- 715
Antoine Vollon
Estimate
20,000 - 30,000 USD
bidding is closed
Description
- Antoine Vollon
- After the Ball
- oil on canvas
- 67 1/2 by 51 1/2 in.; 171.5 by 130.8 cm.
Provenance
W.P. Wilstach and family, Philadelphia
Sale, Samuel T. Freeman, Philadelphia, October 29-30, 1954, lot 32;
Mrs. Dalzell Hatfield, Los Angeles (until 1965);
The Phoenix Art Museum, Arizona;
Christie's New York, May 25, 1995, lot 243 for $29,900;
Acquired from the above sale by the present owner.
Sale, Samuel T. Freeman, Philadelphia, October 29-30, 1954, lot 32;
Mrs. Dalzell Hatfield, Los Angeles (until 1965);
The Phoenix Art Museum, Arizona;
Christie's New York, May 25, 1995, lot 243 for $29,900;
Acquired from the above sale by the present owner.
Exhibited
Paris, Salon of 1869, no. 2392.
Literature
L. Auvray, L’Exposition des Beaux-Arts; Salon de 1869, 1869, p. 71;
M. Chaumelin, L’Art contemporain, 1873, p. 268;
J. Dolent, Avant le deluge, 1871, p. 78;
T. Gautier, “Salon de 1869,” Le Moniteur Universel, no. 176, June 28, 1869, p. 884;
E. Hache, “Salon de 1869,” Les merveilles de l’art et de l’industrie, 1869, p. 313;
P. Mantz, “Salond de 1869” Gazette des Beaux-Arts, 2d series, vol. 2, July, 1869, p. 14;
P.C. Perier, Propos d’art à travers l’occasion du Salon de 1869; revue du Salon, 1869, p. 14;
E. Roy, “Salon de 1869: III; peinture,” L’Artiste, September 1869, p. 377;
P. de Saint-Victor, “Les paysagistes au dernier Salon,” L’Artiste, November, 1869, p. 169;
E.S., “Private Art Collections of Philadelphia—IV. The Wilstach Gallery,” July, 1872 (clipping from unknown periodical, Frick Art Reference Library);
F. Jahyer, “Antoine Vollon,” Paris-Portrait, vol. 262, May, 1878, p. 2;
E. Strahan, Art Treasures of America, 1882, vol. 3, p. 40 (cites what is presumed to be this painting as belonging in Wilstach Coll. And as entitled “Accessories of the Ball-Room”);
W.P. Wilstach Collection, Catalogues, 1893 ed., p. 70, no. 108; 1902 ed., p. 71, no. 168; 1904 ed., p. 90, no. 282; 1906-8 ed., no. 317; 1910 ed., no. 442; 1922 ed., no. 336 (where erroneously cited as purchased Dec. 8, 1894);
P.A.J. Dagnan-Bouveret, “Notice sur M. Antoine Vollon…” Publications diverses de l’Institut de France, vol. 71, no. 31, 1901, p. 9;
A. Soubies, Les membres de l’Académie des Beaux-Arts, 1915, p. 86;
J.H. Ritas, comp., Paintings, Drawings and Sculpture in the Phoenix Art Museum Collection, 1965, p. 109.
M. Chaumelin, L’Art contemporain, 1873, p. 268;
J. Dolent, Avant le deluge, 1871, p. 78;
T. Gautier, “Salon de 1869,” Le Moniteur Universel, no. 176, June 28, 1869, p. 884;
E. Hache, “Salon de 1869,” Les merveilles de l’art et de l’industrie, 1869, p. 313;
P. Mantz, “Salond de 1869” Gazette des Beaux-Arts, 2d series, vol. 2, July, 1869, p. 14;
P.C. Perier, Propos d’art à travers l’occasion du Salon de 1869; revue du Salon, 1869, p. 14;
E. Roy, “Salon de 1869: III; peinture,” L’Artiste, September 1869, p. 377;
P. de Saint-Victor, “Les paysagistes au dernier Salon,” L’Artiste, November, 1869, p. 169;
E.S., “Private Art Collections of Philadelphia—IV. The Wilstach Gallery,” July, 1872 (clipping from unknown periodical, Frick Art Reference Library);
F. Jahyer, “Antoine Vollon,” Paris-Portrait, vol. 262, May, 1878, p. 2;
E. Strahan, Art Treasures of America, 1882, vol. 3, p. 40 (cites what is presumed to be this painting as belonging in Wilstach Coll. And as entitled “Accessories of the Ball-Room”);
W.P. Wilstach Collection, Catalogues, 1893 ed., p. 70, no. 108; 1902 ed., p. 71, no. 168; 1904 ed., p. 90, no. 282; 1906-8 ed., no. 317; 1910 ed., no. 442; 1922 ed., no. 336 (where erroneously cited as purchased Dec. 8, 1894);
P.A.J. Dagnan-Bouveret, “Notice sur M. Antoine Vollon…” Publications diverses de l’Institut de France, vol. 71, no. 31, 1901, p. 9;
A. Soubies, Les membres de l’Académie des Beaux-Arts, 1915, p. 86;
J.H. Ritas, comp., Paintings, Drawings and Sculpture in the Phoenix Art Museum Collection, 1965, p. 109.
Condition
The canvas is lined. The surface is in overall good condition aside for frame abrasion along the outermost edges and a slightly dirty varnish. Treated paint separation is visible throughout. There is 1 thin vertical retouch of approximately 5 inches and 3 small circular retouches visible to the naked eye in the green curtain in the upper right side. Under UV; a thick masking varnish has been applied obscuring any previous retouches.
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
The large vertical format of the present lot, also seen in Antoine Vollon’s Salon entry of 1868, Les Curiosités, breaks from the traditional horizontal composition of tabletop still life paintings. Perhaps Vollon was deliberately trying to distinguish himself from contemporary still-life painters, and this brave approach earned him the first-class medal; the only award Vollon had not yet received after six years of consistent achievement at the Salon.
The group of objects alludes to a spirited night of revelry for a lady of society and would have appealed to wealthy collectors. Vollon recognized that this subject matter broadened his public image and expanded the market for his works, eventually reaching across the Atlantic and finding patronage among powerful American collectors. A work titled Accessories of the Ball-Room is listed in Edward Strahan’s Art Treasures of America, among works in the collection of Mr. Wilstrach, described as buying at the Salons of the late 1860s (E. Strahan, Art Treasures of America, vol. 3, pp. 30, 40), and is very likely refers to the present lot.