- 152
Eugène Boudin
Estimate
50,000 - 70,000 USD
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Description
- Eugène Louis Boudin
- Trouville, les jetées, marée basse
- Signed E Boudin and dated 89 (toward lower left)
- Oil on cradled panel
- 10 5/8 by 8 3/8 in.
- 27 by 21.2 cm
Provenance
Galerie Allard et Noël, Paris
M. Knoedler & Co., Inc., New York
P. & D. Colnaghi & Co., Ltd., London
G. Blair Laing, Ltd., Toronto
Private Collection, Switzerland (and sold: Christie's, London, June 30, 1999, lot 139)
Acquired at the above sale
M. Knoedler & Co., Inc., New York
P. & D. Colnaghi & Co., Ltd., London
G. Blair Laing, Ltd., Toronto
Private Collection, Switzerland (and sold: Christie's, London, June 30, 1999, lot 139)
Acquired at the above sale
Literature
Robert Schmit, Eugène Boudin, 1824-1898, vol. III, Paris, 1973, no. 2548, illustrated p. 3
Condition
The work is in very good condition. Oil on cradled panel. There are a few fine lines of vertical craquelure. Under Uv light, there is a nailhead stroke along the extreme top center edge.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
By the second half of the nineteenth century, Trouville had become a fashionable summer retreat for the French aristocracy, and the people-watching opportunities proved to be of great artistic inspiration to Boudin during his regular summers there throughout the 1860s and 1870s. The opening of a railway station in the beach town in 1863 provided city dwellers easy and relatively quick access to holidays of frolicking and socializing by the sea.
None of this is in fact particularly palpable in the present work where the subject is the low tide among the jetties, away from the hustle and bustle of the holiday crowds. Instead the viewer is treated to the moody and constantly changing sky and its reflections in the sea below. The virtuosic dabs of paint depicting quickly changing atmospheric conditions reveal the artist’s revered position among the younger generation of artists that came to be known as the Impressionists. Boudin in fact pioneered the practice of painting largely en plein air (though often finishing his paintings in the studio) which enabled him to endow his works with an energetic immediacy and freshness. As he inscribed in one his notebooks, “Beaches. Produce them from nature as far as is possible... things done on the spot or based on a very recent impression can be considered as direct paintings” (quoted in Gustave Cahen, Eugène Boudin, Sa vie et son oeuvre, Paris, 1900, p. 183).
None of this is in fact particularly palpable in the present work where the subject is the low tide among the jetties, away from the hustle and bustle of the holiday crowds. Instead the viewer is treated to the moody and constantly changing sky and its reflections in the sea below. The virtuosic dabs of paint depicting quickly changing atmospheric conditions reveal the artist’s revered position among the younger generation of artists that came to be known as the Impressionists. Boudin in fact pioneered the practice of painting largely en plein air (though often finishing his paintings in the studio) which enabled him to endow his works with an energetic immediacy and freshness. As he inscribed in one his notebooks, “Beaches. Produce them from nature as far as is possible... things done on the spot or based on a very recent impression can be considered as direct paintings” (quoted in Gustave Cahen, Eugène Boudin, Sa vie et son oeuvre, Paris, 1900, p. 183).