Jean-Leon Gerome Auction Price Results

Lot 1: GEROME, Jean Leon (1824-1904, French)

Description: Portrait de femme, i. Oil Painting (18x25in).

Lot 1: GEROME, Jean Leon (1824-1904, French)

Description: Portrait de femme, i. Oil Painting (18x25in).

Lot 1: GEROME, Jean Leon (1824-1904, French)

Description: Portrait de femme, i. Oil Painting (18x25in).

Lot 1: GEROME, Jean Leon (1824-1904, French)

Description: Portrait de femme, i. Oil Painting (18x25in).

Lot 1: Jean-Lon Grme (French, 1824-1904)

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Description: Gerome, J.-L. Egyptian Grain-Cutters signed 'J.L. GEROME' (lower right) oil on panel 8 x 14 in. (21 x 36.2 cm.) Painted circa 1859 PROVENANCE Mme. E[tienne] Boussod (Grme's daughter). By descent. John Mitchell & Sons, London. Acquired by Robert Isaacson from the above. ENGRAVED Roujon LITERATURE G.M. Ackerman, Jean-Lon Grme, London, 1986, pp. 206 and 207, no. 117 (illustrated). NOTES The Egyptian Grain-Cutter is a preliminary model for a larger painting of the same title executed in 1859, known from a photogravure in Grme: a collection of the works of J.L. Grme in one hundred photogravures, ed. Edward Strahan [Edward Shinn], New York, 1881 (fig. 1). It illustrates an aspect of Egyptian life that Grme most likely witnessed on his first trip to Egypt in 1856. The larger painting was supposed to have been purchased by Napoleon III, but this is speculative. The painting depicts a harvesting scene showing two Egyptian Fellahs or peasants cutting grain in a field. It is early morning judging by the bright, flat light that illuminates the figures, and the angle of the shadows cast by the heads of the buffaloes. In addition, this sort of strenuous labor always took place in the morning, and not the afternoon, when the heat of the midday sun would have made it impossible to work. The combination of light, heat, and sand create a haze that surrounds the faraway town and cliffs. Judging from the landscape, it represents the middle to upper region of Egypt where the cliffs are located near the valley of the Nile River, unlike the flatter delta region in the south. Small pools of water are evidence of the Nile's flooding of the valley from June until October, allowing the farmers to cultivate the land in the following months. Grme took up this subject matter several times, most notably in Treading out the Grain in Egypt, executed circa 1859 (see Ackerman, cat. no. 118). This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. fig. 1 J.-L. Grme, The Egyptian Grain-cutter, photogravure, 1881 (Courtesy of Gerald M. Ackerman).

Lot 1: Jean-Lon Grme (French, 1824-1904)

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Description: Gerome, J.-L. Egyptian Grain-Cutters signed 'J.L. GEROME' (lower right) oil on panel 8 x 14 in. (21 x 36.2 cm.) Painted circa 1859 PROVENANCE Mme. E[tienne] Boussod (Grme's daughter). By descent. John Mitchell & Sons, London. Acquired by Robert Isaacson from the above. ENGRAVED Roujon LITERATURE G.M. Ackerman, Jean-Lon Grme, London, 1986, pp. 206 and 207, no. 117 (illustrated). NOTES The Egyptian Grain-Cutter is a preliminary model for a larger painting of the same title executed in 1859, known from a photogravure in Grme: a collection of the works of J.L. Grme in one hundred photogravures, ed. Edward Strahan [Edward Shinn], New York, 1881 (fig. 1). It illustrates an aspect of Egyptian life that Grme most likely witnessed on his first trip to Egypt in 1856. The larger painting was supposed to have been purchased by Napoleon III, but this is speculative. The painting depicts a harvesting scene showing two Egyptian Fellahs or peasants cutting grain in a field. It is early morning judging by the bright, flat light that illuminates the figures, and the angle of the shadows cast by the heads of the buffaloes. In addition, this sort of strenuous labor always took place in the morning, and not the afternoon, when the heat of the midday sun would have made it impossible to work. The combination of light, heat, and sand create a haze that surrounds the faraway town and cliffs. Judging from the landscape, it represents the middle to upper region of Egypt where the cliffs are located near the valley of the Nile River, unlike the flatter delta region in the south. Small pools of water are evidence of the Nile's flooding of the valley from June until October, allowing the farmers to cultivate the land in the following months. Grme took up this subject matter several times, most notably in Treading out the Grain in Egypt, executed circa 1859 (see Ackerman, cat. no. 118). This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. fig. 1 J.-L. Grme, The Egyptian Grain-cutter, photogravure, 1881 (Courtesy of Gerald M. Ackerman).

Lot 1: Jean-Lon Grme (French, 1824-1904)

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Description: Gerome, J.-L. Egyptian Grain-Cutters signed 'J.L. GEROME' (lower right) oil on panel 8 x 14 in. (21 x 36.2 cm.) Painted circa 1859 PROVENANCE Mme. E[tienne] Boussod (Grme's daughter). By descent. John Mitchell & Sons, London. Acquired by Robert Isaacson from the above. ENGRAVED Roujon LITERATURE G.M. Ackerman, Jean-Lon Grme, London, 1986, pp. 206 and 207, no. 117 (illustrated). NOTES The Egyptian Grain-Cutter is a preliminary model for a larger painting of the same title executed in 1859, known from a photogravure in Grme: a collection of the works of J.L. Grme in one hundred photogravures, ed. Edward Strahan [Edward Shinn], New York, 1881 (fig. 1). It illustrates an aspect of Egyptian life that Grme most likely witnessed on his first trip to Egypt in 1856. The larger painting was supposed to have been purchased by Napoleon III, but this is speculative. The painting depicts a harvesting scene showing two Egyptian Fellahs or peasants cutting grain in a field. It is early morning judging by the bright, flat light that illuminates the figures, and the angle of the shadows cast by the heads of the buffaloes. In addition, this sort of strenuous labor always took place in the morning, and not the afternoon, when the heat of the midday sun would have made it impossible to work. The combination of light, heat, and sand create a haze that surrounds the faraway town and cliffs. Judging from the landscape, it represents the middle to upper region of Egypt where the cliffs are located near the valley of the Nile River, unlike the flatter delta region in the south. Small pools of water are evidence of the Nile's flooding of the valley from June until October, allowing the farmers to cultivate the land in the following months. Grme took up this subject matter several times, most notably in Treading out the Grain in Egypt, executed circa 1859 (see Ackerman, cat. no. 118). This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. fig. 1 J.-L. Grme, The Egyptian Grain-cutter, photogravure, 1881 (Courtesy of Gerald M. Ackerman).

Lot 1: Jean-Lon Grme (French, 1824-1904)

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Description: Gerome, J.-L. Egyptian Grain-Cutters signed 'J.L. GEROME' (lower right) oil on panel 8 x 14 in. (21 x 36.2 cm.) Painted circa 1859 PROVENANCE Mme. E[tienne] Boussod (Grme's daughter). By descent. John Mitchell & Sons, London. Acquired by Robert Isaacson from the above. ENGRAVED Roujon LITERATURE G.M. Ackerman, Jean-Lon Grme, London, 1986, pp. 206 and 207, no. 117 (illustrated). NOTES The Egyptian Grain-Cutter is a preliminary model for a larger painting of the same title executed in 1859, known from a photogravure in Grme: a collection of the works of J.L. Grme in one hundred photogravures, ed. Edward Strahan [Edward Shinn], New York, 1881 (fig. 1). It illustrates an aspect of Egyptian life that Grme most likely witnessed on his first trip to Egypt in 1856. The larger painting was supposed to have been purchased by Napoleon III, but this is speculative. The painting depicts a harvesting scene showing two Egyptian Fellahs or peasants cutting grain in a field. It is early morning judging by the bright, flat light that illuminates the figures, and the angle of the shadows cast by the heads of the buffaloes. In addition, this sort of strenuous labor always took place in the morning, and not the afternoon, when the heat of the midday sun would have made it impossible to work. The combination of light, heat, and sand create a haze that surrounds the faraway town and cliffs. Judging from the landscape, it represents the middle to upper region of Egypt where the cliffs are located near the valley of the Nile River, unlike the flatter delta region in the south. Small pools of water are evidence of the Nile's flooding of the valley from June until October, allowing the farmers to cultivate the land in the following months. Grme took up this subject matter several times, most notably in Treading out the Grain in Egypt, executed circa 1859 (see Ackerman, cat. no. 118). This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. fig. 1 J.-L. Grme, The Egyptian Grain-cutter, photogravure, 1881 (Courtesy of Gerald M. Ackerman).

Lot 1: GEROME, Jean-Leon (1824-1904)

Description: Portrait de femme: Marie Gerome, nee Goupil Huile/toile & ovale 250,0 x 179,1 inches (635.0 x 455.0cm) Illustrated.

Lot 1: GEROME, Jean-Leon (1824-1904)

Description: Portrait de femme: Marie Gerome, nee Goupil Huile/toile & ovale 250,0 x 179,1 inches (635.0 x 455.0cm) Illustrated.

Lot 1: GEROME, Jean-Leon (1824-1904)

Description: Portrait de femme: Marie Gerome, nee Goupil Huile/toile & ovale 250,0 x 179,1 inches (635.0 x 455.0cm) Illustrated.

Lot 1: GEROME, Jean-Leon (1824-1904)

Description: Portrait de femme: Marie Gerome, nee Goupil Huile/toile & ovale 250,0 x 179,1 inches (635.0 x 455.0cm) Illustrated.

Lot 1: Personnage symbolisant la Turquie

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Description: JEAN-LEON GEROME (VESOUL 1824 - 1904 PARIS) Personnage symbolisant la Turquie signé et dédicacé 'A Monsieur Ebelmen J. L. Gérôme' (à droite)Huile sur toile 35,5 x 20,5 cm. (14 x 8 in.)

Lot 1A: *Jean-Leon Gerome (French, 1824-1904)

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Description: PORTRAIT OF A BEARDED MAN oil on canvas 12 by 9 3/4 in. 30.5 by 24.8 cm. Gerald M. Ackerman has kindly confirmed the authenticity of this work in a letter dated February 23, 1989.

Lot 1A: *Jean-Leon Gerome (French, 1824-1904)

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Description: PORTRAIT OF A BEARDED MAN oil on canvas 12 by 9 3/4 in. 30.5 by 24.8 cm. Gerald M. Ackerman has kindly confirmed the authenticity of this work in a letter dated February 23, 1989.

Lot 1A: *Jean-Leon Gerome (French, 1824-1904)

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Description: PORTRAIT OF A BEARDED MAN oil on canvas 12 by 9 3/4 in. 30.5 by 24.8 cm. Gerald M. Ackerman has kindly confirmed the authenticity of this work in a letter dated February 23, 1989.

Lot 1A: *Jean-Leon Gerome (French, 1824-1904)

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Description: PORTRAIT OF A BEARDED MAN oil on canvas 12 by 9 3/4 in. 30.5 by 24.8 cm. Gerald M. Ackerman has kindly confirmed the authenticity of this work in a letter dated February 23, 1989.

Lot 2: GEROME, Jean-Leon (1824-1904)

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Description: Circasien a l'abreuvoir, study for Le Retour de la Chasse, c.1879 Pencil/paper 12,6 x 7,9 inches (32.0 x 20.0cm) upper right Illustrated The Donald Munson Collection.

Lot 2: GEROME, Jean-Leon (1824-1904)

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Description: Circasien a l'abreuvoir, study for Le Retour de la Chasse, c.1879 Pencil/paper 12,6 x 7,9 inches (32.0 x 20.0cm) upper right Illustrated The Donald Munson Collection.

Lot 2: GEROME, Jean-Leon (1824-1904)

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Description: Circasien a l'abreuvoir, study for Le Retour de la Chasse, c.1879 Pencil/paper 12,6 x 7,9 inches (32.0 x 20.0cm) upper right Illustrated The Donald Munson Collection.

