Medium: Oil on canvas
Nationality/Style: French, 18th century, Rococo
Subject: Allegory of Fall with three putti and a black goat
Dimensions: 9.25" W x 11.3" H (frame)
Frame: Gilt frame
Provenance: Private Honfleur Collection. Original Belot stamp en verso.
Signature: Unsigned
Condition: Craquelure to the surface. Small hole on the middle right edge. Scuffs and scratches present on the frame. Canvas is in stable condition. An old repair to the canvas can be found en verso next to the stamp.
Rococo study of three putti and a black goat, executed in the manner of François Boucher. The composition leans on the eighteenth-century revival of Greco-Roman mythology that became popular in France, with the goat tied to themes of fertility, sacrifice, and the nature of life in Dionysian and Bacchanalian rites. No signature found. The original Belot stamp is present en verso. The painting has some craquelure to the surface, and a small hole can be found on the middle right edge. Scuffs and scratches are present on the frame. The canvas is in stable condition.
The Belot stamp on the reverse of the canvas is a mark of the Parisian canvas maker and merchant whose name appears on the back of paintings from the eighteenth and early nineteenth centuries. The Belot house is considered the earliest documented example of a Parisian canvas maker's mark, appearing on a painting by Jeanne Elisabeth Chaudet Husson from around 1805–1806 . The stamp indicates that the canvas was purchased ready-prepared from a commercial supplier rather than prepared by the artist, and it provides a useful dating and provenance marker for the painting's support.
Medium: Oil on canvas
Nationality/Style: French, 18th century, Rococo
Subject: Allegory of Fall with three putti and a black goat
Dimensions: 9.25" W x 11.3" H (frame)
Frame: Gilt frame
Provenance: Private Honfleur Collection. Original Belot stamp en verso.
Signature: Unsigned
Condition: Craquelure to the surface. Small hole on the middle right edge. Scuffs and scratches present on the frame. Canvas is in stable condition. An old repair to the canvas can be found en verso next to the stamp.
Rococo study of three putti and a black goat, executed in the manner of François Boucher. The composition leans on the eighteenth-century revival of Greco-Roman mythology that became popular in France, with the goat tied to themes of fertility, sacrifice, and the nature of life in Dionysian and Bacchanalian rites. No signature found. The original Belot stamp is present en verso. The painting has some craquelure to the surface, and a small hole can be found on the middle right edge. Scuffs and scratches are present on the frame. The canvas is in stable condition.
The Belot stamp on the reverse of the canvas is a mark of the Parisian canvas maker and merchant whose name appears on the back of paintings from the eighteenth and early nineteenth centuries. The Belot house is considered the earliest documented example of a Parisian canvas maker's mark, appearing on a painting by Jeanne Elisabeth Chaudet Husson from around 1805–1806 . The stamp indicates that the canvas was purchased ready-prepared from a commercial supplier rather than prepared by the artist, and it provides a useful dating and provenance marker for the painting's support.
