Adolphe Weisz

Lot 1040 Adolphe Weisz (French, 1838-1900) oil on canvas, Mother and child in a chapel, signed and dated '96, 20.5 x 15.5in. Estimate £4,000-6,000 Descriptions provided in both printed and on-line catalogueformats do not include condition reports. The absence of acondition statement does not imply that the lot is in perfectcondition or completely free from wear and tear, imperfections orthe effects of aging. Interested bidders are strongly encouraged torequest a condition report on any lots upon which they intend tobid, prior to placing a bid. All transactions are governed byGorringes Conditions of Sale.

ADOLPHE WEISZ FRENCH, 1838-1900 measurements 41 3/4 by 31 1/2 in. alternate measurements 106 by 80 cm signed A. Weisz (lower right) oil on canvas CATALOGUE NOTE Born in Budapest and trained in Vienna, Weisz exhibited his paintings for the first time in his adopted home city of Paris' Salon in 1864. The artist received attention for his scenes of well-mannered bourgeois families and views of Alsatian villages, but it is a number of compositions of a beautiful woman nestled against a lion that have continued to intrigue viewers today. While Her Favourite Pet (sold: Sotheby's, London, May 30, 2008, lot 143) and La Favorite (sold in these rooms on October 25, 2005, lot 14) feature an exotically dressed harem figure petting a tamed beast, the present work, with its pale-skinned nude nestled against the animals' deep fur, depict a more sensual relationship. As suggested by a plaque affixed to the frame, Weisz's present work takes both its title and inspiration from the writings of the celebrated French fabulist Jean de La Fontaine (1621-1695). La Fontaine's first collection of Fables Choisies Mises en Vers was published in 1668 and drew from many sources, including Horace's Greek mythology and Aesop's moralistic tales of anthrophormoic animals. La Fontaine's Le Lion Amoreux (The Lion in Love) closely follows Aesop's original tale of a great cat who, after falling in love with a shepherdess, agrees to have his claws removed allowing for the pair's safe union; thus defenceless, the lion is easily killed by the girl's father. Weisz's lion still possesses his sharp black claws, though his closely shut eyes and the gleaming metal clippers held in the comely maid's hand suggest it is only a matter of time before this animal learns the fable's lesson that love can too easily make one do careless things. Such an evocative tale was easy inspiration for Wesiz and many of his fellow nineteenth century artists, from Camille Roqueplan to Gustave Doré.

Property of various owners Adolphe Weisz (French, 1838-circa 1910) Watching the kittens signed and dated 'Ad. Weisz 1868' (lower left) oil on panel 16 1/2 x 11 1/2in Sale, Christie's London, 17 March 1995, lot 36.

Adolphe Weisz (French, 1838-circa 1910) Watching the kittens signed and dated 'Ad. Weisz 1868' (lower left) oil on panel 16 1/2 x 11 1/2in (41.9 x 29.2cm) PROVENANCE: Sale, Christie's London, 17 March 1995, lot 36.