Lot 2: GEROME, Jean-Leon (1824-1904)

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Description: Circasien a l'abreuvoir, study for Le Retour de la Chasse, c.1879 Pencil/paper 12,6 x 7,9 inches (32.0 x 20.0cm) upper right Illustrated The Donald Munson Collection.

Lot 2: GEROME, Jean Leon (1824-1904, French)

Description: Bacchante a la grappe, s. gilt pat.bronze Sculpture (?x23x)?in.

Lot 2: GEROME, Jean Leon (1824-1904, French)

Description: Bacchante a la grappe, s. gilt pat.bronze Sculpture (?x23x)?in.

Lot 2: GEROME, Jean Leon (1824-1904, French)

Description: Bacchante a la grappe, s. gilt pat.bronze Sculpture (?x23x)?in.

Lot 2: GEROME, Jean Leon (1824-1904, French)

Description: Bacchante a la grappe, s. gilt pat.bronze Sculpture (?x23x)?in.

Lot 2: After Jean-Leon Gerome (French, 1824-1904) "The Prisoner", oil on canvas, inscribed lower left "J. L. Gerome", 17" x 28-3/4". Presented in an elaborately carved 19th century giltwood frame.

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Description: After Jean-Leon Gerome (French, 1824-1904) "The Prisoner", oil on canvas, inscribed lower left "J. L. Gerome", 17" x 28-3/4". Presented in an elaborately carved 19th century giltwood frame.

Lot 3: GEROME, Jean-Leon (1824-1904)

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Description: Study of an Arab looking over a wall Oil/masonite 11,4 x 8,3 inches (29.0 x 21.0cm) upper right Illustrated The Donald Munson Collection.

Lot 3: GEROME, Jean-Leon (1824-1904)

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Description: Study of an Arab looking over a wall Oil/masonite 11,4 x 8,3 inches (29.0 x 21.0cm) upper right Illustrated The Donald Munson Collection.

Lot 3: GEROME, Jean-Leon (1824-1904)

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Description: Study of an Arab looking over a wall Oil/masonite 11,4 x 8,3 inches (29.0 x 21.0cm) upper right Illustrated The Donald Munson Collection.

Lot 3: GEROME, Jean-Leon (1824-1904)

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Description: Study of an Arab looking over a wall Oil/masonite 11,4 x 8,3 inches (29.0 x 21.0cm) upper right Illustrated The Donald Munson Collection.

Lot 3: Jean-Léon GÉROME (1824-1904) La fuite en Egypte (

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Description: Jean-Léon GÉROME (1824-1904) La fuite en Egypte ( la nuit) Hauteur: 79 cm * Largeur: 139 cm

Lot 4: GEROME, JEAN-LEON (1824-1904)

Description: Danseuse Tanagra Bronze 9 inches (22 cm) signed.

Lot 4: GEROME, JEAN-LEON (1824-1904)

Description: Danseuse Tanagra Bronze 9 inches (22 cm) signed.

Lot 4: GEROME, JEAN-LEON (1824-1904)

Description: Danseuse Tanagra Bronze 9 inches (22 cm) signed.

Lot 4: GEROME, JEAN-LEON (1824-1904)

Description: Danseuse Tanagra Bronze 9 inches (22 cm) signed.

Lot 4: Jean-L‚on G‚r“me (French, 1824-1904)

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Description: Chef Arnaut faisant la sieste (Arnaut Chief taking a Nap) signed 'J.L. Gerome' (lower right) oil on canvas 181/2 x 241/2 in. (47 x 62.3 cm.) Painted circa 1882 PROVENANCE Anon. sale, Christie's, New York, 26 May 1977, lot 62. The Fine Art Society, Ltd., London, 1981. Acquired from the above by the present owner, 1981. ENGRAVED Goupil & Cie., 1881-83. LITERATURE E. Strahan, ed., G‚r“me, A Collection of the Works of J.L. G‚r“me in 100 Photograveurs, New York, 1881, vol. II. Oeuvres de J. L. G‚r“me, Cabinet des 쳌stampes, BibliothŠque Nationale, Paris, vol. XX, p. 9. P. Cruysmans, Orientalist Painting, Brussels, 1982, p. 40 (illustrated). G. Ackerman, The Life and Work of Jean-L‚on G‚r“me, Paris, 1986, p. 248, no. 303 (illustrated). G. Ackerman, La Vie et l'Oeuvre de Jean-L‚on G‚r“me, 2nd ed., Paris, 2000, p. 305, no. 303 (illustrated). NOTES G‚r“me gained his fame and reputation by the great history paintings he sent to the Salons. He gained his bread and butter by many finely executed and well-thought-out house pictures that he produced throughout his life, among which were many single-figure compositions, often full-length studies of costumed inhabitants of the Near East. That they were modest in size, without narrative or anecdote, did not mean they were any less carefully painted than his larger historical works, even if the preparation were simpler. This we can verify by the tightly composed, tightly painted Arnaut Chief taking a Nap. In this small masterpiece, every object is beautifully painted, not just accurately in physical detail, but in its relationship to the light and atmosphere of the picture. The inlaid bench sets up a small frame surrounding the soldier, his limbs playing counterpoint to its edges; the long thin neck of his pipe almost bounces out of the darkness in response to lines built by the gun and sword on the wall. The guns in his leather holster belt gleam out of a dark, obscure space. The strings of the tassels of the Arnaut's shirt amusingly hang across his chest, some overlapping the holster belt, which enabled the Arab to carry a small arsenal of arms. The handles of the guns and swords tucked into its folds gleam out of the dark space around them, yet they maintain their positions in space. The sword with the split ivory handle is familiar from many of his other paintings; it was a prize piece in his collections. More elaborate holsters existed in G‚r“me's collection of properties, as in the Bashi-Bazouk and Dog (fig. 1) (Ackerman, no. 156) with two of the pistols in this sale's lot 10, A Bashi-Bazouk Chieftan. G‚r“me's models usually wore the brown leather holster with the red pantaloons worn here. The figure, with his full shoulders and arms under the shiny pink blouse, is not just resting; he has taken time out for serious thought, made clear in his expression and in the hand absent-mindedly holding the pipe. The head is not lost in the encompassing white turban, but rather fills it with its burliness and bulk; his bone structure is so strong that it informs the white cloth with the shape and bulk of his head. The hands are both carefully poised, each with an artful spread of fingers; the left foot is placed so that the big toe echoes the knob on the bench floor below it. Below the base of the chair, a jaunty pattern of pipe and shoes works its way across the floor. The Arnaut Chief is isolated inside the chair, yet the shape is integrated into the composition. The rest of the canvas is animated by the movement of light against the nuanced surface of the wall, and by the striking brace of weapons hanging on the wall, seemingly carelessly, but actually precisely placed compositionally. The fineness of the details would be in any other hands finicky, but G‚r“me is so carefully characterizing body and fabrics that the effect is one of completeness rather than over elaboration. On top of that is his sustained concentration on the total effect; nothing stands out, everything fits into the ensemble. The same model, with a different - if still large - turban and jacket posed for a splendid drawing offered at Christie's London (17 June 1999, lot 17) which became the basis for another painting, the lost Arnaut Chief (fig. 2) (my cat. no. 305). We are grateful to Gerald Ackerman for preparing this catalogue entry. (fig. 1) Jean-L‚on G‚r“me, Bachi-Bouzouk and Dog, 1870, Private Collection. (fig. 2) Jean-L‚on G‚r“me, Arnaut Chief, 1870-1880, whereabouts unknown. (fig. 3) After Jean-L‚on G‚r“me, Arabian Warrior Resting, 1881, photograveur.

Lot 4: Jean-L‚on G‚r“me (French, 1824-1904)

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Description: Chef Arnaut faisant la sieste (Arnaut Chief taking a Nap) signed 'J.L. Gerome' (lower right) oil on canvas 181/2 x 241/2 in. (47 x 62.3 cm.) Painted circa 1882 PROVENANCE Anon. sale, Christie's, New York, 26 May 1977, lot 62. The Fine Art Society, Ltd., London, 1981. Acquired from the above by the present owner, 1981. ENGRAVED Goupil & Cie., 1881-83. LITERATURE E. Strahan, ed., G‚r“me, A Collection of the Works of J.L. G‚r“me in 100 Photograveurs, New York, 1881, vol. II. Oeuvres de J. L. G‚r“me, Cabinet des 쳌stampes, BibliothŠque Nationale, Paris, vol. XX, p. 9. P. Cruysmans, Orientalist Painting, Brussels, 1982, p. 40 (illustrated). G. Ackerman, The Life and Work of Jean-L‚on G‚r“me, Paris, 1986, p. 248, no. 303 (illustrated). G. Ackerman, La Vie et l'Oeuvre de Jean-L‚on G‚r“me, 2nd ed., Paris, 2000, p. 305, no. 303 (illustrated). NOTES G‚r“me gained his fame and reputation by the great history paintings he sent to the Salons. He gained his bread and butter by many finely executed and well-thought-out house pictures that he produced throughout his life, among which were many single-figure compositions, often full-length studies of costumed inhabitants of the Near East. That they were modest in size, without narrative or anecdote, did not mean they were any less carefully painted than his larger historical works, even if the preparation were simpler. This we can verify by the tightly composed, tightly painted Arnaut Chief taking a Nap. In this small masterpiece, every object is beautifully painted, not just accurately in physical detail, but in its relationship to the light and atmosphere of the picture. The inlaid bench sets up a small frame surrounding the soldier, his limbs playing counterpoint to its edges; the long thin neck of his pipe almost bounces out of the darkness in response to lines built by the gun and sword on the wall. The guns in his leather holster belt gleam out of a dark, obscure space. The strings of the tassels of the Arnaut's shirt amusingly hang across his chest, some overlapping the holster belt, which enabled the Arab to carry a small arsenal of arms. The handles of the guns and swords tucked into its folds gleam out of the dark space around them, yet they maintain their positions in space. The sword with the split ivory handle is familiar from many of his other paintings; it was a prize piece in his collections. More elaborate holsters existed in G‚r“me's collection of properties, as in the Bashi-Bazouk and Dog (fig. 1) (Ackerman, no. 156) with two of the pistols in this sale's lot 10, A Bashi-Bazouk Chieftan. G‚r“me's models usually wore the brown leather holster with the red pantaloons worn here. The figure, with his full shoulders and arms under the shiny pink blouse, is not just resting; he has taken time out for serious thought, made clear in his expression and in the hand absent-mindedly holding the pipe. The head is not lost in the encompassing white turban, but rather fills it with its burliness and bulk; his bone structure is so strong that it informs the white cloth with the shape and bulk of his head. The hands are both carefully poised, each with an artful spread of fingers; the left foot is placed so that the big toe echoes the knob on the bench floor below it. Below the base of the chair, a jaunty pattern of pipe and shoes works its way across the floor. The Arnaut Chief is isolated inside the chair, yet the shape is integrated into the composition. The rest of the canvas is animated by the movement of light against the nuanced surface of the wall, and by the striking brace of weapons hanging on the wall, seemingly carelessly, but actually precisely placed compositionally. The fineness of the details would be in any other hands finicky, but G‚r“me is so carefully characterizing body and fabrics that the effect is one of completeness rather than over elaboration. On top of that is his sustained concentration on the total effect; nothing stands out, everything fits into the ensemble. The same model, with a different - if still large - turban and jacket posed for a splendid drawing offered at Christie's London (17 June 1999, lot 17) which became the basis for another painting, the lost Arnaut Chief (fig. 2) (my cat. no. 305). We are grateful to Gerald Ackerman for preparing this catalogue entry. (fig. 1) Jean-L‚on G‚r“me, Bachi-Bouzouk and Dog, 1870, Private Collection. (fig. 2) Jean-L‚on G‚r“me, Arnaut Chief, 1870-1880, whereabouts unknown. (fig. 3) After Jean-L‚on G‚r“me, Arabian Warrior Resting, 1881, photograveur.

