PISSARRO CAMILLE: (1830-1903) French Impressionist Painter. A.L.S., C. Pissarro, two pages, 8vo, Eragny-Bazincourt, 5th July 1902, to his son Rodolphe, in French. Pissarro announces, 'You can be sure that these dizzy spells come from the stomach’ and continues to make some dietary recommendations, ‘organise yourself for your food, some eggs, some beef cutlets, etc. Some simple things I am sure… that will do you good, come to Dieppe, we will find, I hope a place where one could eat close by' further advising, 'Independently from the food there is also this: do not get up too late, do not go to bed at impossible hours, do not stay in the cafes, do not spend the evenings in the cafes with music, do not eat ices, etc, etc.' Pissarro also writes of other matters, ‘I have in effect some gouaches at Portus’s and a painting, you do not know when they are going to rest and when they will move house?’, and again encourages his son to take a train and join him in Dieppe (‘I hope the sea will do you good’), informing him that they will be at the Hotel du Commerce. Pissarro concludes by mentioning another son, Georges, of whom he has received no news, asking if he is going to stay at Moret and remarking ‘Eventually I am going to write to him’. VG Ludovic Rodolphe Pissarro (1878-1952) French Painter and Engraver. Georges Pissarro (1871-1961) French Artist who worked in Impressionist and Post-Impressionist styles. Moret-sur-Loing is a former commune in the Île-de-France region in north-central France and the town was a source of inspiration for Monet, Renoir and Sisley.
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Nathaniel Hone RHA (1831-1917) The Road to Bourron. Landscape with Cattle, Roadway and Tree oil on canvas signed 'N.Hone' lower left 40 x 62¾cm (16 x 24in) Important Irish Art, James Adams with Bonhams & Doyle, 9th December 1998 Lot 41; Oriel Gallery, Dublin 2006; Private Collection Possibly Royal Hibernian Academy, Dublin 1906, no.92 entitled Road to Bourron; Foundations 1850-2006; Oriel Gallery, Dublin: November - December 2006. J. Campbell: Nathaniel Hone The Younger, NGI 1991, p.84 illustrated, figure 48; Nathaniel Hone,The Road to Bourron; Important Irish Art, James Adams 1998 p.19; Foundations 1850-2006, Oriel Gallery, 2006 p.10-11. Born in Dublin in 1831, Nathaniel Hone studied Engineering at Trinity College Dublin, and worked as an engineer in the expansion of the railways to the West of Ireland. But, suddenly deciding upon a change of career in his early twenties, he went to Paris to study art, c.1853-1857. Much of the art student's time was spent in the studio, drawing and painting from the figure, and the Louvre, copying from Old Master paintings. However, Hone's real love was landscape, and he was soon drawn to the artist's colonies in the Forest of Fontainebleau, south of Paris, where French artists of the Barbizon School were painting farming and woodland scenes in a realistic manner. Bourron-Marlotte were two adjoining villages in the Seine-et-Marne region, on the southern edge of the Forest of Fontainebleau. In the mid-nineteenth Century they began to attract a community of artists and writers, including the writer Henri Murger (author of La View de la Boheme), the Goncourt brothers and the painters Theodore Rousseau, Jules Bretoin, Renoir and Sisley, the Bohemian painter Pinkas and the Romanian Grigorescu and Nathaniel Hone from Ireland. He resided here for much of the1860's, giving the village of Marlotte as his address in the Salon catalogues of 1865 and 1868. Hone seems to have visited Bourron-Marlotte as early as 1855, painting studies of the old church and of a shepherdess in an interior, 'A Girl in a White Shawl' 1857 (NGI cat. No. 1479) and he spent much of the period, c.1857 - 1870 here and in Barbizon painting small studies from Nature and larger canvases such as 'La Mare aux Fees' (The Fairy Marsh). He met some of the Barbizon masters and several of his Fontainebleau paintings were exhibited at the Paris Salon. There are three versions of the subject The Road to Bourron extant, featuring a diagonal farm track leading through the flat landscape from right to left, beneath a tree in full leaf, towards a farmhouse at the edge of the village of Bourron