Curtis_O_Baer_2010

J I L L NEWHOUS E

Drawings from the Collection of Curtis O. Baer

Catalogue by Dr. Amy Kurlander

Jill Newhouse Gallery 4 East 81 st Street New York, NY 10028 Tel ( 212 ) 249-9216 email: maildrop@jillnewhouse.com www.jillnewhouse.com

This catalogue accompanies an exhibition from January 23 to February 26, 2010 Jill Newhouse Gallery 4 East 81 st Street New York, NY 10028 Tel ( 212 ) 249-9216 email: maildrop@jillnewhouse.com www.jillnewhouse.com With deepest gratitude to the family of the late George M. Baer, to Andrew Robison and Meg Grasselli at the National Gallery of Art in Washington D.C., to Amy Kurlander for her scholarly contributions, Alan Firkser, Christa Savino, Marjorie Shelley, Eric Zafran, Professor Egbert Haverkamp-Begemann.

copyright 2010 jill newhouse llc photography by robert lorenzson design by lawrence sunden, inc.

In fond and grateful memory of George M. Baer ( 1936–2009 )

Why do you buy drawings?” . . . (one) motive may be stronger and more basic than all others: that is the longing to live with what we can only call the miracle of art—the strange unity between something eternal and a fragile piece of paper. To harbor such guests, who enno ble our home with their silent and eloquent presence, who bring us so much happiness: what man would not count this a privilege and a deep satisfaction?

— Curtis O. Baer, October 1957

GERMAN S CHOOL

1. Anonymous German, early 17 th century

Painting and Poetry 1618

Gouache with white heightening on dark grey prepared paper 5 3 ⁄ 4 x 7 1 ⁄ 2 inches ( 14 . 6 x 19 . 1 cm) Inscription partly effaced at the lower right corner and dated: 13 Dicember Anno 1618 (sic)

provenance Dr. Walter Gernsheim; Collection Curtis O. Baer

literature Cambridge 1958 , cat. no. 28 ; Atlanta, 1985 , cat. no. 123 , p. 177

2. Anonymous German School, 19 th century

Study of Two Women verso: Study of Female Mythological Subject atop a Globe

Pencil on laid paper 6 x 9 1 ⁄ 4

inches ( 15 . 2 x 23 . 6 cm) Watermark: 628 , (MO) NTGOLFIER/ANNONAY

provenance Collection Curtis O. Baer

verso

3. Karl Geiser Swiss, 1898 – 1957

Head of a Boy

Pen and ink on paper 3 3 ⁄ 4 x 3 1 ⁄ 4 Stamped lower right: KG

inches ( 9 . 5 x 8 . 3 cm)

provenance Collection Curtis O. Baer

Born in Berne in 1898 , Geiser was best known as a figurative sculptor. His typical subject matter was children, executed with a combination of classical and realistic elements, and often expressing a working class outlook on everyday life. Geiser received numerous commissions for public sculptures, but during the end of his life depression often made finishing works difficult. He died in his studio in 1957 , an apparent suicide. In 1926 , Geiser was supported by a grant from George Reinhard, the well known Swiss patron of the arts. That same year he won a competition for a sculpture commis sion for the new Berner School He created two groups of figures, one of boys and the other of girls, which were finally dedicated in 1938 . The group of girls was also shown at the World Exhibition in Paris in 1937 .

Geiser also did drawings, prints and photographs. An exhibition of his photography begun in the late 1920 s was held in 2008–09 at the Museum der Moderne, Salzburg.

4. Ernst Barlach German, 1870 – 1938

Two Men with a Dog, Walking in the Moonlight 1909

Pen and brush, black and brown ink with charcoal over pencil on paper 9 1 ⁄ 2 x 13 1 ⁄ 8 inches ( 24 . 1 x 33 . 5 cm) Signed and dated lower left

provenance Collection Curtis O. Baer

exhibitions Cambridge, 1958 , cat. no. 59 ; Washington, D.C. National Gallery of Art, 19th and 20th Century European Drawings , 1965 – 66 , cat. no. 4 ; Atlanta, 1985 , cat. no. 89 , p. 151 literature Fredrich Schult, Ernst Barlach Werkkatalog der Zeichnungen , Hamburg, 1971 , no. 690 , p. 95 Ernst Barlach began as an Art Nouveau sculptor and illustrator, attending both the Dresden Academy and the Academie Julien in Paris in his early years. But it was his 1906 trip to Russia which exposed him to a more Romantic vision of art. Upon his return, he was put on a fixed stipend from the art dealer Paul Cassirer in exchange for his sculptures, now newly expressive, focusing on faces and hands and reducing the other parts of the figure to a minimum. Like those in early Gothic Art, the figures expressed dramatic attitudes and powerful emotions as well as a yearning for spiritual ecstasy. He spent ten months in Florence in 1909 where our drawing was done, and afterwards settled in Mecklenberg, where he spent the rest of his life. In the years before World War I, Barlach was a patriotic and enthusiastic supporter of the war, awaiting a new artistic age to appear afterwards. This can be seen in his works, as in the statue Der Rächer ( The Avenger ), done in December 1914 . His awaited new artistic age came when he volunteered to join the war from 1915 – 16 as an infantry soldier, and returned as a pacifist and staunch opponent of war. The horror of the war influenced all of his subsequent works.

5. Paul Klee German, 1879 – 1940

Nude in Spiraling Movement (Akt in geschraubter Bewegung) 1933

Pencil on paper 16 1 ⁄ 4 x 12 5 ⁄ 8

inches ( 41 . 3 x 32 cm)

Signed lower left Titled and inscribed on the original mount: 1933 Y 8

provenance New Art Center Gallery, New York, 1962 ; Collection Curtis O. Baer

exhibitions Atlanta, 1985 , cat. no. 96 , p. 164 ; Munich, Stadtische Galerie im Lenbachhaus, Paul Klee 1933 , February 8 –May 4 , 2003 , extended to other institutions through March 2004 , cat. no. 268 , illus. Klee worked with many different types of media—oil paint, watercolor, ink, and more. The Baer drawing is an example of spontaneous or automatic drawing, popular at this period, by which the artist attempted to express his innermost feelings. The resulting fantastic figures become pictorial symbols of emotional states which Klee then sought to analyze in his notebooks.