Lot 4: Jean-L‚on G‚r“me (French, 1824-1904)

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Description: Chef Arnaut faisant la sieste (Arnaut Chief taking a Nap) signed 'J.L. Gerome' (lower right) oil on canvas 181/2 x 241/2 in. (47 x 62.3 cm.) Painted circa 1882 PROVENANCE Anon. sale, Christie's, New York, 26 May 1977, lot 62. The Fine Art Society, Ltd., London, 1981. Acquired from the above by the present owner, 1981. ENGRAVED Goupil & Cie., 1881-83. LITERATURE E. Strahan, ed., G‚r“me, A Collection of the Works of J.L. G‚r“me in 100 Photograveurs, New York, 1881, vol. II. Oeuvres de J. L. G‚r“me, Cabinet des 쳌stampes, BibliothŠque Nationale, Paris, vol. XX, p. 9. P. Cruysmans, Orientalist Painting, Brussels, 1982, p. 40 (illustrated). G. Ackerman, The Life and Work of Jean-L‚on G‚r“me, Paris, 1986, p. 248, no. 303 (illustrated). G. Ackerman, La Vie et l'Oeuvre de Jean-L‚on G‚r“me, 2nd ed., Paris, 2000, p. 305, no. 303 (illustrated). NOTES G‚r“me gained his fame and reputation by the great history paintings he sent to the Salons. He gained his bread and butter by many finely executed and well-thought-out house pictures that he produced throughout his life, among which were many single-figure compositions, often full-length studies of costumed inhabitants of the Near East. That they were modest in size, without narrative or anecdote, did not mean they were any less carefully painted than his larger historical works, even if the preparation were simpler. This we can verify by the tightly composed, tightly painted Arnaut Chief taking a Nap. In this small masterpiece, every object is beautifully painted, not just accurately in physical detail, but in its relationship to the light and atmosphere of the picture. The inlaid bench sets up a small frame surrounding the soldier, his limbs playing counterpoint to its edges; the long thin neck of his pipe almost bounces out of the darkness in response to lines built by the gun and sword on the wall. The guns in his leather holster belt gleam out of a dark, obscure space. The strings of the tassels of the Arnaut's shirt amusingly hang across his chest, some overlapping the holster belt, which enabled the Arab to carry a small arsenal of arms. The handles of the guns and swords tucked into its folds gleam out of the dark space around them, yet they maintain their positions in space. The sword with the split ivory handle is familiar from many of his other paintings; it was a prize piece in his collections. More elaborate holsters existed in G‚r“me's collection of properties, as in the Bashi-Bazouk and Dog (fig. 1) (Ackerman, no. 156) with two of the pistols in this sale's lot 10, A Bashi-Bazouk Chieftan. G‚r“me's models usually wore the brown leather holster with the red pantaloons worn here. The figure, with his full shoulders and arms under the shiny pink blouse, is not just resting; he has taken time out for serious thought, made clear in his expression and in the hand absent-mindedly holding the pipe. The head is not lost in the encompassing white turban, but rather fills it with its burliness and bulk; his bone structure is so strong that it informs the white cloth with the shape and bulk of his head. The hands are both carefully poised, each with an artful spread of fingers; the left foot is placed so that the big toe echoes the knob on the bench floor below it. Below the base of the chair, a jaunty pattern of pipe and shoes works its way across the floor. The Arnaut Chief is isolated inside the chair, yet the shape is integrated into the composition. The rest of the canvas is animated by the movement of light against the nuanced surface of the wall, and by the striking brace of weapons hanging on the wall, seemingly carelessly, but actually precisely placed compositionally. The fineness of the details would be in any other hands finicky, but G‚r“me is so carefully characterizing body and fabrics that the effect is one of completeness rather than over elaboration. On top of that is his sustained concentration on the total effect; nothing stands out, everything fits into the ensemble. The same model, with a different - if still large - turban and jacket posed for a splendid drawing offered at Christie's London (17 June 1999, lot 17) which became the basis for another painting, the lost Arnaut Chief (fig. 2) (my cat. no. 305). We are grateful to Gerald Ackerman for preparing this catalogue entry. (fig. 1) Jean-L‚on G‚r“me, Bachi-Bouzouk and Dog, 1870, Private Collection. (fig. 2) Jean-L‚on G‚r“me, Arnaut Chief, 1870-1880, whereabouts unknown. (fig. 3) After Jean-L‚on G‚r“me, Arabian Warrior Resting, 1881, photograveur.

Lot 4: Jean-L‚on G‚r“me (French, 1824-1904)

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Description: Chef Arnaut faisant la sieste (Arnaut Chief taking a Nap) signed 'J.L. Gerome' (lower right) oil on canvas 181/2 x 241/2 in. (47 x 62.3 cm.) Painted circa 1882 PROVENANCE Anon. sale, Christie's, New York, 26 May 1977, lot 62. The Fine Art Society, Ltd., London, 1981. Acquired from the above by the present owner, 1981. ENGRAVED Goupil & Cie., 1881-83. LITERATURE E. Strahan, ed., G‚r“me, A Collection of the Works of J.L. G‚r“me in 100 Photograveurs, New York, 1881, vol. II. Oeuvres de J. L. G‚r“me, Cabinet des 쳌stampes, BibliothŠque Nationale, Paris, vol. XX, p. 9. P. Cruysmans, Orientalist Painting, Brussels, 1982, p. 40 (illustrated). G. Ackerman, The Life and Work of Jean-L‚on G‚r“me, Paris, 1986, p. 248, no. 303 (illustrated). G. Ackerman, La Vie et l'Oeuvre de Jean-L‚on G‚r“me, 2nd ed., Paris, 2000, p. 305, no. 303 (illustrated). NOTES G‚r“me gained his fame and reputation by the great history paintings he sent to the Salons. He gained his bread and butter by many finely executed and well-thought-out house pictures that he produced throughout his life, among which were many single-figure compositions, often full-length studies of costumed inhabitants of the Near East. That they were modest in size, without narrative or anecdote, did not mean they were any less carefully painted than his larger historical works, even if the preparation were simpler. This we can verify by the tightly composed, tightly painted Arnaut Chief taking a Nap. In this small masterpiece, every object is beautifully painted, not just accurately in physical detail, but in its relationship to the light and atmosphere of the picture. The inlaid bench sets up a small frame surrounding the soldier, his limbs playing counterpoint to its edges; the long thin neck of his pipe almost bounces out of the darkness in response to lines built by the gun and sword on the wall. The guns in his leather holster belt gleam out of a dark, obscure space. The strings of the tassels of the Arnaut's shirt amusingly hang across his chest, some overlapping the holster belt, which enabled the Arab to carry a small arsenal of arms. The handles of the guns and swords tucked into its folds gleam out of the dark space around them, yet they maintain their positions in space. The sword with the split ivory handle is familiar from many of his other paintings; it was a prize piece in his collections. More elaborate holsters existed in G‚r“me's collection of properties, as in the Bashi-Bazouk and Dog (fig. 1) (Ackerman, no. 156) with two of the pistols in this sale's lot 10, A Bashi-Bazouk Chieftan. G‚r“me's models usually wore the brown leather holster with the red pantaloons worn here. The figure, with his full shoulders and arms under the shiny pink blouse, is not just resting; he has taken time out for serious thought, made clear in his expression and in the hand absent-mindedly holding the pipe. The head is not lost in the encompassing white turban, but rather fills it with its burliness and bulk; his bone structure is so strong that it informs the white cloth with the shape and bulk of his head. The hands are both carefully poised, each with an artful spread of fingers; the left foot is placed so that the big toe echoes the knob on the bench floor below it. Below the base of the chair, a jaunty pattern of pipe and shoes works its way across the floor. The Arnaut Chief is isolated inside the chair, yet the shape is integrated into the composition. The rest of the canvas is animated by the movement of light against the nuanced surface of the wall, and by the striking brace of weapons hanging on the wall, seemingly carelessly, but actually precisely placed compositionally. The fineness of the details would be in any other hands finicky, but G‚r“me is so carefully characterizing body and fabrics that the effect is one of completeness rather than over elaboration. On top of that is his sustained concentration on the total effect; nothing stands out, everything fits into the ensemble. The same model, with a different - if still large - turban and jacket posed for a splendid drawing offered at Christie's London (17 June 1999, lot 17) which became the basis for another painting, the lost Arnaut Chief (fig. 2) (my cat. no. 305). We are grateful to Gerald Ackerman for preparing this catalogue entry. (fig. 1) Jean-L‚on G‚r“me, Bachi-Bouzouk and Dog, 1870, Private Collection. (fig. 2) Jean-L‚on G‚r“me, Arnaut Chief, 1870-1880, whereabouts unknown. (fig. 3) After Jean-L‚on G‚r“me, Arabian Warrior Resting, 1881, photograveur.

Lot 4: JEAN-LEON GEROME (VESOUL 1824 - 1904 PARIS) ET ATELIER

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Description: JEAN-LEON GEROME (VESOUL 1824 - 1904 PARIS) ET ATELIER Scène de prière signé 'J-L GEROME' (vers le bas à la gauche) Huile sur toile 60 x 74 cm. (23 5/8 x 29 1/8 in.)

Lot 4: JEAN-LÉON GÉRÔME

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Description: JEAN-LÉON GÉRÔME FRENCH 1824 - 1904 VIEW OF BAALBEK signed JL GEROME and inscribed BA'LBEK (lower right) oil on canvas 9 by 12 1/2 in. 22.8 by 31.7 cm

Lot 5: GEROME, Jean-Leon (1824-1904)

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Description: Study of a seated Arab Pencil/paper 10,2 x 7,5 inches (26.0 x 19.0cm) upper right Illustrated The Donald Munson Collection.

Lot 5: GEROME, Jean-Leon (1824-1904)

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Description: Study of a seated Arab Pencil/paper 10,2 x 7,5 inches (26.0 x 19.0cm) upper right Illustrated The Donald Munson Collection.

Lot 5: GEROME, Jean-Leon (1824-1904)

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Description: Study of a seated Arab Pencil/paper 10,2 x 7,5 inches (26.0 x 19.0cm) upper right Illustrated The Donald Munson Collection.

Lot 5: GEROME, Jean-Leon (1824-1904)

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Description: Study of a seated Arab Pencil/paper 10,2 x 7,5 inches (26.0 x 19.0cm) upper right Illustrated The Donald Munson Collection.

Lot 5: *Jean-Leon Gerome (French, 1824-1904)

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Description: ANACREON, LOVE AND BACCHUS inscribed: Gerome and with the F. Barbedienne foundry mark bronze height: 28 3/4 in. 73 cm. Literature: Gerald Ackerman, Jean-Leon Gerome, Paris, 1986, pp. 312, 313 for illustrations of other casts.

Lot 5: *Jean-Leon Gerome (French, 1824-1904)

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Description: ANACREON, LOVE AND BACCHUS inscribed: Gerome and with the F. Barbedienne foundry mark bronze height: 28 3/4 in. 73 cm. Literature: Gerald Ackerman, Jean-Leon Gerome, Paris, 1986, pp. 312, 313 for illustrations of other casts.

Lot 5: *Jean-Leon Gerome (French, 1824-1904)

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Description: ANACREON, LOVE AND BACCHUS inscribed: Gerome and with the F. Barbedienne foundry mark bronze height: 28 3/4 in. 73 cm. Literature: Gerald Ackerman, Jean-Leon Gerome, Paris, 1986, pp. 312, 313 for illustrations of other casts.

Lot 5: *Jean-Leon Gerome (French, 1824-1904)

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Description: ANACREON, LOVE AND BACCHUS inscribed: Gerome and with the F. Barbedienne foundry mark bronze height: 28 3/4 in. 73 cm. Literature: Gerald Ackerman, Jean-Leon Gerome, Paris, 1986, pp. 312, 313 for illustrations of other casts.

Lot 5: GEROME, JEAN-LEON (1824-1904)

Description: > Bronze 11 inches (27 cm) signed.

Lot 5: GEROME, JEAN-LEON (1824-1904)

Description: > Bronze 11 inches (27 cm) signed.

Lot 5: GEROME, JEAN-LEON (1824-1904)

Description: > Bronze 11 inches (27 cm) signed.

