- 805
Lucien Lévy-Dhurmer
Estimate
6,000 - 9,000 USD
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Description
- Lucien Lévy-Dhurmer
- View from Pont des Invalides Towards Pont de l'Alma, Exposition Universelle, Paris 1900
- indistinctly signed and dated (lower left)
- oil on canvas
- 15 1/4 by 18 1/4 in.; 38.5 by 46.5 cm.
Provenance
Anonymous sale, Sotheby's London, October 31, 2006, lot 635;
Acquired from the above sale by the present owner.
Acquired from the above sale by the present owner.
Condition
The canvas is lined. The surface is in overall good condition. Under UV; there is evidence of a thin horizontal tear of approximately 3 inches in the center left of the image which can also be seen in raking light.
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 Exposition Universelle of 1900 brought the largest crowds to Paris, more than any other world fair. For seven months people flocked from all over the globe to view the newest inventions in technology as well as the advancements in the arts.
One of the greatest sights and most popular attractions at the exposition was the Rue des Nations. Situated along the Seine, between the Pont des Invalides and the Pont de l'Alma, each participating nation erected a pavilion as a showcase to the world. It was here that visitors could walk from Turkey to the United States or from England to Greece in a matter of minutes, engaging themselves in the individual and often ambitious styles of diverse countries.
In the present work, Lucien Lévy-Dhurmer, a French artist often associated with the symbolist movement, captures the splendour of the Rue des Nations. Although he did exhibit a symbolist painting at the Palais des Beaux-Arts during the exposition, this painting of the Rue des Nations demonstrates his distinctive style and the infulence of Impressionism. The hazy light and loose brush strokes show are typical of his mature work, having abandoned the infuluences from his earlier symbolist training.
One of the greatest sights and most popular attractions at the exposition was the Rue des Nations. Situated along the Seine, between the Pont des Invalides and the Pont de l'Alma, each participating nation erected a pavilion as a showcase to the world. It was here that visitors could walk from Turkey to the United States or from England to Greece in a matter of minutes, engaging themselves in the individual and often ambitious styles of diverse countries.
In the present work, Lucien Lévy-Dhurmer, a French artist often associated with the symbolist movement, captures the splendour of the Rue des Nations. Although he did exhibit a symbolist painting at the Palais des Beaux-Arts during the exposition, this painting of the Rue des Nations demonstrates his distinctive style and the infulence of Impressionism. The hazy light and loose brush strokes show are typical of his mature work, having abandoned the infuluences from his earlier symbolist training.