6. Max Beckmann German, 1884 – 1950

Birdplay (Vogespiel) 1949

Pen and india ink over soft graphite on paper 17 1 ⁄ 2 x 22 3 ⁄ 8 inches ( 44 . 5 x 56 . 7 cm) Signed and dated at lower left: Beckmann Bolder [sic] 49 Titled on verso in German: Vogelspiel

provenance Mrs. Max Beckmann; Collection Curtis O. Baer

exhibitions New York, Buchholz Gallery, Max Beckmann Recent Work , October 18 –November 5 , 1949 , cat. no. 27 ; State University of Iowa, Six Centuries of Master Drawings , 1951 , cat. no. 156 ; Cambridge, 1958 , no. 60 ; Atlanta, 1985 , cat. no. 100 , p. 169 Birdplay belongs to Beckmann’s immensely productive period in the United States ( 1947 – 50 ), the final stage of his life of exile. The rise of the Nazi regime in the 1930 s had eviscerated the culture of the avant-garde, as modernist artists were barred from teaching, exhibiting, or selling their work. Beckmann left for Amsterdam in 1938 , never to return to Germany. In 1947 he accepted an invitation to take up a post at Washington University in St. Louis, and sailed for the United States, his new home. In the summer of 1949 , he taught a class at the Art School at the University of Colorado in Boulder. It is interesting to note that Beckmann was never comfortable with the English language; his wife, Mathilde (“Quappi”) interpreted for him in class. Beckmann was deeply affected by the natural and built environment of the United States, as is evident in paintings depicting Manhattan skyscrapers, the Mississippi Valley, and the Colorado Rockies. Diary entries from Beckmann’s months in Boulder report excursions from into various parts of the Rockies. These include a description of a road trip into an area near Denver. On the itinerary was a mine called Vesuvius: “[a long car trip] to see the old Vesuv and the factory on the lake, and later by the wonderful Valley and the red rocks near Denver. Really enormous and strange, the rocky’s [sic] extraordinary […] all very interesting and strange” (July 17 , 1949 ). It is worth noting that his use of

continued

English in this entry was uncharacteristic—perhaps an indication of protracted thought on the event. It is certainly tempting to see, in Birdplay’s volcanic landscape and body of water, some wry traces of this journey. The mountain topography of Birdplay also appears, in abbreviated form, in Rodeo of 1949 , a drawing whose dimensions are the same as those of the present sheet. There is another version of the mountains in the far right panel of the triptych Beginning , 1946 – 49 , a painting whose allegory fuses elements from Beckmann’s childhood and maturity. While the setting of Birdplay belongs to Boulder, 1949 , other elements of the drawing invoke themes that run throughout much of Beckmann’s oeuvre. Birds and birdlike composite figures are frequent symbols: examples include the terrifying butchers in Hell of Birds of 1938 , an important painting from the beginning of Beckmann’s exile; a self-portrait with a bird of 1940 ; the cryptic, half-female warrior in Carnival , a triptych from 42 – 44 ; and the birds in Weather-Vane of 1945 – 46 . In the latter, the flying and alighted birds seem almost to conspire against the mermaid figure—a mermaid who may well be a precursor of Birdplay ’s mythic women. Music and musical performance are also recurring themes for Beckmann. Musical instruments appear in many works, including all the painter’s triptychs and several self-por traits. Indeed, the birds’ musical performance in Birdplay seems key to the primal, visceral character of their encounter with the broadly gesturing women. It is as if the drawing invoked a world where sound and physical gesture, rather than language, are the stuff of expression.

NORTHERN S CHOOL

7. Augustin Braun German, 1570 – 1639

Milkmaids and Cows

Black ink and pink wash 6 5 ⁄ 8 x 10 5 ⁄ 8 inches ( 16 . 8 x 27 cm) Monogrammed at lower left: AB

provenance Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 135 , p. 181

8. Anonymous Flemish, early 17 th century

Landscape with Abraham and the Angels verso: Figures Crossing a Bridge

Pen and ink with wash 7 5 ⁄ 8 x 11 1 ⁄ 8

inches ( 19 . 3 x 28 . 2 cm)

provenance Erherzog Friedrich, Vienna; Paul Drey Gallery, New York; Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 131 , p. 180

A note in the 1985 exhibition catalogue says that the recto and verso seem to be by different hands and that Eliane de Wilde has noted the similiarity of the verso to a drawing by Anton Mirou (ca. 1586 – 1661 ) in Budapest.

verso

9. Anonymous, follower of Joachim Utewael Dutch, early 17 th century

St. John the Baptist Preaching

Ink and wash 10 5 ⁄ 8 x 14 1 ⁄ 2

inches ( 27 x 36 . 8 cm)

provenance Collection Curtis O. Baer

exhibitions New York, 1962 ; Poughkeepsie, Vasser College Art Gallery, Dutch Mannerism: Apogee and Epilogue , April 15 –June 7 , 1970 , no. 104 ; Atlanta, 1985 , cat. no. 124 , p. 178 According to a note in the 1985 exhibition catalogue, Anne Lowenthal suggested in a letter dated October 1 , 1984 , that this is one of a group of drawings assigned to an artist she called the Pseudo-Utewael who is possibly identical with Gerrit Pietersz. Eliane de Wilde has noted a similiarity to the work of Frans Francken II.

10. Leonart Bramer Dutch, 1596 – 1674

Men on a Balcony verso: Old Man Pointing to a Book Held by a Boy 1640 s or 1660 s

Brown and black ink wash 7 1 ⁄ 2 x 11 1 ⁄ 4

inches ( 19 . 3 x 28 . 6 cm)

provenance New York, Drey Gallery; Collection Curtis O. Baer

exhibitions Atlanta, 1985 , cat. no. 39 , p. 79 ; Milwaukee, The Patrick and Beatrice Haggerty Museum of Art , Leonaert Bramer, A Painter of the Night , December 4 , 1992– February 28 , 1993 , cat. no. 53 a and 53 b, pp. 114 – 15, illus. literature Frima Fox Hofrichter, Leonaert Bramer, A Painter of the Night, excat 1992 , pp. 116 – 17 ; Jane Ten Brink Goldsmith and Michael Plomp, Leonaert Bramer, Ingenious Painter and Draftsman in Rome and Delft , 1994 , excat. no. 61 , p. 207 . The painter and prolific draftsman Leonaert Bramer traveled extensively in France and Italy ( 1614 – 1628 ), and drew on various Northern Italianate and Dutch sources in developing his mature style. Most of Bramer’s extant paintings are small-scale works depicting religious and allegorical subjects in nocturnal settings with dramatic light effects. During his lifetime, however, he was also celebrated as a painter of wall and ceiling frescoes—a technique rarely employed in the Netherlands; as a painter of illu sionistic ceilings in fresco, oil on board, and oil on canvas; and as a prolific draftsman with a distinct style. Due to the damp Dutch climate, none of Bramer’s frescoes sur vive, and there is but one extant example of his illusionistic ceiling decorations ( Ascension of Christ with Music-Making Angels , 1668 – 69 , Prinsenhof, Delft). Of the approximately 1300 surviving drawings, most depict religious and genre subjects; these were often executed in series, intended to be purchased as a group by drawings