Lot 5: GEROME, JEAN-LEON (1824-1904)

Description: > Bronze 11 inches (27 cm) signed.

Lot 5: Jean-Léon Gérôme (French, 1850-1913)

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Description: Jean-Léon Gérôme (French, 1850-1913) Arnaute avec deux chiens whippets signed 'J.L.GEROME' (lower left) oil on panel 13¾ x 9¾ in. (35 x 25 cm.) Painted in 1867.

Lot 5: JEAN LEON GEROME DRAWING CLEOPATRA

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Description: GEROME, Jean Leon, (French, 1824-1904): Graphite Study for Cleopatra, 11 5/8'' x 8 1/2'', estate stamp verso, not laid, carved wood frame, 18 1/2'' x 15 1/4''. Collins label, Paintings and Drawings, New York; verso with title, artist and medium.

Lot 6: JEAN-LÉON GÉRÔME FRENCH, 1824-1904 NUDE (QUEEN RODOPHE)

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Description: bears signature J L GÉROME (lower right)oil on canvasPROVENANCEMonsieur Ogier, Paris(acquired by the present owner from the above, 1970)EXHIBITEDDayton, The Dayton Art Institute, Minneapolis, The Minneapolis Institute of Arts and Baltimore, The Walters Art Gallery, Jean-Léon Gérôme (1824-1904), 1972-1973, no. 47New York, Dahesh Museum of Art and Palm Beach, Society of the Four Arts, Against the Modern: Dagnan-Bouveret and the Rebirth of the Academic Tradition, February, 2003LITERATURE AND REFERENCESGerald M. Ackerman, The Life and Work of Jean-Léon Gérôme with a Catalogue raisonné, London, 1986, pp. 206-207, no. 111d (illustrated) and 2000 edition, pp. 242-243, no. 111.4 (illustrated)CATALOGUE NOTEGérôme's wondrous Néo-grec fantasy, King Candaules, had a well deserved success at the Salon of 1859. Probably by request of his dealer Goupil, the artist painted a second version which would be classed as a répétition because he changed the stance of the queen. The Salon version is in the Museo de Arte in Ponce, P. R., the répétition, in the Pushkin Museum in Moscow. The present work was either meant to be finished as a single figure, a quotation from a famous painting (which was a common practice at the time) or it may have been cut out of an uncompleted version of King Candaules that had been abandoned when Gérôme either became dissatisfied with the figure's direction or with the planned composition.The queen?undressing herself at bedtime?was the focal point in the finished composition. Aside from its corporeal and technical beauty and the freshness of execution, the unfinished figure is of great interest. It demonstrates how Gérôme painted a figure and the order in which he approached various components of a composition. The painter first transferred the outline of a careful drawing of the queen onto a prepared canvas. He then commenced painting her inside the outline, working from the top to the bottom, building up the shape, the shadows and the color, bringing in turn each section of the body into a near-finished state. Painting a solid, opaque figure instead of filling in the outline with a series of ever thicker and more detailed layers, was unorthodox, (although something similar would be championed in the 1860s by Gérôme's younger contemporary, Edouard Manet). Once the figure was completed in this opaque manner and the background had been painted in, he would finish it with a top glaze, blending the transitional passages, giving unity to the figure and adjusting its coloring to that of the background.There is a similar nude with an unfinished background in the Museum of Fine Arts in Boston. In Gérôme's 1893 painting, The Ancient Pottery Painter in the Art Gallery of Ontario, the artist included a small statuette of the figure among the wares on the shelf of a shop in ancient Tanagra.We are grateful to Gerald Ackerman for providing this catalogue note.

Lot 6: GEROME, Jean Leon (1824-1904, French)

Description: Musulman en priere, s.i. graphite dr htd W/C Works on paper (9x14in).

Lot 6: GEROME, Jean Leon (1824-1904, French)

Description: Musulman en priere, s.i. graphite dr htd W/C Works on paper (9x14in).

Lot 6: GEROME, Jean Leon (1824-1904, French)

Description: Musulman en priere, s.i. graphite dr htd W/C Works on paper (9x14in).

Lot 6: GEROME, Jean Leon (1824-1904, French)

Description: Musulman en priere, s.i. graphite dr htd W/C Works on paper (9x14in).

Lot 6: Jean-L‚on G‚r“me (French, 1824-1904)

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Description: Bischarin, buste de guerrier (Bisharin Warrior) signed 'J.L. Gerome' (lower left) oil on canvas 11 5/8 x 8 5/8 in. (29.5 x 21.9 cm.) Painted in 1872 PROVENANCE Goupil & Cie., Paris (acquired directly from the artist). Samuel P. Avery, New York, 1873 (acquired from the above through intermediary d'Everard & Co.). Catherine L. Wolfe, New York (acquired from the above). The Metropolitan Museum of Art, New York, 1887 (gift from the above); Parke-Bernet, New York, 24-26 October 1956, lot 382. A. Duvannes, Los Angeles (acquired at the above sale). Anon. Sale, Parke-Bernet, New York, 24 September 1969, lot 143. The Fine Art Society, Ltd., London, 1967. Mr. and Mrs. Joseph M. Tanenbaum, Toronto. The Fine Art Society, Ltd., London. Acquired from the above by the present owner, 1979. LITERATURE J. Harding, Artistes Pompiers: French Academic Art in the 19th Century, New York, 1979, p. 18. G. Ackerman, The Life and Work of Jean-L‚on G‚r“me, Paris, 1986, p. 232, no. 224 (illustrated in color p. 94). G. Ackerman, Jean-L‚on Gerome, His Life, His Work, Paris, 1997, p. 98 (illustrated). G. Ackerman, La Vie et l'Oeuvre de Jean-L‚on G‚r“me, 2nd ed., Paris, 2000, p. 281, no. 224 (illustrated in color p. 98). EXHIBITION London, The Fine Art Society, Travellers Beyond the Grand Tour, 23 June-25 July 1980, no. 57. NOTES This extraordinary portrait is one of two canvases of the same subject (different poses) ordered by the art dealer Samuel P. Avery from G‚r“me while he was resident in London during the Siege of Paris. G‚r“me promised to deliver the panels once back in Paris, where he could find a proper model. This seems to indicate either that G‚r“me started and painted much of the work from memory, or that perhaps he just worked up the accessories and the general pose from a local model in London and then finished the work in Paris. The other panel, Arab Warrior, 1872 (private collection, my cat. no. 225) (fig. 1) is larger. The same model is depicted from the front with his head turned dramatically away; a greater array of accessories is included. By comparison, our work, The Bisharin Warrior, is a marvel of compositional control. Despite the seeming austerity, the work is held together by complex rhythms: an obvious over-all triangle is broken by the hand holding the sword whose diagonal slant is prepared for by the strap on the young man's shoulder. The roundness of the rich hair is echoed by the shield, whose bosses nonetheless set up an accord with the rectangular shape of the canvas, and so it goes through the painting, where despite the seeming relaxed naturalism of the pose, every line and shape has its purpose. The Bisharin or Bischari are a nomadic, pastoral tribe of the Eastern Desert of the Sudan. G‚r“me, proud of his skill as an "ethnographic painter", displays his skill in accurately producing a racial type as well as an individual. The Bisharin are noted for their round faces, their straight noses and large eyes. In these traits they resemble the ancient Egyptians as depicted in their art. There are many fine features in this painting: the shield is excellent, the splayed fingers around the handle of the sword, and the youthful right arm. The handling of the face is quite subtle, especially in the cheek bones and the sensuous lips. The small picture was once, as noted in provenance, in the collection of Catherine Lorillard Wolfe (1828-1887) of New York City. Miss Wolfe was famous in her day as the richest single woman in America. She was very rich, having inherited the earnings of several generations of American industrialists. A flourishing hardware company, and real estate acuity allowed her father, John David Wolfe (1792-1872) to retire in his early forties and occupy himself with philanthropic causes. Miss Wolfe, after inheriting her father's estate in 1872, became a philanthropist herself, giving away at least four million dollars before she died, while still enjoying the high life-style herself. She had two homes, the family mansion on Madison and 24th St. and a house and estate, Vinland, in Newport, Rhode Island. Both were filled with antiques, curios and paintings. The more important collection was in the New York residence, which included what was left (after three sales) of her father's collection, and at her death in 1887, she left all the paintings in the house to the Metropolitan Museum of Art, along with an endowment of $200,000 to take care of the collection and buy further pictures for it. A large gallery was refurbished for the collection, which comprised the collecting taste of New York at the time, exclusively of contemporary painting, most of it French. Miss Wolfe bought works by L‚on Bonnat, Georges Vibert, Alexandre Cabanel (who did a splendid portrait of Miss Wolfe, still in the collection), William Bouguereau, and other popular painters of the Third Republic. Landscapes, histories, religious pictures made up the collection; it was the third such bequest to a museum, the first by a woman (as was often noted), and stayed in place until 1930, when the Havemeyer Bequest enriched the Metropolitan with its collection of important and by then more fashionable works by Edouard Manet, Edgar Degas, Paul C‚zanne and the Impressionists. The Havemeyer pictures more or less replaced the Wolfe collection which was taken down and, "culled"; many piece were sold at auction. Several G‚r“mes were part of the collection, and some still are in the Metropolitan, sometimes hung upstairs in the 19th Century galleries but more often they are left reposing in the vaults. The Bisharin Warrior was deaccessioned in the 1950's when Abstract Expressionism was at its height, and the general wisdom was that figure painting was finished forever, even retroactively to include painters trained in the French Academy of the 19th Century. We are grateful to Gerald Ackerman for preparing this catalogue entry. (fig. 1) Jean-L‚on G‚r“me, Guerrier arabe, 1872, Private Collection.

Lot 6: Jean-L‚on G‚r“me (French, 1824-1904)

