HENRI FANTIN-LATOUR | Narcisses, giroflées et primevères

Mrs. Edwin Edwards, London
Mitchell Galleries, London
Newman Collection, London
Arthur Tooth & Sons, Ltd., London
Artemis, S.A., Paris
Mr. Arnold & Mrs. Frannie Askin, New York
E.V. Thaw & Co., New York
Acquired from the above on June 18, 1979

Glasgow, Ian Mac Nicol, Fantin Latour, 1950, no. 14
Dallas, Dallas Museum of Art, 1979 (on loan)
Dallas, Dallas Museum of Art, Impressionist and Modern Masters in Dallas: Monet to Mondrian, 1989, no. 35, illustrated in the catalogue

Madame Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, no. 1026

The canvas has not been lined. The canvas is slightly undulating and there are some fine lines of craquelure to the table in the lower register. Under UV inspection, there are signs of retouching along all four edges, likely to address prior frame abrasion. The work is in good condition.
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.

The first owner of this painting was a wealthy English woman. She and her husband became close friends with the artist and his principal dealers in Britain, promoting his still lifes with particular success. Mr. Edwards began his professional life as a lawyer but was a keen painter and etcher and debated mid-career whether to abandon the law and devote himself to art entirely. His wife was less hesitant .While her husband was on an overseas trip she sold his office without telling him. Edwards became proficient in his new occupation and was encouraged by James McNeil Whistler, an artist who had an important influence on Fantin-Latour. The Edwards are best remembered for the support they offered the young French artist. Their double-portrait by Fantin-Latour hangs in the National Gallery in London. Mr. Edwards died in 1879, before the present work was painted, but Mrs. Edwards maintained business relations with Fantin-Latour until 1899.

This painting will be included in the catalogue raisonné of Fantin-Latour’s paintings and pastels by Galerie Brame & Lorenceau now in preparation.