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Jules Bastien-Lepage Auction Price Results

Jules BASTIEN-LEPAGE (1848-1884)

Lot 321: Jules BASTIEN-LEPAGE (1848-1884)

Auction Date: Jul 18, 2021

Estimate: €1,000 - €1,500

Description: Etude pour un homme assis dans un intérieur Huile sur carton Signé en haut à droite H. 40 cm. L. 28 cm...

Location: Paris, FR

Auction House: OXIO

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JULES BASTIEN-LEPAGE (FRENCH, 1848–1884), Au printemps,

Lot 16: JULES BASTIEN-LEPAGE (FRENCH, 1848–1884), Au printemps,

Auction Date: Dec 10, 2020

Estimate: £50,000 - £70,000

Description: JULES BASTIEN-LEPAGE (FRENCH, 1848–1884)
Au printemps
signed 'J.BASTIEN-LEPAGE' (lower right)
oil on canvas
31 1/2 x 40 1/2 in. (80 x 103 cm.)
Painted in 1873.
,
...

Location: London, LDN, UK

Auction House: Christie's

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Jules Bastien-Lepage (French, 1848-1884) Sarah Bernhardt 11 x 8 1/2in (27.9 x 21.6cm)

Lot 40: Jules Bastien-Lepage (French, 1848-1884) Sarah Bernhardt 11 x 8 1/2in (27.9 x 21.6cm)

Auction Date: Jul 08, 2020

Estimate: $6,000 - $8,000

Description: Jules Bastien-Lepage (French, 1848-1884)
Sarah Bernhardt
inscribed, signed and dated 'A Sarah Bernhardt / J Bastien-Lepage 1879' (upper left)
watercolor and colored pencil on paper
11 x 8 1/2in (27.9 x 21.6cm)
For further information on this lot please visit the Bonhams website
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Location: New York, NY, US

Auction House: Bonhams

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BASTIEN-LEPAGE Jules (1848-1884) Faneuse au repos Dessin au crayon noir,

Lot 18: BASTIEN-LEPAGE Jules (1848-1884) Faneuse au repos Dessin au crayon noir,

Auction Date: Jun 12, 2020

Estimate: €500 - €700

Description: BASTIEN-LEPAGE Jules (1848-1884) Faneuse au repos Dessin au crayon noir, signé des initiales en bas à gauche 27,5 x 19 cm Dessin préparatoire pour la gravure "Retour des champs" présentée en 1885 dans l'ouvrage illustré de Louis de Fourcaud. La composition de notre dessin, le lieu, et la figure de la faneuse, sont à rapprocher de sa peinture "La Faneuse au repos" de 1881, conservée à la Galerie nationale d'Oslo. Exposition : Musée d'Orsay, Jules Bastien-Lepage, Paris, 2007, n°46 reproduit p.140...

Location: Paris, FR

Auction House: Mirabaud-Mercier

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BASTIEN-LEPAGE Jules (1848-1884) Étude pour Jeanne d'Arc au bûcher Dessin à la plume,

Lot 17: BASTIEN-LEPAGE Jules (1848-1884) Étude pour Jeanne d'Arc au bûcher Dessin à la plume,

Auction Date: Jun 12, 2020

Estimate: €300 - €500

Description: BASTIEN-LEPAGE Jules (1848-1884) Étude pour Jeanne d'Arc au bûcher Dessin à la plume, signé des initiales en bas vers la gauche 10,5 x 14,5 cm Bibliographie : M.M Aubrun, Jules Bastien-Lepage, catalogue raisonné n°D.567 bis, reproduit p. 320...

Location: Paris, FR

Auction House: Mirabaud-Mercier

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Jules Bastien-LePage - Morning in Kensington Garden

Lot 47: Jules Bastien-LePage - Morning in Kensington Garden

Auction Date: Feb 11, 2020

Estimate: $1,000 - $2,000

Description:
Lot 47
Jules Bastien-LePage

French (1848-1884)
Morning in Kensington Garden
oil on board
signed lower left
8 3/4 x 11 inches


Provenance:
From the collection of J.N. Bartfield Galleries
The Carol Gallery label verso
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Location: New York, NY, US

Auction House: Capsule Gallery Auction

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Jules BASTIEN-LEPAGE Damvillers,1848 - Paris,1884 Voilier par gros temps Huile sur toile

Lot 404: Jules BASTIEN-LEPAGE Damvillers,1848 - Paris,1884 Voilier par gros temps Huile sur toile

