Lot n° 105
Estimation :
120000 - 150000
EUR
Result with fees
Result
: 198 400EUR
Jean-Auguste Dominique INGRES (Montauban, 1780 - Paris, 1867 - Lot 105
Jean-Auguste Dominique INGRES (Montauban, 1780 - Paris, 1867)
Condottiere
Original canvas enlarged by the artist at the bottom right
Signed lower left: "J. Ingres" and dated: "1821
53,5 x 41 cm
Provenance:
- Georges de Monbrison Collection, Château Saint-Roch, Le Pin (Tarn-et-Garonne), acquired from the artist on March 15, 1862.
- Sale, Galerie Georges Petit, Paris, May 13, 1904, n° 25.
- Lecomte Collection, Paris.
- Wildenstein Collection, New York.
- Sale "19th Century European art", Sotheby's, New York, 4 May 2012, n° 83.
Exhibitions :
- Montauban, Hôtel de Ville, Exposition des Beaux-Arts, May 1862, no. 549 "Un condottieri" (sic).
- Lille, Explanation of the works of painting, drawing, sculpture...appearing at the exhibition of Fine Arts opened in the city of Lille, July 1866, n° 831 "Head of warrior".
- Paris, Palais de L'École Impériale des Beaux-Arts, Catalogue des tableaux, études peintes, dessins et croquis de J.-A.- D. Ingres, 1867, n° 80 " Condottiere ".
Bibliography :
- E. Vaïsse, Exposition des Beaux-Arts à Montauban, in Revue de Toulouse et du Midi de la France, Huitième année, Tome quinzième, Toulouse, 1862, p. 517-522.
- Emile Bellier de La Chavignerie, Letter of July 30, 1806, in La Chronique des Arts, n° 153, August 10, 1866, p. 204-206.
- Olivier Merson, Ingres : Sa vie et ses œuvres, Paris, 1867, p.110.
- Charles Blanc, Ingres : Sa vie et ses ouvrages, Paris, 1870, p.232.
- Caussé (under the presidency of), Séance du 19 juin 1883, Bulletin de la Société Archéologique du Midi, Toulouse, 1883, p. 33.
- Auguste-Jean Boyé, dit Boyer d'Agen, Ingres d'après une correspondance inédite, Paris, 1909, p. 446.
- Georges Wildenstein, Ingres, New York, 1954, p. 192, no. 145, reproduced on p. 197, fig. 96.
- Georges Wildenstein, Ingres (second edition), London, 1956, p. 192, no. 145, reproduced on p. 197, fig.96.
- Emilio Radius and Ettore Camesasca, L'Opera complete di Ingres, Milan, 1968, p.101, n° 107b (reproduced).
- Daniel Ternois and Ettore Camesasca, Tout l'œuvre peint d'Ingres, Paris, 1971, p. 101, no. 108b (reproduced).
- Daniel Ternois, Ingres, Milan, 1980, p.179, n° 161 (reproduced).
- Daniel Ternois and Ettore Camesasca, All the painted works of Ingres (new edition), Paris, 1984
- Annalisa Zanni, Ingres: Catalogo completo dei dipinti, Florence, 1990, p. 92.
- Georges Vigne, Ingres, Paris, 1995, p.333.
- Gerber Sarah, Georges de Monbrison (1830-1906), collectionneur de portraits historiques au XIXe siècle en Tarn-et-Garonne : Catalogue de la collection et interprétation ; sous la direction de Pascal Julien, Mémoire de Master recherche, Histoire de l'art 2e année, Toulouse II Le Mirail, 2007, vol. 3, cat. 332 and 333.
Invited by his friend, the sculptor Lorenzo Bartolini, Ingres left Rome for Florence in December 1820. He was commissioned to create L'Entrée à Paris du Dauphin, futur Charles V, Hartford, Wadsworth Atheneum, by Count Amédée-David de Pastoret (1791-1857) in homage to his ancestor Jehan Pastoret (1328-1405), a lawyer at the Parliament of Paris. The subject is an example of the loyalty to the crown that Pastoret, newly appointed Gentleman of the King's Chamber, gave to Louis XVIII. These first "neo-gothic" paintings quickly established our painter as one of the leaders of the troubadour style. His stay in Tuscany ended in 1824 when he exhibited at the Paris Salon Le Vœu de Louis XIII, painted for the cathedral of Montauban.
Our painting is a study for the figure on the right of the composition, who is holding a pike, probably the Maréchal d'Audrehem, aide-de-camp to Bertrand du Guesclin, and who escorted the Dauphin. His haughty, realistic face corresponds to his military function, and indicates a portrait executed from life. Ingres was also inspired by Renaissance paintings by Mantegna, Bronzino (Cosimo I de' Medici) and especially the Portrait of a Man in Armor, by Sebastiano del Piombo, which he knew from the copy kept in the Palazzo Pitti. This bearded face can be found in one of the soldiers on the left of the Martyrdom of Saint Symphorien, 1834, Saint-Lazare Cathedral in Autun.
When in 1867, after Ingres' death, our painting was exhibited at the retrospective of the École des Beaux-Arts, the catalog stated that: "the cuirass was painted by the master around 1855", a practice that was common for him to transform his sketches. Following the entry of the Portrait of Antonello de Messina into the Louvre Museum in 1865, the title "Condottiere" was definitively imposed for this virile figure, between Caravaggio and Géricault (at the height of his fame in 1821), which reveals an unexpected aspect of our painter renowned for his effigies and famous female nudes.
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