alfred Robaut, Jean Dieterle, André Schoeller, L'œuvre de Corot, catalogue raisonné et illustré, Bd. II, Paris 1965, p. 36, no. 94 (with illu.).
Antje Zimmermann, Poesie und Wahrheit in Corots Figurenbildern, in: Wallraf-Richartz-Jahrbuch 46/47, 1985/86, pp. 399-409, ann. 28.
Christie's, New York, 19th century European Art, Orientalist Art, auction on April 12, 2007, lot 119 (with illu.).
Stefan Koldehoff, Die Bilder sind unter uns. Das Geschäft mit der NS-Raubkunst und der Fall Gurlitt, Berlin 2014, p. 104 and p. 108.
Jonathan Petropoulos, Göring's Man in Paris. The Story of a Nazi Art Plunderer and his World, New Haven, London 2021, pp. 21, 270, 297.
Oil on canvas.
Robaut II 94. Signed in lower right. With old French custom stamps on the reverse. 33.5 x 25.5 cm (13.1 x 10 in).
• Created during the first trip to Italy from 1825-1828, which had a lasting influence on Corot's work.
• "Girl with mandolin" becomes an emblematic motif in his further oeuvre.
• Renowned provenance: once in the important Georges Renand Collection, Paris.
• Dreamy-lyrical expression as the epitome of Corot paintings.
• Paintings of the mandolin motif are in the National Gallery of Art, Washington, the Museu de Arte de São Paulo, the Musée du Louvre and the Musée d'Orsay, Paris.
Accompanied by a certificate issued by Claire Lebeau-Dieterle, Paris, from March 17, 2023, on basis of the physical condition.
PROVENANCE:
Private collection France (acquired from a friend of the artist in 1873/74).
Georges Renand Collection (until 1942).
Private collection, Paris.
Private collection (until 1960).
Collection Bruno Lohse (until 1984).
Private collection Switzerland.
Private collection Southern Germany.
Extensive provenance research was carried out for this painting. There are no indications of a difficult provenance.
EXHIBITION:
L'Impressionnisme dans les collections romandes, Fondation de l'Hermitage, Lausanne, June 17 - October 21, 1984, no. 3 (with illu. p. 134).
LITERATURE:
Alfred Robaut, Charles Desavary (photographs), Répertoire préparatoire au catalogue raisonné de l'œuvre de Camille Corot, Bibliothèque nationale de France, département Estampes et photographie, DC-282 (O)-4 [magazine] and DC-282 (O+)-FOL [Digitalisat].
Alfred Robaut, Etienne Moreau-Nélaton, L'œuvre de Corot, catalogue raisonné et illustré, Paris 1905, p. 36, no. 94 (with illu.).
Claude Bernheim de Villiers, Corot peintre de figures, Bernheim-Jeune, Paris 1930, no. 14 (with illu.).
Germain Bazin, Corot, Berlin 1942, pp. 33, 51 (with illu. plate 16).
Germain Bazin, Corot, Paris 1951, p. 34 (with illu. plate 20).
Hôtel Drouot, ca. 1960.
Alfred Robaut, Jean Dieterle, André Schoeller, L'œuvre de Corot, catalogue raisonné et illustré, Bd. II, Paris 1965, p. 36, no. 94 (with illu.).
Antje Zimmermann, Poesie und Wahrheit in Corots Figurenbildern, in: Wallraf-Richartz-Jahrbuch 46/47, 1985/86, pp. 399-409, ann. 28.
Christie's, New York, 19th century European Art, Orientalist Art, auction on April 12, 2007, lot 119 (with illu.).
Stefan Koldehoff, Die Bilder sind unter uns. Das Geschäft mit der NS-Raubkunst und der Fall Gurlitt, Berlin 2014, p. 104 and p. 108.
Jonathan Petropoulos, Göring's Man in Paris. The Story of a Nazi Art Plunderer and his World, New Haven, London 2021, pp. 21, 270, 297.
The wonderful portrait of the young woman with a mandolin was created during Corot's first stay in Italy. He had successfully persuaded his father, a successful businessman, to pursue a career as a painter, and finally got permission to attend the private and independent Académie Suisse. In France at the beginning of the 19th century, a trip to Italy was still part of the training of every artist. Corot also set off in 1825 and visited Rome, Naples and Venice during his three-year stay. From then on, the light of Italy and the landscape of the Roman Campagna accompanied his entire work. Free from academic requirements, such stays served as an unadulterated study of nature, often outdoors, where the painters gathered material in drawings and oil studies for later studio paintings. However, such an unadulterated and fresh approach was met with the justified appreciation only over time. Especially in the early years and during his stay in Italy, Corot devoted himself to the human figure, which in his later works took a back seat behind the landscape. The artist was not so much into folkloric descriptions but sought to express a lyrical mood conveyed through the human figure. The idea of a golden age of poetry, music and the arts, as found in antiquity and which endured in Italy’s landscapes and its people, resonates melodically in such works. The contemplative expression of the young girl by the sea, longing and dreamy, can be taken as the epitome of Corot's impressions of the voyage. Despite the small format, the figure has a timeless monumentality for its calm pose in front of the backdrop of rocks and sea and the bluish mountain ranges under a wide sky in the distance. The magic of these early, sensitive and personal studies, in which Corot achieved the greatest possible effect with all the simplicity of the means, remains unbroken to this day. [KT]
602
Jean-Baptiste Camille Corot
Femme assise, tenant une mandoline, 1826-1828.
Olio su tela
Stima:
€ 30,000 / $ 33,000 Risultato:
€ 55,880 / $ 61,468 ( commissione inclusa)