continued

collectors. More rare, and of particular historical value, are drawings such as the Baer sheets, which document some of Bramer’s lost illusionistic ceiling paintings. Other such examples are housed in the British Museum, the Kupferstichkabinett in Berlin, the National Museum in Oslo, and the Philadelphia Museum of Art. This particular sheet shows a group of standing men looking down from a balustrade, rendered in animated poses and gestures under an elaborately coffered ceiling, and may be instructively compared with the example in Philadelphia, though the drawings are stylistically distinct. The latter depicts male and female musicians standing and sitting beneath a vaulted ceiling; below them is a coffered ceiling with the same circle and diamond pattern as in the Baer drawing, and a similar balustrade. The relationship between the two sheets is not known. Though Hofrichter dates both drawings in the 1660 s, Goldsmith and Plomp refer to the group of drawings to which the Baer sheets belong as dating from the 1640 s (“Several drawings from the 1640 s show figures look ing down—sometimes along a balustrade, sometimes making music.” Jane Ten Brink Goldsmith and Michael Plomp, Leonaert Bramer, Ingenious Painter and Draftsman in Rome and Delft , (excat.), Zwolle and Delft, ca. 1994 , p. 63 ). Scholarly interest in Bramer’s work has increased enormously over the past decade, due to a favorable reevaluation of the quality of his best drawings, and to their privileged position in the early historical reception and market for Dutch drawings. Early collec tors that can be identified by name include many French figures such as Pierre-Jean Mariette (the source of most of the Louvre’s drawings by Bramer), and artists such as Coypel, Boucher, and Fragonard.

verso

11. Leonart Bramer (Dutch, 1596 – 1674 )

Women Singing verso: Women Playing Musical Instruments 1640 s or 1660 s

Pen and ink wash 5 x 11 1 ⁄ 8 inches ( 12 . 7 x 28 . 2 cm) Inscribed at center: vrouen gesang (?)

provenance New York, Drey Gallery; Collection Curtis O. Baer

exhibitions Atlanta, 1985 , cat. no. 140 ; Milwaukee, The Patrick and Beatrice Haggerty Museum of Art , Leonaert Bramer, A Painter of the Night , December 4 , 1992– February 28 , 1993 , cat. nos. 54 a and 54 b, illus. literature Frima Fox Hofrichter, Leonaert Bramer, A Painter of the Night, excat 1992 , pp. 116 – 17 ; Jane Ten Brink Goldsmith and Michael Plomp, Leonaert Bramer, Ingenious Painter and Draftsman in Rome and Delft , 1994 , excat. no. 61 , p. 207 .

(See previous catalogue entry for biographic information)

The shape of the present sheet suggests that the drawings were a study for, or a riccordo of, a composition for a vaulted ceiling. Hofrichter notes that the pools of ink and wash recall the drawing style of an album by Bramer from 1652 – 53 . On the basis of the women’s costume, however, she dates the works in the early-mid 1660 s, a period in which Bramer was especially busy with decorative ceiling and wall commissions. Brink

and Plomp suggest that the draw ing is as likely to have been an experimental work as a study for a particular project, and date it to the 1640 s.

verso

12. Wenzel Hollar Czech, 1607 – 1677

View of Orsoy 1636 or 1650

Pen and ink over pencil 5 3 ⁄ 8 x 17 1 ⁄ 2

inches ( 13 . 6 x 44 . 4 cm) Inscribed in pen in the sky: Orsoy 1650 ; in pencil in the sky by a later hand: Lautensack Collector’s mark of P. H. Lankrink lower right, Lugt: 2090 provenance Collection P.H. Lankrink ( 1628 – 1692 ); Dr. H. Wellesley; Sir Bruce Ingram: with Colnaghi’s, London, 1966 ; Collection Curtis O. Baer exhibitions Manchester, City of Manchester Art Gallery, Wenceslaus Hollar, 1607–77, Drawings, Paintings, and Etchings , 1963 ; Atlanta, 1985 , cat. no. 45 , p. 86 Hollar was trained as a map maker and miniaturist but after leaving his native Prague in 1627 , he became best known as a topographical artist. The Baer drawing depicts the fortress town of Orsoy on the Rhine River near Dusseldorf and was made on the return of Arundel expedition in December 1636 when Hollar’s ship, according to contempo rary account,. was forced to drop anchor, giving him time to make a drawing. The town of Orsoy was razed by French forces in 1672 so the drawing is of importance both artistically and historically. The drawing was probably done in pencil on the spot and highlighted by the artist in ink at a later date.

13. Anthonie Waterloo Dutch, ca. 1610 – 1690

Landscape

Black chalk and ink on paper 17 3 ⁄ 4 x 13 3 ⁄ 4 inches ( 45 x 35 cm)

provenance Colnaghi’s, London; Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 47 , p. 89

Waterloo was a self-taught artist who also worked as an art dealer, residing in Utrecht, Amsterdam, and Leeuwarden and travelling throughout Germany and Belgium. Best know as a draughtsman and an etcher, Waterloo devoted himself to landscapes, depict ed in either densely worked studies of the forest, or in topographical views. The forest interior, with tall leafy trees and quiet roads or pools of water was a favorite theme, often executed in black chalk and grey wash, such as in this drawing. According to Schapelhouman and Schatborrn, Land and Water: Dutch Drawings from the 17th Century ( 1987 ), a group of drawings in an upright format featuring close up views of trees and thickets is especially notable.

