Painter, Sculptor, Lithographer, b. 1791 - d. 1824
(b Rouen, France, 1791; d Paris, France, 1824) French Painter. An extremely talented young student, Jean-Louis André Theodore Géricault began his training in Paris under the direction of Carle Vernet and later Pierre-Narcisse Guerin in a neoclassical temperament.* In 1810, Géricault furthered his studies at the Louvre, imitating works by masters such as Titian and Rembrandt van Rijn. In the coming years Géricault developed a style, making a distinct effort to avoid Neoclassicism, the dominant movement of the time. Géricault began to generate his own stylistic tendencies, becoming a forerunner of Romanticism, a movement endorsing emotion over reason. After spending time in Italy, the artist submitted Officer of the Imperial Guard to the Paris Salon in 1812 and received great attention. In 1819, Theodore Géricault exhibited his most acclaimed work, The Raft of the Medusa, depicting the ghastly aftermath of a shipwreck. While Géricault received the winning award at the Salon, he also dealt with an overwhelming controversial reaction. The painting underwent political scrutiny as well as great debate between Neoclassical and Romantic followers. In 1822, Géricault became enthralled in the visual representation of human emotion on the face, creating several portraits of detached, yet psychologically piercing portraits of the insane who were committed at the psychiatric institution of the artist’s friend, Dr. Etienne-Jean Georget.** Painted with a heightened realism, each portrait represents a different misery or illness. In his final years, Géricault began ambitious compositions that he was unable to complete due to his declining health. Jean-Louis André Géricault died in 1824 in Paris, France following a struggle with tuberculosis. (Credit: *Christie’s, Paris, France, Collection Yves Saint Laurent et Pierre Berge, February 23, 2009, Lot 86; **Christie’s, Paris, France, Collection Yves Saint Laurent et Pierre Berge, February 23, 2009, Lot 83)
Jean Louis Theodore Gericault (French 1791-1824) Etudes de Chevaux Apres Nature, Lithograph on wove paper, published by G. Engelmann, c1880. Framed and Glazed. 3.4lbs From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. (WSF) Measurements: Approx. visible area 12 x 9 inches; framed 20.75 x 16.5 x 0.5 inches Condition: Print in good observable condition, not removed from frame, slipped slightly in frame. Some toning/foxing to edges. Frame has scratches, display wear. Domestic Shipping:$
MANNER OF JEAN-LOUIS-ANDRE-THEODORE GERICAULT (ROUEN 1791-1824 PARIS) MANNER OF JEAN-LOUIS-ANDRE-THEODORE GERICAULT (ROUEN 1791-1824 PARIS) Tug of war ink 24.5 x 6 cm (9 5/8 x 2 3/8 in) Provenance With Bell Street Art Gallery, London, 1987.
THÉODORE GÉRICAULT (1791 - 1824) Retour de Russie. Color lithograph printed in black and tan, 1818. 445x332 mm; 17½x13 inches, wide margins. Likely the first state (of 2), before the printed title lower center. Delteil 13.
Theodore Gericault (French 1791â1824) Lithograph on paper, Passage Du Mont St. Bernard, Signed in plate lower left. 1822. Litho de C. Mott, R des marais to underneath the lithograph to the lower right hand corner. Framed and matted in a black wooden frame. Weight: Approx. 4.5 lbs Measurements: Approx. Print: 14 x 16.25 inches; framed 22.5 inches (WSL).
