Conté crayon on Michallet paper with watermark. Dimensions: 23.5 x 31.2 cm. Atmospheric and extraordinarily sensitive to light, this drawing depicts a view of the Seine with the Courbevoie Bridge in the background, conceived from the left bank of the river. The composition incorporates some of the most characteristic elements of Georges Seurat's graphic language during the 1880s: trees with dark outlines in the foreground, small figures contemplating the river landscape, and a delicate spatial construction based on blurred and silent masses. The work is executed in black and gray Conté crayon, a fundamental technique in Seurat's drawing, used by the artist to create velvety surfaces and hazy effects with a greasy, waxy graphite. The atmospheric treatment, the simplification of forms, and the tonal vibrancy directly recall the celebrated preparatory studies of the Neo-Impressionist master, now held in institutions such as the Metropolitan Museum of Art in New York and the Morgan Library. The drawing appears to relate to the visual investigations Seurat undertook before executing his final oil paintings. The scene shares compositional similarities with the views of the Courbevoie bridge painted between 1883 and 1885, although in this case the perspective is from the opposite bank, introducing an unusual variation within his known repertoire. Several technical details are also significant: the double dark outline of the tree trunks, the very fine black lines that define certain shapes, the irregular edges of the torn paper, and the presence of a brown outline at the margins—characteristics observable in authentic drawings by the artist. On the reverse, there are also inscriptions in blue and red chalk attributed to Maximilien Luce, including “G. Seurat, ” an “L, ” and the file number “357,” elements comparable to those found on other documented works from the circle of Félix Fénéon. The work also has an interesting provenance linked to Seurat's inner circle and the Parisian Neo-Impressionist scene: the artist's studio; Émile Seurat; Félix Fénéon, Paris; later Maximilien Luce; private collection in Limoges and current owner. The piece may also be related to groups of drawings dispersed in the historic sale of the Félix Fénéon collection held at the Hôtel Drouot in Paris in 1947. Due to its technical and stylistic similarities with known drawings by Georges Seurat, as well as the historical references, inscriptions, and provenance preserved, the work can be considered attributable to the French artist. Lot in international warehouse (within the EU). Intra-EU shipping: no import duties apply within the EU. An export permit from the country of origin may be required.
Georges Seurat (1859-1891) C.M. De Hauke: Seurat et son ouevre Vols. I and II The 2 volumes, 1961, numbered from the edition of 550, with title-page, text, justification and illustrations, published by Grund, Paris, on Arches wove paper, the full sheets bound as issued within the original blue linen-covered boards, with 12 other reference books and catalogues on the artist (14) To include: Seurat et son oeuvre - volume I & II C. M. de Hauke/Paul Brame & C. M. de Hauke, Paris 1961 Seurat: A Biography John Rewald/Thames & Hudson, London 1990 Seurat Grand Palais, Paris/Éditions de la Réunion des musées nationaux 1991 Seurat Jacques de Laprade/Éditions Aimery Somogy, Paris 1951 Seurat's Drawings Robert L. Herbert/Shorewood Publishers, New York 1962 Tout l'oeuvre peint de Seurat intro. by André Chastel/Flammarion, Paris 1973 Georges Seurat et le Neo-Impressionnisme 1885-1905 Seiji Togo Memorial Yasuda Kasai Museum of Art/Yomiuri Shimbun 2002 Seurat and the Bathers John Leighton & Richard Thomson/National Gallery Publications 1997 Seurat Henri Dorra & John Rewald/Les Beaux-Arts, Paris 1959 Georges Seurat John Rewald/Wittenborn and Company, New York 1943 Georges Seurat John Rewald/Éditions Albin Michel, Paris 1948 Seurat Lucie Cousturier/Cahiers d'Aujourd'hui/Les Éditions Braun, Paris 1935 Seurat John Russell/Thames & Hudson, London 1965
Conté crayon on Michallet paper with watermark. Dimensions: 23.5 x 31.2 cm. Atmospheric and extraordinarily sensitive to light, this drawing depicts a view of the Seine with the Courbevoie Bridge in the background, conceived from the left bank of the river. The composition incorporates some of the most characteristic elements of Georges Seurat's graphic language during the 1880s: trees with dark outlines in the foreground, small figures contemplating the river landscape, and a delicate spatial construction based on blurred and silent masses. The work is executed in black and gray Conté crayon, a fundamental technique in Seurat's drawing, used by the artist to create velvety surfaces and hazy effects with a greasy, waxy graphite. The atmospheric treatment, the simplification of forms, and the tonal vibrancy directly recall the celebrated preparatory studies of the Neo-Impressionist master, now held in institutions such as the Metropolitan Museum of Art in New York and the Morgan Library. The drawing appears to relate to the visual investigations Seurat undertook before executing his final oil paintings. The scene shares compositional similarities with the views of the Courbevoie bridge painted between 1883 and 1885, although in this case the perspective is from the opposite bank, introducing an unusual variation within his known repertoire. Several technical details are also significant: the double dark outline of the tree trunks, the very fine black lines that define certain shapes, the irregular edges of the torn paper, and the presence of a brown outline at the margins—characteristics observable in authentic drawings by the artist. On the reverse, there are also inscriptions in blue and red chalk attributed to Maximilien Luce, including “G. Seurat,” an “L,” and the file number “357,” elements comparable to those found on other documented works from the circle of Félix Fénéon. The work also has an interesting provenance linked to Seurat's inner circle and the Parisian Neo-Impressionist scene: the artist's studio; Émile Seurat; Félix Fénéon, Paris; later Maximilien Luce; private collection in Limoges and current owner. The piece may also be related to groups of drawings dispersed in the historic sale of the Félix Fénéon collection held at the Hôtel Drouot in Paris in 1947. Due to its technical and stylistic similarities with known drawings by Georges Seurat, as well as the historical references, inscriptions, and provenance preserved, the work can be considered attributable to the French artist. Lot in international warehouse (within the EU). Intra-EU shipping: no import duties apply within the EU. An export permit from the country of origin may be required.
