P A I N T I N G S D R AW I N G S S C U L P T U R E
J I L L N EWH O U S E copyright 2020 jill newhouse llc design by lawrence sunden, inc.
Paintings, Drawings, Sculpture
On view by appointment in New York
Jill Newhouse Gallery 4 East 81 st Street New York, NY 10028 Tel ( 212 ) 249-9216 email: firstname.lastname@example.org www.jillnewhouse.com
c a t a l o g u e
Eugène Isabey french , 1803 – 1886 . View of Saint-Malo ( Vue de Saint-Malo )
1854 Watercolor with pencil on paper 9 5 ⁄ 8 x 13 1 ⁄ 8 inches ( 24 . 5 x 33 . 5 cm) Signed and dated lower right
provenance Private collection, US
Eugène Isabey was born to a family of artists. His father, Jean-Baptiste was a well-known court miniaturist who insisted that his son not become a sailor, and instead devote himself to painting. Eugène began by studying with his father and copying the Old Masters at the Louvre, and by 1825 , his landscape paintings were accepted for exhibition in the Salon. He continued to follow in his father’s footsteps by becoming a court painter for King Louis-Philippe in 1831 , but by mid-century he became the influential teacher of artists such as Boudin and Jongkind. His work of this period shows the broad brushwork and bright colors that signified a changing moment in art history, as pleine aire painting gave way to the beginning of Impressionism. Isabey frequently traveled to Normandy to paint the coastline, and in fact shared his first studio in Honfleur with Xavier Leprince. By 1850 , he purchased a home in Varengeville, just west of Dieppe. The distinctive coastline and picturesque architecture of Saint-Malo was of great interest to him, and he painted it often, but mostly in storms and rough seas. The Brittany town was in fact known for the impressively large tides, which in storms would crash up against the breakwaters. Our watercolor which is signed and dated depicts a calmer moment.Tl of the art
Eugène Delacroix french , 1798 – 1863
A Lion and a Lioness ( Etudes d’une lionne et d’un lion )
c. 1855 Pencil on white wove paper 6 7 ⁄ 8 x 9 inches ( 17 . 5 x 22 . 9 cm) Estate sale stamp lower center: Lugt 838 a
provenance Delacroix sale 1864 , possibly part of lot 485 ( Lions et lionnes. Etudes de dessins. 43 feuilles ) or lot 487 ( Lions et lionnes. Etudes et croquis à la plume et au crayon. 79 feuilles ) Elizabeth M. Drey, New York, as of 1959 . exhibition Santa Barbara, The Santa Barbara Museum of Art, Drawings of Five Centuries , 1959 , no. 80 . Delacroix recorded numerous visits to the Jardin des Plantes in Paris, where he particularly enjoyed sketching the lions in the menagerie. These visits to the zoo did not simply inspire paintings but were invigorating exercises in looking which opened his eyes not only to the animals there but the trees and surroundings outside the garden. In his 1847 journal he recorded one of these visits: “I had a feeling of happiness as soon as I entered the place and the further I went the stronger it grew. I felt my whole being rise above commonplaces and trivialities and the petty worries of my daily life. . . . Tigers, panthers, jaguars, lions, etc. Why is it that these things have stirred me so much?. . . No doubt about it, this excursion has done me good and has made me feel better and calmer. When I left the museum the trees came in for their share of admiration and added their part to the pleasure of the day.” (Journal entry, January 19 , 1847)
Jean-Baptiste-Camille Corot french, 1796–1875
Rider Under a Tree ( Cavalier sous un arbre )
c. 1870 – 1872 Oil on paper mounted to canvas 4 7 ⁄ 8 x 11 1 ⁄ 8 inches ( 12 . 5 x 28 . 5 cm) Signed lower left
provenance Narcisse Berchère ( 1819 – 1891 ) His sale, Hôtel Drouot, Paris, November 12 , 1891 , no. 260 (as Un Gué ; sold for 1505 francs) Désiré-Alexandre-Achille Foinard (died ca. 1918 ) Private collection, France. literature Alfred Robaut. L’oeuvre de Corot: catalogue raisonné et illustré , 2 nd ed. Vols. 1 – 5 . 1905 . Reprint, Paris: Léonce Laget, 1965 , Vol. 3 , no. 2321 , illustrated p. 363 . exhibition Paris, Galerie Schmit, May 12 –June 12 , 1971 , no. 59 , illus. p. 77 . This oil sketch of a horse and rider approaching a ford was made late in Corot’s life, when the artist was in his mid- 70 s. The cavalier, or horseman, is a familiar motif within Corot’s oeuvre; similar solitary figures appear in countless paintings, drawings, and cliché-verres, such as the Grand Cavalier sous bois of 1854 , serving several purposes at once, animating the landscape, providing a sense of scale, and, as in the case of Rider Under a Tree , providing an element of subtle drama: how, we wonder, will the horse and rider manage to cross the swiftly flowing stream? The painting displays Corot’s characteristic hazy, softened
atmosphere and perfectly balanced composition, with framing tree at left, sparkling river at center, and gently rising hills at right. Corot’s palette is equally harmonious, consisting primarily of sun-bleached browns, greens, and grays; the only spot of color is the carnelian cap of the rider. The first owner of the work, Narcisse Berchère, was an Orientalist painter whose landscapes recorded his travels throughout Greece, Egypt and Asia Minor; he is perhaps most famous for his paintings documenting the construction of the Suez Canal. Foinard was an art dealer in Paris around the turn of the century and an avid collector of Corot. He owned a total of twelve works by the artist, including our oil sketch.