Auction Date: Mar 27, 2019

Estimate: €12,000 - €15,000

Description: Jules BASTIEN-LEPAGE Damvillers,1848 - Paris,1884
Voilier par gros temps
Huile sur toile
Signée et datée 'J. BASTIEN-LEPAGE / 83' en bas à droite

Sailing boat by stormy weather, oil on canvas, signed and dated, by J. Bastien-Lepage
h: 90 w: 85 cm

Provenance : Acquis par le père des actuels propriétaires dans la première partie du XXe siècle (la famille était originaire, tout comme l'artiste, de Damvillers) ;
Collection particulière, Paris

Commentaire : Alors que la postérité a délibérément gardé de Jules Bastien-Lepage l'image d'un peintre de portraits et de scènes paysannes, notre tableau vient nous rappeler l'artiste complet qu'il fut, malgré sa trop courte carrière.
Fils d'agriculteurs modestes, notre artiste, en seulement dix années d'activité, réussit à se faire une place dans le paysage artistique français et international. " Le petit-fils de Courbet et de Millet " comme aimait à le décrire Emile Zola, se forma dans l'atelier d'Alexandre Cabanel. Mais si son art évolua vertigineusement aux côtés de son maître, il ne se convertit véritablement jamais à sa manière et témoigna au fil de ses créations d'une rare liberté stylistique, interdisant de le classer dans quelque courant contemporain. Se référant souvent à ses ainés réalistes, se rapprochant parfois de ses contemporains naturalistes ou empruntant la liberté de touche des Impressionnistes, Jules Bastien-Lepage fut un artiste inclassable et indépendant à une époque où les mouvements collectifs permettaient aux artistes de se faire entendre et à leurs tableaux de se faire voir.
Ses premiers succès lui permirent d'entreprendre quelques voyages. D'Angleterre, de Suisse ou d'Italie, il rapporta des paysages, des scènes de rue à mi-chemin entre le portrait et la scène de genre, démontrant qu'il ne se limitait pas à réaliser portraits de famille et peintures rurales figurant Damvillers, son village natal.

En 1883, alors que la maladie le frappe soudainement, il passe l'été à Concarneau sur les conseils de ses médecins afin de s'y reposer. N'abandonnant pas pour autant ses crayons et pinceaux, notre artiste s'essaye à la marine et multiplie les études de mer et de bateaux. La séduisante œuvre que nous présentons s'inscrit dans ce corpus.
Avec des empâtements et une touche qu'Edouard Manet tout juste décédé n'aurait pas reniés, il réalise une impressionnante marine confinant à l'étude de ciel. La frêle embarcation est prise dans la profondeur des vagues, le vent semblant vouloir arracher la trop petite voile cédant presque déjà à la pression, les sombres nuages prenant possession du ciel ne présageant pas l'arrêt des assauts répétés du vent. Le voilier ne pourra sans doute pas tenir. Et dans une vision prémonitoire, liant son destin à celui de ce bateau accouché sur la toile, Jules Bastien-Lepage, comme ce dernier ne pouvant résister à cette tempête aux trop puissantes bourrasques, succomba des suites de sa maladie l'année suivante, nous laissant une œuvre majeure pour l'histoire de l'art, récemment remise en lumière, ayant inspiré les plus célèbres artistes modernes à sa suite.

Estimation 12 000 - 15 000 €


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Location: Paris, FR

Auction House: Artcurial

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JULES BASTIEN-LEPAGE | Le petit ramoneur (Damvillers)

Lot 33: JULES BASTIEN-LEPAGE | Le petit ramoneur (Damvillers)

Auction Date: Nov 21, 2017

Estimate: $120,000 - $180,000

Description: oil on canvas...

Location: New York, NY, US

Auction House: Sotheby's

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JULES BASTIEN-LEPAGE | Relief portrait of the Artist's Father, Claude Bastien Lepage

Lot 52: JULES BASTIEN-LEPAGE | Relief portrait of the Artist's Father, Claude Bastien Lepage

Auction Date: Jul 12, 2017

Estimate: £5,000 - £7,000

Description: bronze, mid-brown patina...

Location: London, LDN, UK

Auction House: Sotheby's

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Jules BASTIEN-LEPAGE (1848-1884) Le vieux soldat

Lot 149: Jules BASTIEN-LEPAGE (1848-1884) Le vieux soldat

Auction Date: Jul 08, 2017

Estimate: €600 - €800

Description: Jules BASTIEN-LEPAGE (1848-1884)
Le vieux soldat
Fusain sur papier. Signé en bas à droite
59 x 46 cm
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Location: Antibes, FR

Auction House: Carvajal SVV

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Jules BASTIEN-LEPAGE (1848-1884)

Lot 146: Jules BASTIEN-LEPAGE (1848-1884)

Auction Date: Apr 29, 2017

Estimate: €600 - €800

Description: Jules BASTIEN-LEPAGE (1848-1884)
Le vieux soldat
Fusain sur papier. Signé en bas à droite
59 x 46 cm
...

