GASTON LA TOUCHE (FRENCH 1854-1913), THE VISIT OF THE PRINCESSE ROYALE

GASTON LA TOUCHE (FRENCH 1854-1913) THE VISIT OF THE PRINCESSE ROYALE Oil on canvas Signed and inscribed 'StC' (lower right) 139 x 156cm (54½ x 61¼in.) Provenance: Mrs Ainsley Wilcox, Buffalo, USA (listed in Mme la Touche's ledger) M. Hull, Pittsburgh Mrs Bertha Stier, Roslyn, New York Sale, Christie's, New York, 30 October 1992, lot 45, where purchased by the current owner after the sale Exhibited: Paris, Galerie Georges Petit, 11 June - 13 July 1908, no. 207 (lent by M. Hull, Pittsburgh) Buffalo, New York, Albright Art Gallery, Exhibition of Works by the Members of the Société des Peintres et des Sculpteurs, 16 November - 26 December 1911, no. 83 Chicago, Chicago Art Institute, Exhibition of Works by the Members of the Société des Peintres et des Sculpteurs, 4-28 January 1912, no. 85 St. Louis, City Art Museum, Exhibition of Paintings and Sculpture by the Members of the Société des Peintres et des Sculpteurs, 4 February 1912, no. 84 Pittsburgh, Carnegie Institute, The 16th Annual Exhibition at the Carnegie Institute, 25 April - 13 June 1912,no. 168 Paris, Musée des Avelines, Gaston La Touche, 1854-1913: The Fantasies of a Belle Époque Painter, 16 October 2014 - 15 March 2015 Literature: S. B. Maclennan, Gaston La Touche: A Painter of Belle Époque Dreams, Woodbridge, 2009, pp. 87, 90, 199, ill. p. 88, pl. 70 The composition is based on the format for Printemps from La Touche's series of the Quatre Saisons of 1897 painted for the Salon de Mariage in St. Cloud. Condition Report: The canvas does not appear to have been lined, however four boards applied verso in order to protect the canvas prevent further inspection.Impasto is good. Light rubbing and abrasions to the framing edges. Inspection under UV light reveals some very fine-lined retouching to the flesh of the figures. Other areas of paint with some fluorescing but this appears to be a characteristic of the original pigments rather than later additional paint. With a light green varnish. Condition Report Disclaimer, GASTON LA TOUCHE (FRENCH 1854-1913), THE VISIT OF THE PRINCESSE ROYALE, GASTON LA TOUCHE (FRENCH 1854-1913) THE VISIT OF THE PRINCESSE ROYALE Oil on canvas Signed and inscribed 'StC' (lower right) 139 x 156cm (54½ x 61¼in.) Provenance: Mrs Ainsley Wilcox, Buffalo, USA (listed in Mme la Touche's ledger) M. Hull, Pittsburgh Mrs Bertha Stier, Roslyn, New York Sale, Christie's, New York, 30 October 1992, lot 45, where purchased by the current owner after the sale Exhibited: Paris, Galerie Georges Petit, 11 June - 13 July 1908, no. 207 (lent by M. Hull, Pittsburgh) Buffalo, New York, Albright Art Gallery, Exhibition of Works by the Members of the Société des Peintres et des Sculpteurs, 16 November - 26 December 1911, no. 83 Chicago, Chicago Art Institute, Exhibition of Works by the Members of the Société des Peintres et des Sculpteurs, 4-28 January 1912, no. 85 St. Louis, City Art Museum, Exhibition of Paintings and Sculpture by the Members of the Société des Peintres et des Sculpteurs, 4 February 1912, no. 84 Pittsburgh, Carnegie Institute, The 16th Annual Exhibition at the Carnegie Institute, 25 April - 13 June 1912,no. 168 Paris, Musée des Avelines, Gaston La Touche, 1854-1913: The Fantasies of a Belle Époque Painter, 16 October 2014 - 15 March 2015 Literature: S. B. Maclennan, Gaston La Touche: A Painter of Belle Époque Dreams, Woodbridge, 2009, pp. 87, 90, 199, ill. p. 88, pl. 70 The composition is based on the format for Printemps from La Touche's series of the Quatre Saisons of 1897 painted for the Salon de Mariage in St. Cloud. Provenance:, Exhibited:, Exhibition of Works by the Members of the, Société des Peintres et des Sculpteurs, Société des Peintres et des Sculpteurs, Exhibition of Paintings and Sculpture by the Members of the, des Peintres et des Sculpteurs, The 16th Annual Exhibition at the Carnegie Institute, Gaston La Touche, 1854-1913: The Fantasies of a Belle Époque Painter, Literature:, Gaston La Touche: A Painter of Belle Époque Dreams, Printemps, Condition Report:, The canvas does not appear to have been lined, however four boards applied verso in order to protect the canvas prevent further inspection.Impasto is good. Light rubbing and abrasions to the framing edges. Inspection under UV light reveals some very fine-lined retouching to the flesh of the figures. Other areas of paint with some fluorescing but this appears to be a characteristic of the original pigments rather than later additional paint. With a light green varnish. Condition Report Disclaimer

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