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PROPERTY OF A PRIVATE COLLECTOR, LONDON

Eugène Boudin
VENISE. LE GRAND CANAL. VAPEUR ET GONDOLES
Estimate
300,000400,000
LOT SOLD. 321,600 GBP
JUMP TO LOT
8

PROPERTY OF A PRIVATE COLLECTOR, LONDON

Eugène Boudin
VENISE. LE GRAND CANAL. VAPEUR ET GONDOLES
Estimate
300,000400,000
LOT SOLD. 321,600 GBP
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

|
London

Eugène Boudin
1824-1898
VENISE. LE GRAND CANAL. VAPEUR ET GONDOLES
signed E. Boudin and dated Venise 95 (lower left) and dated 21 Juin (lower right)
oil on canvas
50 by 74cm.
19 5/8 by 29 1/8 in.
Painted in 1895.
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Provenance

Paul Detrimont, Paris
Tédesco, Paris
Private Collection, Switzerland
Lefevre Gallery (Alex Reid & Lefevre Ltd.), London

Exhibited

Paris, Galerie Raphaël Gérard, Rétrospective Eugène Boudin, 1937, no. 40
London, The Lefevre Gallery (Alex Reid & Lefevre Ltd.), Important XIX and XX Century Works of Art, 1997, no. 2, illustrated in colour in the catalogue

Literature

Robert Schmit, Eugène Boudin. Catalogue raisonné, Paris, 1973, vol. III, no. 3449, illustrated p. 318
Georges Jean-Aubry & Robert Schmit, Eugène Boudin, Neuchâtel, 1987, illustrated in colour p. 233

Catalogue Note

Boudin made the first of his three trips to Venice in 1892, and produced a large number of paintings and drawings of its canals and surrounding buildings. In the summer of 1895 he returned to Venice for the last time with the landscapist Henri Harpignies and another fellow painter. Staying there for about two months, and fascinated by the quality of light, the water and the architecture of the city, he created a remarkable body of work characterised by a luminous palette and clear, precise brushwork that is rarely found in his French paintings. By the time he first travelled to Venice, he was already familiar with its scenery from the eighteenth-century views by Guardi, of which Boudin made copies during his visits to the Louvre in the 1860s.

 

Peter C. Sutton wrote of Boudin’s Venetian paintings: ‘these sparkling images of the ancient city and its monuments usually adopt a distant point of view in the tradition of Canaletto and Guardi, but are executed with a more animated touch that enlivens the sea and sky. Boudin’s paintings of Venice apparently were well received; at the posthumous sale of the contents of his atelier in 1899, a Venetian painting fetched the highest price’ (P. C. Sutton, Boudin, Impressionist Marine Paintings (exhibition catalogue), Peabody Museum of Salem, 1991, p. 78). Although in many of his Venetian paintings Boudin shared the topographical concerns of Canaletto, depicting the city’s buildings seen frontally, in the present work he shifted his focus to the Grand Canal, presenting a more Impressionistic view of the water and the sky. Whilst paying careful attention to depicting the sky in a combination of bright blue and misty grey, and rendering the water in lively short brushstrokes with boats reflecting on its surface, Boudin at the same time paints an image of a busy modern town, its canal and banks filled with gondolas and workers going about their daily activities.

Impressionist & Modern Art Evening Sale

|
London