Edouard Joseph Dantan (1846 - 1897), oil on canvas - 'Hercule aux pieds d' Omphale', signed and dated 1874, 105cm x 146.5cm, in fine period gilt gesso frame. Exhibited: The Paris Salon, 1874, where the painting was awarded a third class medallion. Provenance: Purchased from The Paris Salon, by Mr Hutson representing The Royaltyal Manchester Institution, believed acquired from The Institution or the subsequent Manchester Art Gallery, by the Sidebottom family, prominent industrialists and cotton mill owners in the Manchester area, thence by family descent to the present owner. Footnote: In the myth of Hercules and Omphale, Hercules is commanded by the Delphic Oracle Xenoclea to be enslaven to Omphale for a year, penance for the inadvertent murder of Iphitus. The Musee des Avalines of St. Clocksud (the artist's birthplace) hold Dantan's own accounts Books, a digital file of which may be viewed at http://webmuseo.com/ws/musee-des-avalines/app/report/livre-de-raison-DANTAN.html. This marvelously thorough document suggests that preparatory work for the painting was commenced in January 1873. Furniturether entries in his log include in June 1873 - 'Etude de femme pour la tableau d'Hercules & Omphale'. By March 1874, the painting was complete and when offered in the salon, both the current work and another work described by Dantan as 'Moine Sculptureslpture un Christ en bois' were awarded a third class medal. The theme of Hercules and Omphale was tackled by many 19th century writers and painters, no doubt owing to the great potential to explore the sexual undertones of the story. In Dantan's painting, the model for Omphale is his then partner, Agostina Segatori, mother to Dantan's first child. Agostina Segatori was a celebrated beauty and well-known model, featuring in works by many of the leading 19th century French artists including Corot, Manet, Delacroix and Gérôme. After splitting with Dantan, she later ran the 'Cafe de Tambourin', a notorious haunt of Cosmopolitan Paris, the cafe was decorated with paintings by Edouard Dantan, and in time also displayed works by Vincent Van Gogh, who gifted Segatori his still lifes in exchange for free food, he held his first Paris exhibition in the Cafe and also exhibited there alongside Gauguin and others. In due course Segatori became Van Gogh's lover and her portrait was captured in several of his paintings. The Dantan account Books confirms the present work was purchased by Mr Hutton 'membre de la Royaltyale Invitation de Manchester' for 3000 francs. Mr Richard was paid 300 francs commission. Mr James T. Hutton was on the hanging committee of the Royaltyal Manchester Institution in 1874 and on the Council for at least the following 10 years. It is certain that The Royaltyal Manchester Institution were in the market for paintings; established in 1823 with the objective of promoting Manchester as a centre of culture and refined taste. They were keen buyers and had funds, with wealthy industrialists amongst the Institutions members. What happened next in the present lot's history is less clear but it may be that when the Institute was dissolved in 1882 and the Art Collection was transferred to form the Manchester Art Gallery, that sometime soon after, the painting was sold. Certainly, the Art Gallery continued to have selling exhibitions for many years. An engraving by an unknown hand was taken around this time and illustrated in 'Great Men and Famous Women', edited by Charles Horne, pub 1894. The painting has for many years been in a local Suffolk collection and by family tradition, descended from the Sidebottom family, wealthy Manchester Industrialists. It is highly likely that the painting has been unseen by the general public for over a century and this exceptional work accurately befits the term 'lost masterpiece'