Description

Mannettes de fond de maison

8

Mannettes de fond de maison

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Estim. 80 000 - 120 000 EUR

Jean-Léon GEROME (Vesoul, 1824 - Paris, 1904) A shipwreck Canvas. Signed lower left J. L. Gerome. 70.4 x 106.3 cm Exhibition: Cercle de l'Union artistique, 5 rue Boissy-d'Anglas, no. 44 (owned by the artist), 1901. Bibliography: Arsène Alexandre, article in Le Figaro, La Vie artistique section, Monday, February 4, 1901: "?the marine with a shipwrecked boat exhibited by M. Gérôme can be likened to a landscape. There is some analogy, for the subject, but a difference among other things for the setting on canvas with Delacroix's so moving masterpiece in the Louvre museum." This unpublished painting escaped Gerald M. Ackerman's catalog raisonné of the artist, probably because Gérôme unveiled it to the private and select audience of the Cercle de l'Union artistique (1), where he regularly exhibited works since the 1860s, and not to the official salons, where he exhibited more academic compositions throughout his career. While our artist was expected to work on classical and orientalist themes, he showed himself capable of inventing unexpected compositions, far from the reputation of a pompous ar¬tist. Our image is striking in its radicalism, and belongs to a small group of works in which Gérôme stepped outside his comfort zone and his usual subjects, such as his Sign for an Optician (1902), or his Truth Emerging from the Well (1896): "There is indeed, in Gérôme, although often perceived as a reactionary artist, a paradoxical modernity - which stems from the originality of his eye, his skill, at once enhanced and concealed by his academic craft - in creating images, in giving the illusion of truth through artifice and subterfuge" (in L. des Cars, D. de Font-Réaulx, E. Papet. Jean-Léon Gérôme (1824-1904). L'Histoire en spectacle, exhibition catalog, Paris, Musée d'Orsay, 2010, p.18). The dominant emerald-blue-green background is found in several of his paintings, for example in the glazed tiles on the wall of the Snake Charmer at the Ster¬ling and Francine Clark Art Institute in Williamstown (1880), or in the bright skies of his depictions of wild animals in the desert. Despite the anachronistic aspect of describing this painter as "modern", the framing effect of the very high sea, the composition strictly divided by the horizon line, is almost abstract. He accentuates this effect with clouds stretched out lengthwise or the parallel lines of wavelets. The immensity of the oily sea is distracted only by the small boat in the lower corner and its angled mast. This is where the drama takes place, for Gérôme never forgets to be a history painter. Gérôme transforms the tradition of pictorial shipwrecks that goes back more than a century, from Joseph Vernet's tempêtes, to Géricault's Radeau de la Méduse of 1819, Delacroix's Barque de Dom Juan, or similar subjects such as Manet's Evasion de Rochefort (1880, Musée d'Orsay). But he places his skiff on a calm sea, not a rough one as in previous artists, eliminating any hint of hope of rescue. The passengers are crowded together; dead or dying, possibly of disease, left adrift on a lifeboat (2). There are no details, no names on their boats to identify these unfortunates, or any specific historical event. Man, isolated in the face of nature, as in Romanticism, yields here to a nihilistic vision of the human condition, to an awareness of his minuscule place in the universe, resonating with contemporary concerns such as boat-people and migrant exile (3). 1. The restricted space of the Cercle de l'Union Artistique, on rue Boissy-d'Anglas, reserved for an elite of bourgeois and major collectors, did not allow for the exhibition of large-scale historical works, and offered sketches or more decorative works for sale. 2. The accumulation of bodies in Ernest Meissonier's La Barricade (circa 1850, Musée du Louvre) comes to mind. 3. Commenting on another painting, Pierre Sérié wrote: "The preci¬sionism of the facture is matched by the absence of image. The drama reaches maximum intensity in the very abo¬lition of its representation... this spectacle is emptiness" (Pierre Sérié, La Peinture d'histoire en France 1860-1900, 2014, p.217).