Jean-Baptiste-Camille Corot french, 1796–1875 . Figure in the Woods ( Figure en sous-bois )
c. 1860 – 70 Charcoal on paper 17 1 ⁄
8 x 11¾ inches ( 43 . 5 x 30 cm) Estate stamp lower left: Lugt 460 a
provenance Vente Corot, Paris 1875 Private collection, France
To be included in the forthcoming catalogue raisonné of graphic work in preparation by Martin Dieterle, Jill Newhouse, and Claire Lebeau. The radical idea of depicting a landscape vertically is one that interested Corot at different stages throughout his career, and it allowed him to reimagine nature within the bounds of his own aesthetic. Typically, he would place a single large tree or group of trees along one vertical side of the composition and a less dense group of trees along the opposite side, creating a U shape space in the center. He would animate the composition by including a single figure, either a shepherd, a lone traveler, or a mythological creature. In our drawing, the traveler is leaning against the tall thin leafless tree at the left, slightly hidden, as though he is on his way up the steep hill towards the building at the right. At the right, the trees are depicted with rapidly drawn, deliberately placed sinuous lines that overlap each other to
give an impression of wind and motion. Rejecting the linearity of earlier drawings in favor of a tonal presentation of the subject matter, Corot reveals the quiet fury and passion of his draftsmanship in his late years.
Stanislas Lépine french , 1835 – 1892 . Country Road ( Route de Compagne )
c. 1876 – 80 Oil on canvas 12½ x 8 7 ⁄
8 inches ( 31 . 8 x 22 . 5 cm)
Signed lower left provenance Mme. Charbuis, Paris Galerie Odermatt-Cazeau, Paris Private collection Collection of Jeffrey Archer His sale, Christie’s South Kensington, June 28 , 2011 , lot 51 Acquired at the above literature Schmit, Robert, Stanislas Lepine, and Manuel Schmit. Stanislas Lepine, 1835–1892: Catalogue Raisonne De L’œuvre Peint . Paris: Editions Galerie Schmit, 1993 . no. 725 , illustrated p. 290 . A self-trained artist, Lépine made his debut at the Paris Salon in 1859 , and then apprenticed to the master J.B.C. Corot, identifying himself as his student in the 1866 Salon catalogue. Lépine was a quiet and modest man, who generally isolated himself from artistic circles, though he did enjoy a few friendships with painters such as Cals, Ribot, and Fantin- Latour, even making the acquaintance of Edouard Manet who painted a portrait of Lépine’s wife in 1878 . Lépine exhibited 37 works at the Paris Salon during his lifetime, usually a single work or sometimes a pair of paintings. Hardly noticed by the critics, and isolated from his contemporaries, it took him 25 years to
receive recognition, and then only an honorable mention. However his place in art history can be better understood by viewing his work as part of the transitional movement of traditional pleine aire landscape painting to that of Impressionism and modern art. In fact, in 1874 , the year before our work was done, Lépine participated in the first Impressionist exhibition that took place at the photographer Nadar’s gallery, where he exhibited together with avant garde-artists such as Cézanne, Pissarro, Degas, Monet, and Renoir. Probably depicting a scene nearby Paris in the Normandy countryside, our painting shows the strong influence of Corot while referencing the early paintings of Monet in its fresh color and broad brushwork.