GEORGES PIERRE SEURAT [French] 1859-1891 "Mother and Child", crayon and ink drawing on paper laid to card, signed lower left, 18x15cms, framed. Condition Fine. Private Collection. Please read the Terms & Conditions of Auction before placing a bid. These T&C's are applicable to each lot in this Auction. Any available provenance or documentation will be included with the description, if not included, assume it to be unknown or missing. Most lots are either ex estate or storage, have not been submitted for authentication, verification or expertising and for this reason, are offered UNRESERVED. It is the responsibility of intending buyers to do their own research and due diligence before submitting an offer. We do not offer returns or refunds - ALL SALES ARE FINAL.
Property from the Phillips Collection Sold to Benefit Future Acquisitions Georges Seurat (1859 - 1891) Clowns et poney Conté crayon and estompe on paper 12 ½ by 9 ⅝ in. 31.6 by 24.4 cm. Executed in 1883-84.
GEORGES SEURAT (1859-1891). L'Hôtel des Invalides, vue d'un parapet de la Seine. black Conté crayon on paper laid down on paper12 ¼ x 9 ½ in. (31.2 x 23.3 cm.).
Georges Seurat (1859 Paris 1891) Une périssoire Étude pour "Bords de Seine à l'Île de la Grande Jatte" Öl auf parkettierter Holztafel / Oil on parquet wood panel Um 1887 15,6x25 cm / 15.6x25 cm Werkverzeichnis / Catalogue Raisonné César Mange de Hauke, Seurat et son œuvre, Paris 1961, Bd. 1, Nr. 174, dort mit späterer Signatur César Mange de Hauke, Seurat et son œuvre, Paris 1961, vol. 1, no. 174, There with later signature Provenienz / Provenance Alexandre Natanson, Paris (ab 1908) Galerie Bernheim-Jeune et Cie., Paris Dikran Khan Kelekian, New York, versteigert bei Auktion The American Art Association, New York, 30. Januar 1922, Los 24 E.J. van Wisselingh & Co., Amsterdam (1931) The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London Galerie Ferron, New York M. Knoedler & Co., Inc., New York Slg. Georges Renand, Paris (ab 1933), versteigert bei Auktion Drouot-Montaingne, Hôtel Drouot, Paris, 20. November 1987, Los 34, dort erworben von Privatbesitz Auktion Christie's, New York, 13. November 2015, Los 1271 A, dort erworben von Privatsammlung USA Alexandre Natanson, Paris (from 1908) Galerie Bernheim-Jeune et Cie., Paris Dikran Khan Kelekian, New York, auctioned at Auction The American Art Association, New York, 30 January 1922, lot 24 E.J. Van Wisselingh & Co., Amsterdam (1931) The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London Galerie Ferron, New York M. Knoedler & Co., Inc., New York Collection Georges Renand, Paris (from 1933), auctioned at Auction Drouot-Montaingne, Hôtel Drouot, Paris, 20 November 1987, lot 34, acquired there by Private ownership Auction Christie's, New York, 13 November 2015, lot 1271 A, acquired there by Private collection USA Literatur / Literature Lucie Cousturier, Georges Seurat, Paris 1921, Tafel 9, dort datiert 1884 und mit späterer Signatur Hamilton Easter Field, "The Kelekian Collection", in: The Arts, Bd. II, Nr. 3, Dezember 1921, S. 180, dort mit späterer Signatur Gustave Coquiot, Georges Seurat, Paris 1924, S. 215 (datiert 1884) Lucie Cousturier, Georges Seurat, Paris 1926, Tafel 12, dort datiert 1884 und mit späterer Signatur J.F. von Deene, "Georges Seurat", in: Maandblad voor Beeldende Kunsten, Juni 1931, S. 176, dort mit späterer Signatur D.-C. Rich, Seurat and the Evolution of La Grande Jatte, Chicago 1935, S. 60, Nrn. 45 und 20, dort mit späterer Signatur Jacques de Laprade, Georges Seurat, Monaco 1945, Tafel 49, dort mit späterer Signatur John Rewald, The History of Impressionism, New York 1946, S. 384, dort betitelt "A Boat on the Seine" Henri Dorra/John Rewald, Seurat, Paris 1959, S. 107, Nr. 100, dort datiert um 1884 und mit späterer Signatur Pierre Courthion, Georges Seurat, New York 1968, S. 124, dort betitelt "The Canoe" und mit späterer Signatur André Chastel/Fiorella Minervino, L’opera completa di Seurat, Mailand 1972, S. 105, Nr. 175, dort mit späterer Signatur Catherine Grenier, Seurat, Catalogo completo dei dipinti, Florenz 1990, S. 112, Nr. 174, dort mit späterer Signatur Lucie Cousturier, Georges Seurat, Paris 1921, plate 9, there dated 1884 and with later signature Hamilton Easter Field, 'The Kelekian Collection', in: The Arts, vol. II, no. 3, December 1921, p. 180, there with later signature Gustave Coquiot, Georges Seurat, Paris 1924, p. 215 (dated 1884) Lucie Cousturier, Georges Seurat, Paris 1926, plate 12, there dated 1884 and with later signature J.F. Von Deene, 'Georges Seurat', in: Maandblad voor Beeldende Kunsten, June 1931, p. 176, there with later signature D.