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GUSTAVE MOREAU (FRENCH, 1826-1898)
GUSTAVE MOREAU (FRENCH, 1826-1898)
GUSTAVE MOREAU (FRENCH, 1826-1898)
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These lots have been imported from outside of the … Read more PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION (LOTS 16, 22-24)
GUSTAVE MOREAU (FRENCH, 1826-1898)

Le lion amoureux (The Lion in Love)

Details
GUSTAVE MOREAU (FRENCH, 1826-1898)
Le lion amoureux (The Lion in Love)
signed ‘-Gustave Moreau-’ (lower left)
watercolour and gouache on paper
15 x 9 ½ in. (38 x 24.3 cm.)
Executed circa 1881.
Provenance
Cahen d’Anvers, Paris.
Willy Blumenthal sale; Galerie Charpentier, Paris, 29 November 1935, lot 26.
Maurice Rheims, Paris, by 1965.
Anonymous sale; Sotheby's, New York, October 17, 1991, Lot 30.
Acquired at the above sale by the family of the present owner.
Literature
G. Rouault, ‘Gustave Moreau’ in LArt es les Artistes, No. 66, April 1926, p. 228, illustrated.
M. Rheims, LArt 1900, Paris, 1965, p. 129, as Der Zauberwald, illustrated.
E. Bénézit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris, 1976, Vol. 7, p. 525.
Pierre-Louis Mathieu, Gustave Moreau : Complete edition of the finished paintings, watercolours and drawings, Oxford, 1977, p. 344, No. 269, illustrated.
P.L. Mathieu, Gustave Moreau, Complete edition of the finished paintings, watercolours and drawings, Oxford, 1998, p. 371, No. 300, illustrated.
P.L. Mathieu, Gustave Moreau, L'assembleur de rêves, Paris, 1998, p. 122-123, illustrated.
Exhibited
Paris, Galerie Georges Petit, Centenaire de Gustave Moreau, April 1926, no. 17.
Special Notice

These lots have been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Lot Essay


Drawn circa 1881, this beautiful watercolour, Le lion amoureaux is a variant of the smaller watercolour of the same title. The smaller work was executed in 1879 for the Marseille collector, Antoni Roux. Roux commissioned a group of the greatest artists of the time, including Gustave Moreau, Jean-Léon Gérôme, Henri Gervex and Gustave Doré to illustrate La Fontaine’s Fables and showcase the revival of watercolour as a medium. When Antoni Roux held the first public exhibition of 150 watercolours in 1881, the critics unanimously recognised the superiority of Moreau’s work (Pierre-Louis Mathieu, Gustave Moreau : L'assembleur de rêves, Paris, 1998, p. 112). It was in response to this exhibition that Charles Blanc wrote ‘One would have to coin a word for the occasion if one wished to characterise the talent of Gustave Moreau, the work colourism for example, which would well convey all that is excessive, superb and prodigious in his love for colour. His watercolours for the Fables of La Fontaine make all the others look dim beside him. It is as if one were in the presence of an illuminant artist who had been a jeweller before becoming a painter, and who, having yielded to the intoxication of colour, had ground rubies, sapphires, emeralds, topazes, opals, pearls and mother of pearl to make up his palette’ (C. Blank, Le Temps, 5 May 1881). This is certainly true of the present work, which is enriched by a palette of rich ruby and emerald pigments glimmering throughout the mythological subject.
On the basis of such praise, Roux commissioned Moreau to create images for 39 more fables, which featured more animals. In a letter to Roux in September 1881, Moreau records waking at 5:30 am to visit the Jardin des Plantes to observe live animals in person, to make more accurate renderings of Lions, Elephants, Deer, Chamois, Horses, Jaguars, Leopards, Peacocks, Rhinos and Tigers from nature.
The watercolours were exhibited in 1886 in Paris and London. Moreau’s biographer, Pierre-louis Mathieu, describes the series as a “splendid suite of an artist at the height of his talent” (ibid., p. 116).
Fontaine’s Fable of the Lion in Love tells the story of a Lion who is enamoured by a shepherdess. Seeking her father’s blessing for marriage, the father agrees on the condition that the lion files down his teeth and claws. The Lion gives consent to this deal immediately; an act made under the influence of love which leaves him weakened. La Fontaine closes this fable with the sentiment “O love, O love, mastered by you,/ prudence we well may bid adieu".
Sketches for Le lion amoureux are held in the Musée Gustave Moreau (Figs. 1-3) which show Moreau’s artistic process in forming the colour palette and composition for this work. Moreau would revisit this composition when later painting La Licorne in 1884-5. In both works he depicts a woman wearing a dark red, sumptuous cape draped over her shoulders and a wide Renaissance beret, in a style similar to the goddesses painted by the Early Renaissance artist Lucas Cranach.

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