View full screen - View 1 of Lot 32. Bordeaux, le port et les quais.
32

Eugène Louis Boudin

Bordeaux, le port et les quais

Estimate:

60,000

to
- 80,000 EUR

Property from a Private French Collection | Provenant d'une collection particulière française

Eugène Louis Boudin

Eugène Louis Boudin

Bordeaux, le port et les quais

Bordeaux, le port et les quais

Estimate:

60,000

to
- 80,000 EUR

Lot sold:

75,600

EUR

Property from a Private French Collection

Eugène Louis Boudin

1824 - 1898

Bordeaux, le port et les quais


signed E. Boudin, dated 73 and situated Bordeaux (lower right)

oil on canvas

36,7 x 58,5 cm; 14½ x 23 in.

Painted in 1873.

__________________________________________________________________________


Provenant d'une collection particulière française

Eugène Louis Boudin

1824 - 1898

Bordeaux, le port et les quais


signé E. Boudin, daté 73 et situé Bordeaux (en bas à droite)

huile sur toile

36,7 x 58,5 cm; 14½ x 23 in.

Peint en 1873.

It has not been possible to examine the work entirely unframed. The canvas is not lined. Examination under UV light reveals a few small dots and lines of retouching along the left edge and a few tiny dots of retouching to the upper part of the right edge. There are stretcher bar marks running across the centre of the composition and along the edges, only visible under raking light. There are lines of craquelure in places, notably to lower part of the sky above the pontoon. There is frame rubbing along the extreme edges. Colours are luminous. This work is in overall very good condition.


Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l’Article XVI des Conditions Générales de Vente applicables aux Acheteurs (Ventes Effectuées Exclusivement en Ligne) n’est pas applicable pour ce lot.) 


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Galerie Georges Petit, Paris

Barbizon House, London

Andrew T. Reid, Scotland (his sale: Christie's, London, March 26, 1942, lot 71)

Sale: Galerie Charpentier, Paris, March 12, 1956, lot 34

Private collection, France (acquired at the above sale)

Thence by descent to the present owner

__________________________________________________________________________


Galerie Georges Petit, Paris

Barbizon House, Londres

Andrew T. Reid, Ecosse (sa vente: Christie's, Londres, 26 mars 1942, lot 71)

Vente: Galerie Charpentier, Paris, 12 mars 1956, lot 34

Collection particulière, France (acquis lors de cette vente)

Puis par descendance au propriétaire actuel

Ruth L. Benjamin, Eugène Boudin, New York, 1937, p. 176

Robert Schmit, Eugène Boudin 1824-1898, Paris, 1973, vol. I, no. 934, illustrated p. 334

__________________________________________________________________________


Ruth L. Benjamin, Eugène Boudin, New York, 1937, p. 176

Robert Schmit, Eugène Boudin 1824-1898, Paris, 1973, vol. I, no. 934, reproduit p. 334

Bordeaux, le port et les quais is typical of Eugène Boudin’s (1824-1898) oeuvre in replacing a central subject with small figures under a bright sky. Because his father was a mariner and her mother were a maid on boats, Boudin developed an appreciation for the changing light of the coast and the paintings of seascapes from an early age. He received effusive accolades from his peers, most notably Baudelaire who used to refer to some of Boudin’s pastels on paper depicting studies of seascapes as “meteorological beauties” and both Corot then Monet in 1920 who dubbed Boudin “King of the Skies.” Courbet who was moved to declare: “My God, you are a seraph, Boudin! You are the only one of us who really knows the sky” (quoted in Ruth L. Benjamin, Eugène Boudin, p. 46). These skies inspired a new generation of painters, chief among them Claude Monet, to whom Boudin became a close friend and mentor. After observing Boudin paint for the first time, Monet declared: “Suddenly it was as if a veil had been torn from my eyes. I understood what painting could be. Boudin’s absorption in his work, and his independence, were enough to decide the entire future and development of my painting” (quoted in Peter C. Sutton, Boudin: Impressionist Marine Paintings (exhibition catalogue), Peabody Museum of Salem, Massachusetts, 1991, p. 54).