14. Attributed to Pieter de With Dutch, 17 th century

Landscape verso : Figures in a Landscape

Pen and ink with wash 9 1 ⁄ 8 x 15 1 ⁄ 8 inches ( 23 . 2 x 38 . 3 cm) Inscribed at upper right: Keer om u papier (?)

provenance Woodburn collection; Sheepshanks, London, 1914 ; Sale, A.W.M. Mensing, Amsterdam, April 27 , 1937 , no. 292 ; B. Houthakker, Amsterdam; Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 139 , p. 182

The Atlanta catalogue suggests that the verso is closer to the work of Jacob Konninck

verso

15. Adraen van Ostade (manner of) Dutch, 17 th century

A Village Fair (recto and verso)

Pen and dark grey and brown ink over charcoal with light grey wash; verso: ink over pencil on paper with an eagle watermark 6 x 5 7 ⁄ 8 inches ( 15 . 1 x 14 . 9 cm) Inscribed lower left: A.V. Ostade 1669

provenance Sale, Klipstein and Kornfeld, Bern, June 16 , 1960 , no. 189 ; Collection Curtis O. Baer

literature Eduard Trautscholdt, “Some Remarks on Drawings from the Studio and Circle of the Van Ostade Brothers,” Master Drawings , 5 , 2 , 1967 , pp. 162 – 63 , plates 22 a and b

exhibition Atlanta, 1985 , cat. no. 141 b, p. 183

16. Joshua da Grave Dutch, 1660 – 1712

View at Bodegraven 1672

Black and brown ink 5 x 7 7 ⁄ 8

inches ( 12 . 7 x 20 cm) Inscribed and dated upper left: 9/4 1672 uit quartier van syn hoogsyt

provenance Walter Schatzki; Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. nos. 145 a and b, p. 185

17. Joshua da Grave Dutch, 1660 – 1712

Landscape with Fortified Castle 1671

Ink and watercolor 3 7 ⁄ 8 x 6 inches ( 9.8 x 15 . 2 cm) Inscribed lower right: J. da Grave Dated upper right and again lower left

provenance Walter Schatzki; Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. nos. 145 a and b, p. 185

I TA L I AN S CHOOL

18. Battista Franco Italian, ca. 1510 – 80

Study of a Woman verso: Standing Man (Samson?)

Black chalk on paper; verso: pen and ink 15 3 ⁄ 8 x 5 1 ⁄ 8 inches ( 39 x 13 cm)

provenance Jonathan Richardson, Jr., London (Lugt: 2170 ); Colnaghi’s, London, 1962 ; Collection Curtis O. Baer

exhibitions Atlanta, 1985 , cat. no. 4 , pp. 22 – 3

Venetian by birth, Battista Franco lived in Urbino in the 1540 ’s and found success as a decorative artist designing majolica vases and decorations. His return to Venice in the 1550 ’s marked a return as well to painting and fresco. The recto and verso of this sheet show the strong influence of Michelangelo in two different styles and mediums. Eric Zafran has pointed out the rela tionship between the female figure and the figure of Strength in the ca. 1560 fresco at the Grimani Chapel.

The addition of architectural detail on the ink drawing also recalls draw ings by Michelangelo.

19. Niccolo Martinelli, called Il Trometta Italian, ca. 1540 – 1611

Moses at the Battle of Israel and Amalek

Brown ink and wash with pen and brush over black chalk 10 3 ⁄ 4 x 16 inches ( 27 . 4 x 40 . 5 cm)

provenance Victor Spark, New York, 1955 ; Collection Curtis O. Baer

literature J.A.Gere, Drawings by Niccolo Martinelli, Il Trometta, Master Drawings , Winter 1963 , I, 4 , pp. 3 – 18 ; Gere, “Two Panel Pictures by Taddeo Zuccaro….,” The Burlington Magazine , Sept. 1963 , pp. 390 – 94 . exhibitions Indianapolis, John Herron Art Museum, Pontormo to Greco; the Age of Mannerism , February 14 –March 28 , 1954 ; Cambridge, 1958 , cat. no. 4 ; Atlanta, 1985 , cat. no. 7 , p. 25 Born Niccolo Martinelli in Pesaro, the fresco painter known as Trometta was active in Rome by 1565 . His most important work was the decoration of the vault of the choir of Santa Maria in Aracoeli, completed in 1568 . As a painter and draftsman, Trometta’s style is quite similar to that of Taddeo Zuccaro, with whom he probably once worked as an assistant. Richard Gere remarked that in Trometta’s drawings, “the thick, tremously undulating contour with which he circumscribes his forms is something which he derives from Taddeo Zuccaro, but in Trometta’s hands it conveys a particular ly intense, and unmistakably characteristic, illusion of massiveness and weight.” Gere ascribed forty-two drawings to Trometta, two of which of which represent sub jects from the Old Testament. The subject of the present work is drawn from Exodous 17 : 8 – 16 , which recounts the battle of the Israelites, led by Joshua, against the army of Amalek. The Israelites were successful only as long as Moses (upper left, center figure) raised his hands in prayer. Aaron and Hur, seated with Moses on a hilltop, each held up one of Moses’ hands until the sun set.

20. Anonymous Venetian, early 16 th century (?)

Cardinal in Front of a Church

Pen and ink 11 x 6 5 ⁄ 8

inches ( 28 x 16 . 9 cm)

Numbered lower right: 56

provenance Winslow and Anna Ames (Lugt: 2602 a); Collection Curtis O. Baer

exhibitions Atlanta, 1985 , cat. no. 104 , p. 171

21. Anonymous Italian, 16 th century

Scene depicting a Saint and a Child (recto and verso)

Pen and ink with wash 5 x 6 1 ⁄ 2

inches ( 12 . 7 x 16 . 5 cm)

provenance Rudolf Wien; Collection Curtis O. Baer

exhibitions Atlanta, cat. no. 106 , p. 172

According to the 1985 exhibition catalogue, James Byam Shaw noted in a letter of January 28 , 1985 , that this work is “surely Venetian, not far from Palma Giovane.”