Location: Antibes, FR

Auction House: Carvajal SVV

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Jules Bastien-Lepage - (French, 1848-1884)

Lot 163: Jules Bastien-Lepage - (French, 1848-1884)

Auction Date: Mar 21, 2017

Estimate: £1,500 - £1,800

Description: Jules Bastien-Lepage
(French, 1848-1884)
Etude pour 'Au temps des vendanges'
...

Location: London, LDN, UK

Auction House: Bonhams

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* Bastien-Lepage (Jules, 1848-1884). Breton peasant woman carrying a basket of wood,

Lot 177: * Bastien-Lepage (Jules, 1848-1884). Breton peasant woman carrying a basket of wood,

Auction Date: Mar 02, 2017

Estimate: £300 - £500

Description: watercolour on wove paper, signed J. Bastien-Lepage. Dinard lower right, some light toning and pale backboard discolouration, 29 x 23 cm (11.5 x 9 ins) mount aperture, framed - Quantity (1)...

Location: Near Cirencester, GLR, UK

Auction House: Dominic Winter Auctions

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BASTIEN-LEPAGE Jules (1848-1884)

Lot 404: BASTIEN-LEPAGE Jules (1848-1884)

Auction Date: Jun 26, 2016

Estimate: €1,500 - €2,000

Description: BASTIEN-LEPAGE Jules (1848-1884)
"Portrait d'homme assis dans un intérieur"
Huile sur panneau de bois signée, située Paris et datée 1879 en haut à gauche (Trés légers accidents et manques aux bords) ; Au dos du panneau cachet en creux "G.ROMNEY and CO PREPARED MAHOGANY PANEL LONDON" ; Encadrée
Haut.: 35.5 cm x Larg.: 28,2 cm

Bibliographie : Marie-Madeleine Aubrun, Jules Bastien-Lepage 1848-1884, p. 188, n°288, localisation actuelle inconnue, dimensions inconnues.
Œuvres en rapport : Dessin préparatoire à la plume, sous une mauvaise identification. Vente WARIN Paris 6e, automne 1987.
Exposition présumée: 1885, mars-avril, Paris, Ecole Nationale des Beaux-Arts, Hôtel de Chimay, Jules Bastien-Lepage, n°111.

"Je me suis mis à faire ce que je voyais, tâchant d’oublier ce qu’on m’avait appris". Tel est l’objectif que s’impose Jules Bastien-Lepage lorsqu’il découvre le travail de Manet en 1875. Originaire de Damvillers dans la Meuse, Bastien-Lepage est élève de Cabanel aux Beaux-Arts et expose au Salon à compter de 1870, après des débuts néanmoins difficiles. La révélation opérée par sa rencontre avec les œuvres du peintre du Déjeuner sur l’herbe le conduit à adopter une "peinture claire", et lui vaut d’obtenir le deuxième prix de Rome en 1875 ainsi que l’éloge unanime des critiques. Considéré comme un disciple de Courbet et de Millet, chez qui il emprunte la passion de la nature à la fois simple et grandiose, il conserve toutefois une touche poétique et réaliste qui séduira immédiatement Zola dont il devient l’ami proche. L’écrivain reconnaît à l’artiste un véritable talent de portraitiste, que nous retrouvons à l’évidence dans le portrait que nous présentons. Le luxe de l’environnement bourgeois, une expression humaniste soulignée par un léger sourire tandis qu’une lumière délicate modèle mains et visage, caractérisent le portrait de Monsieur Duplessis, traité avec la virtuosité illusionniste et néanmoins poétique habituelle du pinceau de Bastien-Lepage. C’est la descendance de Monsieur Duplessis qui nous a communiqué l’identité du modèle.
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Location: Saint-Brieuc, FR

Auction House: Armor Enchères

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JULES BASTIEN-LEPAGE | Marchande de fleurs à Londres

Lot 6: JULES BASTIEN-LEPAGE | Marchande de fleurs à Londres

Auction Date: May 07, 2015

Estimate: $500,000 - $700,000

Description: oil on canvas...