Boudin was one of the first to advocate painting in the open air as opposed to sketching outside and producing a finished composition in the studio, identifying him as a forerunner of Impressionism. The loose and sketchy feel of his paintings was quickly taken up by the younger group of artists who came to be known as Impressionists. The present lot was painted in 1873, one year before the first Impressionist exhibition was held in Paris. Boudin was invited to participate to this exhibition and sent three paintings, six pastels (including four depicting studies of skies) and four watercolors. His reputation then grew gradually, notably enabling him to travel around Europe (Flanders, the Netherlands, south of France and Italy). In 1988 he took part in the major Impressionist exhibition in New York organized by the art dealer, Paul Durand-Ruel, alongside artists such as Cézanne, Degas Monet and Pissarro.


Boudin painted 79 views of the prospering Atlantic port of Bordeaux during his stays to the city in 1873, 1874 and then 1876 and 1879. The present lot is a wonderful example of a depiction of the busy waterfront of this port along the river Garonne, the low horizon offering a great expanse to the luminous sky enabling the artist to demonstrate his free brushwork. His artworks are now found in numerous private collections and museums including the Musée d'Orsay in Paris, The Musée du Louvre in Paris, the National Gallery of Art in Washington, D.C., and the Art Institute of Chicago.


__________________________________________________________________________


Comme souvent dans l’œuvre d’Eugène Boudin (1824-1898), le sujet central de Bordeaux, le port et les quais s’efface devant la place occupée par un ciel resplendissant au sein de la composition. Né d’un père marin et d’une mère femme de chambre sur les bateaux, Boudin a développé depuis son plus jeune âge une prédisposition pour les marines et un sens aigu des changements de lumières liés aux variations climatiques typique des bords de mer. Le peintre fera l’objet de tribunes élogieuses de la part de ses contemporains, notamment Baudelaire qui qualifia certaines de ses études de ciels au pastel de "beautés météorologiques", ou encore Corot qui qualifia le maître de "Roi des ciels" avant que Monet ne fasse de même en 1920. Courbet déclarera également "En vérité, mon cher vous êtes un séraphin, il n'y a que vous qui connaissiez le ciel." (Ruth L. Benjamin, Eugène Boudin, p. 46). Ces ciels inspirèrent une nouvelle génération de peintres, en premier lieu duquel Claude Monet, pour qui Boudin devint bientôt un mentor et un ami proche. Leur rencontre aura pour Monet l’effet d’une révélation : "Je le regarde plus attentivement, et puis, ce fut tout à coup comme un voile qui se déchire : j'avais compris, j'avais saisi ce que pouvait être la peinture ; par le seul exemple de cet artiste épris de son art, et d’indépendance, ma destinée de peintre était ouverte." (Peter C. Sutton, Boudin: Impressionist Marine Paintings (catalogue d’exposition), Peabody Museum of Salem, Massachusetts, 1991, p. 54).


Boudin sera l’un des premiers à se lancer dans l’aventure de la peinture en plein air, succédant à la méthode plus traditionnelle de l’observation en extérieur avant de terminer la composition en atelier, ce qui permet de le qualifier de précurseur de l’impressionnisme. Ces jeunes artistes que l’on qualifiera bientôt d’impressionnistes avaient également été sensibles à la touche aérienne et vibrante du maître. Ce tableau fut réalisé en 1873, soit un an avant que ne se tienne la première Exposition Impressionniste à Paris. Boudin sera invité à y participer et enverra pour cette exposition trois huiles sur toile, mais également six pastels (dont quatre études de ciels) et quatre aquarelles. Sa réputation grandira alors peu à peu, lui permettant notamment de voyager en Europe (Flandres, Pays-Bas, sud de la France et Italie). Il participera en 1888 à la grande exposition impressionniste organisée à New York par le marchand d'art Paul Durand-Ruel aux côtés d’artistes tels que Cézanne, Degas, Monet ou Pissarro. 


Durant sa carrière, Boudin réalisa 79 vues du port de Bordeaux, sur la côte Atlantique, au court de séjours dans la ville en 1873, 1874 mais également en 1876 et 1879. Ce tableau est un magnifique exemple d’une vue de port animé le long de la Garonne. Le choix délibéré de placer l’horizon en partie basse de la composition permet au peintre de s’adonner à une liberté de touche caractéristique de son traitement personnel de ce ciel lumineux.



Ses œuvres sont aujourd’hui conservées dans de nombreuses collections particulières prestigieuses ainsi que des institutions muséales de renom telles que le musée d’Orsay à Paris, le musée du Louvre à Paris, la National Gallery of Art de Washington ou encore le Art Institute de Chicago.