22. Anonymous Bolognese, 17 th century

A Landscape with Two Figures

Pen and brown ink on paper Watermark: a crown surmounted by a star 15 1 ⁄ 8 x 10 1 ⁄ 4 inches ( 38 . 5 x 25 . 9 cm) Inscribed with brown ink lower left and again lower right: A. Carraci

provenance Jan Enaht (?), 1829 ; Kaye Dowland (Lugt: 691 ); Collection Curtis O. Baer

exhibitions New York, 1962 , no. 6 ; New York, Metropolitan Museum of Art, Drawings from New York Collections, II: The Seventeenth Century in Italy , 1967 , cat. no. 28 (as by Domenichino); Atlanta, 1985 , cat. no. 111 , p. 173

23. Giovanni Francesco Barbieri, called Il Guercino Italian, 1591 – 1666

Landscape with Bridge and Figures

Pen and brown ink 6 1 ⁄ 4 x 7 5 ⁄ 8

inches ( 16 x 19 . 4 cm)

provenance Freiherr Richard von Kuehlmann; Collection Curtis O. Baer

exhibitions Cambridge, 1958 , cat. no. 6 ; Atlanta, 1985 , cat. no. 112 , p. 174 .

The 1985 catalogue states that the attribution has been confirmed by Denis Mahon.

24. Giuseppe Zocchi Italian, 1711 – 1767 View of a Town verso: Buildings on a Hill

Brown ink and wash 7 1 ⁄ 4 x 9 7 ⁄ 8 inches ( 18 . 4 x 25 . 1 cm) Inscribed in pen on lower right: Crespellano

provenance Schaeffer Galleries; Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 118 , p. 176

One of the renowned vedutisti of the 18 th–century, Zocchi began his training in Venice. Under the patronage of the Marchese Andrea Gerini, he drew the most remarkable monuments and sites of Florence, as Guardi and Canaletto had done for Venice, and Piranesi for Rome. Many of his original drawings of Florence, engraved and published during his lifetime, are in the collection of the Pierpont Morgan Library. Crespellano is a town near Bologna, where Zocchi is recorded to have been in late 1743 as part of the artist’s first viaggio d’instruzzione following his training in Venice. This instructional journey began in Lombardy and continued around Bologna (Alessandro Tosi, Inventare la realtà: Giuseppe Tocchi e la Toscana del Settecento , Florence, 1997 ).

According to the 1985 exhibition cata logue, the attribution was suggested by Marco Chirani.

verso

1

F RENCH S CHOOL

25. Claude Lorrain French, 1600 – 1682

Study of Cows ca. 1635 – 45

Black chalk 4 7 ⁄ 8 x 7 3 ⁄ 8

inches ( 12.4 x 18.9 cm)

provenance Odescalchi family, Rome; Sotheby’s [London?] November 20 , 1957 , lot 67 , to Hans Calmann; Seiferheld Gallery, New York; Collection Curtis O. Baer exhibitions New York, Seiferheld Gallery, Master Drawings from Five Centuries , 1961 , no. 3 ; Atlanta, 1985 , cat. no. 153 b, p. 188 literature Marcel Roethlisberger, The Drawings of Claude Lorrain , Los Angeles and Berkeley, 1968 , vol. 2 , p. 141 , no. 239 , illus. Roethlisberger identified this drawing as number 17 of Claude’s “Animal Album,” a second-hand assemblage of 64 small sheets of studies by Claude, 56 of which were ani mal studies that derived from one or several original sketchbooks. The drawings date from 1635 to 1640 , the same period in which Claude executed most of his tree studies from nature. Roethlisberger saw the album before it was dismantled. It had been bound in the late 18 th or early 19 th century, at which time the sheets were numbered. The album was first documented in a 1957 sale at Sothebys as belonging to an anony mous member of the Odescalchi family, with no provenance given. Hans Calmann pur chased and dismantled the album in 1957 , mounted the individual sheets, and sold them separately. Claude began most of his drawings—including the most elaborate ink washes—in black chalk. He used black chalk almost exclusively in his studies of cattle and sheep. Each of these animal studies depict a particular species, captured in a characteristic profile. With few exceptions, the sketches were not used directly in compositions, but were essential resources for the artist’s paintings. Roethlisberger notes that there is not a single landscape painting by Claude which does not include at least a few goats, sheep, or oxen.

26. Master of the Blue Paper Drawings French, 18 th century

Study of Clouds verso: Antique Ruins

Bistre, wash, white heightening; verso: pen and brown ink 3 1 ⁄ 4 x 7 7 ⁄ 8 inches ( 9 . 5 x 20 cm)

provenance Sir Thomas Lawrence (Lugt: 2445 ); acquired by S. Woodburn; W. Esdaile in 1836 (Lugt: 2617 ); sold Christie’s, London, June 1840 (not identified in the catalogue); W. Benoni White (Lugt: 2597 ); Collection Curtis O. Baer exhibitions London, Royal Academy of Art, Drawings by Old Masters, 1953 , no. 380 (as Claude Lorrain); Cambridge, 1958 , cat. no. 36 (as Claude Lorrain), recto illus.; Atlanta, 1985 , cat. no. 56 , p. 102 , recto illus. (as Master of the Blue paper Drawings) literature Kurt Badt, Wolkenbilder der Romantik , Berlin, 1960 , pl. 2 ; Marcel Rothlisberger, “Drawings Around Claude, Part One: A Group of Sixty Grimaldesque Drawings” Master Drawings , vol 3 , no. 4 , 1965 , p. 380 (cat. no. 62 ); Eckhart Knab, “Observations about Claude,” Master Drawings , vol. 9 , no. 4 , 1971 , pp. 368 – 369 , fig. 2 ; Atlanta, 1985 , p. 102 This compelling drawing is one of a group of approximately sixty drawings on blue paper, most of which were previously thought to be by Claude Lorrain (though as far back as the 18 th century and even earlier, seven of the works were attributed to Gaspard Dughet). In 1968 , Marcel Roethlisberger reattributed the drawings in their entirety to an unnamed but singular French artist working in Rome, ca. 1650 , in the circle of Grimaldi. In 1971 , Knab rejected Roethlisberger’s argument, stating that the blue paper works were by various artists, including Dughet and Claude. In a published catalogue of 1984 , the Louvre adopted the “blue paper” attribution for their four sheets from the group (though these are still classed under Claude Gellée in the Base Joconde database).