Théodore GERICAULT (Rouen 1791- Paris 1824) Recto : Cheval de trait londonien avec son harnais vu par la croupe Verso : Personnages londoniens : un balayeur, un homme et un enfant Aquarelle sur traits de crayon noir (Pliure à gauche, quelques rousseurs) Front : London draft horse with its harness seen from the rump ; Back : London figures: a street sweeper, a man and a child, watercolor, by T. Géricault 10.23 x 7.28 in. 26 x 18.5 cm Provenance : Collection His de La Salle, son cachet (L.1333) en bas au centre ; Collection Heseltine, son cachet (L.1508) au verso ; Sa vente, Londres, Sotheby's, 27-29 mai 1935, n° 240, acquis par Maurice Gobin ; Collection Maurice Gobin (1883-1962), son cachet (L.1124b) au verso ; Puis par descendance ; Collection particulière, Ile-de-France Expositions : Géricault, Paris, Grand Palais, 1991-1992, p. 210, n° 227, repr. fig. 334 Bibliographie : Charles Clément, Géricault, Etude biographique et critique, avec le catalogue raisonné de l’œuvre du maître, Paris, 1879, édition Didier et Cie, n° 143, et p. 387, sous le n° 31 du catalogue des lithographies Maurice Gobin, Géricault dans la collection d’un amateur, Paris, 1958, édition Editart, n° 32-33 Maurice Gobin, L’art expressif au XIXe siècle français, Paris, 1960, édition des quatre chemins, repr. Lorenz Eitner, Géricault: Sa vie, son œuvre, Londres, 1983, pp. 223, 350 note 57, 351 note 63 (15) Lorenz Eitner, Géricault: Sa vie, son oeuvre, Paris, 1991, pp. 300, 432 notes 57 et 63 Germain Bazin, Géricault Tome VII, 1997, p. 72 n° 2138 et p. 98 n° 2210, repr. Charles Clément mentionne cette feuille comme préparatoire pour un des chevaux de la lithographie Entrance to the Adelphi Wharf (fig. 1) comme une étude pour le cheval de droite au premier plan, « une étude à la mine de plomb, magistralement lavée à l’encre de Chine, pour le cheval placé à droite au premier plan ; elle est en contrepartie de la lithographie. Au verso de cette étude se trouvent deux balayeurs et un enfant, à la mine de plomb. ». Il cite également le dessin sous le n° 143, dessin préparatoire à la lithographie perdu, récemment réapparu dans une vente publique à Saint-Valéry-en-Caux 1. Le croquis au verso au crayon noir prouve bien qu’il s’agit du même dessin que celui cité par Clément 2. On peut en dater son exécution pendant son séjour à Londres ; la lithographie Entrance to the Adelphi Wharf fut produite en mai 1821. Cependant le cheval est vu sous un angle légèrement différent, et attelé selon toute vraisemblance à une voiture d’où Géricault le dessine. Il n’est donc pas directement préparatoire à la lithographie et au dessin cités par Clément mais les précède sans doute dans le temps. L’encolure est en fait obstruée par un harnais de caractéristique anglaise connue sous le nom de « housing » 3. Le cheval, avec ses fanons poilus, est typique des chevaux de trait anglais comme les Clydersdales écossais ou les Shires du Yorkshire. Concernant la provenance, le collectionneur Horace His de La Salle s’engagea dans les Mousquetaires du Roi comme Théodore Géricault en 1814. Même si leurs opinions divergèrent, il y eut un esprit de corps auquel le collectionneur se rattacha probablement. Géricault était de quatre ans l’aîné de His de la Salle, né en 1795. Il semble que His de la Salle se soit néanmoins mis à collectionner les œuvres de Géricault bien après son décès en 1824, à partir des années 1840. Outre ses dons à des institutions ou à des collectionneurs comme Léon Bonnat, la vente organisée en 1880 par Thibeaudeau chez Christie’s à Londres dispersa au moins 32 dessins provenant de l’ensemble préservé par sa compagne Madame White 4. 1. Vente anonyme ; Saint-Valéry-en-Caux, Me Roquigny, 1 er janvier 2024, adjugé 197 500 €. 2. Géricault, cat. exp., Paris, Grand Palais, 1991-1992, p. 388. 3. Voir Bazin, op. cit., p. 12. 