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painting of a group of people in a boat on a body of wateran image of a painting of people in a boat on a body of wateran oil painting of a man sitting on a bench with a hat onan old picture of a wooden frame with a picture in ita picture of a painting on the wall with writing on it
Villemur.art

189 - Amable-Gabriel DE LA FOULHOUZE (Clermont-Ferrand 1815–1887 P…
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Estimate €600 - €800
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Description
Amable-Gabriel DE LA FOULHOUZE (Clermont-Ferrand 1815–1887 Paris) The Boat 1857 Oil on canvas Restored 39 x 46 cm; 62 x 67 cm (framed) Signed “A. de la Foulhouze”, monogrammed “A.F.” on the sails; dated “57” lower left; on the reverse: an annotation In a gilded wooden frame with Napoleon III-style mouldings A native of Auvergne, Amable-Gabriel de la Foulhouze was an artist as well as a journalist. In 1837, he moved to Paris and studied under Paul Delaroche, then Thomas Couture, where he became friends with Alfred Stevens. He exhibited at the Salon between 1845 and 1880. Although little known today, the artist enjoyed a certain degree of fame in his day, not only for his landscapes but above all for his genre scenes. As Adeline Chion explains, “It was towards the end of the Second Empire that the artist became a fashionable painter, thanks to a very specific genre: the depiction of the Parisian woman. In this sense, he was very much a product of his generation.” Just like his friend Stevens, he depicted elegant women from the bourgeoisie. Their crinoline dresses, hats and parasols are markers not only of a certain social status, but also of contemporary life. They are often depicted in settings frequented by high society, such as Île-de-France, Seine-et-Oise, or the beaches of the Normandy coast. The painting we are presenting here is striking for its originality. Is this really just a casual stroll, or is it a shipwreck? The passengers appear exhausted: several of them, including the young women, have fallen asleep, and the men look utterly worn out. Only the captain, of a lower social class and wearing a red cap, seems alert. Are they caught, against their will, in the waves of a rough sea? Are they passing by a sinking sailing ship, or were they part of that vessel? Perhaps we should see this as a satire on contemporary society. It is also worth noting that the artist has included himself in the scene, inscribing his initials on the two sails. The image therefore raises many questions. There is, moreover, one undeniable influence: Théodore Géricault’s *The Raft of the Medusa*, painted thirty-nine years earlier.Admitted to the Louvre’s collections in 1824, it is highly likely that La Foulhouze saw and copied it, just as he may have done with Delacroix’s *The Massacre at Chiode* or David’s *The Rape of the Sabine Women* when he was still a student.
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About the sale Jewellery, Furniture & Works of Art I DROUOT
Auction location
Auction time 07/07/2026 at 11:00 AM
Pictures credits: Contact the Auction House
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