Dreweatts auctioneers is to offer a painting commissioned for one of the most luxurious ships of the 1900s, the SS France, known as the ‘Chateau de l’Atlantique’, or the ‘Versailles du Mer’. Its name came as its interiors were opulently decorated in the gilded Louis XIV style, emulating the famous French Palace of Versailles, outside Paris.

The large-scale painting is by the celebrated French painter, illustrator, engraver and sculptor, Gaston La Touche (1854 – 1913), who was asked to create a large panel work to go above the staircase in the grand two-tiered First-Class dining room. Following it’s time on the ship it passed to the private collection of Henri Cangardel, Chairman of the Compagnie Transatlantique French Line and then entered another private collection in London. Its whereabouts was then unknown until it emerged for exhibition in 2015 after 25 years.

The painting titled L’Arrive de la Princesse shows a beautiful woman who, having stepped out of her carriage, is being fawned upon by her courtiers, as they escort her to a waiting barge. To further emphasise the opulence of the stunning First-Class dining room La Touche cleverly has the viewer looking up at the central figure, demonstrating her Royal standing, as we see those around her bowing and curtsying. The oil painting on a gold ground, is signed and inscribed and carries an estimate of £8,000-£12,000 (lot 213). It will be offered in an auction of Old Master Paintings, British and European Art at Dreweatts on February 21, 2024.

La Touche had a passion for the Palace of Versailles and had painted a host of other large-scale works depicting elegant ladies alighting carriages at the palace, or stepping into brightly coloured barges and gondolas in romantic settings, so he was the perfect artist to capture the sophistication of the First-Class area of the ship.

Commenting on the painting, Brandon Lindberg, Head of Dreweatts Old Master, British & European Art department, said: “We are delighted to be offering this belle epoque fantasy in our sale. For twenty five years its whereabouts was unknown until it was triumphantly exhibited in 2015”.

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