4. Laurence Lhinares et Louis-Antoine Prat, Officier et Gentleman au XIXe siècle, la collection Horace His de La Salle, Paris, musée du Louvre, ed. Liénart et Louvre éditions, 2020. Théodore GERICAULT (Rouen 1791- Paris 1824) 26 x 18.5 cm Charles Clément mentionne cette feuille comme préparatoire pour un des chevaux de la lithographie Entrance to the Adelphi Wharf (fig. 1) comme une étude pour le cheval de droite au premier plan, « une étude à la mine de plomb, magistralement lavée à l’encre de Chine, pour le cheval placé à droite au premier plan ; elle est en contrepartie de la lithographie. Au verso de cette étude se trouvent deux balayeurs et un enfant, à la mine de plomb. ». Il cite également le dessin sous le n° 143, dessin préparatoire à la lithographie perdu, récemment réapparu dans une vente publique à Saint-Valéry-en-Caux1. Le croquis au verso au crayon noir prouve bien qu’il s’agit du même dessin que celui cité par Clément2. On peut en dater son exécution pendant son séjour à Londres ; la lithographie Entrance to the Adelphi Wharf fut produite en mai 1821. Cependant le cheval est vu sous un angle légèrement différent, et attelé selon toute vraisemblance à une voiture d’où Géricault le dessine. Il n’est donc pas directement préparatoire à la lithographie et au dessin cités par Clément mais les précède sans doute dans le temps. L’encolure est en fait obstruée par un harnais de caractéristique anglaise connue sous le nom de « housing »3. Le cheval, avec ses fanons poilus, est typique des chevaux de trait anglais comme les Clydersdales écossais ou les Shires du Yorkshire. Concernant la provenance, le collectionneur Horace His de La Salle s’engagea dans les Mousquetaires du Roi comme Théodore Géricault en 1814. Même si leurs opinions divergèrent, il y eut un esprit de corps auquel le collectionneur se rattacha probablement. Géricault était de quatre ans l’aîné de His de la Salle, né en 1795. Il semble que His de la Salle se soit néanmoins mis à collectionner les œuvres de Géricault bien après son décès en 1824, à partir des années 1840. Outre ses dons à des institutions ou à des collectionneurs comme Léon Bonnat, la vente organisée en 1880 par Thibeaudeau chez Christie’s à Londres dispersa au moins 32 dessins provenant de l’ensemble préservé par sa compagne Madame White4. 1. Vente anonyme ; Saint-Valéry-en-Caux, Me Roquigny, 1er janvier 2024, adjugé 197 500 €. 2. Géricault, cat. exp., Paris, Grand Palais, 1991-1992, p. 388. 3. Voir Bazin, op. cit., p. 12. 4. Laurence Lhinares et Louis-Antoine Prat, Officier et Gentleman au XIXe siècle, la collection Horace His de La Salle, Paris, musée du Louvre, ed. Liénart et Louvre éditions, 2020.
Théodore GÉRICAULT (Rouen, 1791 – Paris, 1824) Deux lutteurs, vers 1815-1820 Crayon Two wrestlers, pencil, by T. Gericault 2.83 x 3.11 in. 7.2 x 7.9 cm Provenance : Collection Marie-Joseph-François Maherault, Paris ; Sa vente posthume ; Paris, Hôtel Drouot, 27-29 mai 1880, n° 73 ; Collection Henri Marillier, Paris ; Collection privée, Londres ; Galerie Eric Gillis Fine Art ; Collection particulière, Ile-de-France Bibliographie : Germain Bazin, Théodore Géricault, Wildenstein Institute, Paris, 1992, tome V, p.230, n° 1707 Notre feuille s’insère dans un groupe de cinq dessins de lutteurs nus (Bazin, op. cit., n° 1704 à n° 1708). Ce sont pour la plupart de petits dessins découpés de feuilles d’album. Sur le nôtre, l’intensité de la lutte transmet une certaine tension érotique, rehaussée par la position des corps des deux lutteurs en forme de lettrine « X ». Théodore GÉRICAULT (Rouen, 1791 – Paris, 1824) 7.2 x 7.9 cm Notre feuille s’insère dans un groupe de cinq dessins de lutteurs nus (Bazin, op. cit., n° 1704 à n° 1708). Ce sont pour la plupart de petits dessins découpés de feuilles d’album. Sur le nôtre, l’intensité de la lutte transmet une certaine tension érotique, rehaussée par la position des corps des deux lutteurs en forme de lettrine « X ».
JEAN-LOUIS ANDRÉ THÉODORE GERICAULT (ROUEN 1791-1824 PARIS). Mendiant jouant du violon accompagné de son chien, un enfant sur ses.... graphite13,3 x 11,9 cm (5 ¼ x 4 5/8 in.).
Theodore Gericault, (French 1791 - 1824) Lithograph on paper, Chevaux d' Auvergne / Auvergne Horses, from the Series: Etudes de chevaux lithographies d'apres nature, 1822. First State. Two horses facing right, held by a peasant in Auvergne costume. The closest is a piebald horse. Background of rocks. In plexi frameless mount. 3.3lbsFrom the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measurements: Approx. frame 20 x 16 inches Condition: Very good observable condition, not removed from frame. Scattered ight foxing, dust soiling to mat board, light scuffs to plexiglass. (WSF).