-C. Rich, Seurat and the Evolution of La Grande Jatte, Chicago 1935, p. 60, nos. 45 and 20, there with later signature Jacques de Laprade, Georges Seurat, Monaco 1945, plate 49, there with later signature John Rewald, The History of Impressionism, New York 1946, p. 384, there titled 'A Boat on the Seine' Henri Dorra/John Rewald, Seurat, Paris 1959, p. 107, no. 100, there dated circa 1884 and with later signature Pierre Courthion, Georges Seurat, New York 1968, p. 124, there titled 'The Canoe' and with later signature André Chastel/Fiorella Minervino, L’opera completa di Seurat, Milan 1972, p. 105, no. 175, there with later signature Catherine Grenier, Seurat, Catalogo completo dei dipinti, Florence 1990, p. 112, no. 174, there with later signature Ausstellungen / Exhibitions Paris 1908/1909, Galerie Bernheim-Jeune et Cie., Georges Seurat, Kat. Nr. 42, dort datiert 1884 New York 1921, Brooklyn Museum, Paintings by Modern French Masters, Representing the Post-Impressionists and Their Predecessors Amsterdam 1931, E.J. van Wisselingh & Co., La peinture française aux XIXe et XXe Siècles, Kat. Nr. 49, dort datiert 1888 Paris 1933/1934, Gazette des Beaux-Arts, Seurat et ses amis, la suite de l’Impressionnisme Paris 1936, Galerie Paul Rosenberg, Seurat, Kat. Nr. 44, dort datiert 1886 Paris 1937, Exposition Universelle, Chefs-d’œuvre de l’Art Française, 1937, Kat. Nr. 412 Paris 1942, Galerie Charpentier, Le paysage français de Corot à nos jours, Kat. Nr. 162 Paris 1950, Galerie Max Kaganovitch, Œuvres choisies du XIXe siècle, dort betitelt "Paysage" Paris 1955, Galerie de la Gazette des Beaux-Arts, Tableaux des collections parisiennes, Kat. Nr. 111 Paris 1957, Musée Jacquemart-André, Seurat, Kat. Nr. 9 Chicago/New York 1958, The Art Institute/The Museum of Modern Art, Seurat, Kat. Nr. 117, dort mit späterer Signatur Paris 1961, Musée national d’art moderne, Les sources du XXe siècle, Les Arts en Europe de 1884 à 1914, Kat. Nr. 657, dort datiert um 1884 Saint-Germain-en-Laye 1982/1983, Musée du Prieuré, L'Éclatement de l'impressionnisme, symbolistes et nabis, Maurice Denis et son temps, Kat. Nr. 15, dort mit späterer Signatur Paris 1908/1909, Galerie Bernheim-Jeune et Cie., Georges Seurat, cat. no. 42, there dated 1884 New York 1921, Brooklyn Museum, Paintings by Modern French Masters, Representing the Post-Impressionists and Their Predecessors Amsterdam 1931, E.J. Van Wisselingh & Co., La peinture française aux XIXe et XXe Siècles, cat. no. 49, there dated 1888 Paris 1933/1934, Gazette des Beaux-Arts, Seurat et ses amis, la suite de l’Impressionnisme Paris 1936, Galerie Paul Rosenberg, Seurat, cat. no. 44, there dated 1886 Paris 1937, Exposition Universelle, Chefs-d’œuvre de l’Art Française, 1937, cat. no. 412 Paris 1942, Galerie Charpentier, Le paysage français de Corot à nos jours, cat. no. 162 Paris 1950, Galerie Max Kaganovitch, Œuvres choisies du XIXe siècle, there titled 'Paysage' Paris 1955, Galerie de la Gazette des Beaux-Arts, Tableaux des collections parisiennes, cat. no. 111 Paris 1957, Musée Jacquemart-André, Seurat, cat. no. 9 Chicago/New York 1958, The Art Institute/The Museum of Modern Art, Seurat, cat. no. 117, there with later signature Paris 1961, Musée national d’art moderne, Les sources du XXe siècle, Les Arts en Europe de 1884 à 1914, cat. no. 657, there dated circa 1884 Saint-Germain-en-Laye 1982/1983, Musée du Prieuré, L'Éclatement de l'impressionnisme, symbolistes et nabis, Maurice Denis et son temps, cat. no. 15, there with later signature Zustand / Condition Tadellos in der Erhaltung Impeccable condition Erläuterungen / Comments Dieses kleine Gemälde, vermutlich um 1887 entstanden, zeigt eine idyllische Szene am Ufer der Seine: Ein einzelnes Ruderboot ("périssoire") gleitet durch das bewegte Wasser, eingebettet in ein Netzwerk aus grünem Blattwerk und Lichtreflexen. Es handelt sich um eine Studie zu einem grösseren Werk Seurats mit dem Titel "Bords de Seine à l'Île de la Grande Jatte" (WVZ 176), das sich heute in den Sammlungen der Königlichen Museen in Brüssel befindet und die Uferlandschaft der Pariser Vorstadtinsel in nuanciert pointillistischer Technik wiedergibt. In unserem Gemälde zeigt sich Seurats Interesse an der Lichtbrechung auf der Wasseroberfläche und der Wirkung einzelner Farbpunkte im Zusammenspiel. Es scheint, als ob Seurat hier noch die Beziehung von Farbe und Licht auslotete. Unser Gemälde befindet sich gerade im Übergang zum Pointillismus. Die kurzen Farbtupfer im Blattwerk und im Himmel kündigen ihn bereits an. Die spätere Bezeichnung "Seurat" unten rechts, die in einigen Katalogen abgebildet ist, wurde vor längerer Zeit wieder entfernt. This small painting, probably created circa 1887, depicts an idyllic scene on the banks of the Seine: a single rowing boat (a 'périssoire') glides through the moving water, surrounded by green foliage and reflections of light. It is a study for Seurat's larger work, 'Bords de Seine à l'Île de la Grande Jatte' (WVZ 176), which is now in the collections of the Royal Museums in Brussels. This piece depicts the riverside landscape of the Parisian suburban island using a nuanced pointillist technique. In our painting, Seurat's interest in the refraction of light on the water's surface and the interplay of individual dots of colour is evident. It seems as if he was still exploring the relationship between colour and light here. Our painting marks the transition to Pointillism. The short dabs of colour in the foliage and in the sky already herald its arrival. The later inscription 'Seurat' at the lower right, which is illustrated in some catalogues, was removed some time ago. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2025; 17:50 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 150.- Europa / Europe: CHF 250.- Übrige Länder / Other countries: CHF 320.-