Location: New York, NY, US

Auction House: Sotheby's

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JULES BASTIEN-LEPAGE | Le Petit Lord

Lot 23: JULES BASTIEN-LEPAGE | Le Petit Lord

Auction Date: May 07, 2015

Estimate: $30,000 - $40,000

Description: oil on canvas...

Location: New York, NY, US

Auction House: Sotheby's

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A shepherdess

Lot 6: A shepherdess

Auction Date: Dec 11, 2014

Estimate: £5,000 - £7,000

Description: Jules Bastien-Lepage (1848-1884) A shepherdess signed 'J. BASTIEN-LEPAGE' bronze, dark brown patina 13 in. (33 cm.), high...

Location: London, LDN, UK

Auction House: Christie's

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Jules Bastien-Lepage Damvillers, 1848 - Paris, 1884 Jeune garçon sur la plage Huile sur toile (Toile d'origine)

Lot 170: Jules Bastien-Lepage Damvillers, 1848 - Paris, 1884 Jeune garçon sur la plage Huile sur toile (Toile d'origine)

Auction Date: Nov 18, 2014

Estimate: €10,000 - €15,000

Description: Jules Bastien-Lepage Damvillers, 1848 - Paris, 1884
Jeune garçon sur la plage
Huile sur toile (Toile d'origine)
Annotée à trois reprises et porte la date 'Bastien-Lepage / 1880' au verso
Toile de la maison Gustave Sennelier
Sans cadre

'YOUNG BOY ON THE BEACH', OIL ON CANVAS, INSCRIBED, BY J. BASTIEN-LEPAGE
h: 80 w: 65 cm

Provenance : Ancienne collection du peintre Georges Girardot (1856 - 1914) ;
Légué à sa mort à Jean Croiset, petit-neveu de son épouse ;
Puis par descendance à sa fille ;
Collection particulière du Sud de la France


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Location: Paris, FR

Auction House: Artcurial

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Augustus Saint-Gaudens (American, 1848-1907), Jules Bastien-Lepage, Titled, inscribed and signed within the composition "IULES BASTIEN-

Lot 714: Augustus Saint-Gaudens (American, 1848-1907), Jules Bastien-Lepage, Titled, inscribed and signed within the composition "IULES BASTIEN-

Auction Date: Sep 20, 2013

Estimate: $7,000 - $9,000

Description: Augustus Saint-Gaudens (American, 1848-1907)

Jules Bastien-Lepage
Titled, inscribed and signed within the composition "IULES BASTIEN-LEPAGE AETATIS
XXXI · PARIS · MDCCCLXXX · AVGVSTVS ·/SAINT-GAVDENS · FECIT" across the top.
Cast iron with a bronze-colored patina, 14 3/4 x 10 3/8 in. (37.5 x 26.5 cm).
Condition: Curl to bottom edge, oxidation, small hole drilled at center top for hanging, scattered minor abrasions, surface accretions/grime.

Literature: John H. Dryfhout, The Work of Augustus Saint-Gaudens (Hanover: University Press of New England, 1982), no. 87, p. 107 (an iron version made in 1881 by electrotype process by the Magee Furnace Company of Chelsea, Massachusetts).
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Location: Boston, MA, US

Auction House: Skinner

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Jules Bastien-Lepage (Damvillers 1848-1884 Paris)

Lot 168: Jules Bastien-Lepage (Damvillers 1848-1884 Paris)

Auction Date: Dec 06, 2012

Estimate: £600 - £800

Description: Jules Bastien-Lepage (Damvillers 1848-1884 Paris)
Orpheus
signed 'J. BASTIEN-LEPAGE'
charcoal and white chalk and stumping, on light brown paper, watermark MICHALLET.
18 x 12 in. (45.8 x 30.3 cm.)
...

Location: London, LDN, UK

Auction House: Christie's

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Jules Bastien-Lepage (1848 - 1884) A bronze study

Lot 616: Jules Bastien-Lepage (1848 - 1884) A bronze study

Auction Date: Nov 01, 2012

Estimate: £15,000 - £20,000

Description: Jules Bastien-Lepage (1848 - 1884) A bronze study of Jeanne d,Arc ecoutant les voix (Joan of Arc listening to the voices) her hair tied back with a scarf, wearing a long dress and shawl, leaning on a staff, signed J Bastien - Lepage to the naturalistic circular base, 34cm. high. In her biography of the artist published ten years after his death, Julia Cartwright makes reference to a clay study of Jeanne d'Arc modelled as a shepherdess leaning on a crook. This appears to be one of twelve casts one of which is currently with the Fitzwilliam Museum, Cambridge and one which was offered in Sotheby's, 17th June 1986, lot 61....