Theodore Gericault (French, 1791-1824) Lithograph on wove paper, Drawing known only by a lithograph (perhaps inverted) cataloged by Clement, under the title: Interior of vaulted stable, with the indication: after a watercolor", the letter of which is: 'Volmar after Gericault / chez Gihaut b ard des Italians N°5 I Lith. de Villain' (British Museum, Inv. 1869.4.10.122). Collector's stamp lower right. Mounted n paper folio, unframed. (5/24) From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measurements: Approx. sheet 13.25 x 10 inches; portfolio 20.125 x 13.125 inches Condition: Print in very good condition, some tiny closed tears to top edge, slight toning, slight foxing, penciled inscriptions.
Jean Louis Theodore Gericault (French 1791-1824) Etudes de Chevaux Apres Nature, Lithograph on wove paper, published by G. Engelmann, c1880. Framed and Glazed. 3.4lbs From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. (WSF) Measurements: Approx. visible area 12 x 9 inches; framed 20.75 x 16.5 x 0.5 inches Condition: Print in good observable condition, not removed from frame, slipped slightly in frame. Some toning/foxing to edges. Frame has scratches, display wear. Domestic Shipping: $60
Theodore Gericault (French, 1791-1824), "Roulier Montant une Cote" from "Quatre Sujets Divers," 1823, lithograph, printed by G. Engelmann (French 1788-1839), published by Mme Hulin, Paris, collectors mark lower left (A Maroni, Lugt 150B), unknown blindstamp lower right, image: 8.75"h x 12"w, overall (with mat): 16"h x 20"w. Provenance: Purchased from R.E Lewis Inc. by Robert Bechtle. Property from the estate of artist Robert Bechtle and art historian Whitney Chadwick.
Jean Louis Theodore Gericault (French 1791-1824) Cheval Espagnol, Lithograph on wove paper, published by G. Engelmann. Signed in plate on lower left. Notation bottom left. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: mat 18 inches x 14 inches ; sheet 13 inches x 9.5 inches . Domestic Shipping: $50
Theodore Gericault (French 1791â1824) Lithograph on paper, MARCHE DANS LE DESERT , Signed in plate to the print and to the lower left. 1822. Litho de C. Mott. underneath the lithograph to the lower right hand corner. Framed and matted in a beaded black wooden frame. Domestic Shipping: $60
Jean Louis Theodore Gericault (French 1791-1824) Cheval Ardennes, Lithograph on wove paper, published by G. Engelmann. Signed in plate on lower left. Notation bottom left. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: mat 18 inches x 14 inches ; sheet 13 inches x 9.5 inches . Domestic Shipping: $50
(French, 1791-1824) An Egyptian Mameluke Defending a Wounded French Trumpeter at Waterloo (D. 9, C. 8), 1818, unsigned, with faint collector's stamp lower right (L. 2187a), lithograph on cream wove paper, image 13-5/8 x 11 in., sheet 17-3/4 x 12-3/8 in.; gilt frame, 24 x 20 x 1 in. Provenance: Ex-collection Alexis Hubert Rouart (1839-1911), Paris, France; By descent in family Note from Lugt database: Alexis Hubert Rouart, brother of the collector Henri Rouart (1833-1912) renowned for his Corot and Degas, had himself gathered a large selection of lithographs in very beautiful proofs. All the great masters such as Charlet, Raffet, Vernet, Gericault, Delacroix, Boulanger, H. Monnier, Daumier, Deveria, Gavarni, Bonington, Grevedon, Decamps, were represented there. Literature: Delteil, Loys, et al. Theodore GeRicault : The Graphic Work = L'oeuvre Grave : A Catalogue Raisonne. Alan Wofsy Fine Arts, 2010, No. 9; Clement, Charles. GeRicault; ETude Biographique et Critique, Avec Le Catalogue Raisonne de L'oeuvre Du Maitre. Didier, 1868, No. 8