Stanislas Lépine french , 1835 – 1892 . Panoramic View of Rouen ( Vue panoramique de Rouen ) c. 1876 – 1880 Oil on cradled panel 9½ x 13 ¼ inches ( 24 . 1 x 33 . 7 cm) Signed lower left
provenance Tedesco, Paris Mazeran, Paris Private collection Jeffrey Archer His sale, Christie’s South Kensington, June 28 , 2011 , lot 50 Acquired at the above literature
Schmit, Robert, Stanislas Lepine, and Manuel Schmit. Stanislas Lepine, 1835–1892: Catalogue Raisonne De L’œuvre Peint . Paris: Editions Galerie Schmit, 1993 . no. 671 , illustrated p. 273
A popular view among painters, Rouen is depicted here from the northeast with the Cathedral spire in the distance. A similar view in watercolor by R.P. Bonington painted in 1821 is in the collection of the Metropolitan Museum. More than thirty views of the Rouen Cathedral were famously painted by Claude Monet in 1894 .
Richard Parkes Bonington, View of Rouen from St. Catherine’s Hill , 1821–22 . Watercolor on paper, Metropolitan Museum of Art, 1996.277
Narcisse Virgile Diaz de la Peña french , 1807 – 1876 . The Clearing in the Forest ( Clairière en automne ) 1876 Oil on panel 7 1 ⁄ 8 x 11 inches ( 18 . 1 x 27 . 9 cm) Signed and dated lower left provenance Galerie Georges Petit, Paris Collection L. Sarlin, Paris, until 1918
Sarlin Collection sale, Galerie Georges Petit, Paris, (scheduled for 2 Mar 1918 , sale was cancelled, and collection sold between 1919 and 1921 ) Galerie John Levy, Paris Sale, Parke-Bernet, New York, February 26 , 1944 , lot 31 Sale, Sotheby’s, New York, December 1 , 1971 , lot 3 Private collection. literature Miquel, Rolande and M. Pierre. Narcisse Diaz de la Peña, catalogue raisonné de l’oeuvre peint . Paris: ACR Edition International, 2006 , no. 174 , Vol II, p. 29 . Narcisse Virgile Diaz de la Peña was one of the foremost figures of the first generation of Barbizon artists. He, along with Rousseau, Millet, Daubigny, Corot, Dupré, Jacques and Troyon, established the Barbizon movement that drew hundreds of artists to the forest of Fontainebleau over the course of the nineteenth century. Diaz himself was born to Spanish immigrant parents in 1807 in Bordeaux. Originally a figurative painter, he began to exhibit pure
landscapes only after 1848 , winning a first-class medal at that year’s Salon, and exhibiting publicly only until 1859 . Recognized as a superb colorist in his own day, his forest interiors are richly painted with warm browns, oranges, golds. Our painting was done the last year of the artist’s life and has a distinctive poignancy in its unusual focus on the unpopulated path into the woods, illuminated by sunlight. It is signed and dated to the last year of Diaz’s life.
George Sand french , 1804 – 1876 . Landscape with Mountains and Lakes ( Paysage avec montagnes et lacs )
1876 Gouache and watercolor on paper 6 1 ⁄ 8 x 9 ¼ inches ( 15 . 6 x 23 . 5 cm) Inscribed on the reverse by Aurore Sand, great-grand daughter of the artist “Peint par George Sand 1876 ” George Sand (born Amantine-Lucile-Aurore Dupin) was France’s most famous 19 th century female writer. She produced a large number of novels and plays, a massive two-volume autobiography, stories, essays, and articles—and published them all under the male pseudonym of George Sand. Sand or the “Good Lady of Nohant” as she was called after the town outside Paris where she lived on the family estate, was also the famous lover of Chopin, with whom in 1838 she travelled arduously to Mallorca in search of a cure for his ill health. Indeed most of the notable artistic figures of the day became Sand’s friend and/or lover: Franz Liszt, Flaubert, Balzac, Baudelaire, Sainte-Beuve, Alfred de Vigny, Chateaubriand, and Zola, along with writers from other countries, Heinrich Heine, Henry James, Browning (and his wife), Dostoevsky, and Turgenev. Painters were also part of her circle as well, especially Eugène Delacroix who visited Nohant regularly and made numerous works there. Sand participated in a wide range of activities: journalistic, political, theatrical, and literary. In the early 1870 s, near the end of a life filled with artistic production, Sand became inspired by a certain method of applying watercolor which
she would call “dendrite” or “aquarelle à l’écrasage.” She would prepare a paper with spots of color and then press a heavier paper on top. When she pulled one away from the other, the spots of color would transfer, creating a texture similar to branches of trees or bushes. Well known in France, this work is rarely seen in the United States.