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Description: Bischarin, buste de guerrier (Bisharin Warrior) signed 'J.L. Gerome' (lower left) oil on canvas 11 5/8 x 8 5/8 in. (29.5 x 21.9 cm.) Painted in 1872 PROVENANCE Goupil & Cie., Paris (acquired directly from the artist). Samuel P. Avery, New York, 1873 (acquired from the above through intermediary d'Everard & Co.). Catherine L. Wolfe, New York (acquired from the above). The Metropolitan Museum of Art, New York, 1887 (gift from the above); Parke-Bernet, New York, 24-26 October 1956, lot 382. A. Duvannes, Los Angeles (acquired at the above sale). Anon. Sale, Parke-Bernet, New York, 24 September 1969, lot 143. The Fine Art Society, Ltd., London, 1967. Mr. and Mrs. Joseph M. Tanenbaum, Toronto. The Fine Art Society, Ltd., London. Acquired from the above by the present owner, 1979. LITERATURE J. Harding, Artistes Pompiers: French Academic Art in the 19th Century, New York, 1979, p. 18. G. Ackerman, The Life and Work of Jean-L‚on G‚r“me, Paris, 1986, p. 232, no. 224 (illustrated in color p. 94). G. Ackerman, Jean-L‚on Gerome, His Life, His Work, Paris, 1997, p. 98 (illustrated). G. Ackerman, La Vie et l'Oeuvre de Jean-L‚on G‚r“me, 2nd ed., Paris, 2000, p. 281, no. 224 (illustrated in color p. 98). EXHIBITION London, The Fine Art Society, Travellers Beyond the Grand Tour, 23 June-25 July 1980, no. 57. NOTES This extraordinary portrait is one of two canvases of the same subject (different poses) ordered by the art dealer Samuel P. Avery from G‚r“me while he was resident in London during the Siege of Paris. G‚r“me promised to deliver the panels once back in Paris, where he could find a proper model. This seems to indicate either that G‚r“me started and painted much of the work from memory, or that perhaps he just worked up the accessories and the general pose from a local model in London and then finished the work in Paris. The other panel, Arab Warrior, 1872 (private collection, my cat. no. 225) (fig. 1) is larger. The same model is depicted from the front with his head turned dramatically away; a greater array of accessories is included. By comparison, our work, The Bisharin Warrior, is a marvel of compositional control. Despite the seeming austerity, the work is held together by complex rhythms: an obvious over-all triangle is broken by the hand holding the sword whose diagonal slant is prepared for by the strap on the young man's shoulder. The roundness of the rich hair is echoed by the shield, whose bosses nonetheless set up an accord with the rectangular shape of the canvas, and so it goes through the painting, where despite the seeming relaxed naturalism of the pose, every line and shape has its purpose. The Bisharin or Bischari are a nomadic, pastoral tribe of the Eastern Desert of the Sudan. G‚r“me, proud of his skill as an "ethnographic painter", displays his skill in accurately producing a racial type as well as an individual. The Bisharin are noted for their round faces, their straight noses and large eyes. In these traits they resemble the ancient Egyptians as depicted in their art. There are many fine features in this painting: the shield is excellent, the splayed fingers around the handle of the sword, and the youthful right arm. The handling of the face is quite subtle, especially in the cheek bones and the sensuous lips. The small picture was once, as noted in provenance, in the collection of Catherine Lorillard Wolfe (1828-1887) of New York City. Miss Wolfe was famous in her day as the richest single woman in America. She was very rich, having inherited the earnings of several generations of American industrialists. A flourishing hardware company, and real estate acuity allowed her father, John David Wolfe (1792-1872) to retire in his early forties and occupy himself with philanthropic causes. Miss Wolfe, after inheriting her father's estate in 1872, became a philanthropist herself, giving away at least four million dollars before she died, while still enjoying the high life-style herself. She had two homes, the family mansion on Madison and 24th St. and a house and estate, Vinland, in Newport, Rhode Island. Both were filled with antiques, curios and paintings. The more important collection was in the New York residence, which included what was left (after three sales) of her father's collection, and at her death in 1887, she left all the paintings in the house to the Metropolitan Museum of Art, along with an endowment of $200,000 to take care of the collection and buy further pictures for it. A large gallery was refurbished for the collection, which comprised the collecting taste of New York at the time, exclusively of contemporary painting, most of it French. Miss Wolfe bought works by L‚on Bonnat, Georges Vibert, Alexandre Cabanel (who did a splendid portrait of Miss Wolfe, still in the collection), William Bouguereau, and other popular painters of the Third Republic. Landscapes, histories, religious pictures made up the collection; it was the third such bequest to a museum, the first by a woman (as was often noted), and stayed in place until 1930, when the Havemeyer Bequest enriched the Metropolitan with its collection of important and by then more fashionable works by Edouard Manet, Edgar Degas, Paul C‚zanne and the Impressionists. The Havemeyer pictures more or less replaced the Wolfe collection which was taken down and, "culled"; many piece were sold at auction. Several G‚r“mes were part of the collection, and some still are in the Metropolitan, sometimes hung upstairs in the 19th Century galleries but more often they are left reposing in the vaults. The Bisharin Warrior was deaccessioned in the 1950's when Abstract Expressionism was at its height, and the general wisdom was that figure painting was finished forever, even retroactively to include painters trained in the French Academy of the 19th Century. We are grateful to Gerald Ackerman for preparing this catalogue entry. (fig. 1) Jean-L‚on G‚r“me, Guerrier arabe, 1872, Private Collection.

Lot 6: Jean-L‚on G‚r“me (French, 1824-1904)

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Description: Bischarin, buste de guerrier (Bisharin Warrior) signed 'J.L. Gerome' (lower left) oil on canvas 11 5/8 x 8 5/8 in. (29.5 x 21.9 cm.) Painted in 1872 PROVENANCE Goupil & Cie., Paris (acquired directly from the artist). Samuel P. Avery, New York, 1873 (acquired from the above through intermediary d'Everard & Co.). Catherine L. Wolfe, New York (acquired from the above). The Metropolitan Museum of Art, New York, 1887 (gift from the above); Parke-Bernet, New York, 24-26 October 1956, lot 382. A. Duvannes, Los Angeles (acquired at the above sale). Anon. Sale, Parke-Bernet, New York, 24 September 1969, lot 143. The Fine Art Society, Ltd., London, 1967. Mr. and Mrs. Joseph M. Tanenbaum, Toronto. The Fine Art Society, Ltd., London. Acquired from the above by the present owner, 1979. LITERATURE J. Harding, Artistes Pompiers: French Academic Art in the 19th Century, New York, 1979, p. 18. G. Ackerman, The Life and Work of Jean-L‚on G‚r“me, Paris, 1986, p. 232, no. 224 (illustrated in color p. 94). G. Ackerman, Jean-L‚on Gerome, His Life, His Work, Paris, 1997, p. 98 (illustrated). G. Ackerman, La Vie et l'Oeuvre de Jean-L‚on G‚r“me, 2nd ed., Paris, 2000, p. 281, no. 224 (illustrated in color p. 98). EXHIBITION London, The Fine Art Society, Travellers Beyond the Grand Tour, 23 June-25 July 1980, no. 57. NOTES This extraordinary portrait is one of two canvases of the same subject (different poses) ordered by the art dealer Samuel P. Avery from G‚r“me while he was resident in London during the Siege of Paris. G‚r“me promised to deliver the panels once back in Paris, where he could find a proper model. This seems to indicate either that G‚r“me started and painted much of the work from memory, or that perhaps he just worked up the accessories and the general pose from a local model in London and then finished the work in Paris. The other panel, Arab Warrior, 1872 (private collection, my cat. no. 225) (fig. 1) is larger. The same model is depicted from the front with his head turned dramatically away; a greater array of accessories is included. By comparison, our work, The Bisharin Warrior, is a marvel of compositional control. Despite the seeming austerity, the work is held together by complex rhythms: an obvious over-all triangle is broken by the hand holding the sword whose diagonal slant is prepared for by the strap on the young man's shoulder. The roundness of the rich hair is echoed by the shield, whose bosses nonetheless set up an accord with the rectangular shape of the canvas, and so it goes through the painting, where despite the seeming relaxed naturalism of the pose, every line and shape has its purpose. The Bisharin or Bischari are a nomadic, pastoral tribe of the Eastern Desert of the Sudan. G‚r“me, proud of his skill as an "ethnographic painter", displays his skill in accurately producing a racial type as well as an individual. The Bisharin are noted for their round faces, their straight noses and large eyes. In these traits they resemble the ancient Egyptians as depicted in their art. There are many fine features in this painting: the shield is excellent, the splayed fingers around the handle of the sword, and the youthful right arm. The handling of the face is quite subtle, especially in the cheek bones and the sensuous lips. The small picture was once, as noted in provenance, in the collection of Catherine Lorillard Wolfe (1828-1887) of New York City. Miss Wolfe was famous in her day as the richest single woman in America. She was very rich, having inherited the earnings of several generations of American industrialists. A flourishing hardware company, and real estate acuity allowed her father, John David Wolfe (1792-1872) to retire in his early forties and occupy himself with philanthropic causes. Miss Wolfe, after inheriting her father's estate in 1872, became a philanthropist herself, giving away at least four million dollars before she died, while still enjoying the high life-style herself. She had two homes, the family mansion on Madison and 24th St. and a house and estate, Vinland, in Newport, Rhode Island. Both were filled with antiques, curios and paintings. The more important collection was in the New York residence, which included what was left (after three sales) of her father's collection, and at her death in 1887, she left all the paintings in the house to the Metropolitan Museum of Art, along with an endowment of $200,000 to take care of the collection and buy further pictures for it. A large gallery was refurbished for the collection, which comprised the collecting taste of New York at the time, exclusively of contemporary painting, most of it French. Miss Wolfe bought works by L‚on Bonnat, Georges Vibert, Alexandre Cabanel (who did a splendid portrait of Miss Wolfe, still in the collection), William Bouguereau, and other popular painters of the Third Republic. Landscapes, histories, religious pictures made up the collection; it was the third such bequest to a museum, the first by a woman (as was often noted), and stayed in place until 1930, when the Havemeyer Bequest enriched the Metropolitan with its collection of important and by then more fashionable works by Edouard Manet, Edgar Degas, Paul C‚zanne and the Impressionists. The Havemeyer pictures more or less replaced the Wolfe collection which was taken down and, "culled"; many piece were sold at auction. Several G‚r“mes were part of the collection, and some still are in the Metropolitan, sometimes hung upstairs in the 19th Century galleries but more often they are left reposing in the vaults. The Bisharin Warrior was deaccessioned in the 1950's when Abstract Expressionism was at its height, and the general wisdom was that figure painting was finished forever, even retroactively to include painters trained in the French Academy of the 19th Century. We are grateful to Gerald Ackerman for preparing this catalogue entry. (fig. 1) Jean-L‚on G‚r“me, Guerrier arabe, 1872, Private Collection.

Lot 6: Jean-L‚on G‚r“me (French, 1824-1904)

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Description: Bischarin, buste de guerrier (Bisharin Warrior) signed 'J.L. Gerome' (lower left) oil on canvas 11 5/8 x 8 5/8 in. (29.5 x 21.9 cm.) Painted in 1872 PROVENANCE Goupil & Cie., Paris (acquired directly from the artist). Samuel P. Avery, New York, 1873 (acquired from the above through intermediary d'Everard & Co.). Catherine L. Wolfe, New York (acquired from the above). The Metropolitan Museum of Art, New York, 1887 (gift from the above); Parke-Bernet, New York, 24-26 October 1956, lot 382. A. Duvannes, Los Angeles (acquired at the above sale). Anon. Sale, Parke-Bernet, New York, 24 September 1969, lot 143. The Fine Art Society, Ltd., London, 1967. Mr. and Mrs. Joseph M. Tanenbaum, Toronto. The Fine Art Society, Ltd., London. Acquired from the above by the present owner, 1979. LITERATURE J. Harding, Artistes Pompiers: French Academic Art in the 19th Century, New York, 1979, p. 18. G. Ackerman, The Life and Work of Jean-L‚on G‚r“me, Paris, 1986, p. 232, no. 224 (illustrated in color p. 94). G. Ackerman, Jean-L‚on Gerome, His Life, His Work, Paris, 1997, p. 98 (illustrated). G. Ackerman, La Vie et l'Oeuvre de Jean-L‚on G‚r“me, 2nd ed., Paris, 2000, p. 281, no. 224 (illustrated in color p. 98). EXHIBITION London, The Fine Art Society, Travellers Beyond the Grand Tour, 23 June-25 July 1980, no. 57. NOTES This extraordinary portrait is one of two canvases of the same subject (different poses) ordered by the art dealer Samuel P. Avery from G‚r“me while he was resident in London during the Siege of Paris. G‚r“me promised to deliver the panels once back in Paris, where he could find a proper model. This seems to indicate either that G‚r“me started and painted much of the work from memory, or that perhaps he just worked up the accessories and the general pose from a local model in London and then finished the work in Paris. The other panel, Arab Warrior, 1872 (private collection, my cat. no. 225) (fig. 1) is larger. The same model is depicted from the front with his head turned dramatically away; a greater array of accessories is included. By comparison, our work, The Bisharin Warrior, is a marvel of compositional control. Despite the seeming austerity, the work is held together by complex rhythms: an obvious over-all triangle is broken by the hand holding the sword whose diagonal slant is prepared for by the strap on the young man's shoulder. The roundness of the rich hair is echoed by the shield, whose bosses nonetheless set up an accord with the rectangular shape of the canvas, and so it goes through the painting, where despite the seeming relaxed naturalism of the pose, every line and shape has its purpose. The Bisharin or Bischari are a nomadic, pastoral tribe of the Eastern Desert of the Sudan. G‚r“me, proud of his skill as an "ethnographic painter", displays his skill in accurately producing a racial type as well as an individual. The Bisharin are noted for their round faces, their straight noses and large eyes. In these traits they resemble the ancient Egyptians as depicted in their art. There are many fine features in this painting: the shield is excellent, the splayed fingers around the handle of the sword, and the youthful right arm. The handling of the face is quite subtle, especially in the cheek bones and the sensuous lips. The small picture was once, as noted in provenance, in the collection of Catherine Lorillard Wolfe (1828-1887) of New York City. Miss Wolfe was famous in her day as the richest single woman in America. She was very rich, having inherited the earnings of several generations of American industrialists. A flourishing hardware company, and real estate acuity allowed her father, John David Wolfe (1792-1872) to retire in his early forties and occupy himself with philanthropic causes. Miss Wolfe, after inheriting her father's estate in 1872, became a philanthropist herself, giving away at least four million dollars before she died, while still enjoying the high life-style herself. She had two homes, the family mansion on Madison and 24th St. and a house and estate, Vinland, in Newport, Rhode Island. Both were filled with antiques, curios and paintings. The more important collection was in the New York residence, which included what was left (after three sales) of her father's collection, and at her death in 1887, she left all the paintings in the house to the Metropolitan Museum of Art, along with an endowment of $200,000 to take care of the collection and buy further pictures for it. A large gallery was refurbished for the collection, which comprised the collecting taste of New York at the time, exclusively of contemporary painting, most of it French. Miss Wolfe bought works by L‚on Bonnat, Georges Vibert, Alexandre Cabanel (who did a splendid portrait of Miss Wolfe, still in the collection), William Bouguereau, and other popular painters of the Third Republic. Landscapes, histories, religious pictures made up the collection; it was the third such bequest to a museum, the first by a woman (as was often noted), and stayed in place until 1930, when the Havemeyer Bequest enriched the Metropolitan with its collection of important and by then more fashionable works by Edouard Manet, Edgar Degas, Paul C‚zanne and the Impressionists. The Havemeyer pictures more or less replaced the Wolfe collection which was taken down and, "culled"; many piece were sold at auction. Several G‚r“mes were part of the collection, and some still are in the Metropolitan, sometimes hung upstairs in the 19th Century galleries but more often they are left reposing in the vaults. The Bisharin Warrior was deaccessioned in the 1950's when Abstract Expressionism was at its height, and the general wisdom was that figure painting was finished forever, even retroactively to include painters trained in the French Academy of the 19th Century. We are grateful to Gerald Ackerman for preparing this catalogue entry. (fig. 1) Jean-L‚on G‚r“me, Guerrier arabe, 1872, Private Collection.

