René Pierre Charles Princeteau, French 1843-1914- Veneur et chiens, c. 1907-1912 ; oil on panel, signed, 16x22cm Provenance: Private collection Literature: Robert and Manuel Schmit, René Princeteau (1843-1914), Chevaux et cavaliers; Catalogue raisonné, éd. Galerie Schmit, Paris, 1994, pl. 131, p.88 Please refer to department for condition report René Pierre Charles Princeteau, French, 18 July 1843 – 31 January 1914- A master in the depiction of equestrian subject matter, René Princeteau is considered to be one of the most highly sought-after academic French artists of the late 19th century. Born deaf and mute into a wealthy noble family in Libourne, Princeteau studied sculpture in Bordeaux before enrolling at the École nationale supérieure des Beaux-Arts, Paris, in 1865 under the tutelage of Auguste Dumont, a well-established French sculptor famous for his decorations for Napoleon III's new Louvre. By 1871 inspiration would derive from the Franco-Prussian War, where he would make numerous sketches and compositions of military life, evidently mastering the depiction and conformation of the horse in the process. In 1874 Princeteau opened a studio in the Rue du Faubourg Saint-Honoré. As a good friend of Comte Alphonse Toulouse-Lautrec, he went on to tutor his son; Henri de Toulouse-Lautrec, who entered the artist’s studio at the age of 14. Lautrec was heavily influenced by his tutor in this early period and stylistic and thematic similarities can be seen between both the artists’ work, with the younger artist producing a portrait of Princeteau in his studio in 1881. Princeteau was well known for his depictions of horseracing, equestrian portraits, military scenes and hunting scenes, with some of his earlier works evidently inspired by Alfred de Dreux (1810-1860) and George Stubbs (1724-1806). These themes were highly popular for this period amongst the upper classes, and his unique approach to the equestrian subjects meant he was never short of work. From 1883 onwards, he based himself in the Château de Pontus near Fronsac which marked the beginning of his larger compositions celebrating countryside life. The loose, expressive brushstrokes on his large canvases were still able to accurately depicting the horse in motion, this is most apparent in Lot 358, Veneur pendant un débuché, completed sometime between 1900 and 1905; showing a bay hunter striding across a freshly ploughed field followed by two hounds. His realistic style; combining the colours and tones of the Impressionists with the traditional subject matter, created attractive results. The following selection of hunting scenes (Lots 357-364) depict a subject matter visited by Princeteau frequently. They show his skillful understanding of the sport, creating balanced and dynamic compositions which were repeatedly visited and developed. Several versions of Lot 362 (Veneur et chiens) for example were completed prior to the present painting which was executed later in his artistic career (between 1905-1912). His works were regularly exhibited at the Paris Salon from 1868 until 1904, and his connections amongst the fashionable elite lead him to become in high demand with both wealthy modernists and traditionalists alike, as well as racehorse owners who requested commissions of their ‘Classic’ winning racehorses. Additionally, his connections made within the hunting scene in France encouraged and inspired new compositions, sketched when he followed the meets - which he did so enthusiastically. Lots 359 to 363 all follow a similar format, usually depicting one hunter and a few hounds; these smaller compositions are still lively and colourful, where the horse takes centre stage; captured perfectly in their pose or energetic stride. Lot 364 on the other hand, takes an alternative approach, the large canvas shows figures emerging from the frosty morning mist, striding towards the viewer, the blank background highlighting these moving figures. The result is a balanced and engaging composition so typical of Princeteau’s style.