Edgar Degas french , 1834 – 1917
Scene at the Ballet ( Scène de ballet )
1879 Brush and ink on paper 11 5 / 8 x 21 1 ⁄
8 inches ( 29 . 5 x 53 . 6 cm) Titled, signed, dated, and annotated lower left
provenance Madame Henry Grèville ( 1842 – 1902 ), Paris, dedicated to her by Degas Etienne Bignou, Paris (art dealer in Paris) Collection Walter, Edition Quatre Chemins, Paris, until 1950 Suzanne Edzard-Eisendieck ( 1906 – 1998 ), Paris Private collection, Germany Sale, Villa Grisebach, June 6 , 2001 Neffe-Degandt Fine Art, London, acquired from above Private collection. exhibitions Museum Der Bildenden Künste Leipzig, Von Corot Bis Monet: Werke Der Schule Von Barbizon Und Ihrer Nachfolge Aus Der Sammlung Marion Und Hans-Peter Bühler , November 11 , 1995 –July 1 , 1996 , cat no. 10 . Certificate of authenticity by Theodore Reff dated February 4 , 1990 . Certificate of authenticity by Etienne Bignou dated June 15 , 1950 . Degas’s fans, begun approximately 10 years after he first turned to ballet as his primary subject matter, show us the breathtaking dexterity and skillful draftsmanship of which he was capable. Virtually no drawn studies for either the figures or the settings in these fans exist, the subjects of which were taken from more detailed earlier compositions
which Degas then reimagined and manipulated to fit an arched space. When three such fan studies were put on view in 1879 in Paris, most commentators hurried past them, while one anonymous writer proclaimed: “The fans!! . . . oh! the fans! . . . their very curious Japanese fantasy.” In the meantime, perceptive dealers, artists and colleagues, such as Durand-Ruel, Mary Cassatt, and the writer and graphics expert Roger Marx, were quick to purchase them. Degas’s interest in fan painting stopped almost as soon as it began, with the exception of one work done in 1885 to commemorate a friend’s opera. Fewer than 20 fan studies on paper by Degas are known to exist.
Fan Mount: Ballet Girls , 1879 . Watercolor, silver, and gold on silk Metropolitan Museum of Art, 29.100.555
Paul Cézanne french , 1839 – 1906
Bare Trees at the Jas du Bouffan ( Arbre dépouillé au Jas du Bouffan )
1878 – 80 Pencil, watercolor, and gouache on white paper 14 x 12 inches ( 35 . 5 x 30 . 5 cm)
provenance Ambroise Vollard, Paris Paul Cassirer, Berlin Suse Paret-Cassirer, Berlin and Meudon ( 1935 ) Paul Cassirer, Amsterdam (March 1935 ) Hertha Harries-von Siemens, Berlin Polly Hardt, Amsterdam Sam Salz, New York Mr. and Mrs. Alexander M. Lewyt, New York ( 1952 ) Lewyt Collection sale, Sotheby’s, New York, May 7 , 2013 , lot 18 Private collection, New York, purchased from the above. literature Julius Meier-Graefe. C é zanne’s Aquarelles . Munich: Verlag der Marées-Gesellschaft, R. Piper & Co., 1918 , pl. II Lionello Venturi, Cézanne: son art, son oeuvre. San Fransico: A. Wofsy Fine Arts, 1989 Vol. I, no. 941 , p. 257 , Vol II, pl. 289 Theodore Reff, “A New Exhibition of Cézanne,” Burlington Magazine . Vol. 102 , no. 684 (March 1960 ), p. 114 – 18 , p. 117 John Rewald, Paul Cézanne: The Watercolors: a Catalogue Raisonné . New York: New York Graphic Society, 1983 , no. 111 Walter Feilchenfeldt, Jayne Warman, and David Nash. “Arbre dépouillé du Jas de Bouffan, 1878 – 80 (FWN 1046 ).” The Paintings, Watercolors and Drawings of Paul Cézanne: An Online Catalogue Raisonné . https://www.cezannecatalogue.com/catalogue/entry.php?id= 1088 , no. FWN 1046 .