continued

In the aforementioned essay of 1971 , Knab gave the Baer drawing, along with a draw ing in the Kupferstichkabinett in Berlin back to Claude, arguing that they “do not correspond with the rest of the group […] credit for both drawings should be given back to Claude, because in their animated and broad execution they blend in well with his drawings of the 40 s, for example with the Edge of a Wood With a Draughtsman and an Onlooker in the Albertina, where we find similar clouds.” Zafran, somewhat skeptical of Knab’s argument, writes that the drawing is also related to the Campagna Landscape from the blue paper group at the Art Museum, Princeton, as both versos have similar drawings of Roman ruins. Zafrin concludes that “with its picturesque use of blue ground, fluent chalk work, and sensitive application of white heightening, […] the Master of the blue Paper was a highly talented artist working the ambiente of Claude. “

verso

27. Follower of Jacques Callot French, 17 th century

A Knight Looking at a City

Pen and ink 2 3 ⁄ 8

x 3 inches ( 61 x 76 cm)

provenance Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 150 , p. 187

28. Attributed to Pierre Puget French, 1620 – 1694

Ships Entering a Harbor

Ink and colored wash 7 5 ⁄ 8 x 12 3 ⁄ 4 inches ( 19 . 4 x 32 . 4 cm) Inscribed on the verso at left: Descartes

provenance Colnaghi’s, London; Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 151 , p. 187

literature Edmund Schilling, “Zwei Unbekannte Landschaftszeichnungen von Pierre Puget,” Jahrbuch der Berliner Museen , 1974 , p. 177 , illus. 1 Pierre Puget worked with Pietro da Cortona in Rome in 1640 and collaborated with him on the ceiling of the Barberini Palace, where two of the figures of tritons are considered to be by him. He also worked on the ceiling of the Pitti Palace in Florence. In 1643 , Puget returned to his native Marseilles where he painted portraits and sculpted. He left briefly again for Rome at the request of Anne of Austria and studied architecture. In 1653 , the artist returned to Marseilles where, after a serious illness, he completed the decoration of the famous door of the L’Hôtel de Ville in Toulon as well as a sculpted bust of Louis XIV which disappeared during the French Revolution more than a century later. Puget had a specialty in ship design and decoration and continued to sculpt and to create bas-relief. This carefully executed drawing of ships entering a harbor dates from around late 1668 , shortly after Puget’s return to France. It was at this time that Puget began work commis sioned by the French finance minister Colbert to direct the decoration of warships in Toulon. The drawing is quite similar to a sheet of the same size now in the British Museum, Landscape with Military Exercises, Mont Faron, Toulon . According to Schilling, neither drawing was directly related to Puget’s work for Colbert, but were among the many independent seascapes that the artist drew throughout his career. While Schilling identified the location of the British Museum drawing on the basis of its inscription and period maps, the precise location of the fortified harbor in the Baer drawing has yet to be identified.

29. Hubert-François Bourguignon, called Gravelot French, 1699 – 1773

Study for a Frontispiece 1761

Graphite 6 1 ⁄ 2 x 3 3 ⁄ 4

inches ( 16 . 5 x 9.5 cm)

provenance Marquis de Fourquevaux; Emanuel Bocher; Louis Roederer; A. S. W. Rosenbach (pur chased 1922 ); Este Gallery, New York, by 1961 ; Collection Curtis O. Baer exhibitions New York, Este Gallery, Seventh Annual Exhibition of Master Drawings from Five Centuries , 1961, no. 56 or 57 ; Atlanta, 1985 , cat. no. 64 , p. 115 The present work is a study for the frontispiece of Amusements d’un convalescent dediés à ses amis, a collection of verse and songs, with music. The frontispiece was engraved by Choffard, one of the Gravelot’s most skilled interpreters. The Baer sheet is one of three studies by Gravelot listed in the Este Gallery catalogue of 1961 —the current where abouts of the other two sheets are not known— and represents a relatively early moment in the artist’s development of the design. The apparently easy touch of Gravelot’s drawings belies an extremely protracted work ing process that involved studies of the nude figure from carefully posed mannequins, precise calculations of persepective, and the execution of different aspects of the com position in many preliminary drawings, first in dry media, before arriving at the final wash drawing from which the engraver would work. Gravelot’s preparatory drawings were almost always the same size as the engraving, with the composition reversed. The Goncourts, who considered Gravelot one of the four “petits grands maitre du genre” described the composition for Amusements d’un convalescent in their monumental l’Art du dix-huitième siècle ( 1859 – 1870 ): The pretty ‘cabinet’ of an epicurean! The bit of a fireplace! The rows of delightful books; the table with its bronze fittings; the cup of tea cooling on the mantelpiece; and the especially the charming gentleman, appearing thin

continued

under the voluminous folds of his dressing gown, as he thoughtfully regards his pen poised to write, while the cello which he will soon play rests with the bow against his thighs. (Translation by Zafran, Atlanta catalogue 1985 , op.cit.) This sheet has a notable provenance, one that is shared with many drawings by Gravelot that now belong to public collections such as The Metropolitan Museum of Art, the Morgan Library, The Houghton Library, and the Art Institute of Chicago. Gravelot’s entire portfolio of drawing studies for engravings was acquired, at an unknown date, by the 18 th-century collector of drawings and pastels, The Marquis de Fourqueville of Toulouse. The portfolio passed to the next Marquis by descent and was then acquired (at an unknown date) by Emmanuel Bocher ( 1835 – 1919 ), the cataloguer and collector of 18 th century drawings and prints. The next owner of the Gravelot portfolio was Louis Roederer (d. 1880 ), a member of the champagne-producing family; within a relatively short period of time, Roederer amassed a spectacular collection of 18 th century French works on paper that included one of the most comprehensive inventories of illustrated books ever assembled. In 1922 , his nephew, Léon Olry Roederer (d. 1932 ), sold the entire Roederer collection (through Thomas Agnew and Sons, London) to fund needed repairs to the family’s champagne plant, which had been badly damaged during the first world war. The Gravelot portfolio (and a number of book illustrations by Fragonard) was purchased by the rare book dealer and collector A.S.W. Rosenbach. From this purchase in 1922 until Dr. Rosenbach’s death in 1952 , the A.S.W. Rosenbach company sold many drawings from the Gravelot portfolio, large groups of which entered the aforementioned public collections, often as gifts, over the course of several decades.

30. Jean Pillement French, 1728 – 1808

Decorative Design (recto and verso)

Ink and color wash 6 3 ⁄ 4 x 9 1 ⁄ 2

inches ( 17 . 2 x 24 . 1 cm)

provenance Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 158 , p. 191

Pillement’s illustrations are a mixture of fantastic birds, flora & fauna, large human figures and chinoiserie. His designs were used by engravers and decorators on porcelain and pottery, as well as textiles, wallpaper and silver. Pillement had discovered in 1764 a new method of printing on silk with fast colors. One of his prime vehicles was the single print marketed independently of an album.

