Lot 190
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Estimation :
20000 - 30000 EUR
WORKSHOP OF ALEXANDRE-GABRIEL DECAMPS (Paris 1803 - Fontainebleau 1860) Asian Turkish Cavalry Crossing a Ford, after the original 1843 composition in the Musée Condé, Chantilly Oil on canvas (lined), in a 19th century Empire style palmette frame Unsigned 90 x 130 cm Oil on canvas (lined), unsigned, 35.1/2 x 51.1/4 in. OIL ON CANVAS (LINED), UNSIGNED, 35.1/2 x 51.1/4 IN., PAINTED CIRCA 1842 ACCORDING TO DEWEY MOSBY, AUTHOR OF THE ARTIST'S CATALOGUE RAISONNÉ. A copy of the expertise of Mr Dewey Mosby, author of the Catalogue Raisonné of Alexandre-Gabriel Decamps, will be given to the buyer. PROVENANCE Private collection, Paris (in 1985). Private collection, Paris (acquired from the previous owner). COMPARATIVE BIBLIOGRAPHY: D. Mosby, Alexandre-Gabriel Decamps, Garland Publishing, New York & London, 1977, p. 431, no. 90 (illustrated, plate 147, no. A). An expert copy by Mr. Dewey Mosby, author of the Catalogue Raisonné of Alexandre-Gabriel Decamps, dating the work to circa 1842, will be given to the purchaser. The present composition is a virtuoso, faithful and monumental copy of one of the iconic works of Alexandre-Gabriel Decamps (1803-1860), Asian Turkish Cavalry Crossing the Ford, whose original monumental gouache of 1843, exhibited at the Salon of 1850, was acquired by the Duc d'Aumale in 1868 and has been conserved at the Musée-Château de Chantilly since that time. A pupil of Abel de Pujol, but a rebellious pupil who very early on manifested a taste for adventure and an astonishing aesthetic freedom for his time, Decamps quickly turned away from the official aesthetic, mixing styles according to his moods, between neo-classicism, romanticism, cynicism with his mutations of monkey-painters, up to the assumed orientalism of which he was a forerunner with his Turkish Patrol of 1831 (preserved in the Wallace Collection, London). Decamps is a free electron whose present composition reveals the genius of the Parisian-born artist - who as early as 1828 made a trip to Izmir in Turkey, before Delacroix in 1832 to Morocco. In the present subject, faithfully transcribed in relation to the sheet kept at the Musée Condé, Decamps seized upon a fantasized military scene, a pretext for the creation of a composition mixing romantic dynamism and neo-classical rigor, which moreover allows the European eye to discover the exoticism of the Ottoman military uniform, well documented by the artist. A mixture that will make Decamps' success, and that will be a source of inspiration during the rest of his career.
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