Location: Exeter, DVN, UK

Auction House: Bearnes Hampton & Littlewood

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Portrait of Sarah Bernhardt, drypoint etching

Lot 1270: Portrait of Sarah Bernhardt, drypoint etching

Auction Date: Aug 28, 2012

Estimate: $700 - $1,000

Description: Charles Albert Waltner (1846-1925 French), drypoint etching on paper under glass, after the 1879 portrait in oil by the artist Jules Bastien-Lepage (1848-1884 French), signed in pencil lower right: Waltner, and with artist's printed tragedy mask remarque, printer: Georges Petit, Paris, 1896, image size: 16.25'' H x 12.75'' W, est:$700/1000 Note: Sight dimensions: 21.75'' x 16.5''. *** Please click ''view more'', below right for more information. ***...

Location: Pasadena, CA, US

Auction House: John Moran Auctioneers

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Bastien-Lepage, Jules: Bretonische alte Bäuerin, sitzend mit Weidenkorb

Lot 6349: Bastien-Lepage, Jules: Bretonische alte Bäuerin, sitzend mit Weidenkorb

Auction Date: Nov 26, 2010

Estimate: €300 - €400

Description: Bretonische alte Bäuerin, sitzend mit Weidenkorb und Reisig vor einer Winterlandschaft. Aquarell. 29,9 x 23,8 cm. Unten rechts signiert und datiert "J. Bastien Lepage/ Sυt Brieuc 1876."
Im Handel tauchte ein ebenfalls signiertes, bezeichnetes und datiertes Aquarell Bastien-Lepages mit dem Sujet eines sitzenden bretonischen Bauern vor Landschaft, das er ein Jahr später in Sυt Brieuc anfertigte, auf (vgl. Sotheby's, Billingshurst/West Sussex, 22. Mai 1997, Losnr. 220). Vermutlich legte Bastien-Lepage die Darstellung des Bauern, welche er seinem Freund O. Metra widmete, als Pendant zu der Bäuerin an. - Aufgezogen.
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Location: Berlin, DE

Auction House: Galerie Bassenge

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Namur, Paul-Franz (1877 Valenciennes 1958).

Lot 7249: Namur, Paul-Franz (1877 Valenciennes 1958).

Auction Date: Oct 16, 2010

Estimate: €0 - €45

Description: Namur, Paul-Franz (1877 Valenciennes 1958). Französischer Soldat bei der Rast. Radierung. Plgr. 27,3 x 19,4 cm. Signiert. : Etw. gebr. u. tls. stockfl., im br. w. Rd. etw. wasserfl. - Dazu: Bastien-Lepage, Jules (1848 Damvillers - Paris 1884). Landarbeiter bei der Ernte. Radierung (1878). 19,2 x 25 cm....

Location: Pforzheim, DE

Auction House: Kiefer Buch- und Kunstauktionen

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Jules Bastien-Lepage (French, 1848-1884)

Lot 63: Jules Bastien-Lepage (French, 1848-1884)

Auction Date: Mar 19, 2009

Estimate: £2,500 - £3,500

Description: Jules Bastien-Lepage (French, 1848-1884)
L'Annonciation aux bergères
signed 'J Bastien' (lower left) and indistinctly inscribed 'Etude pour les Bergères/2me... Rome' (on the reverse)
oil on panel
13¾ x 10½ in. (34.9 x 26.6 cm.)
...

Location: London, LDN, UK

Auction House: Christie's

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JULES BASTIEN-LEPAGE, French, 1848 - 1884, Woman gathering faggots., Oil on canvas, 33" x 46". Framed.

Lot 901: JULES BASTIEN-LEPAGE, French, 1848 - 1884, Woman gathering faggots., Oil on canvas, 33" x 46". Framed.

Auction Date: Jun 27, 2008

Estimate: $250,000 - $350,000

Description: JULES BASTIEN-LEPAGE
French, 1848 - 1884

Woman gathering faggots. Depicting a young woman with a bundle of sticks and two goats in the foreground with hilly landscape and single figure in the background. Signed lower left, "J. BASTIEN LEPAGE".
A major force in plein-air art, Bastien-LePage greatly influenced the American Impressionists including Twachtman, J. Alden Weir and Alexander Harrison who studied with him as did Robert Vonnoh and D. Ridgeway Knight. Circa 1878, Bastien-LePage began painting French peasant life. Passing away in 1884, Bastien-LePage's paintings of this period are both rare and exemplify his finest efforts.
Provenance: Private Collection, Cape Cod.