among trees. One quite dark-toned picture on board An Old Road with Trees (NGI cat. No. 1518) shows the scene with cattle grazing in the grass. A Second picture on board also shows the subject, but is much more verdant and freshly painted. The present painting, on canvas, initially appears quite sombre in tone, suggesting the influence of Seventeenth Century Dutch landscape painting, for example, Jacob Ruysdael with his atmospheric landscapes with dark trees, rural figures and animals on rutted tracks and dark skies. Yet Hone's painting also shows the contemporary naturalistic influence of Corot, with his moss green tones and broad brushstrokes. Hone includes three figures; those of a girl, tending her two cows and a woman and child upon the track. Compared to the more careful, detailed manner of landscape, as practiced in Ireland and England, Hone takes a more generalised approach, painting in a bold, even rough manner in places, using broad, sweeping brushstrokes in the foreground and cursive strokes in the tree to indicate a breezy day. He skilfully balances dark and light areas in the composition. For example a warm sunlight falls upon the pinkish track and upon the field, upon one of the cows and the gable end of the cottage. Most characteristic of Hone is the skilful treatment of the sky: gleaming white above the village, then overall a warm pinkish-mauve, with a bright white upper cloud and with patches of blue showing through. After his return to Ireland in c.1872 Hone painted the skies above his Irish Landscapes with particular breadth and sensitivity. Indeed, the present painting has much in common in colour and breadth with his later Co. Dublin landscapes. One of Hone's 'Road to Bourron' paintings was exhibited in the RHA in 1906. It is possible that the present picture was acquired by one of Hone's great patrons, Sir George Brooke. Julian Campbell, March 2017
Elias (Julius). Die Skizzenmappe, Zeichungen franzosischer Meister des neunzehnten Jahrunderts, Munich, Verlag der Marees-Gesellschaft 1918, with an introduction, contents and 70 colour facsimile plates depicting works of the finest impressionist artists including Edouard Manet, Claude Monet, Camille Pissarro, Edgar Degas and Auguste Renoir (plates 26 / 28 missing), some light spotting and browning, folio 48 x 32.5cm (18.75 x 12.75ins) Limited Edition No.33/100. (1)
Marees Society. Renoir Twenty-One Facsimile Reproductions of Pastels, Water-Colours, Pen-and-Ink-Drawings and Crayon-Drawings of all his Periods, Munich-Dresden Marees-Society 1920, with contents booklet and 21 colour facsimile plates from 1873-1910, some spotting and browning, folio, 71 x 55cm (28 x 21.5ins) Limited Edition No.71/100. (1)
*Artists and Models. A ground of 8 original drawings by an unidentified artist, circa 1960s, pen and ink on white board, showing Sir Peter Lely, Francois Boucher, Renoir, Titian, Manet, Delacroix and Hogarth with their respective models, plus one titled 'Night of the Third Temptation' from Arabian Nights, all titled by the artist to lower margin, four with typed or handwritten text intended to accompany the book or magazine illustrations, boards 38 x 32 cm (15 x 12.5 ins) (8)
*AR TOM KEATING (1917-1984) British, after PIERRE-AUGUSTE RENOIR (1841-1919) FrenchThe BatherOil on canvasSigned, Tom Keating Studio Sale, 10th September 1984, Christie's stamp and Vost's, 18th September 2000 authenticity stamp to verso29 x 39.5 cmProvenance: Christie's Tom Keating Studio Sale, 10th September 1984, Lot 107; Vost's, 13th September 2000, Lot 366. CONDITION REPORTS: Generally in good condition, expected wear.
Marees Society. Renoir Twenty-One Facsimile Reproductions of Pastels, Water-Colours, Pen-and-Ink-Drawings and Crayon-Drawings of all his Periods, Munich-Dresden Marees-Society 1920, with contents booklet and 21 colour facsimile plates from 1873-1910, some spotting and browning, folio, 71 x 55cm (28 x 21.5ins) Limited Edition No.71/100. (1)
PIERRE-AUGUSTE RENOIR (FRENCH, 1841-1919), LITHOGRAPH ON PAPER, H 9", W 11.2", "LA PIERRE AUX TROIS CROQUIS"Stamped signed lower left; from "Douze Lithographies Originales"; framed. References: 37 Delteil-Stella 41.Spot staining/foxing. Rf- For High Resolution Photos visit Dumouchelles website.
