Null Johan-Barthold JONGKIND (1819-1891).
Carriole at Sèvres in Seine et Oise, A…

Description

Johan-Barthold JONGKIND (1819-1891). Carriole at Sèvres in Seine et Oise, August 12, 1887. Charcoal and watercolor on paper. Signature stamp lower left. Situated and dated lower right. Numbered 158 in the lower right-hand corner. Sight: 12.5 x 20.5 cm. On the back: handwritten text in ink and pencil. Exhibition: 150th anniversary of the birth of Hector Berlioz in Vienna, Jongkind Exhibition, June 27-August 3, 1953 (label on back). Provenance: Monday, March 20, 1950, Drouot, Auctioneers A. Bellier et E. Ader, Expert J. Dubourg. Collection of M. X, Paris, no. 80 (label on back). We would like to thank Mr. François Auffret, on behalf of the Jongkind-Paris-La Haye Committee, for kindly confirming the authenticity of this watercolor, referenced in the Committee's archives under no. G01552.

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Johan-Barthold JONGKIND (1819-1891). Carriole at Sèvres in Seine et Oise, August 12, 1887. Charcoal and watercolor on paper. Signature stamp lower left. Situated and dated lower right. Numbered 158 in the lower right-hand corner. Sight: 12.5 x 20.5 cm. On the back: handwritten text in ink and pencil. Exhibition: 150th anniversary of the birth of Hector Berlioz in Vienna, Jongkind Exhibition, June 27-August 3, 1953 (label on back). Provenance: Monday, March 20, 1950, Drouot, Auctioneers A. Bellier et E. Ader, Expert J. Dubourg. Collection of M. X, Paris, no. 80 (label on back). We would like to thank Mr. François Auffret, on behalf of the Jongkind-Paris-La Haye Committee, for kindly confirming the authenticity of this watercolor, referenced in the Committee's archives under no. G01552.

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Johan-Barthold JONGKIND (1819-1891) Fort Saint Jean in Marseille Oil on canvas Signed and dated "1875" lower right Inscribed on the stretcher in the artist's hand "Marseille, effet du matin" and "Entrée du port de la Canebière". 34 x 47.5 cm With frame: 52 x 64 cm A certificate of authenticity from Monsieur Adolphe Stein dated December 18, 1992 will be given to the buyer. Bibliography : Stein, Brame, Lorenceau, Sinizergues, "Jongkind : catalog critique de l'œuvre . I . Peintures", Paris : Brame Lorenceau éditions, Vol.1, 2003, n°754 (the present work illustrated) Oil on canvas, signed and dated "1875" lower right, inscribed on the frame in the artist's hand "Marseille, effet du matin" and "Entrée du port de la Canebière", 13.3 x 18.5 in, with frame : 20.4 x 25.1 in

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In the style of Johan Barthold JONGKIND (1819-1891) Country lane Oil on canvas, apocryphal signature (?) and dated lower right 1885 34.5 x 26 cm

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Circle of JOHAN BARTHOLD JONGKIND (Lattrop, 1819-around Grenoble, 1891). "Sunset." Oil on panel. Measurements: 25,5 x 33,5 cm; 34 x 41,5 cm (frame). Painting of coastal theme portrayed in the magic hour of the sunset. The golden disk disappears behind the horizon line and says goodbye with an igneous symphony. On the shore, huts and precarious houses are outlined in front of the sea. The painting is inspired by the nocturnal seascapes of Johan Barthold Jongkind, resolved in pre-impressionist language. Johan Barthold Jongkind was a Dutch painter and engraver considered one of the forerunners of impressionism. He studied art at the School of The Hague under the tutelage of the romantic painter Andreas Schelfhout, and painted his first pictures in the style of traditional Flemish painting. In 1846 he settled in Paris and became a pupil of Eugène Isabey until, in 1855, he was forced to return to Holland because of economic problems and settled in Rotterdam. He returned to Paris in April 1860, and from then on expressed his attraction for the marines during his stays on the Norman coast in Le Havre, Sainte-Adresse (see watercolor), Honfleur and Trouville. There he met Boudin and above all Monet, who sincerely acknowledged his debt to the Dutch artist: "to him I owe the definitive education of my eyes". He participated in the Salon des Refusés in 1863 with the painting Ruins of the Castle of Rosemont, next to Manet's controversial painting Le déjeuner sur l'herbe (Lunch on the Grass); both are now in the Musée d'Orsay. His landscapes of Normandy, of canals and beaches of the North Sea, of the banks of the Seine, of Paris, and later of Grenoble, translate in finely nuanced tones the light and atmosphere of those places. Contrary to the Impressionists, he painted his pictures in the studio after the sketches and watercolors he drew outside. Sometimes he repeated the same subject under different lights or in different seasons (a typically impressionist idea later adopted by his friend Monet). He led a disordered life and finally, with psychic problems (melancholy, paranoia) and alcoholic, he died in the asylum of Saint-Égrève near Grenoble. According to Monet, Jongkind's work, along with that of Corot and Boudin, is the origin of Impressionism.

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