Oil on canvas, 33" x 46". Framed.
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Location: East Dennis, MA, US

Auction House: Eldred's

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Bastien-Lepage, Jules (1848 Damvillers - Paris

Lot 6763: Bastien-Lepage, Jules (1848 Damvillers - Paris

Auction Date: May 16, 2008

Estimate: €0 - €60

Description: Bastien-Lepage, Jules (1848 Damvillers - Paris 1884). Landarbeiter bei der Ernte, im Vordergrund wetzt ein Bauer seine Sense. Radierung auf aufgewalztem China (1878). 19,2 x 25 cm. Mit d. Namenszug u. Datum (undeutlich) in d. Platte. - Br. w. Rd. tls. randrissig, etw. angestau...

Location: Pforzheim, DE

Auction House: Kiefer Buch- und Kunstauktionen

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Painting, Bastien-Lepage, French Framed oil on

Lot 6354: Painting, Bastien-Lepage, French Framed oil on

Auction Date: Mar 01, 2008

Estimate: $6,000 - $8,000

Description: Painting, Bastien-Lepage, French Framed oil on canvas laid to board, Rural Mountain Scene, by Jules Bastien-Lepage (French, 1848-1884), signed lower left, sight: 13''h x 16.5''w, overall: 19''h x 22.5''w..."...

Location: Oakland, CA, US

Auction House: Clars Auction Gallery

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Jules Bastien-Lepage , French 1848-1884 Le Petit Lord oil on canvas

Lot 2: Jules Bastien-Lepage , French 1848-1884 Le Petit Lord oil on canvas

Auction Date: Oct 23, 2007

Estimate: $30,000 - $40,000

Description: signed J. BASTIEN-LEPAGE and dated 1880 (lower right) oil on canvas...

Location: New York, NY, US

Auction House: Sotheby's

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BASTIEN-LEPAGE, JULES. (1848 - 1884). Pays-village. Huile sur toile. Signé. 70x91 cm.

Lot 121: BASTIEN-LEPAGE, JULES. (1848 - 1884). Pays-village. Huile sur toile. Signé. 70x91 cm.

Auction Date: Nov 12, 2006

Estimate: CHF6,000 - CHF10,000

Description: BASTIEN-LEPAGE, JULES. (1848 - 1884). Pays-village. Huile sur toile. Signé. 70x91 cm.
Provenance: Collection Marcel Bergeon
Nous remercions Monsieur Gabriel P. Weisberg pour son aimable collaboration nous ayant permis d'établir l'historique et l'authenticité de l'oeuvre
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Location: Zurich, CH

Auction House: Koller Auctions

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Edward Stott, A.R.A. (1859-1918)

Lot 57: Edward Stott, A.R.A. (1859-1918)