„CHEVAL GRIS BLANC“ AUCH „CHEVAL ARABE GRIS“, UM 1812/ 1814 Öl auf Leinwand. 59,9 x 73 cm. Anbei eine Expertise von Dr. Bruno Chenique, (ehem. Villa Medici, Rom, Getty Resarch Institute L. A., Mitlg. De l‘Union française des experts. Reims, 1. Juni 2022, mit detaillierten Angaben der bisherigen Provenienz sowie Untersuchungsberichten. In der Vorbesitzer-Tradition finden sich beide der oben genannten Bildtitel. Das mag ein Hinweis darauf sein, dass es sich bei dem Gemälde keineswegs um ein Pferdeportrait in der gewohnten Art der Pferdebesitzer handelt. Vielmehr haben wir es hier mit einem autonomen künstlerischen Werk zu tun, das für Gèricault insofern von Bedeutung gewesen sein muss, da er sich in seinem Werk vielfach mit dem Bildthema Pferd auseinandergesetzt hat, war er doch selbst ein leidenschaftlicher Reiter, der tragischerweise 1824 während eines Reitunterrichts starb. Es ging dem Maler also nicht um individuelles Tierportrait, vielmehr um das Erfassen von Körperhaltung, Ausdruck im Blick, Anspannung der Muskulatur und einer gespannten Lebendigkeit trotz der stehenden Haltung. Diese Leidenschaft erklärt auch die intensive malerische Auseinandersetzung mit diesem Thema. So berühmte Werke wie „Kavallerieoffizier der kaiserlichen Garde zu Pferde“ (1814, Louvre), oder „Apfelschimmel“ (Christie´s, London), aber auch „Kopf eines Pferdes“ (Louvre) und etliche weitere Beispiele. Bezeichnend ist, dass es sich bei seinen Pferdebildern überwiegend um Schimmel oder graue Apfelschimmel handelt. Das Bildmotiv schuf Géricault etliche Male. Dabei ist das Perd sowohl nach links wie nach rechts stehend- aber auch aufbäumend dargestellt, neben Schimmeln finden sich in der Reihe auch braune Hengste. Der Hintergrund ist meist dunkel gehalten. Die Biographie des weltberühmten Géricault ist als hinreichend bekannt vorauszusetzen. Im Zusammenhang mit dem vorliegenden Gemälde, in dem die künstlerischen Zielsetzungen des Künstlers erkennbar sind, seien seine wichtigsten Werke in Erinnerung gebracht, in denen es stets um dynamische Eindrücke auch des Alltäglichen ging, abgesehen von so weltbekannt gewordenenen Ereignissen wie der „Schiffbruch der Medusa“, ein Werk, das den Maler berühmt gemacht hat, oder seine realistischen malerischen Dokumentationen von Krankenhaus-Szenen. Ein identisches Bild befindet sich im Musée des Beaux Arts in Rouen. Zu dem hier vorliegenden Gemälde hat Bruno Chenique, der Experte und Autor zu Géricault, eine umfangreiche und ausführliche Dokumentation erarbeitet. Die Geschichte des Gemäldes, sowie die technischen Untersuchungsergebnisse werden hier vorgestellt. (S. 1-15), zudem mit der Mitteilung, dass das vorliegende Bild in den in Vorbereitung befindlichen „Catalogue raisonné des tableaux de Théodore Géricault“ aufgenommen wird. A.R. Provenienz: Ausgestellt: Paris 1937, „Géricault“, Katalog Nr. 14. Ausgestellt: Museum St. Gallen 1954, Katalog: „Le cheval dans l‘art“, Nr. 12, Abb. Tafel 29. Sammlung A. Wuester. Fischer, Sale Nov. 1960, Lot 1685. Beurret & Bailly, Auktion Internationale Kunst bis 1900, Juni 2020. Galerie Widmer, Cabinet Turquin, Paris, expert, Bâle, März 2020, Nr. 83: Bedeutende Privatsammlung, Frankreich. Verso Aufkleber: Pitt & Sons London, Item Nr. 2085. (1422031) (11) Théodore Géricault, 1791 Rouen – 1824 Paris “CHEVAL GRIS BLANC” also “CHEVAL ARABE GRIS”, CA. 1812/ 1814 Oil on canvas. 59.9 x 73 cm. Accompanied by an expert’s report by Dr Bruno Chenique, (formerly Villa Medici, Rome, Getty Research Institute L. A., members of De l’Union française des experts. Reims, 1 June 2022, with detailed information regarding the previous provenance and examination report. Provenance: Exhibited: Paris 1937, “Géricault”, catalogue no. 14. Exhibited in: Museum St Gallen 1954, catalogue: “Le cheval dans l’art”, no. 12, ill. panel 29. Collection A. Wuester. Fischer, Sale November 1960, lot 1685. Beurret & Bailly, Auktion Internationale Kunst bis 1900, June 2020. Galerie Widmer, Cabinet Turquin, Paris, expert, Bâle, March 2020, no. 83: Collection particulière, France. Label on the reverse: Pitt & Sons London, item no. 2085.
