Jules Alexis Muenier

Possibly, Goupil, Paris (1892, no. 22246)
Possibly, Sanmarcelli (and possibly sold, Hôtel Drouot, Paris, April 22, 1895, lot 54)
Possibly, Goupil, Paris (acquired at the above sale)
Possibly, MM. Fould Cie, Paris (acquired from the above)
Sale: Sotheby's, New York, October 25, 2005, lot 38, illustrated (as The Eel Fishers)
Acquired at the above sale

Paris, Salon, 1892, no. 767

Unlined. Work has recently been cleaned. Faint stretcher bar mark visible along upper edge and through the center. Minor stable craqulure in the sky and isolated areas in background, landscape, water, and women's clothing. Under UV: Dots and dashes of inpainting at perimeter of sky at upper left and upper right corners. A few thin dots of inpainting to the center of the landscape, to the water, and along the lower left and right edges to address frame abrasion.
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.

Jules Alexis Muenier purchased his teacher Jean-Léon Gérôme’s provincial villa in the small rural village of Coulevon (near Vesoul), and after spending numerous summer visits, he permanently settled there after 1885.  At Coulevon, Muenier constructed a glass studio on his spacious grounds where he positioned his local models in all types of weather and light conditions. As an inveterate photographer – and a contributor to regional photographic exhibitions – Muenier took hundreds of glass plate negatives for scenes and figural types that he eventually used in his compositions. Among these glass negatives is an image of a fisherman and his net working along the river at Coulevon. Fascination with this type of rural activity led Muenier to use these photographic studies as the basis for paintings such as La Levée des nasses. Muenier’s ability to capture daily life in a meticulous style demonstrated his commitment to Naturalism, which was by 1890 one of the primary approaches for artists working at the Société Nationale.