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an oil painting of a horse standing in a wooded areaan oil painting of a horse standing in a rocky areaan oil painting of a horse standing in a rocky areaan image of a picture of a wooden frame with a picture in itpainting of a brown horse with white mane standing in front of a dark backgrounda painting of a lion and a lion cub in a cavea statue in a room with a painting on the wall
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42 - Théodore GÉRICAULT (1791–1824)
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Estimate €350,000 - €450,000
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Description
Théodore GÉRICAULT (1791–1824) Palomino Horse Frightened by a Lion and a Lioness – 1822–1823 Oil on canvas 49.5 x 60 cm Provenance: Possibly mentioned in the inventory drawn up following the artist’s death on 28 June 1824: ‘[no.] 38. Four paintings, three in the sketch stage; the fourth depicting a horse frightened by a lion, valued at ten francs’ Private collection, Rouen Galerie Eric Turquin, Paris Acquired from the gallery by the current owner in 2011 Louis Grandchamp des Raux Collection Bibliography: G. Rio, B. Chenique, *Les chevaux de Géricault*, exhibition catalogue, Musée de la Vie romantique, Paris-musées, Paris, 2024, fig. 65, p. 126 It will be included in the Catalogue raisonné of Géricault’s unpublished paintings currently being prepared by Bruno Chenique. The authenticity of this work was confirmed by Lorenz Eitner in an email dated 17 May 2005, by Philippe Grunchec in a letter dated 15 July 2016, and by Bruno Chenique in a letter dated 29 March 2005 and in a report he compiled. Oil on canvas; 19 1/2 x 23 5/8 in. A passionate horseman, Théodore Géricault developed his talent for equestrian painting under Carle Vernet, who trained him for two years. Géricault left behind hundreds of drawings and paintings of horses, exploring the animal’s anatomy, movement and emotions. A meticulous observer, Géricault displays a detailed naturalism that testifies to his in-depth knowledge of the body and musculature of horses. This palomino horse, with its golden coat and washed-out mane – lighter in colour than the coat itself – is a unique example in the painter’s oeuvre, despite his careful exploration of all the nuances of coat colours. The composition, classical and understated, shows the animal in profile against a landscape.  Most of Géricault’s horse portraits were painted between 1810 and 1815, the dating adopted for this painting by Professor Lorenz Eitner. This was the period during which he produced several oil studies and finished paintings depicting horses in the imperial stables at Versailles. Philippe Grunchec, however, suggests that the work dates from the artist’s stay in England, a period during which he admired George Stubbs and James Ward. The dimensions of the canvas, which are unusual in a French context, would seem to support this hypothesis. A third interpretation, put forward by Bruno Chenique, is based on the presence of an atypical background in which a impending attack by roaring lions can be seen: in his view, this scene would allow the painting to be dated to after the artist’s return from England, around 1822–1823, shortly before the painter’s death, which would explain its unfinished state. The horse, captured in a state of sheer terror – ears pricked, eyes wide open – spots a pair of lions advancing in the twilight. As in *The Horse Attacked by a Lion*¹, it is the lions that trigger the frightened animal’s behaviour. The theme of the panicked horse occupies a major place in Géricault’s oeuvre. The composition may, moreover, correspond to the work mentioned in the inventory drawn up after the artist’s death under the title ‘A Horse Frightened by a Lion’, a painting that Germain Bazin was unable to identify in his 1987 catalogue. According to Bruno Chenique, the darkness of the background may have led the compilers of the inventory to perceive only a single big cat. The figure of the lion, a symbol of strength, recurs frequently in Géricault’s work, as evidenced by a sketchbook held at the Getty Museum (no. 95.GD.40.48). Influenced by the great masters whom he studied avidly, he borrowed—in a reversed sense—the motif of the lion and lioness from Rubens, as it appears in The Arrival of Queen Marie de’ Medici in Lyon (exhibited at the Palais du Luxembourg between 1802 and 1815; Paris, Musée du Louvre). Like most great artists, Géricault was aware of what he owed to the masters of past centuries. As a young man, whilst still in Carle Vernet’s studio, he spent a great deal of time at the Louvre copying the masterpieces of the greatest artists. As a colourist, a free spirit and a romantic ahead of his time, Géricault was fascinated by Rubens, from whom he drew inspiration throughout his brief career. Several studies based on the cycle depicting the life of Marie de Médicis bear witness to his admiration for the Flemish genius. The great freedom of the brushwork – broad, bold and virtuosic – the brilliance of the horse’s coat and the overall harmony of the composition lend this painting a remarkable power that expresses the influence of English Romanticism on the French school of painting.   