This is a pack of 24 Offset Lithographs by Seurat, titled "The Circus". The overall size of each Offset Lithograph measures 12.5 x 9.5 inches. The Offset Lithographs are Unsigned . The condition of the Offset Lithographs has been rated as follows: A: Mint. Again, this lot is for 24 of the SAME Offset Lithograph, NOT a mixed or assorted group.
Property from an Important Private Collection Georges Seurat (1859 - 1891) Blé et arbres (Le Champ de blé) (recto); Portrait de Félix Fénéon (verso) inscribed by another hand de Seurat (on the verso) conté crayon on paper 9 ½ by 12 ½ in. 24.2 by 31.8 cm. Executed circa 1883.
Artist: Georges Seurat (1859 - 1891) Title: A Sunday Afternoon on the Island of La Grande Jatte Year: 1987 Medium: Poster on board Size: 30 x 41 in. (76.2 x 104.14 cm)
Georges Pierre SEURAT Femme debout tournée à droite - circa 1881 Crayon conté sur papier Annotation au dos "Seurat S2 / PS" 16.3 x 11.2 cm Provenance : Succession de l’artiste, Inventaire posthume Ancienne collection Léon Appert Ancienne collection Camille Platteel Ancienne collection Suzanne Léo Verger Collection particulière, succession Mademoiselle R. Vente Paris, Me Doutrebente, 25 mai 2018, lot 42 Collection particulière, France, 2018 Bibliographie : C.M. de Haucke, Seurat et son œuvre, Les Artistes et leurs Œuvres, Etudes et Documents, P. Brame et C.M de Haucke, Grund, Paris, 1961, n°439, reproduit p. 66 et 67 (mentionné comme mine de plomb) Crayon conté on paper; signed, annotations on the reverse; 6 3/8 x 4 3/8 in. Georges Pierre SEURAT 16.3 x 11.2 cm Crayon conté on paper; signed, annotations on the reverse; 6 3/8 x 4 3/8 in.
This description has been translated automatically: Georges SEURAT (1859-1891) The Stone Breaker, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic recess of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Le casseur de pierres, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
This description has been translated automatically: Georges SEURAT (1859-1891) Nude model in pose, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic recess of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Modèle nue en pose, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
Georges Seurat (1859 Paris 1891) Le Fiacre Crayon conté auf Bütten, aufgezogen auf Velin / Crayon conté on laid paper, mounted on wove paper Um 1885 24x30,9 cm, Blattgrösse / 24x30.9 cm, sheet size Werkverzeichnis / Catalogue Raisonné César Mange de Hauke, Seurat et son œuvre, Paris 1961, Nr. 647 Erich Franz / Bernd Growe, Georges Seurat, Dessins, Paris 1984, Nr. 73 César Mange de Hauke, Seurat et son œuvre, Paris 1961, no. 647 Erich Franz / Bernd Growe, Georges Seurat, Dessins, Paris 1984, no. 73 Provenienz / Provenance Slg. de Frenne, Paris Slg. van Deventer, Arnheim Slg. Sydney J. Lamon, New York Gallery M. Knoedler & Co., New York, Inv.-Nr. WCA-1942, Foto-Nr. 6058 Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b De Frenne Collection, Paris Van Deventer Collection, Arnhem Sydney J. Lamon Collection, New York Gallery M. Knoedler & Co, New York, inv. no. WCA-1942, photo no. 6058 The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Literatur / Literature Umbro Apollonio, Disegni di Seurat, Venezia 1945, Abb. Tf. XIX Robert L. Herbert, Seurat’s Drawings, New York 1962, S. 129, Nr. 111, Abb. John Russell, Seurat, London 1965, S. 94, Nr. 88, Abb. Richard Thomson, Seurat, Oxford 1985, S. 134, Nr. 137, Abb. Herbert Wotte, Georges Seurat, Dresden 1988, Abb. Tf. 80 Umbro Apollonio, Disegni di Seurat, Venezia 1945, ill. reprod. XIX Robert L. Herbert, Seurat's Drawings, New York 1962, p. 129, no. 111, ill. John Russell, Seurat, London 1965, p. 94, no. 88, ill. Richard Thomson, Seurat, Oxford 1985, p. 134, no. 137, ill. Herbert Wotte, Georges Seurat, Dresden 1988, ill. reprod. 80 Ausstellungen / Exhibitions Rotterdam 1934/1935, Musée Boymans, Soixante-deux tableaux et dessins anciens et modernes des collections néerlandaises, Kat. Nr. 54 Amsterdam 1936, Galerie Huinck et Scherjon, L’art français du XIXe siècle Rotterdam 1936/1937, Musée Boymans, Les divisionnistes de Seurat à Jan Toorop, Kat. Nr. 47 Chicago 1958, The Art Institute, Seurat, Paintings and Drawings, Kat. Nr. 109 Bielefeld 1983, Kunsthalle, Georges Seurat, Zeichnungen, Kat. Nr. 73, Abb. Baden-Baden 1984, Staatliche Kunsthalle, Georges Seurat, Zeichnungen, Kat. Nr. 73, Abb. Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 24, Abb. S. 59 Bern/Hamburg 1996, Kunstmuseum/Kunsthalle, Zeichnen ist Sehen. Meisterwerke von Ingres bis Cézanne aus dem Museum der bildenden Künste Budapest und aus Schweizer Sammlungen, Kat. Nr. 100, Abb. S. 223 Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 13, Abb. Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, Kat. Nr. 10, S. 130, Abb. S. 32 Wien 2008/2009, Albertina, Wege der Moderne, Aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 16, S. 292, Abb. S. 38 Zürich/Frankfurt am Main 2009/2010, Kunsthaus/Schirn Kunsthalle, Georges Seurat, Kat. Nr. 71, S. 144, Abb. S. 130 Rotterdam 1934/1935, Musée Boymans, Soixante-deux tableaux et dessins anciens et modernes des collections néerlandaises, cat. no. 54 Amsterdam 1936, Galerie Huinck et Scherjon, L'art français du XIXe siècle Rotterdam 1936/1937, Musée Boymans, Les divisionnistes de Seurat à Jan Toorop, cat. no. 47 Chicago 1958, The Art Institute, Seurat, Paintings and Drawings, cat. no. 109 Bielefeld 1983, Kunsthalle, Georges Seurat, Zeichnungen, cat. no. 73, ill. Baden-Baden 1984, Staatliche Kunsthalle, Georges Seurat, Zeichnungen, cat. no. 73, ill. Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld W. Kornfeld], cat. no. 24, ill. p. 59 Bern/Hamburg 1996, Kunstmuseum/Kunsthalle, "Zeichnen ist Sehen", Meisterwerke von Ingres bis Cézanne aus dem Museum der bildenden Künste Budapest und aus Schweizer Sammlungen, , cat. no. 100, ill. p. 223 Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, cat. no. 13, ill. Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, cat. no. 10, p. 130, ill. p. 32 Vienna 2008/2009, Albertina, Wege der Moderne, Aus der Sammlung Eberhard W. Kornfeld, cat. no. 16, p. 292, ill. p. 38 Zurich/Frankfurt am Main 2009/2010, Kunsthaus/Schirn Kunsthalle, Georges Seurat, cat. no. 71, p. 144, ill. p. 130 Zustand / Condition Mit Lichtrand und im Papier etwas gebräunt. Unten rechts mit restauriertem kleinen Einriss. In schöner Erhaltung With lightstruck and paper slightly brownish. With restored small tear at lower right. In fine condition Erläuterungen / Comments Durch die Anwendung seiner einzigartigen Zeichnungstechnik erreichte Georges Seurat hervorragende Hell-Dunkel-Kontraste, was die zeitgenössischen Kritiker dazu veranlasste, ihn als würdigen Nachfolger von Rembrandt, dem "clair-obscuriste par excellence", zu bezeichnen. Je weiter sich die Betrachtenden vom Werk entfernen, desto klarer wird das Bild, sodass zuvor nicht erkennbare Details (wie im vorliegenden Fall etwa die Kutsche) unvermittelt zum Vorschein treten. Dieses Phänomen erinnert an die optischen Prinzipien von Michel-Eugène Chevreul und Eugène Rood, die die Grundlage des Neoimpressionismus bildeten. Seurat versuchte, diese Ideen nicht nur in seine Gemälde, sondern auch in seine Zeichnungen zu integrieren. Die Farben ersetzte er durch eine unendliche Vielfalt und Nuancierung in der Tonalität des Kontrastes von Schwarz und Weiss. In der Zeit, als das vorliegende Blatt entstand, arbeitete Seurat an seinem grossen Meisterwerk "Un dimanche après-midi à l’Île de la Grande Jatte", das sich heute im Art Institute of Chicago befindet. Die "Fiacres" waren die Taxis der Zeit, und so wird auch Seurat die Dienste der Kutschenfahrer in Anspruch genommen haben, um an die Seine zu fahren und dort die Pariser Bevölkerung beim Sonntagsvergnügen zu beobachten. Schemenhaft stehen Pferd und Kutsche an einer baumgesäumten Strasse und warten auf Kunden; vielleicht ist es der galante Herr am unteren Bildrand. Die Szene spielt wohl gegen Abend, die Laterne der Kutsche erscheint als auffälliger weisser Fleck. Meisterhaft akzentuiert Seurat damit die Komposition, die in der Anlage eher hell erscheint. Er entreisst die Darstellung damit der Zeitachse und hebt sie fast in eine metaphysische Dimension. Georges Seurat used his unique drawing technique to achieve outstanding contrasts of light and dark, which prompted contemporary critics to describe him as a worthy successor to Rembrandt, the "clair-obscuriste par excellence". As the viewer moves away from the work, the picture becomes clearer, so that previously unrecognisable details (such as the carriage in this case) suddenly appear. This phenomenon is reminiscent of the optical principles of Michel-Eugène Chevreul and Eugène Rood, which formed the basis of Neo-Impressionism. Seurat attempted to integrate these ideas not only in his paintings but also in his drawings. He replaced the colours with an infinite variety and nuance in the tonality of the contrast between black and white. At the time of this drawing, Seurat was working on his great masterpiece "Un dimanche après-midi à l'Île de la Grande Jatte", which is now in the Art Institute of Chicago. The "fiacres" were the taxis of the day, and Seurat would also have used their services to travel to the Seine and watch the Parisians enjoying themselves on a Sunday. Horse and carriage are silhouetted against a tree-lined street, waiting for a customer; perhaps it is the gallant gentleman at the bottom of the picture. The scene probably takes place towards evening, and the lantern of the carriage appears as a striking white spot. In this way, Seurat masterfully accentuates the rather bright composition, removing the scene from the time axis and lifting it into an almost metaphysical dimension. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 13:40 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 115.- Europa / Europe: CHF 185.- Übrige Länder / Other countries: CHF 235.-