exhibitions Paris, Galerie des Beaux-Arts, La peinture française du XIXe siècle en Suisse , 1938 , no. 18 , p. 8 (with erroneous ownership) Paris, Grand Palais, Catalogue de la 50e exposition: centenaire du Peintre Indépendant Paul Cézanne , March 17 –April 10 , 1939 , no. 42 (with erroneous ownership). London, Paul Cassirer, Paul C é zanne: Watercolours , July 1939 , no. 45 Aix-en-Provence, Musée Granet, Cézanne, Peintures, Aquarelles, Dessins , 1953 , Musée de Nice; Musée de Grenoble, no. 37 , lent by Alex Lewyt, New York. (Traveled to: Musée Masséna, Nice, France, August 8 –September 12 , 1953 . Musée des Beaux-Arts, Grenoble, France, September 15 –October 18 , 1953 ) New York, Fine Arts Associates (Otto Gerson), Cézanne , January 30 –February 18 , 1956 , no. 6 , illustrated, lent by Mr. & Mrs. Alex M. Lewyt New York, Wildenstein & Co., Cézanne , November 5 –December 5 , 1959 , no. 69 , illustrated New York, Knoedler Galleries, Cézanne Watercolors , April 2 – 20 , 1963 , p. 28 – 29 , n. 14 , pl. XII, lent by Mr. and Mrs. Alex M. Lewyt, New York Pasadena, Pasadena Art Museum, Cézanne Watercolors , November 10 –December 10 , 1967 , n. 11 , illustrated. Purchased by his father in 1859 , the Jas du Bouffan was a mansion where Cézanne would live and paint. The house stayed in the family until 1899 . The painter would set up an easel in front of the house and paint the farm, the woods and the avenue of chestnut trees, the pond and its statues. Only thirty-six oils and seventeen watercolors were made at the house between 1859 and 1899 .
Our work has a distinctive provenance, having been with the important dealers Ambrose Vollard and later Sam Salz, and well as being part of the collection of Alexander Lewyt who was an American visionary and inventor of the eponymous vacuum cleaner, as well as air conditioners and popcorn poppers. Lewyt’s art collection, some of which was donated to the Metropolitan Museum of Art, included works by Gauguin, Bonnard, Degas, and Van Gogh.
Les Arbes du Jas de Bouffan dénudés , 1885–86 . National Museum of Western Art, Tokyo
Edouard Vuillard french , 1868 – 1940 . At the Window ( À la fenêtre )
c. 1892 Oil on paper mounted on panel 6 5 ⁄ 8 x 6 3 ⁄ 8 inches ( 17 x 16 . 5 cm) Stamped lower left
provenance Artist’s studio Private collection, Paris
Sale, Hôtel Rameau, Versailles, June 15 , 1967 , lot 188 (BI) Sale, Hôtel Rameau, Versailles, March 27 , 1977 , lot 90 Collection Georges Bernier, Paris Private collection, Paris. literature Antoine Salomon & Guy Gogeval. Vuillard, Catalogue critique des peintures et pastels . Paris: Skira, 2003 . Vol II, p. 628 (with incorrect date) exhibition New York, Wildenstein & Co., La revue blanche: Paris in the days of Post- Impressionism and Symbolism , November 17 –December 1983 , p. 45 , illustrated. A solitary figure of a man with a large black hat is seen in a window starkly silhouetted by the light striking the garden in the background. Patterns of green and yellow of the trees outside are juxtaposed with the patterns of the light on the wallpaper and the dark walls. Especially in his Nabi period, Vuillard was fascinated by the depiction of silhouettes, reflections, views through doorways and windows, and patterns. This small work, recently redated by Mathias Chivot to 1892 , epitomizes the
essence of the Nabi aesthetic. Using the inherent flatness of the painted surface, Vuillard leaves the space in the picture ambiguous, requiring that the viewer look again and again at what he is seeing. Throughout the 1890 s Vuillard experimented with the effects of natural light in the interior and how it changed and obscured figures As in our painting, the indistinct shapes can suggest the dreamy poetry of a figure lost in thought, as they take a break from their work or consider the outside world from the safety of their home.
