Henri Emilien Rousseau

Lot Description Henri Emilien Rousseau (France, 1875-1933) Walking along a track, Monastir, Tunisia signed 'Henri Rousseau' (lower right) and inscribed 'Monastir' (on the reverse) oil on panel 9 5/8 x 13½ in. (24.5 x 34.5 cm.) Special Notice Artist's Resale Right ("droit de Suite"). If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report

LOT 28 HENRI-EMILIEN ROUSSEAU LE CAIRE 1875 - 1933 AIX EN PROVENCE CAVALIER ET SLOUGHI HENRI-EMILIEN ROUSSEAU ; HORSEMAN WITH A SLOUGHI ; SIGNED AND DATED LOWER RIGHT '29 ; OIL ON CANVAS Signé et daté en bas à droite Henri Rousseau '29 Huile sur toile 55,5 x 46,5 cm ; 22 by 18 1/3 in

LOT 13 HENRI-EMILIEN ROUSSEAU LE CAIRE 1875 - 1933 AIX EN PROVENCE MATINÉE AU BORD D'UN LAC, ALGÉRIE HENRI-EMILIEN ROUSSEAU ; MORNING BY A LAKE, ALGERIA ; SIGNED LOWER RIGHT ; OIL ON CANVAS Signé en bas à droite Henri Rousseau ; porte au dos le cachet de la 33ème exposition de la Société Artistique de Roubaix-Tourcoing Huile sur toile 46 x 55,5 cm ; 18 by 22 in

LOT 79 - HENRI ROUSSEAU FRENCH, 1875-1933 CHEVALIERS DEVANT LA CITADELLE signed Henri Rousseau lower right oil on panel 20,000—30,000 GBP 46 by 37.5cm., 18 by 14¾in. signed Henri Rousseau lower right oil on panel Sale: Christie's, New York, 12 April 2007, lot 18Purchased by the present owner at the above sale

Henri Emilien Rousseau (French,1875-1933) Return of the falconer signed 'Henri Rousseau' (lower right) oil on canvas 50.8 x 43.18cm (20 x 17in). Footnote: PROVENANCE: From the artist's family With Galerie de l'Europe, France Purchased from the above by present owner Few Orientalist artists of the 19th Century could claim a viablebirth right to the genre they perpetuated; Henri Emilien Rousseau,a French painter born in Cairo, was the exception. The son of adistinguished member of the Ottoman public works administration,Rousseau split his childhood between North Africa and France.Opportunity afforded him the chance to live in Paris where hestudied at the École des Beaux-Arts and trained under the greatOrientalist painter, Jean-Léon Gérôme. It was this educationcombined with his already strong ties to the Orient that ledRousseau to repeatedly visit North Africa after 1901 and begin toadopt a style of painting far removed from that of his influentialteacher and more in line with the energized aesthetic of theImpressionists. Passionate about portraying the reality rather than the romance ofBedouin life, Rousseau spent the years between 1920 and 1932 inintense study of nomadic culture and visiting the Rif and Atlasmountains of Morocco. By befriending Caïds , or tribalchiefs, Rousseau was granted access to various regions which wereotherwise off limits to outsiders, and gained a unique perspectiveto his work distinct from that of his more imaginative peers.Perhaps it was here where he fell under the spell of the Bedouinhorsemen, a subject Rousseau was already familiar with, and wouldcome to characterize his Orientalist compositions. In 1927, the Galerie Georges Petit in Paris saw the exhibition of morethan eighty Moroccan works by Rousseau which was met with enormoussuccess. This was followed by an exhibition at the ExpositionUniverselle , held in 1931. In this present work, The return of the falconer , Rousseauillustrates a favorite subject of his, the horseman and his huntingbird, which he returned to again and again. More noble thanfanciful, the villagers become figures of truth set against theindigenous desert landscape Rousseau was unwilling to romanticize,whether his subjects were quietly reflective, as in this work, orbearing a standard. Yet try as he might to subdue the exotic, thereis no escaping the majesty and appeal of falconry in Rousseau'sart. The earliest accounts of falconry date back to approximately 2000BC with its beginnings believed to be in Mesopotamia or China andMongolia. Historically, due to its requirements of time, money andspace, the sport of falconry was a popular status symbol among thenobles of Medieval Europe, East Asia and the Middle East. Yet, withnomadic societies like the Bedouin, falconry was less recreationalthan a means of survival. Falcons were trapped and hunted on smallgame during the winter months to supplement the limited diet ofdesert living. Through Rousseau's continual depiction of falconsand the desert horsemen dependent on them, the sport becomes amotif for the ingenuity and strength of a people often depicted ascarefree and sensuous.