Artist
Georges Rouault (French, 1871–1958)French, 1871–1958
CultureFrench
Titles
- The Three Judges
Datec. 1938
PlaceParis, France
MediumOil on paper mounted on canvas
Dimensions25 × 38 1/2 in. (63.5 × 97.8 cm)
Credit LineJohn A. and Audrey Jones Beck Collection, gift of Audrey Jones Beck
Object number98.298
Current Location
The Audrey Jones Beck Building
226 Beck Galleries
On view
Explore Further
Department
European Art, Beck CollectionSpecial Collections
Object Type
inheritance; her son Robert de Galéa (1894-1961), Paris, by descent [2]; [Sam Salz (1894-1981), New York]; Mr. and Mrs. Leigh B. Block, Chicago, until 1960; [their property, Sotheby & Co., London, “Impressionist and Modern Paintings and Sculpture,” July 6, 1960, lot 146, illus.] [3]; [Marlborough Fine Art Ltd., London]; Gustav Zumsteg
(1915-2005), Zurich, by at least 1967 until at least September 1971 [4]; [sale, Sotheby & Co., London,
“Impressionist and Modern Paintings and Sculpture,”December 5, 1973, lot 53, illus.] [5]; Gustav
Zumsteg (1915-2005), Zurich, by at least 1967; [sale, Galerie Koller, Zurich, May 19-June 4, 1976];
[sale, Sotheby’s, London, Impressionist and Modern Paintings and Sculpture, Part I, December 4,
1984, lot 29, illus.]; Mrs. John A. Beck, Houston, 1984; given to the MFAH,1998.
[1] Vollard is listed as the lender of a version of Rouault’s Three Judges (cat. no. 200) to “The 1938 International
Exhibition of Paintings” at the Carnegie Institute, Pittsburgh (October 30-December 4, 1938). No dimensions or
reproduction of the painting are provided, thus, limiting the identification of the loaned painting to the present
work, or another, without additional evidence.
[2] Madeleine de Galéa (née Morau) was born in Saint-Dénis, Ile de la Réunion, as was Vollard. Her husband,
Edmond Constantin de Galéa died in 1914. An intimate friend of the dealer, she was a beneficiary of Vollard’s
estate receiving money, artworks, and property. Her son Robert and the son of the artist Paul Cézanne were both named executors in the dealer’s 1911 will. For more details on Vollard’s estate, see: Assante di Panzillo, Maryline. “The Dispersal of the Vollard Collection” in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde (New York: The Metropolitan Museum of Art, September 13, 2006-January 7, 2007; Chicago: The Art Institute of Chicago, February 17-May 13, 2007; Paris: Musée d’Orsay, June 18-September 16, 2007), pp. 259-262.
[3] The printed buyers’ list for the cited 1960 sale indicates “Downey” as the purchaser for lot no. 146.
[4] The exhibition catalogue “Chefs-d’oeuvre des collections suisses de Manet à Picasso” at the Musée de
l’Orangerie, Paris in 1967 notes the work (cat. no. 204) belongs to Gustave Zumsteg, Zurich. On the verso of the
present work’s stretcher, two exhibition labels from the Foundation Maeght, Saint-Paul, for the “Hommage à
Rouault,” exhibition that ran from July 17-September 1971 indicate that Zumsteg was the lender and owner (cat.
no. 135) at this date. (Information provided by Kim Pashko, October 2024.)
[5] The printed buyers’ list for the 1973 sale cited indicates “Sabet” as the purchaser for lot 53.
Exhibition History"Chefs-d'oeuvres des collections suisses de Manet à Picasso," Palais de Beaulieu, Lausanne, Switzerland, 1964.
"Chefs-d'oeuvres des collections suisses de Manet à Picasso," Orangerie des Tuileries, Paris, 1967.
"Rouault," Fondation Maeght, Venice, 1971.
Inscriptions, Signatures and Marks
Signed, lower right, recto: "G. Rouault"
View this object in The Beck Collection
Cataloguing data may change with further research.
If you have questions about this work of art or the MFAH Online Collection please contact us.
Marion Post Wolcott
May 1941, printed 1976
Gelatin silver print
76.422
James Gillray
published May 10, 1782
Etching on wove paper
44.500