Maurice Denis french, 1870 – 1943 . Whoever Follows Me Does Not Walk in Darkness ( Celui qui me suit ne marche pas dans les ténèbres )
c. 1903 Oil on paperboard 11½ x 9 ¼ inches ( 29 . 5 x 23 . 7 cm) Estate stamp lower left
provenance Family of the artist Private Collection, Paris. related literature Thomas à Kempis. Imitation of Christ . Paris: Ambroise Vollard, 1903 , Book 1 , Chapter 1 (John, ch. VIII, v. 12 ), p. 3 , fig 1 . This work is accompanied by a certificate of authenticity by Claire Denis, dated January 14 , 2017 with a catalogue raisonné number 903 . 0070 . From 1899 to 1911 Denis focused on the graphic arts, producing woodcuts and lithographs, often published as book illustrations. In 1893 , the renowned art dealer Ambroise Vollard hired Denis to create illustrations for a proposed publication of L’Imitation de Jesus Christ by Thomas à Kempis. Written circa 1418 – 1427 , The Imitation of Christ was considered, and continues to be regarded as the most important devotional work in Catholic Christianity and the most widely read devotional work next to the Bible. While working on this project ( 1893 – 1899 ), Denis produced no less than 216 drawn illustrations. The final works would be engraved by Le Syndicat des graveurs sur bois (The Guild of Woodblock Engravers)
under his supervision and that of the illustrator and printmaker Tony Beltrand. In 1903 , the composer René de Castéra who was a close friend of Denis, asked the artist to create a painted interpretation of the first illustration in the book to be used as the front cover of an exceptionally bound (and possibly unique) edition of Imitation . Our work is the result. Denis added to his first composition vibrant color and the additional figure of Mary Magdalene in order to more clearly illustrate the verse: “Whoever follows Me does not walk in darkness.” In the final version used for Castera’s binding, Denis again changed the composition, making the bare forest bloom in Christ’s path and replacing the Magdalene with three draped praying figures. Our painting is an interim step in the development of this project.
Whoever Follows Me Does Not Walk in Darkness (proof), 1899 . Lithograph; 3 11 ⁄ 16 × 3 9 ⁄ 16 inches Metropolitan Museum of Art
L’Imitation de Jesus Christ , 1903 . Lithograph
Achille Laugé french , 1861 – 1944
Almond Trees in Spring ( Amandiers au printemps )
Oil on canvas 21 1 ⁄ 8 x 28 3 ⁄
8 inches ( 53 . 7 x 72 . 1 cm)
Signed lower right
provenance Private collection, Texas
Achille Laugé was the son of well-to-do farmers in the town of Cailhau near Carcassonne, where he spent most of his life. Laugé began studies in Toulouse in 1878 and continued in Paris in 1881 . At the École des Beaux-Arts he studied with Alexandre Cabanel and Jean-Paul Laurens. While at the École, Antoine Bourdelle, whom Laugé had known in Toulouse, introduced him to Aristide Maillol and the three maintained a long and fruitful friendship. In 1888 , after seven years in Paris (including a term of military service), Laugé returned to the south and established himself again at Carcassonne, returning to Cailhau where he spent the rest of his life, recording the familiar and beautiful colors of southern France. Laugé’s time in Paris spanned the critical years from 1886 to 1888 (Seurat’s “La Grande Jatte” was first exhibited amidst much controversy in 1886 ) and his contact with Neo-Impressionism should not be underestimated. In 1894 he exhibited at the Salon des Indépendants, which included works by Bonnard, Maurice Denis, Sérusier, Roussel, Toulouse-Lautrec and Vuillard. Even after he moved back to Carcassonne, he continued to hold several one-man shows in Paris from 1907 – 1930 .
It was after his departure from Paris that Laugé developed his divisionist technique, following the lead of Seurat and the Pointillists. The technique consists in juxtaposing small strokes of primary color on the canvas in such a way that the “optical mix,” traditionally created by mixing colors on the palette, is achieved instead by the operation of the viewer’s eye at a certain distance from the painting. Although Laugé never adopted Seurat’s scientific attitude, his interest in the primacy and division of color resulted in work with a vivid, translucent palette. From 1888 until about 1896 , Laugé composed his pictures with small points of color. By the end of the century he abandoned the dots and dabs and painted his landscapes, portraits, and still lifes with thin, systematically placed strokes resembling crosshatching. After 1905 he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique while maintaining his ability to paint the translucence of southern light.