Baroness Hélène Propper de Callejón (nee Fould-Springer) (1907 - 1997), watercolour portrait inscribed 'du temps de ma grand-mère', signed and dated '34, in glazed frame, 28.5cm x 21cm. N.B The youngest of three daughters of the Parisian based banker Baron Eugène Fould-Springer and his wife Marie Cecile 'Mitzi' Springer, Hélène married the Spanish diplomat Eduardo Propper de Callejón and became a gifted painter using the pseudonym Praday. Their daughter, Elena Propper de Callejón is the mother of Helena Bonham-Carter. This portrait is probably of Helena Bonham-Carter's Great Great Grandmother. The Fould-Springers and Ephrussi families were great patrons of the visual arts in Paris during the latter part of the 19th century and Renoir regularly painted members of the Fould family
AIMÉ-JULES DALOU (1838 - 1902)La Brodeuse (The Embroiderer)Bronze, 29cm high, dark brown PatinaSigned and numbered 12/12; stamped with foundry mark'CIRE/C.VALSUANI/PERDUE'Aimé-Jules Dalou was a French sculptor working in the mid-19th century amidst the country’s revolutionary politics and a rising realist style in art. In hindsight there is a tendency to overly equate the art of this period with the contemporary political climate. However, Dalou readily eschewed the recognition of the academy by repeatedly refusing the Prix de Rome - a highly sought after accolade for artists at the time - despite the fact that it guaranteed commissions. Like most nineteenth-century French artists he began his training in the École des Beaux-Arts, where he studied for three years. His earliest works reveal the mastery of craft and design with highly detailed anatomy that would go on to characterize his entire oeuvre. La Brodeuse was made a year before he was exiled from Paris. Similar to many other artists and avant-gardes, Dalou was affected by the fall of the Second French Empire in 1871. He relocated to London, returning to Paris in 1879 following the end of a long period of political unrest within the Third Republic. Dalou’s career continued to grow during his exile, spending his time as a portrait sculptor, unlike other contemporary artists such as Courbet whose reputation was destroyed following his association with revolutionary politics. Completed in 1870 La Brodeuse was the sculptor’s first public success and lauded by critics when exhibited at the Salon in the same year. This present example is an interesting insight into the work - stylistic and thematically - that Dalou would go on to produce for the following decade. The smaller sculptural works such as the La Brodeuse express an increasing interest in the simple tasks of modern life. The main focus of the work centres on the woman’s hands, a sense of tension which seems to imply a taught thread. Dalou’s modelling of the seated seamstress with her head bent forward reflects an almost silent reverie at her task. Dalou’s representation of working class society always contains an element of dignity captured with beautifully observed detail. Dalou was a consummate draughtsman preparing preliminary sketches for his sculptural works, with this work cast after one of these large groups of esquisses. The bronze medium cast in the lost wax process requires an incredibly high-level of skill and craftsmanship. It is also immensely labour intensive requiring multiple individuals to create an exact replica of the original plaster cast made by the sculptor. This work was produced by the Valsuani Foundry as indicated by their mark on the base. The company was established in 1899 by brothers Claude and Attilio Valsuani who had learned their trade while employed at the Hebard foundry. The workshop was located in the southwestern suburbs of Paris in commune of Chatillon, casting mostly small works for various artists primarily using the lost wax technique of casting, ‘cire perdue ’. In 1905 they relocated to a more central location on the Rue des Plantes . They cast works for artists including Renoir, Paul Troubetzkoy, Matisse, and Gaugin. Claude Valsuani died in 1923 in his native Italy but his son, Marcele took over the running of the foundry and continued to produce extremely fine detailed bronzes until the 1970's.
§ Angus McBean (British, 1904-1990) A collection of gelatin silver prints to include: a mounted photograph of Jean Renoir seated beside the self-portrait of his father Pierre-Auguste Renoir, 1959, signed and dated lower right, 25 x 20 cm; Christmas Card 1949, 26 x 30.5 cm, and three smaller examples, one with a copyright stamp to verso and one signed in pencil in margin; Self-portrait as Neptune for a Christmas Card of 1939, 30.5 x 24 cm, and a smaller example; 'Angus McBean faked it' Christmas Card of 1952, 30.5 x 40.5 cm, and two smaller examples; together with a monochrome print, Self-portrait Christmas Card, Underwater with Umbrella, 1950, 49 x 38.5 cm two signed and one dated '59' silver gelatin prints (11) All unframed. Condition report: All are later prints probably from the 1970s bar the Christmas card. All unframed. All are later prints probably from the 1970s bar the Christmas card. Minor wear to the edges, with light creasing to some corners. A short tear to the top edge of one of the 'Angus McBean faked it' prints. Some stuck down to card.
Heading: (Picasso, Pablo)Author: Fix, Milton S., editorTitle: Picasso for VollardPlace Published: New YorkPublisher:Harry N. Abrams, Inc.Date Published: [1956]Description: xxii, [2] + 100 plates. Illustrated throughout with b&w reproductions. (4to) blue cloth with printed white design and spine title, black slipcase with pastedown illustration. First American Edition. The Vollard Suite is a set of 100 etchings in the neoclassical style by Picasso, produced from 1930-37. In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cezanne. Wear and rubbing to slipcase, light wear to binding with some fading to spine; very good.
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