Estim. 35 000 - 40 000 EUR

Max Slevogt

Estim. 40 000 - 60 000 EUR

ARMAND GUILLAUMIN (1841-1927)

Estim. 35 000 - 50 000 EUR

Edgar Degas (1834-1917) Portrait, head resting on one hand, before 1885 Bronze proof Lost-wax casting by A.A. Hébrard, between 1921 and 1932 Inscriptions on right shoulder: Degas (stamp) Inscriptions on left shoulder: "62/K - CIRE / PERDUE / A.A. HEBRARD". Label inside, almost illegible: "DOUANES / PARIS / EXPOSITIONS". 12.3 x 17.5 x 16.2 cm Provenance: Glasgow, Cargill collection France, private collection (inherited) While portraiture is a genre that occupies Degas intensely in painting, making him one of the greatest portraitists in the history of modern art, sculpted portraits are rare. Two other sculpted portraits are known to date, thanks to the edition. For Portrait, tête appuyée sur une main, the subject is not so much the model, whose studies suggest several hypotheses, but the movement. This sculpture bears witness to the artist's personal quest to capture an attitude, as in the case of dancers' bodies, women in motion or horses. A softness emanates from this sculpture, as much from the intimate subject as from the oblique composition and fluid modeling, alternating between precision on the face and blurred details on the hair and bodice. Like Degas' other models, the bronze edition of the model includes 22 copies (A to T and HER and HERD), plus the MODELE at the Norton Simon in Pasadena and the unlocated copy marked AP by Albino Palazzolo. 14 examples are currently unlocated (in private collections). Six are in museums: ◆ Metropolitan Museum of Art, New York, USA (A) ◆ Hannema - De Stuers Fundation, Heino, Netherlands (F) ◆ Museum of Fine Arts, Boston, United States (H) ◆ Musée d'Orsay, Paris, France (P) ◆ Ny Carlsberg Glyptotek, Copenhagen, Sweden (R) ◆ Museu de Arte, Sao Paulo, Brazil (S) This copy, numbered "K", comes from the Cargill collection in Glasgow, Scotland. Director of the Burmah oil company, founded by his father Davis S. Cargill, William Trail Cargill (1872-1939) built up one of the finest collections of French Impressionist and modern art in Scotland. He bought mainly from the Glasgow-based dealer Alexander Reid. Between 1918 and 1927, he acquired works by Daumier, Boudin, Manet, Monet and Degas, among others. In 1923 in London and 1924 in Glasgow, Reid joined forces with the Leicester Galleries to present an exhibition of Degas' bronze sculptures, including 37 dancers, 17 horses, 14 studies of women, 3 bust portraits and 1 bas-relief. Portrait, tête appuyée sur une main is listed at no. 71 in the catalog. It was probably acquired on this occasion by D. W. T. Cargill from the dealer Alexander Reid. An old customs label is still present inside the sculpture. The sculpture later returned to France by inheritance. Related literature: - Exhibition of the Works in Sculpture of Edgar Degas, February-March 1923, London, The Leicester Galleries, preface by Walter Sickert, no. 71. - Rewald, John, Degas, works in sculpture, a complete catalog, Pantheon Books Inc, New York, 1944, p.82, pl XXIX, repr. - Pingeot, Anne and Horvat, Frank, Degas, sculptures, RMN, 1991, p.187, n°71 and p.145, repr. (Proof 62/P) - Fowle, Frances, Alexander Reid in context: Collecting and dealing in Scotland in the late 19th and early 20th Centuries, thesis, 1993, University of Edinburgh. - Czestochowski, Joseph S., Pingeot, Anne, Degas, Sculptures, Catalogue Raisonné of the Bronzes, National Museum of San Carlos, Mexico City, June 10-September 15, 2002, Memorial Art Gallery, University of Rochester, New York, October 10, 2002-January 12, 2003, San Diego Museum of Art, June 28-September 28, 2003, Fin Arts Museums of San Francisco, Legion of Honor, October 18, 2003-January 18, 2004, p.242-243, no. 62, repr. - En Passant, Impressionism in sculpture, edited by Alexander Eiling and Eva Mongi-Vollmer, Frankfurt am Main, Städel Museum, March 19 - June 28 2020, Prestel, p.155, repr. Cat.69, (proof Museum de Fundatie de Zwolle and Heino/Wijhe 62/F).

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