Drawings which are related to the Baer sheet are in the collection of the Metropolitan Museum of Art and the Allen Memorial Art Museum.

31. Follower of Jean-Baptiste Oudry French, 18 th century

Landscape with a Distant Village

Black chalk heightened with white on blue paper 8 5 ⁄ 8 x 19 5 ⁄ 8 inches ( 21 . 8 x 49 . 9 cm) Inscribed at top left: 8 ; and at top right: 10

provenance Collection Curtis O. Baer

exhibitions Colnaghi’s, London, 1966 , no. 41 (as J.B. Oudry); Atlanta, 1985 , cat. no. 156 , p. 189

32. Paul Huet French, 1803 – 1869

Figures after Rubens’ La Chute des Damnés

Pen and ink 8 7 ⁄ 8 x 13 1 ⁄ 8

inches ( 22 . 6 x 33 . 4 cm) Estate stamp lower right: Lugt 1268

provenance Collection Curtis O. Baer

33. Théodore Rousseau French, 1812 – 1867

Landscape in the Auvergne ca. 1830

Pencil on paper 7 5 ⁄ 8 x 11 inches ( 19 . 5 x 28 cm.) Estate stamp lower left: Lugt 2436

provenance Vente Rousseau, Paris, April 27 – 30 , 1868 ; Sighel Collection, Orléans; Feilchenfeldt, Zurich; Collection Curtis O. Baer. literature Michel Schulman, Théodore Rousseau, Catalogue Raisonné de l’Oeuvre Graphique, Paris, 1997 , no. 72 , p. 105 , illus.; Atlanta, 1985 , cat. no. 72 , p. 127 Rousseau’s brief period of work in the Auvergne in 1830 – 31 marked a transition between the end of his years of formal studies and the beginning of a short period of professional success. During this time, he worked prolifically outdoors, producing a series of oil sketches on paper typified by an insistent horizontal format and rich but tery impasto . The palette of these paintings is often light and filled with varying shades of greens and yellows, unlike the darker tones and deep browns he later preferred. These pleine aire sketches were very popular when Rousseau brought them back to Paris in 1832 . Drawings from this period are rare. This drawing is densely worked and impressively detailed in its depiction of the deeply layered valleys of this mountainous area. The inclusion of a figure crossing the bridge in the front of the drawing is more typical of early works in which the graphic quality of the line is still restrained in favor of what is being depicted. While typically unpopulated, the Baer landscape depicts a seated artist, almost invisible amidst the patterned lines of the pencil, sketching the scene at the lower left.

34. Jean-François Millet (French, 1814 – 1875 )

Return from the Fields verso: Cowherd Leaning on a Staff and Studies of Cows ca. 1850

Black chalk on blue paper 5 3 ⁄ 4 x 9 5 ⁄ 8 inches ( 14 . 5 x 24 . 5 cm.) Estate sale stamp lower right corner recto: Lugt 1460

provenance Vente Millet, Paris, May 10 – 11 , 1875 ; The Drawing Shop, New York, as of 1963 ; Collection Curtis.O. Baer literature New York, The Drawing Shop , The Non-Dissenters , 1963 , no. 37 ; Atlanta, 1985 , cat no. 75 , p. 133 . During the 1850’s and 60’s, three shepherds roamed the Chailly plain with their large flocks and Millet encountered them frequently on his twilight walks. Wrapped in bulky cloaks, their majestic forms fascinated Millet and they became one of his most repeated subjects . — Susan Fleming in “The Boston Patrons of Jean François Millet,” quoted in Jean-Francois Millet by Alexandra Murphy, Museum of Fine Arts, Boston, exhibition catalogue, 1984 , page xiv. The years around 1850 were especially important in the development of Millet’s career. In 1849 he moved to Barbizon where he would spend the rest of his life, and where his spontaneous sketches done of the local shepherds, workmen, and peasants would inspire his greatest paintings throughout the next decade. The turn to natural man as the ideal in the face of the rapidly encroaching industrial age is symbolized by Millet’s turn from portraiture and history to the fields and forests of Barbizon. This drawing is datable by the paper type and heavy black chalk which typifies the artist’s work of this period. The recto depicts a herdsman guiding his sheep and sug gests the landscape on the outskirts of Paris. The verso, however, is clearly typical of

continued

scenes around Barbizon. The cowherd leaning on his staff would become a favorite sub ject for the artist, finding its most profound expression in The Man with the Hoe of 1860 – 62 . The Baer drawing is most closely related to the 1849 – 50 Forest with Shepherdess and Sheep and to the 1855 Shepherd and Sheep , both in the collection of the Museum of Fine Arts, Boston.

We are grateful to Alexandra Murphy for her help in cataloguing this drawing.

verso

35. Eugène Delacroix French, 1798 – 1863

Studies for the Figures of Ceres (Salon de la Paix) ca. 1852

Pen and ink 5 1 ⁄ 8

x 8 inches ( 13 x 20 . 4 cm) Stamped lower center: L 838

provenance Sale, Gutekunst and Klipstein, Bern, Dec 22 , 1956 , no. 78 ; Collection Curtis O. Baer

exhibitions Atlanta, 1981 , no. 4 ; Atlanta, 1985 , cat. no. 162 b, p. 191

This drawing relates to the figure of Ceres, and possibly to other subjects depicted in the eight oblong coffers of the Salon de la Paix, which were executed in 1852 – 54 , and destroyed in 1871 . These coffers complimented the central theme of the ceiling by showing the immobilized Mars along with deities associated with the well-being of mankind, Bacchus, Minerva, Clio, Mercury, and Neptune.

Eugène Delacroix, Ceres . Oil on canvas, 19 . 7 x 37 . 5 cm. Fitzwilliam Museum, Cambridge, 2034

36. Ximines Doudan French, 1800 – 1872

Studies after Paintings and Sculpture

Pen and ink over pencil on paper 8 3 ⁄ 4 x 11 5 ⁄ 8 inches ( 22 . 3 x 29 . 6 cm) Initialed at both sides at the lower left corner: XD

provenance Walter Schatzi, N.Y.; Collection Curtis O. Baer

exhibitions Atlanta, 1985 , cat. no. 165 , p. 192

According to the 1985 exhibition catalogue, the attribution to Doudan was made by Agnes Mongan. A similar sheet is in the Vassar College Art Library.

