Lot 29
  • 29

Gustave Caillebotte

1,000,000 - 1,500,000 USD
bidding is closed


  • Gustave Caillebotte
  • Lilas et pivoines dans deux vases
  • Stamped with the signature (lower left)
  • Oil on canvas
  • 36 1/4 by 28 3/8 in.
  • 92 by 72 cm.


Ambroise Vollard, Paris

C. Hoogendijk, Le Havre (and sold: Muller, Amsterdam, May 21-22, 1912, lot 4)

Comte Arnauld Doria, Paris (acquired circa 1936 and sold: Hôtel Drouot, Paris, April 12, 1943, lot 93)

Hirschl & Adler, New York (acquired circa 1954)

Private Collection (acquired from the above)

Private Collection, Palm Beach (by descent from the above and sold: Sotheby's London, February 5, 2001, lot 9)

Acquired at the above sale


Paris, Galerie Guy Stein, Des fleurs et des fruits, 1936, no. 58

Paris, Galerie Charpentier, Les Fleurs et les fruits depuis le Romantisme, 1942, no. 23

Paris, Galerie Beaux-Arts, Gustave Caillebotte, 1951, no. 52

Detroit, The Detroit Institute of Arts, The Two Sides of the Medal. French Painting from Gérôme to Gauguin, 1954, no. 81b


Marie Berthaut, La Vie et l'oeuvre de Gustave Caillebotte, Paris, 1951, no. 181

Marie Berthaut, Caillebotte, Sa vie et son oeuvre, Catalogue Raisonné des peintures et pastels, Paris, 1978, no. 241, illustrated

Marie Berthaut, Gustave Caillebotte, Catalogue raisonné des peintures et pastels, Paris, 1994, no. 255, illustrated p. 169

Catalogue Note

Although horticultural subjects dominated his art during the later part of his career, Caillebotte only began to paint still-lifes of flower arrangements in 1881.  Turning his attention away from depictions of the Parisian landscape, Caillebotte began to spend a significant amount of time considering the lush environs of his newly renovated country home in Petit Gennevilliers. Throughout the 1880s and up until his death in 1894, his artistic concentration was focused on gardens and floral motifs, which were no doubt inspired by his surroundings. Caillebotte's genuine love for flowers resulted in a series of rich compositions that, according to the contemporary critic Gustave Geffroy, "colored and perfumed the atmosphere.” 

In this picture, Caillebotte conveys the sensuality of his subject by creating sharp textural contrasts throughout the composition.  He renders the fullness of each petal with rich white impasto,  whereas he conveys the smoothness of the porcelain vase by using more flattened and modulated brushstrokes.  Blue tones used for shadows and for reflections add dimension to both the varnished table and the vase and enhance the solidity of these objects.