1. Théodore Géricault, Horse Attacked by a Lion, oil on canvas, 54 x 73 cm, Paris, Musée du Louvre Théodore GÉRICAULT (1791–1824) 49.5 x 60 cm A passionate horseman, Théodore Géricault developed his talent for equestrian painting under Carle Vernet, who was his teacher for two years. Géricault left behind hundreds of drawings and paintings of horses, exploring the animal’s anatomy, movement and emotions. A keen observer, Géricault displays a detailed naturalism that testifies to his profound knowledge of the horse’s body and musculature. This palomino, with its deep golden coat and light blonde mane, stands out as a unique example within the painter’s body of work, which is characterised by careful exploration and frequent depiction of all other possible colour nuances in horses. The composition, classical and understated, depicts the animal in profile against a landscape. The majority of Géricault’s horse portraits were painted between 1810 and 1815, the date attributed to this painting by Professor Lorenz Eitner. This was the period during which he produced several oil studies as well as fully finished paintings depicting horses in the royal stables at Versailles. Philippe Grunchec, however, suggests dating this painting to the time of the artist’s stay in England, where he would have seen the works of George Stubbs and James Ward. The dimensions of this canvas, which are unusual in France, support this hypothesis. A third interpretation, put forward by Bruno Chenique, is based on the presence of the unusual background, in which a pair of roaring lions can be seen. According to Chenique, this scene allows the painting to be dated to the artist’s return from England, circa 1822–1823, just before his death, which would explain its somewhat unfinished appearance. The horse, captured in a moment of terror – ears pricked, eyes wide open – sees a pair of lions moving in the twilight. As in *Cheval Attaqué par un Lion* (1), the lions are the cause of the horse’s terror. The subject of the frightened horse occupies a prominent place in Géricault’s work. The composition may, in fact, correspond to the work mentioned in the inventory drawn up following the artist’s death under the title ‘Cheval Effrayé par un Lion’, a painting that Germain Bazin was unable to identify in his 1987 catalogue. According to Bruno Chenique, the darkness of the background may have led the authors of the inventory to perceive only a single wild beast. The figure of the lion, a symbol of strength, appears frequently in Géricault’s work, as demonstrated by a sketchbook at the Getty Museum (no. 95.GD.40.48). Influenced by the great masters whom he studied avidly, Géricault borrows—but in reverse—the motif of the lion and lioness from Rubens, as seen in *L’Arrivée de la Reine Marie de Médicis à Lyon* (exhibited at the Palais du Luxembourg between 1802 and 1815; Paris, Musée du Louvre). Like most great artists, Géricault was well aware of what he owed to the masters of past centuries. As a young man, whilst still working in Carle Vernet’s studio, he spent a great deal of time at the Louvre copying the masterpieces of the greatest artists. As a colourist, a free spirit and a romantic ahead of his time, Géricault was fascinated by Rubens, from whom he drew inspiration throughout his brief career. Several studies based on the cycle depicting the life of Marie de Médicis bear witness to his devotion to the Flemish masters.The great freedom of the brushwork – broad, sweeping, masterful – the brilliance of the horse’s coat and the overall harmony of the composition lend this painting a remarkable power that expresses the influence of English Romanticism on the French school of painting.   1. Théodore Géricault, Horse Attacked by a Lion, oil on canvas, 54 x 73 cm, Paris, Musée du Louvre
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About the sale The Louis Grandchamp des Raux Collection
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Auction time 10/24/2026 at 4:00 PM
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