Lot 6: Jean-Lon Grme (French, 1824-1904)

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Description: Grme, J.-L. Prayer at the Sultan's Tomb (The Grief of Akubar) signed 'J.L. Gerome.' (lower left) oil on canvas 16 x 21 in. (41.3 x 54 cm.) PROVENANCE Tompkins; sale, American Art Association, New York, 5 March 1915, lot 30. F.R. Walsh. Schnittjer; sale, Parke-Bernet Galleries, New York, 11 March 1943, lot 305. Knoedler and Co., New York. Aquired by Robert Isaacson from the above. LITERATURE B. Martin, "Report from Radical Right," New York Herald Tribune Sunday Magazine, 25 November 1962, p. 9 (illustrated). G.M. Ackerman, Jean-Lon Grme, London, 1986, pp. 102, 242 and 243, no. 267 (illustrated in color, p.102). EXHIBITION Poughkeepsie, Vassar, College Art Museum, Jean-Lon Grme and his Pupils, 1967. NOTES Prayer at the Sultan's Tomb (The Grief of Akubar) was inspired by Grme's visit to the city of Bursa, which probably occurred in 1871 during his first trip to Turkey (his second trip in 1875 was made only to Istanbul to visit the Sultan's court painter). Among the paintings focusing on Bursa, three are documented by Gerald Ackerman; a cityscape (Ackerman, no. 250), and two pictures showing mourners at the tombs of the early sultans: the present work and Prayer at the Sultan's Tomb, 1878 ( op. cit., no. 266). Compared to its pendant, Prayer at the Sultan's Tomb (The Grief of Akubar) shows a more richly ornamented sultan's tomb and a symmetrical and centered composition. The painting depicts the interior of the tomb of Sultan Mehmet I, who had been responsible for building the Green Mosque. The tomb is placed on a slightly raised platform and is surrounded by large books and candles; the platform itself is decorated with tiles. Inscriptions written in gold cover the base of the tomb while the top is partially covered with a geometrically patterned, tri-colored cloth. The background also contains details from the tomb interior; namely the grand mihrab made of intricately laid tile work and blue tiles that flank it. It is interesting to note that Grme chose to simplify the background by extending the blue tiles, which actually stop midway up the wall, to the ceiling, and by eliminating the gold medallions located on either side of the mihrab (see A. Gabriel, Une capitale turque, Paris, 1958, vol. II, plates XLII and CII). A man dressed in a white robe is standing in front of the sultan's tomb. His pose derives from the praying gesture that a worshipper assumes by cupping his hands behind his ears. The worshipper in the picture has his arms raised much higher than the usual prayer gesture. Grme has probably exaggerated the pose to heighten the dramatic effect of the composition. Furthermore, he sets the three-dimensional figure of the worshipper against the flat silhouette of the tomb to emphasize the power of the gesture. A drawing for the figure is in a New York private collection. This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. SALESROOM NOTICE Please note this lot is not exempt from sales tax as set forth in the Sales Tax Notice at the back of the catalogue.

Lot 6: Jean-Lon Grme (French, 1824-1904)

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Description: Grme, J.-L. Prayer at the Sultan's Tomb (The Grief of Akubar) signed 'J.L. Gerome.' (lower left) oil on canvas 16 x 21 in. (41.3 x 54 cm.) PROVENANCE Tompkins; sale, American Art Association, New York, 5 March 1915, lot 30. F.R. Walsh. Schnittjer; sale, Parke-Bernet Galleries, New York, 11 March 1943, lot 305. Knoedler and Co., New York. Aquired by Robert Isaacson from the above. LITERATURE B. Martin, "Report from Radical Right," New York Herald Tribune Sunday Magazine, 25 November 1962, p. 9 (illustrated). G.M. Ackerman, Jean-Lon Grme, London, 1986, pp. 102, 242 and 243, no. 267 (illustrated in color, p.102). EXHIBITION Poughkeepsie, Vassar, College Art Museum, Jean-Lon Grme and his Pupils, 1967. NOTES Prayer at the Sultan's Tomb (The Grief of Akubar) was inspired by Grme's visit to the city of Bursa, which probably occurred in 1871 during his first trip to Turkey (his second trip in 1875 was made only to Istanbul to visit the Sultan's court painter). Among the paintings focusing on Bursa, three are documented by Gerald Ackerman; a cityscape (Ackerman, no. 250), and two pictures showing mourners at the tombs of the early sultans: the present work and Prayer at the Sultan's Tomb, 1878 ( op. cit., no. 266). Compared to its pendant, Prayer at the Sultan's Tomb (The Grief of Akubar) shows a more richly ornamented sultan's tomb and a symmetrical and centered composition. The painting depicts the interior of the tomb of Sultan Mehmet I, who had been responsible for building the Green Mosque. The tomb is placed on a slightly raised platform and is surrounded by large books and candles; the platform itself is decorated with tiles. Inscriptions written in gold cover the base of the tomb while the top is partially covered with a geometrically patterned, tri-colored cloth. The background also contains details from the tomb interior; namely the grand mihrab made of intricately laid tile work and blue tiles that flank it. It is interesting to note that Grme chose to simplify the background by extending the blue tiles, which actually stop midway up the wall, to the ceiling, and by eliminating the gold medallions located on either side of the mihrab (see A. Gabriel, Une capitale turque, Paris, 1958, vol. II, plates XLII and CII). A man dressed in a white robe is standing in front of the sultan's tomb. His pose derives from the praying gesture that a worshipper assumes by cupping his hands behind his ears. The worshipper in the picture has his arms raised much higher than the usual prayer gesture. Grme has probably exaggerated the pose to heighten the dramatic effect of the composition. Furthermore, he sets the three-dimensional figure of the worshipper against the flat silhouette of the tomb to emphasize the power of the gesture. A drawing for the figure is in a New York private collection. This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. SALESROOM NOTICE Please note this lot is not exempt from sales tax as set forth in the Sales Tax Notice at the back of the catalogue.

Lot 6: Jean-Lon Grme (French, 1824-1904)

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Description: Grme, J.-L. Prayer at the Sultan's Tomb (The Grief of Akubar) signed 'J.L. Gerome.' (lower left) oil on canvas 16 x 21 in. (41.3 x 54 cm.) PROVENANCE Tompkins; sale, American Art Association, New York, 5 March 1915, lot 30. F.R. Walsh. Schnittjer; sale, Parke-Bernet Galleries, New York, 11 March 1943, lot 305. Knoedler and Co., New York. Aquired by Robert Isaacson from the above. LITERATURE B. Martin, "Report from Radical Right," New York Herald Tribune Sunday Magazine, 25 November 1962, p. 9 (illustrated). G.M. Ackerman, Jean-Lon Grme, London, 1986, pp. 102, 242 and 243, no. 267 (illustrated in color, p.102). EXHIBITION Poughkeepsie, Vassar, College Art Museum, Jean-Lon Grme and his Pupils, 1967. NOTES Prayer at the Sultan's Tomb (The Grief of Akubar) was inspired by Grme's visit to the city of Bursa, which probably occurred in 1871 during his first trip to Turkey (his second trip in 1875 was made only to Istanbul to visit the Sultan's court painter). Among the paintings focusing on Bursa, three are documented by Gerald Ackerman; a cityscape (Ackerman, no. 250), and two pictures showing mourners at the tombs of the early sultans: the present work and Prayer at the Sultan's Tomb, 1878 ( op. cit., no. 266). Compared to its pendant, Prayer at the Sultan's Tomb (The Grief of Akubar) shows a more richly ornamented sultan's tomb and a symmetrical and centered composition. The painting depicts the interior of the tomb of Sultan Mehmet I, who had been responsible for building the Green Mosque. The tomb is placed on a slightly raised platform and is surrounded by large books and candles; the platform itself is decorated with tiles. Inscriptions written in gold cover the base of the tomb while the top is partially covered with a geometrically patterned, tri-colored cloth. The background also contains details from the tomb interior; namely the grand mihrab made of intricately laid tile work and blue tiles that flank it. It is interesting to note that Grme chose to simplify the background by extending the blue tiles, which actually stop midway up the wall, to the ceiling, and by eliminating the gold medallions located on either side of the mihrab (see A. Gabriel, Une capitale turque, Paris, 1958, vol. II, plates XLII and CII). A man dressed in a white robe is standing in front of the sultan's tomb. His pose derives from the praying gesture that a worshipper assumes by cupping his hands behind his ears. The worshipper in the picture has his arms raised much higher than the usual prayer gesture. Grme has probably exaggerated the pose to heighten the dramatic effect of the composition. Furthermore, he sets the three-dimensional figure of the worshipper against the flat silhouette of the tomb to emphasize the power of the gesture. A drawing for the figure is in a New York private collection. This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. SALESROOM NOTICE Please note this lot is not exempt from sales tax as set forth in the Sales Tax Notice at the back of the catalogue.