Auction Date: Feb 19, 2003

Estimate: $63,600 - $95,400

Description: On a Summer Afternoon signed 'Edward Stott' (lower left) oil on canvas 22 1/8 x 281/4 in. (56.2 x 71.6 cm.) Painted in 1892 PROVENANCE with The Fine Art Society, London, from whom acquired by the present owner. LITERATURE G. Moore, 'The New English Art Club', The Speaker, 16 April 1892, p. 467. EXHIBITION London, New English Art Club, Spring, 1892, no. 54. Oldham Art Gallery, Rochdale Art Gallery, and London, The Fine Art Society, William Stott of Oldham and Edward Stott, A.R.A., 1976, no. 50. London, Barbican Art Gallery, and Dublin, Hugh Lane Municipal Gallery of Modern Art, Impressionism in Britain, 1995, no. 223. NOTES When he encountered Edward Stott's On a Summer Afternoon, at the New English Art Club in the spring of 1892, there was no doubt in George Moore's mind that this was 'probably the most entirely satisfactory picture in the Exhibition'. Moore was particularly enamoured with Stott's observation of sunlight breaking through the branches and falling on the white flesh of the boys sitting on the grass. The entire scene was enveloped in 'the silvery bloom of the atmosphere'. 'It would be difficult', he declared, 'to praise this part of the picture too highly...The painting of the body is that fluid, limpid execution which we admire in the Dutch masters. The figure is in and not out of the atmosphere... The painter has achieved something which I have often seen attempted, but hardly seen achieved before...' ( Speaker, 16 April 1892, p. 467). The picture had all of the ingredients of what Moore was later to describe as visual 'enchantment'. Its action occurs in a spatial envelope which, for Moore was one of the defining characteristics of Impressionism. It created a total effect, in which there were no discordant parts. The painter had gone for colour harmony rather than the literal aspects of form and space and it was evident that Stott had arrived at his own synthesis of these elements. The work in question was not an exposition of theories or practices borrowed from elsewhere. In his canvases of the early nineties, Stott was to develop his own approach to Impressionist practice. He was to insist upon its deeply personal aspects. The year following the exhibition of On a Summer Afternoon, he defined it as, 'a combined impression of the artist's feeling - colour and form with the char[ac]ter of the subject, whether light or delicate; or strong and powerful; in short a recording of the impression on the painter's nature' ( Art Journal, April 1893, p. 104). The 'painter's nature' thus responded to the scene before his eyes, interpreting it as 'delicate' or 'powerful' and painting accordingly. It was clear, however, that up to 1892, Stott's work had passed through a series of familiar stages. He had gone to Paris where he studied under Alexandre Cabanel; he was influenced by Jules Bastien-Lepage and Jean-Fran‡ois Millet; he exhibited at the Salons of 1883 and 1884; on his return, he showed at the first New English Art Club exhibition in 1886 and continued showing regularly with the club up to 1895, by which time he was also exhibiting at the Royal Academy and the New Gallery. In the mid-eighties, before he settled at Amberley, he travelled through the home counties with Walter Osborne, painting scenes of village life. It was only after his arrival in Amberley in 1887, however, that Stott began to digest his student experiences. Although a ruined castle and medieval church contributed to the 'dreamy, old-world' character of the village, he resisted the temptations of its topography. By contrast he was drawn to the nearby water meadows and orchards for simple scenes of goose girls, plough horses, and cattle being driven to pasture. Stott's first successful treatment of the bathers subject appeared at the Royal Academy in 1890 and was purchased by the Bradford collector, John Maddocks. The theme had been made popular by Alexander Harrison's En Arcadie, 1886 (Mus‚e d'Orsay, Paris) and by William Stott of Oldham's A Summer's Day, 1887 (fig. 1, Manchester). These exercises in plein-air naturalism were quickly overhauled by Philip Wilson Steer's A Summer's Evening, 1888 (Private Collection) a work depicting three female bathers, which in its embrace of Impressionist theory would have greatly appealed to the young Stott. Having achieved his own success with The Bathers, throughout the nineties, Stott returned to the subject, with the present work, of 1892, and Noonday - Boys Bathing, 1895 (fig. 2, Manchester). As is clear from the comparison of On a Summer Afternoon with the Manchester canvas, Stott reserved his more radical pictures for the club, and in later works his colour, partly as a result of working from pastel studies, became more subdued and tonal. By the mid-nineties, when the heat had begun to go out of the disputes over Impressionism, writers on art observed other qualities in the work of its British protagonists. There was for instance a renewed insistence on absorption in the English countryside, which one critic referred to as 'landscape-land'. Painters like La Thangue, and Clausen were restlessly looking for picturesque rural retreats in which the ideals of self-sufficiency, social stability and well-rooted work practices were evident. For Stott, Amberley provided the basis for a rural idyll, of comparable intensity to that which Samuel Palmer wove around the village of Shoreham. Visiting the painter in 1895, James Stanley Little referred to this 'singularly beautiful' setting around which the river Arun winds. The meadows were flecked with flowers and occasionally the river burst its banks and 'floods the rich grazing grounds by which it is bordered' ('On the Work of Edward Stott,' Studio, VI, 1896, p. 78), providing the pools in which children bathe and plough-horses drink. The sense of submersion in rural life which Little and other critics stressed, effectively obscured the Impressionist character of his work. Little claimed for instance that 'enough has been said of Mr Stott's method to demonstrate that to call him an Impressionist, as he is generally called, is something of a misnomer' (p. 80). Little was the first to comment upon the completeness of Stott's world view. Works like On a Summer Afternoon appealed to senses other than the visual. He declared, Apart from the exacting demand such a place as this makes upon the painter's skill, he is confounded by the obtrusion upon his senses of many aspects of the beautiful which no skill will enable him to interpret. The scent of flowers, the hum of insects, the murmur of brooks fascinate while they paralyse him, since they are all factors outside of the sense of vision, and all elements which his picture must suggest though it cannot interpret (p. 79). Later writers like A.C.R. Carter, Lawrence Housman and Marion Hepworth Dixon repeated this critique with even greater intensity. Carter for instance lays great emphasis upon Stott's 'close communion with nature' and his 'rare gift for visual selection'. He may even have been thinking of the present picture when he recalled 'the noonday sun... piercing the shady canopy of a pool' which had been 'watched and remembered for many a long day' ('Edward Stott and his Work', Art Journal, 1899, p. 295). For him, Stott's was no 'snapshot' view of the countryside. Housman took his cue for his own interpretation of the 'deep knowledge and intimacy' expressed in Stott's work. While the snapshot view was 'disjointed, momentary and fragmentary', the Amberley canvases stressed the 'synthetic, the allusive, the reminiscent'. Memory was central to Stott's absorption in nature in that it was,... a hiving process: its honey clings to the mind and cannot be got rid of; and association, however periously akin to that literary interest... is inevitable as long as man carries his eyes in his head, and not in some way isolated and apart from the rest of his senses ('Mr Edward Stott, Painter of the field and of the twilight', Magazine of Art, 19...