Georges Seurat (1859 Paris 1891) Dame au bouquet, de dos Crayon conté auf Bütten / Crayon conté on laid paper Um 1882 31,6x24,4 cm / 31.6x24.4 cm Werkverzeichnis / Catalogue Raisonné César Mange de Hauke, Seurat et son œuvre, Paris 1961, Nr. 496 Erich Franz/Bernd Growe, Georges Seurat, Dessins, Paris 1984, Nr. 30 César Mange de Hauke, Seurat et son œuvre, Paris 1961, no. 496 Erich Franz/Bernd Growe, Georges Seurat, Dessins, Paris 1984, no. 30 Provenienz / Provenance Nachlass des Künstlers, rückseitig mit Nachlassnummer "314" Familie Appert, Paris (Familie des Künstlers) Slg. Paul Levasseur, Paris (Patensohn und Cousin des Künstlers) Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b Estate of the artist, with estate number "314" on the reverse Appert family, Paris (family of the artist) Paul Levasseur Collection, Paris (godson and cousin of the artist) The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Literatur / Literature Minotaure No. 11, Revue artistique et littéraire, 5. Jahrgang, Paris 1938, Abb. S. 6 Minotaure no. 11, Revue artistique et littéraire, 5th year, Paris 1938, ill. p. 6 Ausstellungen / Exhibitions Paris 1957, Musée Jacquemart-André, Seurat, ausser Katalog Bielefeld 1983, Kunsthalle, Georges Seurat, Zeichnungen, Kat. Nr. 30, Abb. Baden-Baden 1984, Staatliche Kunsthalle, Georges Seurat, Zeichnungen, Kat. Nr. 30, Abb. Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 22, Abb. S. 55 Paris 1991, Galeries nationales du Grand Palais, Seurat, Kat. Nr. 26, Abb. New York 1991/1992, The Metropolitan Museum, Seurat, Kat. Nr. 27, Abb. Bern/Hamburg 1996, Kunstmuseum/Kunsthalle, "Zeichnen ist Sehen", Meisterwerke von Ingres bis Cézanne aus dem Museum der bildenden Künste Budapest und aus Schweizer Sammlungen, Kat. Nr. 97, Abb. S. 217 Lausanne 1998, Fondation de l’Hermitage, Pointilllisme, Sur les traces de Seurat, S. 258, ohne Kat. Nr. Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 11, Abb. Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, Kat. Nr. 9, S. 130, Abb. S. 31 Chicago 2004, The Art Institute, Seurat and the Making of La Grande Jatte, Kat. Nr. 11, S. 272, Abb. S. 34 New York 2007, The Museum of Modern Art, Georges Seurat: The Drawings, Kat. Nr. 44, S. 250, Abb. S. 86 Wien 2008/2009, Albertina, Wege der Moderne, Aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 15, S. 291, Abb. S. 37 Zürich/Frankfurt am Main 2009/2010, Kunsthaus/Schirn Kunsthalle, Georges Seurat, Kat. Nr. 26, S. 142, Abb. S. 50 Wien 2012, Albertina, Impressionismus : Pastelle, Aquarelle, Zeichnungen, Kat. Nr. 148, Abb. S. 251 Paris 1957, Musée Jacquemart-André, Seurat, except catalogue Bielefeld 1983, Kunsthalle, Georges Seurat, Zeichnungen, cat. no. 30, ill. Baden-Baden 1984, Staatliche Kunsthalle, Georges Seurat, Zeichnungen, cat. no. 30, ill. Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld W. Kornfeld], cat. no. 22, ill. p. 55 Paris 1991, Galeries nationales du Grand Palais, Seurat, cat. no. 26, ill. New York 1991/1992, The Metropolitan Museum, Seurat, cat. no. 27, ill. Bern/Hamburg 1996, Kunstmuseum/Kunsthalle, "Zeichnen ist Sehen", Meisterwerke von Ingres bis Cézanne aus dem Museum der bildenden Künste Budapest und aus Schweizer Sammlungen, cat. no. 97, ill. p. 217 Lausanne 1998, Fondation de l'Hermitage, Pointilllisme, Sur les traces de Seurat, p. 258, without cat. no. Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, cat. no. 11, ill. Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, cat. no. 9, p. 130, ill. p. 31 Chicago 2004, The Art Institute, Seurat and the Making of La Grande Jatte, cat. no. 11, p. 272, ill. p. 34 New York 2007, The Museum of Modern Art, Georges Seurat: The Drawings, cat. no. 44, p. 250, ill. p. 86 Vienna 2008/2009, Albertina, Wege der Moderne, Aus der Sammlung Eberhard W. Kornfeld, cat. no. 15, p. 291, ill. p. 37 Zurich/Frankfurt am Main 2009/2010, Kunsthaus/Schirn Kunsthalle, Georges Seurat, cat. no. 26, p. 142, ill. p. 50 Vienna 2012, Albertina, Impressionismus : Pastelle, Aquarelle, Zeichnungen, cat. no. 148, ill. p. 251 Zustand / Condition Bildträger etwas gewellt und oben und seitlich mit unregelmässigen Rändern. Oben rechts mit hinterlegter Ecke, in der Mitte mit zwei Reissnagellöchern. Rückseitig mit Montierungsresten. In selten schöner Erhaltung Paper slightly wavy and with irregular margins at the top and outer margins. Upper right with backed corner, two nail holes in the centre. Remnants of mounting on the reverse. Rare in such fine condition Erläuterungen / Comments Georges Seurat begann bereits 1874 in jugendlichem