After Théodore Géricault (French, 1791-1824) A trompe l’oeil head of a man, his cravat formed from the inverted image of a lady playing the mandolin to her lover, after Watteau Oil on board To the reverse is a study of the deposition in oil Dimensions: (Frame) 15 in. (H) x 13 in. (W) (Board) 10 in. (H) x 7.5 in. (W)
Théodore GÉRICAULT (Rouen, 1791 - Paris, 1824) Trois chevaux à l'écurie Huile sur toile (Toile d'origine) Porte une inscription 'Géricault / Coll. Gral de Brack' à l'encre sur le châssis au verso Three horses in a stable, oil on canvas, by T. Géricault 5.71 x 8.27 in. 14.5 x 21.5 cm Provenance : Peut-être collection général de Brack en 1823 (avec son pendant) ; Collection Pierre Dubaut (son cachet à la cire rouge au verso); Collection particulière, Paris Expositions : Probablement Géricault, Paris, Galerie Charpentier, 1924, n° 340 Théodore Géricault, Winterthur, Kunstmuseum, 30 août - 8 novembre1953, n° 44 Géricault, Paris, Galerie Claude Aubry, 1964, n° 12 Bibliographie : Charles Blanc, Histoire des peintres français au XIXe siècle, tome I, Paris, 1845, p. 443 Philippe Grunchec, Tout l'œuvre peint de Géricault, paris, 1978, n° 238, repr. Lorenz Eitner, "The Literature of Art", Burlington Magazine, mars 1980, p. 209 Georges Bazin, Théodore Géricault, étude critique, documents et catalogue raisonné, tome VII, Paris, 1997, p. 46, 48, p. 227, n° 2557, repr. (comme papier marouflé sur toile) Notre tableau doit être rapproché de la dernière période de Théodore Géricault selon Germain Bazin. Dans les derniers mois de sa vie, notre artiste largement diminué physiquement, livre un certain nombre d’œuvres moins ambitieuses, plus intimes. C’est le cas de notre ravissante esquisse peinte, pour laquelle Géricault par une touche rapide et brutale nous livre les contours des animaux qui le passionnèrent et l’inspirèrent toute sa vie. Endetté, Géricault aurait, par l’intermédiaire de son ami Louis Bro vendu notre toile à Antoine Fortuné de Brack - militaire rencontré par Bro au gré des campagnes de Prusse, de Pologne, d’Allemagne ou de Russie auxquelles il participa - avec trois autres tableaux, dont ce qui constituerait le pendant de notre toile (voir Georges Bazin, Théodore Géricault, étude critique, documents et catalogue raisonné, tome VII, Paris, 1997, p. 46,48, p. 227, n° 2556). Notre œuvre entre par la suite en possession de Pierre Dubaut, l’un des plus importants collectionneurs de l’artiste. Théodore GÉRICAULT (Rouen, 1791 - Paris, 1824) 14.5 x 21.5 cm Notre tableau doit être rapproché de la dernière période de Théodore Géricault selon Germain Bazin. Dans les derniers mois de sa vie, notre artiste largement diminué physiquement, livre un certain nombre d’œuvres moins ambitieuses, plus intimes. C’est le cas de notre ravissante esquisse peinte, pour laquelle Géricault par une touche rapide et brutale nous livre les contours des animaux qui le passionnèrent et l’inspirèrent toute sa vie. Endetté, Géricault aurait, par l’intermédiaire de son ami Louis Bro vendu notre toile à Antoine Fortuné de Brack - militaire rencontré par Bro au gré des campagnes de Prusse, de Pologne, d’Allemagne ou de Russie auxquelles il participa - avec trois autres tableaux, dont ce qui constituerait le pendant de notre toile (voir Georges Bazin, Théodore Géricault, étude critique, documents et catalogue raisonné, tome VII, Paris, 1997, p. 46,48, p. 227, n° 2556). Notre œuvre entre par la suite en possession de Pierre Dubaut, l’un des plus importants collectionneurs de l’artiste.
Theodore Gericault (French 1791 - 1824) Lithograph on wove paper, Jument Egyptienne (Egyptian Mare,) Printed by Gottfried Engelmann 1822 Signed in plate. Delteil 57. Unframed, mounted in paper folio. Collector's stamp lower right. (5/24) From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measurements: Approx. sheet 13 x 9.5 inches; portfolio 21.625 x 14.75 Condition: Print in very good condition, some chipping to top edge, toning, light staining, dust soiling. Domestic Shipping: $70
Géricault, Théodore (1791-1824). "Lara blessé". Lithograph, 17,7x23 cm., "Géricault", "Lith. de Villain" and titled below the image. = Delteil 45, the 3rd state (of 4). Early lithograph. ADDED: Ploos van Amstel, Cornelis (1726-1798). Spinnende herderin met kudde. Printdrawing, printed in brown after Nicolaes BERCHEM, 24,8x35,4 cm., with the Ploos stamp on verso. = LNP 94.
