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14

PROPERTY FROM THE COLLECTION OF THE LATE AMBASSADOR CHARLES S. WHITEHOUSE, MARSHALL, VIRGINIA

Marie-François Firmin-Girard
FRENCH
LE QUAI AUX FLEURS
Estimate
300,000500,000
LOT SOLD. 3,021,000 USD
JUMP TO LOT
14

PROPERTY FROM THE COLLECTION OF THE LATE AMBASSADOR CHARLES S. WHITEHOUSE, MARSHALL, VIRGINIA

Marie-François Firmin-Girard
FRENCH
LE QUAI AUX FLEURS
Estimate
300,000500,000
LOT SOLD. 3,021,000 USD
JUMP TO LOT

Details & Cataloguing

19th Century European Art

|
New York

Marie-François Firmin-Girard
1838-1921
FRENCH
LE QUAI AUX FLEURS
signed Firmin Girard, inscribed Paris, and dated 1875 (lower left)
oil on canvas
39 1/2 by 57 in.
100.3 by 144.8 cm
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Provenance

Knoedler, New York (acquired from the artist, 1876)
Theron R. Butler (acquired from the above and sold, his sale, American Art Association, New York, January 7, 1910, lot 74, illustrated, as Flower Market)
Possibly, Harriet Valentine Crocker Alexander, New York (acquired at the above sale)
Mr. and Mrs. Sheldon Whitehouse, New York (by 1939)
The Hon. and Mrs. Charles S. Whitehouse, Virginia (by descent from the above, his parents)

Exhibited

Paris, Salon, 1876, no. 903
New York, Exhibiton of Paintings in Aid of the Baptist Home for the Aged, the Private Collection of Theron R. Butler and a Few Pictures Loaned by Friends, November 22-24 [1909?], no. 12 (as The Paris Flower Market)
New York, Knoedler, Views of Paris, Loan Exhibition of Paintings, January 9-28, 1939, no. 14, as Marche aux Fleurs (lent by Mrs. Sheldon Whitehouse)
Montreal Museum of Fine Arts, So this is Paris, Exhibition of Paintings, October 4-29, 1950, no. 13, as Le Marché aux Fleurs (lent by Mrs. Sheldon Whitehouse)

Literature

Edward Strahan, ed. The Art Treasures of America, Philadelphia, 1879, vol.III, p. 121, 131 illustrated; in the 1977 facsimile edition, vol. III, p. 115, 125, illustrated opp. p. 115, as The Flower Market Paris
G. W. Sheldon, Hours with Art and Artists, New York, 1882, p. 35
"Firmin Girard's Flower-Market," The Art Journal, vol. 3, 1877, p. 48
"The Artist's Paris," The New York Times, January 8, 1939, illustrated in a special "rotogravure picture section"
Robert Ayre, "Art Notes, Famous Artists Portray Paris at Local Exhibit," The Montreal Daily Star, October 14, 1950, p. 24
Paul Girard, Firmin-Girard par son fils, Orleans, 1988, p. 8, 26, no.103; and illustrated and discussed within the contemporary articles reprinted pp. 74-83

Catalogue Note

Through the early 1870s, Firmin-Girard’s submissions to the Paris Salon followed the shifting trends in public taste from historical subjects and scenes taken from the Siege of Paris to more fanciful Japonisme and Orientalist themes. While these compositions earned Firmin-Girard early accolades, his submission of Le Quai aux Fleurs to the Salon of 1876 would propel him to international fame.  The large painting hung in a prominent spot facing the entrance to the Grand Salon, and the artist remembered “the crowd which was stationed continually before my picture and that it was not always easy to get near it” (from a letter republished in the catalogue of The Private Collection of the Late Theron Butler, 1910).  At times police were required to control the throngs appreciating the work at the Salon, proving the highly detailed, densely populated Le Quai aux Fleurs invites careful and repeated viewing.  The expansive, panoramic composition is set along the Quai de la corse, long the site of one of Paris’ many flower markets. The façades of recognizable landmarks extend in the distance along the Seine from the Tribunal de Commerce at left, followed by the Tour l’Horloge, and double-towers of la Conciergerie (today part of the Palais de Justice), while at the right edge of the composition a sliver of the Théâtre du Châtelet can be seen along the Quai de la Mégisserie, with the Colonnade of the Louvre and the Pavillon de Flore in the distance. Echoing public appreciation were reams of reviews throughout Europe and the United States in which critics applauded Firmin-Girard’s ability to capture both the crowded market and the distinct characters of the  “la-va-et vient de Paris” (“Chronique,” Le Courrier de France, May 3, 1876 as quoted in Firmin-Girard, p. 75).  Paragraphs of text were made up of writer’s attempts to describe each of the painting’s figures from the members of smartly dressed bourgeoisie families, babies with their nursemaids, omnibus riders, porters pulling handcarts, and the flower vendors offering an array of brightly-hued roses, daisies, violets, and rhododendrons together with fragrant herbs. So specific is Firmin-Girard’s view that he includes a  marchand de coco, perhaps an enigmatic figure to today’s viewer but one immediately recognizable on  Paris streets in the nineteenth century. From the fontaine à coco he wore on his back, the marchand dispensed a refreshing drink of licorice and lemon flavored water into silver cups strung around his waist.  As depicted in the present work, a savvy marchand attracted customers by decorating his fontaine with elaborate ornaments, like a gold clock and statue, easily visible above the crowds.

Firmin-Girard’s observation of “modern life” invited some critics to compare Le Quai aux Fleurs to a photograph, suggesting the work’s allegiance to realist painting of the period. A writer for The Art Journal explained: “As a work of Art [sic], this painting is elaborated with extraordinary fidelity, and the amount of its detail is almost excessive” (“Firmin-Girard’s Flower-Market," p. 48).  Interestingly, this same critic, along with at least once French colleague, noted that Americans in particular were enamored by Le Quai aux Fleurs as it portrayed all they “most love… in connection with the great capital… Paris is gorgeous, and no point in it is more representative of its cheerful gaiety, a splendid kaleidoscope of life made up of trifles, than are its flower-sellers” (“Firmin-Girard’s Flower-Market," p. 48).  Perhaps the American love of Paris inspired New York’s Alexander Turney Stewart, the dry-goods magnate and self-made multi-millionaire, to select Le Quai aux Fleurs to join his impressive art collection. Sadly, Stewart died before the painting was collected, leaving it to be quickly purchased by Theron Butler for 85,000 francs or reportedly $22,500 (over $480,000 today) (“Firmin-Girard’s Flower-Market," p. 48). Following the sale of Butler’s collection in 1910, Le Quai aux Fleurs entered yet another prominent American home, that of the American diplomat Mr. Sheldon and Mrs. Mary (née Crocker Alexander) Whitehouse, the granddaughter  of  the San Francisco railroad tycoon Charles Crocker (1822-1885).  The present work hung in Mr. and Mrs. Whitehouse's New York apartment at 1040 Fifth Avenue. Mrs. Mary Whitehouse was one of  the first female trustees of The Metropolitan Museum of Art. Le Quai aux Fleurs then passed  to their son, The Honorable Charles S. Whitehouse, former United States Ambassador to Laos and Thailand in the 1970s and accomplished  equestrian.

19th Century European Art

|
New York