‡ ALEXANDRE CABANEL (FRENCH 1824-1889), THE MERCHANT OF VENICE

‡ ALEXANDRE CABANEL (FRENCH 1824-1889) THE MERCHANT OF VENICE Oil on canvas Signed and dated '1881' (lower left) 87.3 x 122.9cm (34¼ x 48¼in.) Provenance: Goupil & Co., Paris (1881) The Collection of Mr. Jay Gould The Collection of Miss. Helen Gould The Collection of Ralph P. Ross, New Jersey Private Collection, New Jersey (circa 1950) Sale, Christie's, New York, The Age of Elegance, 11 November 1998, lot 75 (for $101,500) The collection of The Honorable C. Boyden Gray Exhibited: Paris, Salon, 1881, no. 350. New York, The Metropolitan Museum of Art, Retrospective Exhibition of American Paintings, Loan Collections and Recent Gifts to the Museum, November 1895-May 1896, exh. cat., p. 72, no. 215 (Miss Helen Gould loan) In The Merchant of Venice, Alexandre Cabanel depicts the scene from Act 3, Scene 2 of Shakespeare’s play, where Bassanio chooses between the three caskets to win Portia’s hand in marriage. He chooses the plain lead casket over the more valuable gold and silver caskets, and discovers Portia’s portrait inside, proving that he has chosen correctly. Cabanel was a favourite painter of Napoleon III and received commissions from King Ludwig II of Bavaria and the Tsar of Russia. He was one of the leading academic painters of the 19th century. His teacher, François-Édouard Picot, encouraged him to focus on historical and literary subjects. In this painting, Cabanel’s detailed costumes, setting and objects create a sense of historical authenticity and bring Shakespeare’s scene to life. Condition Report: The canvas has been lined and varnished. Very light craquelure scattered throughout. One or two very minor spots of loss but these have been stabilized and are barely noticeable. There is a small area of over-paint and repair (approx. 3cm) above the red cap worn by the standing boy on the right. This is visible in a raking light. Rubbings and abrasions to the framing edges. Some staining to the framing edges also partially visible. Some very light spots of surface dirt. Inspection under UV light reveals some sparsely applied fine in-filling and retouching to patches throughout. The most concentrated of this being to the central figure's red cloak. Condition Report Disclaimer, ‡, ‡ ALEXANDRE CABANEL (FRENCH 1824-1889) THE MERCHANT OF VENICE Oil on canvas Signed and dated '1881' (lower left) 87.3 x 122.9cm (34¼ x 48¼in.) Provenance: Goupil & Co., Paris (1881) The Collection of Mr. Jay Gould The Collection of Miss. Helen Gould The Collection of Ralph P. Ross, New Jersey Private Collection, New Jersey (circa 1950) Sale, Christie's, New York, The Age of Elegance, 11 November 1998, lot 75 (for $101,500) The collection of The Honorable C. Boyden Gray Exhibited: Paris, Salon, 1881, no. 350. New York, The Metropolitan Museum of Art, Retrospective Exhibition of American Paintings, Loan Collections and Recent Gifts to the Museum, November 1895-May 1896, exh. cat., p. 72, no. 215 (Miss Helen Gould loan) In The Merchant of Venice, Alexandre Cabanel depicts the scene from Act 3, Scene 2 of Shakespeare’s play, where Bassanio chooses between the three caskets to win Portia’s hand in marriage. He chooses the plain lead casket over the more valuable gold and silver caskets, and discovers Portia’s portrait inside, proving that he has chosen correctly. Cabanel was a favourite painter of Napoleon III and received commissions from King Ludwig II of Bavaria and the Tsar of Russia. He was one of the leading academic painters of the 19th century. His teacher, François-Édouard Picot, encouraged him to focus on historical and literary subjects. In this painting, Cabanel’s detailed costumes, setting and objects create a sense of historical authenticity and bring Shakespeare’s scene to life. ALEXANDRE CABANEL (FRENCH 1824-1889), THE MERCHANT OF VENICE, Provenance:, circa, The Age of Elegance, Exhibited:, Retrospective Exhibition of American Paintings, Loan Collections and Recent Gifts to the Museum, The Merchant of Venice, Condition Report:, The canvas has been lined and varnished. Very light craquelure scattered throughout. One or two very minor spots of loss but these have been stabilized and are barely noticeable. There is a small area of over-paint and repair (approx. 3cm) above the red cap worn by the standing boy on the right. This is visible in a raking light. Rubbings and abrasions to the framing edges. Some staining to the framing edges also partially visible. Some very light spots of surface dirt. Inspection under UV light reveals some sparsely applied fine in-filling and retouching to patches throughout. The most concentrated of this being to the central figure's red cloak. Condition Report Disclaimer

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