Alter zu zeichnen und entwickelte sukzessive seinen eigenen, unverkennbaren Stil. Mit zweiundzwanzig Jahren hatte er seine einzigartige Zeichentechnik bereits voll entwickelt: Er liess die einzelnen Linien zugunsten grosser, schattenhafter Massen verschwinden. Die samtigen Formen und Oberflächen entstanden, indem der Künstler das grobe Büttenpapier mit der fettigen Conté-Kreide einrieb und mit der Spitze der Kreide ein dichtes Liniengewirr schuf, das die Komposition fast vibrierend verdichtete. Um 1882 schuf Seurat zahlreiche Frauen- und Männerfiguren von rätselhafter Intensität. Die dunklen, meist gesichtslosen Gestalten erscheinen wie im Gegenlicht; vermutlich waren die Werke auch eine Antwort auf die Fotografie. Es ging Seurat nicht um die exakte Wiedergabe eines Motivs, sondern um eine fast ätherische Bestandesaufnahme. Die Formen sind nie klar definiert, die Konturen nie gezeichnet; die Figuren werden durch ausdrucksstarke Schattierungen von sorgfältig modulierter Dichte wiedergegeben. Seurats Methode war stark von den ästhetischen Theorien von Charles Blanc und Humbert de Superville beeinflusst. Diese hatten Studien veröffentlicht, in denen sie erklärten, wie die Richtung der Linien in Verbindung mit den Farben unterschiedliche Emotionen bei den Betrachtenden hervorrufen kann. Nach Blanc sind lineare Richtungen "unbedingte Zeichen" für Emotionen. Aufsteigende Linien werden mit Gefühlen der Freude und des Lebens in Verbindung gebracht. Die hier angebotene Zeichnung gehört zu den besonders geheimnisvollen Arbeiten des Künstlers. Die Konturen der Dame wurden nicht durch Linien, sondern durch sanftes Reiben der Conté-Kreide auf der geriffelten Oberfläche des Papiers umrissen, wobei durch das Auftragen mehrerer Schichten dunklere Zonen entstanden, die an den sich überlagernden, in entgegengesetzte Richtungen verlaufenden Linien erkennbar sind. Die Protagonistin scheint wie von einer undefinierbaren Lichtquelle beleuchtet und den Raum im Hier und Jetzt in eine andere Dimension zu durchschreiten. Georges Seurat began drawing as early as 1874, at a young age, gradually developing his own unmistakable style. By the age of twenty-two, he had fully developed his unique drawing technique: individual lines disappear in favour of large, shadowy masses. The velvety forms and surfaces were created by rubbing greasy Conté chalk onto coarse laid paper, using the tip of the chalk to create a dense tangle of lines, condensing the composition so that it seemed to vibrate. Around 1882, Seurat created numerous male and female figures of enigmatic intensity. The dark, mostly faceless figures appear as if backlit; the works were probably also a response to photography. Seurat was not interested in the exact reproduction of a motif, but in an almost ethereal effect. The forms are never clearly defined, the contours never drawn; the figures are rendered through expressive shades of carefully modulated density. Seurat's method was strongly influenced by the aesthetic theories of Charles Blanc and Humbert de Superville. They had published studies explaining how the direction of the lines in combination with the colours can evoke different emotions in the viewer. According to Blanc, linear directions are "unconditional signs" of emotion. Ascending lines are associated with feelings of joy and life. This drawing is one of the artist's most mysterious works. The contours of the lady were not delineated by lines, but by gently rubbing the Conté chalk on the ribbed surface of the paper, applying several layers to create darker areas, recognisable by the overlapping lines running in opposite directions. The protagonist appears to be illuminated by an indefinable light source and to be walking through the space in the here and now into another dimension. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 13:40 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 115.- Europa / Europe: CHF 185.- Übrige Länder / Other countries: CHF 235.-
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
This description has been translated automatically: Georges SEURAT (1859-1891) The Harvester, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Le moissonneur, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically: Georges SEURAT (1859-1891) The Stone Breaker, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Le casseur de pierres, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically: Georges SEURAT (1859-1891) Nude model in pose, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Modèle nue en pose, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
This description has been translated automatically: Georges SEURAT (1859-1891) Portrait of Paul Signac, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Portrait de Paul Signac, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically: Georges SEURAT (1859-1891) Woman with a muff, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Femme au manchon, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
