EUGÈNE QUESNEL (1792-1858) after BOUCHÉ (XVIIIth - XIXth ) T - Lot 125

Lot n° 125
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20000 - 30000 EUR
EUGÈNE QUESNEL (1792-1858) after BOUCHÉ (XVIIIth - XIXth ) T - Lot 125
EUGÈNE QUESNEL (1792-1858) after BOUCHÉ (XVIIIth - XIXth ) The last message (Right hand of Théodore Géricault, cast on nature) inscribed by Géricault 'À tous ceux que j'aime, adieu' and with the founder's inscription 'Quesnel fondeur' (on the terrace) Bronze with brown patina Height : 8.7 cm. / Width : 13.5 cm. / Length : 22.2 cm. Designed in 1824, this print was cast before 1847 in two copies known to this day. This work will be reproduced and commented on in the future Catalogue raisonné des peintures de Théodore Géricault, in preparation by Bruno Chenique. Provenance: Private collection, Paris. L'EMPIRE À FONTAINEBLEAU 96LUNDI 22 MARCH 2021 L'EMPIRE À FONTAINEBLEAU 97LUNDI 22 MARCH 2021 Bibliography: - Géricault, edited by Édouard, duc de Trévise, Jean Guiffrey and Pierre Dubaut, Paris, Hôtel Charpentier, 24 April - 16 May 1924, p. 90, no. 307. - Georges Dubosc, 'L'Exposition Géricault', Journal de Rouen, no. 118, Sunday, April 27, 1924, p. 3. - Philippe Grunchec, Tout l'œuvre peint de Géricault, introduction by Jacques Thuillier, Paris, 1978, p. 84, repr (plaster version). - Germain Bazin, Théodore Géricault. Étude critique, documents et catalogue raisonné, t. I, L'homme : biographie, témoignages et documents, Paris, Bibliothèque des arts, 1987, p. 204, fig. 143 (plaster version). - Lorenz Eitner, Géricault, sa vie, son œuvre, 1983, translated from English by Jeanne Bouniort, Paris, Gallimard, 1991, pp. 388, 439, note 172 (plaster version). - Bruno Chenique, 'Géricault posthume', proceedings of the colloquium under the direction of Régis Michel, t. II, Paris, 1996, pp.946, 990, fig. 401 (plaster version). - Bruno Chenique, 'Le masque de Géricault ou la folle mémoire d'un culte sentimental et nauséabond', catalogue of the exhibition Le Dernier Portrait, edited by Emmanuelle Héran, Paris, Musée d'Orsay, 5 March-26 May 2002, pp. 161-163, fig. 2 (plaster version). - Wolfram Pichler and Ralph Ubl, 'Vor dem ersten Strich. Dispositive der Zeichnung in der modernen und vomodernen Kunst', Randgänge der Zeichnung, edited by Werner Busch, Oliver Jehle and Carolin Meister, Munich, Wilhelm Fink Verlag, 2007, p. 232. - Nina Athanassoglou-Kallmyer, Théodore Géricault, translated from English by Hélène Ladjadj and Catherine Makarius, Paris, 2010, p. 213, fig. 190, (plaster version, illustrated in colour). - Bruno Chenique, Géricault. Au coeur de la création romantique. Études pour le Radeau de la Méduse, cat. exp., under the direction of Bruno Chenique and Anne-Charlotte Cathelineau, Clermont-Ferrand, Roger Quillot Museum of Art, 2 June - 2 September 2012, pp. 245, 257, no. 46, (plaster version, illustrated in colour). L'EMPIRE À FONTAINEBLEAU 98LUNDI 22 MARCH 2021 Related works: - Paris, Géricault, under the direction of Régis Michel and Sylvain Laveissière, Galeries nationales du Grand Palais, October 1991 - January 1992, pp. 254- 368, fig. 390, no. 147, notice by Bruno Chenique (plaster version, illustrated in colour). - Similar proof cited in La Gazette Drouot, No. 7, February 15, 2002. Sale, Pescheteau-Badin, Paris, Drouot, February 6-7, 2002 (bronze version, sold for €40,000 hammer). Incarnation of the romantic artist and precursor of the myth of the cursed artist, the short and tormented life of Théodore Géricault, who died at the age of 32 in 1824, was imbued with the genius of artistic innovation, and gave rise to a posthumous celebration close to worship. Contemporary of the rise and fall of Napoleon and Louis XVIII, whose glories and defeats Géricault followed through his studies of horsemen on horseback and military scenes, the young artist's fame began with his presentation in the Salon of 1812 of the portrait of Alexandre Dieudonné (1778-1812), lieutenant of the Chasseurs à cheval of the Imperial Guard, whose critical sensation made the painter David say: "Where did that come from? I don't recognize this touch! ». The artist, who was awarded the Salon's gold medal, confirmed, at the age of 21, the pioneering nature of his art. After two separate stays in England in 1820 and 1821, following the success and scandal of The Raft of the Medusa (Salon of 1819), Gericault returned to France weakened, showing the first signs of bone tuberculosis. This was followed by several serious falls on horseback, a consequence of the indomitable and impulsive nature of the artist, who was nevertheless an excellent rider. Then came the dramatic episode of the fall of the Rue des Martyrs in Paris in August 1823, which paralysed the artist and forced him to remain in bed until his death on 26 January 1824. Géricault continued to paint until a few weeks before his death, and did at least three watercolors and one painting with his left hand, his only remaining subject. An anonymous posthumous witness reported: "He suffered horribly, which did not prevent him from working. He begged his friends to lift him up on his pillow so that he could paint again, and when all strength was taken away, his eyes were on the painting.
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