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Auction Description for Sotheby's: 19th Century Paintings, Sculpture & Works of Art

19th Century Paintings, Sculpture & Works of Art

by Sotheby's


233 lots | 232 with images

November 2, 2001

1334 York Avenue

at 72nd Street

New York, NY, 10021 USA

Phone: 00 1 212 606 7000

Fax: 0141 204 2502

Email: info@sothebys.com

FERDINAND ROYBET FRENCH, 1840-1920 THE ALGERIAN BEAUTY signed, dated and inscribed F. Roybet/Alger-7...

Lot 1: FERDINAND ROYBET FRENCH, 1840-1920 THE ALGERIAN BEAUTY signed, dated and inscribed F. Roybet/Alger-7...

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Description: FERDINAND ROYBET FRENCH, 1840-1920 THE ALGERIAN BEAUTY signed, dated and inscribed F. Roybet/Alger-72.(upper right) oil on panel 21 1/2 by 17 3/4 in. 54.6 by 45.1cm.

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GEORGES ANTOINE ROCHEGROSSE

Lot 2: GEORGES ANTOINE ROCHEGROSSE

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Description: GEORGES ANTOINE ROCHEGROSSE FRENCH, 1859-1938 LA TOILETTE signed and dated G.M. Rochegrosse/1921 (lower right) oil on canvas 29 3/4 by 43 1/4 in. 75.6 by 109.9cm. PROVENANCE Louise Whitford Ltd., London

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GEORGES ANTOINE ROCHEGROSSE

Lot 3: GEORGES ANTOINE ROCHEGROSSE

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Description: GEORGES ANTOINE ROCHEGROSSE FRENCH, 1859-1938 THE CONVERSATION signed G. Rochegrosse (lower left) oil on canvas 32 1/8 by 39 3/4 in. 81.6 by 101cm.

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FREDERICK ARTHUR BRIDGMAN

Lot 4: FREDERICK ARTHUR BRIDGMAN

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Description: FREDERICK ARTHUR BRIDGMAN AMERICAN, 1847-1928 THE CARD PLAYERS signed F.A. Bridgman (lower left) oil on canvas 44 by 56in. 111.8 by 142.2cm. Frederick Arthur Bridgman's artistic passion first brought him to France, where he studied in the atelier of Jean-Leon Gerome, and then to North Africa, a place which would inspire him for his entire career. After making several journeys to North Africa during the 1870s and 1880s, he continued to produce works of Algerian and Egyptian scenes. Bridgman achieved enormous success both at home and abroad - earning medals at the Paris Salons of 1877 and 1878, as well as having a one-man show in New York in 1881. The present lot is typical of Bridgman's mature style, when his colors become more flamboyant and his brushstroke more impressionistic. Bridgman seems to delight in depicting the sun's rays shining through the palm fronds, casting a web of shadows over the figures, and illuminating the colors of the richly-hued landscape. It is a casual scene of harem women enjoying a game of cards and drinking tea, a decidedly different perspective from the self-conscious odalisque languishing in an exotic interior, which was most often depicted by Western artists. The painting is composed with a snap-shot like casualness - one figure's back is facing the viewer, and a thicket of foliage in the background suggests a hidden enclave that Bridgman has happened upon. Eastern women held an exotic allure to Western artists, whose images were fueled by speculation and myth about harem life. The harem tradition in the Orient trained young women to become sophisticated, charming courtesans who amused their masters and enlivened court life. Yet these women lived a cloistered existence, rarely venturing beyond palace walls, and spending most of their time in the company of other women. Bridgman has captured a moment, which, in actuality, he would not have been allowed to see - as eunuchs, young male children and close male relatives were the only mal

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BENJAMIN CONSTANT FRENCH, 1845-1902 ON THE TERRACE signed and indistinctly dated Benjamin Constant 1...

Lot 5: BENJAMIN CONSTANT FRENCH, 1845-1902 ON THE TERRACE signed and indistinctly dated Benjamin Constant 1...

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Description: BENJAMIN CONSTANT FRENCH, 1845-1902 ON THE TERRACE signed and indistinctly dated Benjamin Constant 18** (lower right) oil on canvas 25 1/2 by 40in. 64.8 by 101.6cm. Constant exhibited works of the Romantic-Orientalist style throughout the 1870s and 1880s. Trained at the Academy of Toulouse, and in Paris under Cabanel. Constant's formal education was interrupted by the Franco-Prussian War, although it did afford him an opportunity to travel to Spain and North Africa. He was a keen observer of Islamic culture, and collected many artifacts which aided him in compositions upon his return to Europe.

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