This description has been translated automatically: Georges SEURAT (1859-1891) Fort de la Halle, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Fort de la Halle, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
Georges Seurat (1859-1891) was a French Post-Impressionist painter known for his innovative pointillist technique, which involved applying small dots or points of color to a canvas that, when viewed from a distance, would blend together to create a coherent image. He is most famous for his masterpiece "A Sunday on La Grande Jette," which is considered an iconic work of Pointillism.Key points about Georges Seurat:1. **Pointillism**: Seurat's development of Pointillism involved the scientific understanding of color and light. He believed that by applying small dots of pure color next to each other, the viewer's eye would mix the colors, creating a more vibrant and luminous effect. This technique was a departure from traditional brushwork.2. **"A Sunday on La Grande Jette"**: Painted in 1884-1886, this is one of Seurat's most renowned works. It depicts people relaxing on the banks of the Seine River, and it's a masterful example of Pointillism. The painting is known for its intricate details and the play of light and shadow.3. **Neo-Impressionism**: Seurat's work was closely associated with the Neo-Impressionist movement, which sought to apply scientific principles to art and explore the optical effects of color.4. **Influence**: Seurat's Pointillist technique had a significant influence on other artists of his time, including Paul Signac and Camille Pissarro. It also had a profound impact on the development of modern art.5. **Short Life**: Unfortunately, Georges Seurat's life was tragically short. He died of an illness at the age of 31, cutting short what could have been a promising and influential career in the art world.Georges Seurat's innovative approach to painting, especially his use of pointillism, left a lasting mark on the art world and is celebrated for its unique and scientific approach to color and light. His work continues to be admired for its precision and the optical effects it achieves. Measures 18 x 24.
Georges Seurat (1859-1891) textured print titled Bathers In Anieres, after the original which was painted in 1884. It is matted and framed in a golden frame. With frame, it measures 22 inches x 31 inches. This piece was acquired from a Metro Washington DC estate.
This description has been translated automatically: Georges SEURAT (1859-1891) Nude model in pose, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Modèle nue en pose, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically: Georges SEURAT (1859-1891) The Dancer and the Cashier, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) La danseuse et le caissier, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
Artist: Georges Seurat (1859 - 1891) Title: A Sunday Afternoon on the Island of La Grande Jatte Year: 1987 Medium: Poster on board Size: 30 x 41 in. (76.2 x 104.14 cm)
George Seurat (1859-1891) lithograph titled A Sunday Afternoon on the Island of La Grande Jatte, after the original which was painted in 1884. This lithograph was produced in 1980. It measures 19 inches x 25 inches. It is matted and framed under glass in a black frame. This piece was acquired from a Virginia estate.
Property from the Collection of Mr. & Mrs. Robert Schmit Georges Seurat 1859 - 1891 Marine à Grandcamp stamped with the studio mark Seurat (lower left) oil on panel 16,5 x 25,7 cm; 6½ x 10⅛ Painted circa 1885. __________________________________________________ Provenant de la Collection de M. & Mme. Robert Schmit Georges Seurat 1859 - 1891 Marine à Grandcamp porte le cachet de l'atelier Seurat (en bas à gauche) huile sur panneau 16,5 x 25,7 cm; 6½ x 10⅛ in. Peint vers 1885.
This description has been translated automatically: Georges SEURAT (1859-1891) Portrait of Paul Signac, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Portrait de Paul Signac, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically: Georges SEURAT (1859-1891) Nude model in pose, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Modèle nue en pose, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically: Georges SEURAT (1859-1891) Woman with a black bow, 1948 Engraving On Arches Vellum, approximately 31 x 24 cm Information: includes the characteristic trough of the printing process Excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Georges SEURAT (1859-1891) Femme au nœud noir, 1948 Gravure Sur Vélin Arches, 31 x 24 cm environ Information : comporte la cuvette caractéristique du procédé d'impression Excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
![GEORGES PIERRE SEURAT [FRENCH] 1859-1891 "MOTHER AND CHILD", CRAYON AND INK DRAWING ON PAPER LAID TO CARD, SIGNED LOWER LEFT, 18X15CMS, FRAMED. CONDITION FINE. PRIVATE COLLECTION.](https://image.invaluable.com/housePhotos/WAArtAuctions/64/807364/H4675-L428052918.jpg)