37. Auguste Anastasie French, 1820 – 1889

Study of a Tree with Exposed Roots 1861

Pen and ink on white paper 7 5 ⁄ 8

x 10 inches ( 19 . 4 x 25 . 4 cm)

Dated on verso Estate stamp lower center: Lugt 60

provenance Artist’s sale, Paris, March 3 – 8 , 1873 ; Shepherd Gallery, New York; Collection Curtis O. Baer exhibitions New York, Shepherd Gallery, The Non-Dissenters , May–June 1968 , cat. no. 116 ; New York, Shepherd Gallery, The Forest of Fontainebleau , April–June 1972 , cat. no. 82 .; Atlanta, 1985 , cat. no. 164 , p. 192 A student of Corot and Delaroche, Anastasi was a painter and lithographer primarily of landscapes. He found success among critics and his fellow artists, as well as benefiting from several State commissions for national museums.

38. Johann Barthold Jongkind Dutch, 1819 – 1891

1848 – 50

View of Montmartre

Pencil on paper 8 5 ⁄ 8 x 12 3 ⁄ 8

inches ( 22 x 31 . 5 cm) Inscribed and dated in pencil: Montmartre 1850 Estate sale stamp lower right: Lugt 1401

provenance Vente Jongkind, Paris, December 7 – 8 , 1891 ; Collection Curtis O. Baer

literature Atlanta, 1985 , cat. no. 76 , p. 134

Jongkind left Holland for France in 1846 to study painting in the studio of Eugène Isabey, the Romantic master of seascapes and urban views. He settled in Montmartre, which was then a semi-rural hamlet outside the Paris walls. Paris views became impor tant subjects for Jongkind in the late 1840 s and early 1850 s. The Baer drawing shows an undeveloped, untidy terrain at the top of the butte . Related works include the slightly larger watercolor in the Lugt collection View of Montmartre ( 25 . 7 x 41 . 5 cm), and a graphite study for the watercolor Vue de paris, depuis Montmartre ( 26 . 4 x 37 . 1 cm) in a private collection. However, the view depicted in the Baer drawing is not the same as in the aforementioned sheets, but it appears to share some landmarks. In cataloguing the Lugt drawing, Susan Galassi has indicated that the tree-crowned area might represent Montmartre cemetery. This terrain may correspond to the boldly hatched trees and buildings depicted beyond a wall at the right-hand edge of the Baer sheet. The

buildings at the lower left in the present work might be commercial structures, or examples of the makeshift, residential shacks that housed day laborers and scavengers in the zone around the city walls during the second half of the nineteenth century. Johan Barthold Jongkind, View of Montmartre . Brush and brown ink, watercolor and black chalk, 25 . 7 x 41 . 5 cm. Signed lower left. Fondation Custodia, Paris, 2000 -T. 1

39. Pierre Justin Ouvrie French, 1806 – 1879

View of the Hospital of St. Louis

Pencil with watercolor 6 3 ⁄ 4 x 10 1 ⁄ 2

inches ( 17 . 2 x 26 . 8 cm) Signed with the artist’s initials and inscribed lower left: Vue de l’hôpital St. Louis près des bords du Canal St. Martin Estate sale stamp lower left: Lugt 2002 a

provenance Ouvrie altelier sale (Lugt: 2002 a); Paul Prouté, Paris; Collection Curtis O. Baer

exhibition Atlanta, 1985 , cat. no. 161 , p. 191

40. Odilon Redon French, 1840 – 1916

Study of a Man’s Back and a Melancholy Angel ca. 1860

Pencil on paper 11 3 ⁄ 8 x 8 3 ⁄ 4 Signed lower left

inches ( 29 x 22 . 1 cm)

provenance E. & A. Silberman Gallery, New York; Dr. Paul Weiss, Woodside, New York; New York, sale, Parke-Bernet, May 6 , 1970 , lot 27 ; Collection Curtis O. Baer

exhibitions Atlanta, 1981 , no. 28 ; Atlanta, 1985 , cat. no. 85 , p. 146

This early drawing of a man’s back shows the creative line of this highly original artist whose most important works are on paper. Like his master Bresdin, Redon studied from life only to embellish the work to make it his own. In the Baer drawing, the fig ure’s back muscles are abstracted to highlight their sinuous nature in a style that is almost Cubistic. Below, as an afterthought or a day-dream, Redon draws a melancholic angel, a familiar notation on other drawings of the same period. A drawing titled Le Géant in the collection of the Fogg Art Institute depicts a similar male figure, drawn in a cubistic style and dates from this period. In that drawing the figure is seen standing, wearing a drapery around his groin, and striding across a shal low pool of water.

Odillon Redon, Le Geant . Pencil, 24 . 8 x 28 cm. Signed lower right. Harvard University, Fogg Art Museum, 1929 . 54 v

41. Auguste Rodin French, 1840 – 1917

Head of the Cambodian King Sisowath 1906

Pencil and watercolor 13 x 10 inches ( 33 x 25 . 5 cm)

literature Elizabeth Chase Geissbuhler, Rodin: Later Drawings , Boston, 1963 , p. 41 , pl. 15 .

provenance Roche Collection; Collection Curtis O. Baer, since 1958

exhibitions Cambridge, 1958 , no. 46 ; Atlanta, 1985 , cat. no. 40 , p. 156

One of the great inspirations in the last decades of Rodin’s career was the performance by a reknowned group of Cambodian dancers at the Colonial Exhibition in Marseilles in 1906 . Rodin made more than 150 works on paper which were comprised of highly abstracted studies of the dancers in motion along with several portraits. Our portrait depicts King Sisowath, then the ruling monarch, who accompanied the dance troup to the performance. The anniversary of his arrival in France and his meeting with Rodin was commemorated in an exhibition and accompanying catalogue published in 2006 by the Musée Rodin, Paris called Rodin and the Cambodian Dancers: His Final Passion.

King Sisowath arrived in Marseilles on July 18 and stayed for 2 days. Both he and Rodin stayed at the Grand Hotel in Marseilles and it is possible that a posing session took place, most probably after Rodin had fin ished his sketches of the dancers. The Musée Rodin owns a suite of 19 watercolors, seven portraits of the King and 12 portraits of members of his entourage, mostly men .

Anonymous, Portrait of Sisowath, King of Cambodia, Standing in his Study . Gelatin silver print; 17 x 12 cm. First page of an album con taining 50 photographs of Cambodia. Paris, Musée Rodin, inv. ph. 16184