Lot 6: Jean-Lon Grme (French, 1824-1904)

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Description: Grme, J.-L. Prayer at the Sultan's Tomb (The Grief of Akubar) signed 'J.L. Gerome.' (lower left) oil on canvas 16 x 21 in. (41.3 x 54 cm.) PROVENANCE Tompkins; sale, American Art Association, New York, 5 March 1915, lot 30. F.R. Walsh. Schnittjer; sale, Parke-Bernet Galleries, New York, 11 March 1943, lot 305. Knoedler and Co., New York. Aquired by Robert Isaacson from the above. LITERATURE B. Martin, "Report from Radical Right," New York Herald Tribune Sunday Magazine, 25 November 1962, p. 9 (illustrated). G.M. Ackerman, Jean-Lon Grme, London, 1986, pp. 102, 242 and 243, no. 267 (illustrated in color, p.102). EXHIBITION Poughkeepsie, Vassar, College Art Museum, Jean-Lon Grme and his Pupils, 1967. NOTES Prayer at the Sultan's Tomb (The Grief of Akubar) was inspired by Grme's visit to the city of Bursa, which probably occurred in 1871 during his first trip to Turkey (his second trip in 1875 was made only to Istanbul to visit the Sultan's court painter). Among the paintings focusing on Bursa, three are documented by Gerald Ackerman; a cityscape (Ackerman, no. 250), and two pictures showing mourners at the tombs of the early sultans: the present work and Prayer at the Sultan's Tomb, 1878 ( op. cit., no. 266). Compared to its pendant, Prayer at the Sultan's Tomb (The Grief of Akubar) shows a more richly ornamented sultan's tomb and a symmetrical and centered composition. The painting depicts the interior of the tomb of Sultan Mehmet I, who had been responsible for building the Green Mosque. The tomb is placed on a slightly raised platform and is surrounded by large books and candles; the platform itself is decorated with tiles. Inscriptions written in gold cover the base of the tomb while the top is partially covered with a geometrically patterned, tri-colored cloth. The background also contains details from the tomb interior; namely the grand mihrab made of intricately laid tile work and blue tiles that flank it. It is interesting to note that Grme chose to simplify the background by extending the blue tiles, which actually stop midway up the wall, to the ceiling, and by eliminating the gold medallions located on either side of the mihrab (see A. Gabriel, Une capitale turque, Paris, 1958, vol. II, plates XLII and CII). A man dressed in a white robe is standing in front of the sultan's tomb. His pose derives from the praying gesture that a worshipper assumes by cupping his hands behind his ears. The worshipper in the picture has his arms raised much higher than the usual prayer gesture. Grme has probably exaggerated the pose to heighten the dramatic effect of the composition. Furthermore, he sets the three-dimensional figure of the worshipper against the flat silhouette of the tomb to emphasize the power of the gesture. A drawing for the figure is in a New York private collection. This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. SALESROOM NOTICE Please note this lot is not exempt from sales tax as set forth in the Sales Tax Notice at the back of the catalogue.

Lot 6: Jean-Léon Gérôme (French, 1850-1913)

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Description: Jean-Léon Gérôme (French, 1850-1913) Une plaisanterie (Arnaute fumant au nez d'un chien/Un lévrier qui n'aime pas le tabac)signed 'J.L.GEROME' (lower right) oil on canvas 23½ x 28¾ in. (60 x 73 cm.) Painted in 1882.

Lot 6A: JEAN LEON GEROME(Footnote 1) (FRENCH, 1824-1904)

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Description: Young Woman in Blue signed and dated "J. L. GEROME/1852" center left- -oil on canvas 36 1/2 x 29 in. (92.7 x 73.7 cm.) oval PROVENANCE Tozzi Collection; sale, Parke-Bernet, New York, May 12, 1938, lot 47 (illustrated) Major Bowes Fidell Collection, New York; sale, Park-Bernet, New York, Feb. 14, 1947, lot 450 LITERATURE G. M. Ackerman, "Jean-Leon Gerome," London, 1986, p. 32, 194, no. 45 (illustrated) "Young Woman in Blue" is a fine example of Gerome's rare portrait painting. He was known to have painted only 35 portraits during his career, and our picture dates from the early 1850s when he concentrated on portraits of society ladies, dressed in the height of the fashions of the time. "Young Woman in Blue" is painted in Gerome's trademark style, and with the meticulous attention to detail, the polished paint surface and the vibrant palette, it announces the characteristics that would define Gerome's greatest Orientalist and troubadour works of the 1860s and 1870s. See footnote 1 for this sale.

Lot 6A: JEAN LEON GEROME(Footnote 1) (FRENCH, 1824-1904)

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Description: Young Woman in Blue signed and dated "J. L. GEROME/1852" center left- -oil on canvas 36 1/2 x 29 in. (92.7 x 73.7 cm.) oval PROVENANCE Tozzi Collection; sale, Parke-Bernet, New York, May 12, 1938, lot 47 (illustrated) Major Bowes Fidell Collection, New York; sale, Park-Bernet, New York, Feb. 14, 1947, lot 450 LITERATURE G. M. Ackerman, "Jean-Leon Gerome," London, 1986, p. 32, 194, no. 45 (illustrated) "Young Woman in Blue" is a fine example of Gerome's rare portrait painting. He was known to have painted only 35 portraits during his career, and our picture dates from the early 1850s when he concentrated on portraits of society ladies, dressed in the height of the fashions of the time. "Young Woman in Blue" is painted in Gerome's trademark style, and with the meticulous attention to detail, the polished paint surface and the vibrant palette, it announces the characteristics that would define Gerome's greatest Orientalist and troubadour works of the 1860s and 1870s. See footnote 1 for this sale.

Lot 6A: JEAN LEON GEROME(Footnote 1) (FRENCH, 1824-1904)

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Description: Young Woman in Blue signed and dated "J. L. GEROME/1852" center left- -oil on canvas 36 1/2 x 29 in. (92.7 x 73.7 cm.) oval PROVENANCE Tozzi Collection; sale, Parke-Bernet, New York, May 12, 1938, lot 47 (illustrated) Major Bowes Fidell Collection, New York; sale, Park-Bernet, New York, Feb. 14, 1947, lot 450 LITERATURE G. M. Ackerman, "Jean-Leon Gerome," London, 1986, p. 32, 194, no. 45 (illustrated) "Young Woman in Blue" is a fine example of Gerome's rare portrait painting. He was known to have painted only 35 portraits during his career, and our picture dates from the early 1850s when he concentrated on portraits of society ladies, dressed in the height of the fashions of the time. "Young Woman in Blue" is painted in Gerome's trademark style, and with the meticulous attention to detail, the polished paint surface and the vibrant palette, it announces the characteristics that would define Gerome's greatest Orientalist and troubadour works of the 1860s and 1870s. See footnote 1 for this sale.

Lot 6A: JEAN LEON GEROME(Footnote 1) (FRENCH, 1824-1904)

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Description: Young Woman in Blue signed and dated "J. L. GEROME/1852" center left- -oil on canvas 36 1/2 x 29 in. (92.7 x 73.7 cm.) oval PROVENANCE Tozzi Collection; sale, Parke-Bernet, New York, May 12, 1938, lot 47 (illustrated) Major Bowes Fidell Collection, New York; sale, Park-Bernet, New York, Feb. 14, 1947, lot 450 LITERATURE G. M. Ackerman, "Jean-Leon Gerome," London, 1986, p. 32, 194, no. 45 (illustrated) "Young Woman in Blue" is a fine example of Gerome's rare portrait painting. He was known to have painted only 35 portraits during his career, and our picture dates from the early 1850s when he concentrated on portraits of society ladies, dressed in the height of the fashions of the time. "Young Woman in Blue" is painted in Gerome's trademark style, and with the meticulous attention to detail, the polished paint surface and the vibrant palette, it announces the characteristics that would define Gerome's greatest Orientalist and troubadour works of the 1860s and 1870s. See footnote 1 for this sale.

Lot 8: Jean-Léon Gérôme , French 1824 - 1904 A Bashi-Bazouk and his Dog oil on panel

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Description: signed J.L. GEROME (center left) oil on panel

Lot 9: GEROME, JEAN-LEON (1824-1904)

Description: Jules Cesar traversant le Rubicon Bronze 15 inches (38 cm) signed Siot.

Lot 9: GEROME, JEAN-LEON (1824-1904)

Description: Jules Cesar traversant le Rubicon Bronze 15 inches (38 cm) signed Siot.

Lot 9: GEROME, JEAN-LEON (1824-1904)

Description: Jules Cesar traversant le Rubicon Bronze 15 inches (38 cm) signed Siot.

Lot 9: GEROME, JEAN-LEON (1824-1904)

Description: Jules Cesar traversant le Rubicon Bronze 15 inches (38 cm) signed Siot.

Lot 9: Jean-Lon Grme (French, 1824-1904)

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Description: Grme, J.-L. The first kiss of the sun signed 'J.L. GEROME.' (lower right) oil on canvas laid down on board 21 x 39 in. (54 x 100.4 cm.) PROVENANCE Boussod Valadon & Cie., Paris. Crist, New York. George I. Seney; sale, American Art Association, New York, 13 February 1891, lot 246 (sold for $6,000). Knoedler and Co., New York. P.A.B Widener, Philadelphia. Scott & Fowles, New York. Patrick A. Valentine, Greenwich, Connecticut; sale, Parke-Bernet Galleries, New York, 18 April 1962, lot 76. Aquired by Robert Isaacson from the above. LITERATURE G.M. Ackerman, Jean-Lon Grme, London, 1986, p. 133, pp. 258 and 259, no. 345 (illustrated in color p. 133). EXHIBITION Paris, Salon, 1886, no. 1043. Poughkeepsie, Vassar College Art Museum, Jean Lon Grme and his Pupils, 1967. NOTES Characterized by Ackerman as "The most beautifully composed and painted of Grme's landscapes" (Ackerman, p. 258), The First Kiss of the Sun was exhibited at the Salon of 1886, six years after Grme's last trip to Egypt. The artist first traveled to Egypt in 1856 and made subsequent excursions in 1862, 1868, 1869, 1871, 1874, and 1880. One of the artist's most accomplished landscapes, The First Kiss of the Sun shows the pyramids of Giza suffused in the golden morning light of the desert sun. This view is from the west, as seen from the rising sun illuminating the summit of each pyramid. The ethereal appearance of the distant pyramids contrasts dramatically with the clearly detailed foreground. Moreover, the haze created by the sand and sunlight lends the picture an air of otherworldliness. The head of the Sphinx is just visible in the middle background. Robert Isaacson enjoyed relating that the strip of clear blue along the top of the picture represents Grme's memory of a natural phenomenon. Driving to the Cairo airport at dawn, Isaacson saw how the sun struck the particles of sand in the air, forming a distinct horizontal division in the sky. Throughout his lifetime of travel, Grme made frequent drawings, which provided an extensive repetoire of stock images for the paintings he executed in his Paris studio. The critic Thophile Gautier, an early champion of Grme's work, visited the artist in Paris shortly after he had returned from his first Egyptian trip. Gautier described how the artist made on-site pencil sketches, which would have inspired his work, loaded with abundant visual information. "We should never finish were we to describe the infinite number of details gathered together on these loose sheets: great undulations of ground; masses of doum-palms; saqqhyehs [water wheels] whose wheel lifts and tells the little rosary of pots; cafis; okkels; camping grounds, corner of pyramids..." (G. Ackerman, op. cit.,, London, 1986, p. 45). An oil study of the pyramids and a few of the palms in The First Kiss of The Sun sold at Sotheby's Parke-Bernet, New Yorkm in 1978. This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. SALESROOM NOTICE Please note this lot is not exempt from sales tax as set forth in the Sales Tax Notice at the back of the catalogue.