Location: London, LDN, UK

Auction House: Christie's

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Charles Sprague Pearce (1851-1914)

Lot 48: Charles Sprague Pearce (1851-1914)

Auction Date: Jul 17, 2002

Estimate: $20,000 - $30,000

Description: La Petite BouquetiŠre signed and inscribed 'Charles Sprague Pearce Paris' (lower right) oil on canvas 22 x 18 in. (55.9 x 45.7 cm.) PROVENANCE By descent in the family to the present owner. EXHIBITION Chicago, Illinois, Inter-State Industrial Exposition of Chicago, 12th Annual Exhibition, September-October 1884, no. 16 NOTES Charles Sprague Pearce was a painter perhaps best known for his portraits and genre scenes. Pearce settled in Paris and studied at the Leon Bonnat School, following the advice of William Morris Hunt. At the Leon Bonnat, he studied with fellow student John Singer Sargent, and soon became a member of an artist circle comprised of other expatriates including Chester Loomis, Edwin Blashfield, and Milne Ramsey. Pearce's realistic interpretation of rural life was allied in both style and subject matter to the French Academic peasant painters. The strong contrast of light and shadow, meticulous detail, and solid modeling apparent in La Petite BouquetiŠre demonstrate Pearce's continuing debt to artists such as William Bouguereau, Jean Fran‡ois Millet, Jules Breton, and most of all Jules Bastien-Lepage....

Location: New York, NY, US

Auction House: Christie's

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JULES BASTIEN-LEPAGE (1848-1884) SIR GEORGE LEWIS

Lot 160: JULES BASTIEN-LEPAGE (1848-1884) SIR GEORGE LEWIS

Auction Date: Jun 07, 1995

Estimate: $2,388 - $3,184

Description: watercolour 27 by 21.5 cm.; 10 1/2 by 8 1/2 in. The French artist Bastien-Lepage became well known in England in the early 1880s, being admired both from his scenes of rustic life and for his portraits of men and women in fashionable society. He was invited to stay at Windsor in the summer of 1879, and Sir Coutts Lindsay, proprietor of the Grosvenor Gallery, probably met Bastien-Lepage in the course of this stay, resulting in Bastien-Lepage sending nine works to the Grosvenor Gallery 1880 summer exhibition. During the remaining years of his life, he made frequent visits to London, and made friends with a number of artists in the circle of Grosvenor exhibitors. His friendship with Edward Burne-Jones is documented by the highly characterful watercolour portrait that Bastien-Lepage made of him; this particular drawing belonged to the Lewis family until 1968 when Miss Katherine Lewis gave it to Birmingham City Museum and Art Gallery. The drawing of Burne-Jones and the present sketch of George Lewis were likely to have been made on the same occasion. Each of the two men is seen wrapped up in a coat and hat, and placed against an indefinite green and grey background. PROVENANCE The Lewis family; Mrs Elizabeth Wansbrough. ...

Location: New York, NY, US

Auction House: Sotheby's

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JULES BASTIEN-LEPAGE (FRENCH, 1848-84) LES ENFANTS PECHEURS

Lot 161: JULES BASTIEN-LEPAGE (FRENCH, 1848-84) LES ENFANTS PECHEURS

Auction Date: Feb 17, 1993

Estimate: $8,000 - $12,000

Description: signed and dated 1881 oil on canvas 36 1/4 by 25 1/2 in. 92.1 by 64.8 cm. This work was executed in the south coast of England during the artist's third visit to the country in 1881. Literature: Marie-Madeleine Aubrun, Jules Bastien-Lepage, Catalogue Raisonne, Paris, 1985, p. 59, No. 321 bis, illustrated. ...

Location: New York, NY, US

Auction House: Sotheby's

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