Auguste Rodin french , 1840 – 1917 . Standing Fauness—Simple Rock Version ( Faunesse debout—version au rocher sample ) Conceived 1884 , this cast 1956 Bronze with a brown patina with touches of green patina 23 1 ⁄ 8 x 10½ x 6½ inches ( 59 x 26 . 9 x 16 . 8 cm)
Sale, Lempertz, Cologne, June 3 , 1961 , lot 449 (BI) Sale, Lempertz, Cologne, June 12 , 1963 , lot 608 Private collection, Germany Sale, Lempertz, Cologne, November 25 , 1972 , lot 751 B.G. Cantor, New York by descent to Private collection with Robert Bowman ( 2014 ) Private collection. Comité Rodin certificate number 2014 - 4299 B
A beautifully formed young female, Rodin’s fauness, so called in spite of being all human in form, balances herself against a tall rock, her legs strong, though bent in the act of leaning. Her arms are posed in uneven gestures, her right arm bent as she brings her hand to her mouth, and her left arm extended out straight with clenched fist directed upward. Is she sad, angry, distressed or reaching for or against something we don’t see, while she tilts her head in anguish, holding her chin against her other hand.
Rodin’s series of faunesses in various poses was conceived in conjunction with the development of the monumental Gates of Hell ( 1880 ) which was only cast posthumously just after Rodin’s death in 1917 . A close variant of our fauness can be seen on the far right of the tympanum, near the framing of the door, slightly separated from the frenetic and emotional compilation of figures depicted in the torment of Hell. A kneeling fauness, another variant of the subject, echoes her position on the far left of the scene. Rodin made many stand alone sculptures of figures that we find in The Gates . In fact it can be seen as containing a kind of retrospective of his individual figurative work, with The Thinker as the best known. There exist four variations of Standing
Fauness , each presented with notable differences made to the treatment of the rock. In addition, Rodin carved three marble sculptures of this subject. Of the present Simple Rock version, we know of 21 totals casts. Eight casts in bronze executed circa 1890 at the direction of Rodin by the foundries Léon Perzinka, Griffoul, and Alexis Rudier; The Musée Rodin executed at least 5 casts with Alexis Rudier between 1927 and 1945 ; 8 more were ordered from Georges Rudier between 1953 and 1963 . The present cast is one from this last 8 .
Auguste Rodin french , 1840 – 1917
Standing Woman in Drapery ( Femme debout à la draperie )
c. 1896 ? Pen and brown ink with white gouache on paper 6 7 ⁄ 8 x 4 ¼ inches ( 17 . 5 x 10 . 8 cm) Signed lower left provenance Collection Eugène Laporte (c. 1911 – 12 ) Sale, Paris, Hôtel Drouot, Lair-Dubreuil, Collection of M.E.L., November 22 , 1930 , no. 45 Sale, Paris, Hôtel Drouot, Ader, Collection of M.E. L., March 17 , 1938 , no. 45 Thomas Colville Fine Art, as of 2001 Private collection, New York. This drawing is recorded under number 191001 in the Catalogue Raisonné of Drawings and Paintings of Auguste Rodin , in preparation. A certificate of authenticity by Christina Buley-Uribe, dated October 24 , 2019 accompanies it. Our work can be compared to a series of drawings of figures in motion executed with pen, ink, watercolor and white gouache on laid paper (figs. 1 – 3 ), all representing women playfully arranging their draperies. In some cases, they can be likened to “bourrée dancers” drawn by Rodin during his stays at Maurice Fenaille’s Château de Montal, Lot. Often sketched over white gouache washes, the faces sometimes give the impression of masks.
Our drawing was sold for the first time at Hôtel Drouot in 1930 along with a large collection of drawings and sculptures by Rodin from the collection of “E.L.”, which included Nymph and fauna in plaster, a small Ombre in bronze, L’homme au nez casse , as well as a rare painting Landscape by Rodin from the sale of Mrs. Léonce Bénédite on May 31 , 1928 , some important “black” drawings and another “transitional drawing.”