Lot 9: Jean-Lon Grme (French, 1824-1904)

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Description: Grme, J.-L. The first kiss of the sun signed 'J.L. GEROME.' (lower right) oil on canvas laid down on board 21 x 39 in. (54 x 100.4 cm.) PROVENANCE Boussod Valadon & Cie., Paris. Crist, New York. George I. Seney; sale, American Art Association, New York, 13 February 1891, lot 246 (sold for $6,000). Knoedler and Co., New York. P.A.B Widener, Philadelphia. Scott & Fowles, New York. Patrick A. Valentine, Greenwich, Connecticut; sale, Parke-Bernet Galleries, New York, 18 April 1962, lot 76. Aquired by Robert Isaacson from the above. LITERATURE G.M. Ackerman, Jean-Lon Grme, London, 1986, p. 133, pp. 258 and 259, no. 345 (illustrated in color p. 133). EXHIBITION Paris, Salon, 1886, no. 1043. Poughkeepsie, Vassar College Art Museum, Jean Lon Grme and his Pupils, 1967. NOTES Characterized by Ackerman as "The most beautifully composed and painted of Grme's landscapes" (Ackerman, p. 258), The First Kiss of the Sun was exhibited at the Salon of 1886, six years after Grme's last trip to Egypt. The artist first traveled to Egypt in 1856 and made subsequent excursions in 1862, 1868, 1869, 1871, 1874, and 1880. One of the artist's most accomplished landscapes, The First Kiss of the Sun shows the pyramids of Giza suffused in the golden morning light of the desert sun. This view is from the west, as seen from the rising sun illuminating the summit of each pyramid. The ethereal appearance of the distant pyramids contrasts dramatically with the clearly detailed foreground. Moreover, the haze created by the sand and sunlight lends the picture an air of otherworldliness. The head of the Sphinx is just visible in the middle background. Robert Isaacson enjoyed relating that the strip of clear blue along the top of the picture represents Grme's memory of a natural phenomenon. Driving to the Cairo airport at dawn, Isaacson saw how the sun struck the particles of sand in the air, forming a distinct horizontal division in the sky. Throughout his lifetime of travel, Grme made frequent drawings, which provided an extensive repetoire of stock images for the paintings he executed in his Paris studio. The critic Thophile Gautier, an early champion of Grme's work, visited the artist in Paris shortly after he had returned from his first Egyptian trip. Gautier described how the artist made on-site pencil sketches, which would have inspired his work, loaded with abundant visual information. "We should never finish were we to describe the infinite number of details gathered together on these loose sheets: great undulations of ground; masses of doum-palms; saqqhyehs [water wheels] whose wheel lifts and tells the little rosary of pots; cafis; okkels; camping grounds, corner of pyramids..." (G. Ackerman, op. cit.,, London, 1986, p. 45). An oil study of the pyramids and a few of the palms in The First Kiss of The Sun sold at Sotheby's Parke-Bernet, New Yorkm in 1978. This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. SALESROOM NOTICE Please note this lot is not exempt from sales tax as set forth in the Sales Tax Notice at the back of the catalogue.

Lot 9: Jean-Lon Grme (French, 1824-1904)

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Description: Grme, J.-L. The first kiss of the sun signed 'J.L. GEROME.' (lower right) oil on canvas laid down on board 21 x 39 in. (54 x 100.4 cm.) PROVENANCE Boussod Valadon & Cie., Paris. Crist, New York. George I. Seney; sale, American Art Association, New York, 13 February 1891, lot 246 (sold for $6,000). Knoedler and Co., New York. P.A.B Widener, Philadelphia. Scott & Fowles, New York. Patrick A. Valentine, Greenwich, Connecticut; sale, Parke-Bernet Galleries, New York, 18 April 1962, lot 76. Aquired by Robert Isaacson from the above. LITERATURE G.M. Ackerman, Jean-Lon Grme, London, 1986, p. 133, pp. 258 and 259, no. 345 (illustrated in color p. 133). EXHIBITION Paris, Salon, 1886, no. 1043. Poughkeepsie, Vassar College Art Museum, Jean Lon Grme and his Pupils, 1967. NOTES Characterized by Ackerman as "The most beautifully composed and painted of Grme's landscapes" (Ackerman, p. 258), The First Kiss of the Sun was exhibited at the Salon of 1886, six years after Grme's last trip to Egypt. The artist first traveled to Egypt in 1856 and made subsequent excursions in 1862, 1868, 1869, 1871, 1874, and 1880. One of the artist's most accomplished landscapes, The First Kiss of the Sun shows the pyramids of Giza suffused in the golden morning light of the desert sun. This view is from the west, as seen from the rising sun illuminating the summit of each pyramid. The ethereal appearance of the distant pyramids contrasts dramatically with the clearly detailed foreground. Moreover, the haze created by the sand and sunlight lends the picture an air of otherworldliness. The head of the Sphinx is just visible in the middle background. Robert Isaacson enjoyed relating that the strip of clear blue along the top of the picture represents Grme's memory of a natural phenomenon. Driving to the Cairo airport at dawn, Isaacson saw how the sun struck the particles of sand in the air, forming a distinct horizontal division in the sky. Throughout his lifetime of travel, Grme made frequent drawings, which provided an extensive repetoire of stock images for the paintings he executed in his Paris studio. The critic Thophile Gautier, an early champion of Grme's work, visited the artist in Paris shortly after he had returned from his first Egyptian trip. Gautier described how the artist made on-site pencil sketches, which would have inspired his work, loaded with abundant visual information. "We should never finish were we to describe the infinite number of details gathered together on these loose sheets: great undulations of ground; masses of doum-palms; saqqhyehs [water wheels] whose wheel lifts and tells the little rosary of pots; cafis; okkels; camping grounds, corner of pyramids..." (G. Ackerman, op. cit.,, London, 1986, p. 45). An oil study of the pyramids and a few of the palms in The First Kiss of The Sun sold at Sotheby's Parke-Bernet, New Yorkm in 1978. This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. SALESROOM NOTICE Please note this lot is not exempt from sales tax as set forth in the Sales Tax Notice at the back of the catalogue.

Lot 9: Jean-Lon Grme (French, 1824-1904)

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Description: Grme, J.-L. The first kiss of the sun signed 'J.L. GEROME.' (lower right) oil on canvas laid down on board 21 x 39 in. (54 x 100.4 cm.) PROVENANCE Boussod Valadon & Cie., Paris. Crist, New York. George I. Seney; sale, American Art Association, New York, 13 February 1891, lot 246 (sold for $6,000). Knoedler and Co., New York. P.A.B Widener, Philadelphia. Scott & Fowles, New York. Patrick A. Valentine, Greenwich, Connecticut; sale, Parke-Bernet Galleries, New York, 18 April 1962, lot 76. Aquired by Robert Isaacson from the above. LITERATURE G.M. Ackerman, Jean-Lon Grme, London, 1986, p. 133, pp. 258 and 259, no. 345 (illustrated in color p. 133). EXHIBITION Paris, Salon, 1886, no. 1043. Poughkeepsie, Vassar College Art Museum, Jean Lon Grme and his Pupils, 1967. NOTES Characterized by Ackerman as "The most beautifully composed and painted of Grme's landscapes" (Ackerman, p. 258), The First Kiss of the Sun was exhibited at the Salon of 1886, six years after Grme's last trip to Egypt. The artist first traveled to Egypt in 1856 and made subsequent excursions in 1862, 1868, 1869, 1871, 1874, and 1880. One of the artist's most accomplished landscapes, The First Kiss of the Sun shows the pyramids of Giza suffused in the golden morning light of the desert sun. This view is from the west, as seen from the rising sun illuminating the summit of each pyramid. The ethereal appearance of the distant pyramids contrasts dramatically with the clearly detailed foreground. Moreover, the haze created by the sand and sunlight lends the picture an air of otherworldliness. The head of the Sphinx is just visible in the middle background. Robert Isaacson enjoyed relating that the strip of clear blue along the top of the picture represents Grme's memory of a natural phenomenon. Driving to the Cairo airport at dawn, Isaacson saw how the sun struck the particles of sand in the air, forming a distinct horizontal division in the sky. Throughout his lifetime of travel, Grme made frequent drawings, which provided an extensive repetoire of stock images for the paintings he executed in his Paris studio. The critic Thophile Gautier, an early champion of Grme's work, visited the artist in Paris shortly after he had returned from his first Egyptian trip. Gautier described how the artist made on-site pencil sketches, which would have inspired his work, loaded with abundant visual information. "We should never finish were we to describe the infinite number of details gathered together on these loose sheets: great undulations of ground; masses of doum-palms; saqqhyehs [water wheels] whose wheel lifts and tells the little rosary of pots; cafis; okkels; camping grounds, corner of pyramids..." (G. Ackerman, op. cit.,, London, 1986, p. 45). An oil study of the pyramids and a few of the palms in The First Kiss of The Sun sold at Sotheby's Parke-Bernet, New Yorkm in 1978. This painting will be included in the forthcoming revised edition of the catalogue raisonn on Grme being prepared by Gerald Ackerman. SALESROOM NOTICE Please note this lot is not exempt from sales tax as set forth in the Sales Tax Notice at the back of the catalogue.

Lot 9: Jean-Léon Gérôme (French, 1850-1913)

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Description: Jean-Léon Gérôme (French, 1850-1913) Dispute d'Arabes signed 'J.L.GEROME' (upper right) oil on panel 12 x 9½ in. (30 x 24 cm.) Painted in 1871.

Lot 9: After Jean Leon Gerome (1824-1904), "Horse and Jockey in Full Gallop," 20th c., bronze, the name stamped on the back leg, now presen...

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Description: After Jean Leon Gerome (1824-1904), "Horse and Jockey in Full Gallop," 20th c., bronze, the name stamped on the back leg, now presented on an oval highly figured marble base, Figure- 6 in., W.- 8 1/2 in., D.- 2 1/2 in.

Lot 10: PROPERTY FROM THE COLLECTION OF MR. AND MRS. WILLIAM C. WILLNER JEAN-LÉON GÉRÔME FRENCH, 1824-1904

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Description: PROPERTY FROM THE COLLECTION OF MR. AND MRS. WILLIAM C. WILLNER JEAN-LÉON GÉRÔME FRENCH, 1824-1904 THE SULTAN'S TOMB (FIDÈLES SUR LE TOMBEAU DU SULTAN)signed J. L. Gerome. (lower left)oil on canvasPROVENANCESale, American Art Association, New York, The Peter A. Schemm Collection, March 15-17, 1911, no. 22 (as The Prayer at the Mosque of Caid-Bey, Cairo), illustratedSale, New Jersey country auction, 1977(acquired by the present owner at the above sale)LITERATURE AND REFERENCESGerald M. Ackerman, The Life and Work of Jean-Léon Gérôme with a Catalogue raisonné, London, 1986, pp. 292-293, no. 502 (illustrated) and 2000 edition, no. 502, pp. 364-365 (illustrated)CATALOGUE NOTESeveral of the features of Eastern piety that fascinated Gérôme can be found in this scene of prayers at the tomb of a Muslim saint. Gérôme admired the intrepid, self-confident piety of Muslim prayer. He loved the mixed colors of the simple costumes of the faithful. Furthermore, he had a refined feeling for Muslim religious architecture: the clear, geometric spaces, the decorated articulation, the elaborate tombs, luxurious rugs, and the variegated banners. And he never tired of studying the effect of the bright rays of the North African sun penetrating through high windows into the somber spaces within.Gérôme may have used a painting by his student Frederick Arthur Bridgman as a model for this work. The painting, The Tomb of Sidi Abd-el-Rhaman, although lost, is illustrated in his book, Winters in Algieria, (New York: Harper, 1889; p. 79). The tomb is in the Oued-el-Kebir cemetery outside Algier, which Gérôme may have visited during his brief stay in Algeria in 1873 (an illness caused him to cut the visit short and return to Paris). In his version, the architecture is devoid of decorations. The niche to the left in Bridgman's painting is richly decorated, as it probably is in the actual building, and his floor is covered with reed mats instead of rugs; furthermore the tomb is more elaborate. Still, since Gérôme's work shares the perspective view of the room and the tomb with Bridgman's version, we can almost be certain that he used the Bridgman for a model, unless, of course, they were both working from the same photograph of the interior. Gérôme's free, indeed, cavalier mixture of decorations either drawn from his imagination or taken from several actual monuments must be the explanation for the tomb continuously being identified differently by various scholars. It is not a depiction of a certain tomb, but instead a carefully-researched fantasy.A very fine preparatory oil sketch of this composition is in the Manial Palace Museum in Cairo. The sketch shows every element of the finished panting in an rudimentary form. It demonstrates how thoroughly the composition was thought out before Gérôme brought it to completion in the present painting.This painting will be sold with a copy of the Catalogue of the Collection of Paintings of Peter A. Schemm (Philadelphia, 1911). The Gérôme is number 63 and illustrated.We are grateful to Gerald M. Ackerman for providing this catalogue note.

Lot 10: GEROME, JEAN-LEON (1824-1904)

Description: La Fuite en Egypte Bronze 30 inches (77 cm) signed Siot.

Lot 10: GEROME, JEAN-LEON (1824-1904)

Description: La Fuite en Egypte Bronze 30 inches (77 cm) signed Siot.