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Theodore Gericault (French, 1791-1824), "Roulier Montant une Cote" from "Quatre Sujets Divers," 1823, lithograph, printed by G. Engelmann (French 1788-1839), published by Mme Hulin, Paris, collectors mark lower left (A Maroni, Lugt 150B), unknown blindstamp lower right, image: 8.75"h x 12"w, overall (with mat): 16"h x 20"w. Provenance: Purchased from R.E Lewis Inc. by Robert Bechtle. Property from the estate of artist Robert Bechtle and art historian Whitney Chadwick.
Théodore Géricault, French 1791-1824- Cheval que l'on ferre; lithograph, printed by François le Villain and published by Gihaut Frères, Boulevard des Italiens, Paris, bears stamp for Ricardo de Los Rios [L.1693c] (lower right), 16.3 x 19.4 cm. Provenance: The Collection of Ricardo de Los Rios (1846-1929). with Emanuel von Baeyer Gallery, where purchased in 2020. Note: The present work, depicting 'A Horse being Shod', is one of many prints of equestrian subjects by Géricault which were published by the Gihaut Brothers (fl.1815-1871), with this particular print part of a small album of seven lithographs which, whilst illustrating horses themselves, also reflect the range of social conditions and experiences of those who surround and attend them.
Théodore Géricault, French 1791-1824- Le cheval du plâtrier; lithograph, 30.3 x 38.8 cm. Note: The present print, depicting 'The Plasterer's Horse', was produced for Géricault's series 'Études de chevaux', or 'Studies of Horses', in 1822.
Théodore Géricault, French 1791-1824- Cheval de la plaine de Caen; lithograph, 24.6 x 30.4 cm. Note: This print was first produced in 1822, as part of Géricault's series entitled 'Études de Chevaux', or 'Studies of Horses'.
Théodore Géricault, French 1791-1824- Three Horses Led by a Groom to be Skinned; lithograph, 13.7 x 22.1 cm. Note: The present print is from Géricault's series of equestrian prints entitled 'Etudes de Chevaux', or 'Studies of Horses', which was published in 1822.
Theodore Gericault (French, 1791-1824) Lithograph on wove paper, Drawing known only by a lithograph (perhaps inverted) cataloged by Clement, under the title: Interior of vaulted stable, with the indication: after a watercolor", the letter of which is: 'Volmar after Gericault / chez Gihaut b ard des Italians N°5 I Lith. de Villain' (British Museum, Inv. 1869.4.10.122). Collector's stamp lower right. Mounted n paper folio, unframed. (5/24) From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measurements: Approx. sheet 13.25 x 10 inches; portfolio 20.125 x 13.125 inches Condition: Print in very good condition, some tiny closed tears to top edge, slight toning, slight foxing, penciled inscriptions. Domestic Shipping: $40
Théodore Géricault (1791 Rouen - 1824 Paris) Circle: Rising horse above French dragoon on grim battlefield, 19th century, Lithography Technique: Lithography on Paper Inscription: Inscribed below. Date: 19th century Keywords: 19th century, Romanticism, Military, France, Size: Paper: 44,3 cm x 37,0 cm (17,4 x 14,6 in), Depiction: 30,0 cm x 31,0 cm (11,8 x 12,2 in)
Theodore Gericault (French 1791 - 1824) Lithograph on wove paper, Jument Egyptienne (Egyptian Mare,) Printed by Gottfried Engelmann 1822 Signed in plate. Delteil 57. Unframed, mounted in paper folio. Collector's stamp lower right. (5/24) From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measurements: Approx. sheet 13 x 9.5 inches; portfolio 21.625 x 14.75 Condition: Print in very good condition, some chipping to top edge, toning, light staining, dust soiling. Domestic Shipping: $70
Theodore Gericault (French, 1791-1824) Lithograph on wove paper, Drawing known only by a lithograph (perhaps inverted) cataloged by Clement, under the title: Interior of vaulted stable, with the indication: after a watercolor", the letter of which is: 'Volmar after Gericault / chez Gihaut b ard des Italians N°5 I Lith. de Villain' (British Museum, Inv. 1869.4.10.122). Collector's stamp lower right. Mounted n paper folio, unframed. (5/24) From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measurements: Approx. sheet 13.25 x 10 inches; portfolio 20.125 x 13.125 inches Condition: Print in very good condition, some tiny closed tears to top edge, slight toning, slight foxing, penciled inscriptions. Domestic Shipping: $70
Jean Louis Theodore Gericault (French 1791-1824) Cheval Espagnol, Lithograph on wove paper, published by G. Engelmann. Signed in plate on lower left. Notation bottom left. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: mat 18 inches x 14 inches ; sheet 13 inches x 9.5 inches . Domestic Shipping: $50
Jean Louis Theodore Gericault (French 1791-1824) Cheval Ardennes, Lithograph on wove paper, published by G. Engelmann. Signed in plate on lower left. Notation bottom left. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: mat 18 inches x 14 inches ; sheet 13 inches x 9.5 inches . Domestic Shipping: $50
Theodore Gericault (French 1791â1824) Lithograph on paper, MARCHE DANS LE DESERT , Signed in plate to the print and to the lower left. 1822. Litho de C. Mott. underneath the lithograph to the lower right hand corner. Framed and matted in a beaded black wooden frame. Domestic Shipping: $60
Jean Louis Theodore Gericault (French 1791-1824) Cheval De Charrette Sorti Des Limons. Lithograph on dark wove paper, published by G. Engelmann. Signed in plate on lower left. Notation bottom left. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: Sheet 13.25 inches x 9.75 inches ; mat 14.5 inches x 11.75 inches . Domestic Shipping: $50
Jean Louis Theodore Gericault (French 1791-1824) Cheval Cauchois, Lithograph on wove paper, published by G. Engelmann. Signed in plate on lower left. Notation bottom left. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: mat 18 inches x 14 inches ; sheet 13 inches x 9.5 inches . Domestic Shipping: $50
Theodore Gericault (French, 1791â1824) Lithograph on paper, PASSAGE DU MONT ST. BERNARD, Signed in plate lower left. 1822. Litho de C. Mott, R des marais to underneath the lithograph to the lower right hand corner. Framed and matted in a black wooden frame. 4.5lbs Measures Approx.: Print: 14 x 16.25inches Domestic Shipping: $50
Jean Louis Theodore Gericault (French 1791-1824) Cuirassiers chargeant une batterie d'artillerie, Lithograph on wove paper, published by de Villain. Signed in plate on lower left. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: Sheet 13.25 inches x 10 inches ; Image 8 inches x 5.25 inches ; mat board 18 inches x 14 inches . Domestic Shipping: $50
Jean Louis Theodore Gericault (French 1791-1824) Cheval Anglais, Lithograph on wove paper, published by G. Engelmann. Signed in plate on lower left. Notation on reverse mat board states this is II/IV rare. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: sheet 13 inches x 9.5 inches ; image 9 inches x 7 inches ; mat board 18 inches x 14 inches . Domestic Shipping: $50
Jean Louis Theodore Gericault (French 1791-1824) Cheval de Mecklembourg, Lithograph on wove paper, published by G. Engelmann. Signed in plate on lower left. Notation on board states second state of four. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: sheet 13" x 9.5"; image 9.25" x 7.5"; mat board 18" x 14". Domestic Shipping: $50
Jean Louis Theodore Gericault (French 1791-1824) Cheval d' Hanoure, Lithograph on wove paper, published by G. Engelmann. Signed in plate on lower left. From the estate of George Longstreet. From the estate of George Longstreet. Acquired from the estate of George Longstreet, a renown collector of fine original illustrations and prints, and whose collection has appeared in dozens of museums and exhibits over the last four decades. In 1976, Armand Hammer acquired 5000 Daumier objects that George Longstreet began to amass in Paris more than 50 years ago. The Daumier collection is now part of the permanent collection in the Armand Hammer Wing of the Los Angeles County Museum of Art. Measures Approx.: sheet 13" x 9.5"; image 9" x 7"; mat board 18" x 14". Domestic Shipping: $50
Gericault, Theodore (French 1791-1824) "Chevaux Flamands" 1822. Black and white Lithograph on paper. Bottom left hand corner with "Gericault" in plate. Bottom right hand corner "lihi de & Engelman". Glass covered frame. Weight Approx., 4.5 lbs Measures Approx.: Print: 11.75 inches x 8.75 inches. Frame: 20.5 inches x 16 inches. Domestic Shipping: $50
