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十九世紀歐洲繪畫

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Henri Fantin-Latour
1836-1904年
法國
MISS SARAH BUDGETT
signed and dated Fantin 1884 upper left
oil on canvas
127 by 102cm., 50 by 40in.
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來源

James Smith Budgett, Guildford (commissioned from the artist in 1884. James Smith Budgett (1823-1906) was a rich sugar merchant and a personal friend of Ruth and Edwin Edwards, painter, collector and close friend of Fantin-Latour. The Edwards persuaded the artist to take James's daughter, Sarah, as an apprentice in his studio in Paris.)
Sarah Elizabeth Budgett, Baroness Campbell, Windsor (1850-1933; by descent from the above)
Hubert Maitland Budgett (1882-1951); thence by descent to the present owner

展覽

London, Royal Academy, 1885, no. 83
London, Obach Gallery, 1904
London, New Gallery, 1908, no. 364
Paris, Galeries Nationales du Grand Palais; Ottawa, Galerie Nationale du Canada; San Francisco, California, Palace of the Legion of Honour, Fantin-Latour, 1983, no. 142

出版

The Art Journal, 1885, p. 257
The Athenaeum, 1885, p. 828
'Royal Academy II', in The Daily News, 1885, p. 5
'The Royal Academy. First Notice.', in The Daily Telegraph, 1885, p. 3
Illustrated London News, 1885, p. 431
'The Royal Academy', in The Observer, 1885, p. 2
Claude Phillips, 'The Royal Academy III', in The Academy, 1885, pp. 389-90
The Times, 1885, p. 10
Jacques-Emile Blanche, 'Fantin-Latour', in La Revue de Paris, 1906, p. 299
Baroness Campbell, Fantin-Latour, (unpublished MS), circa 1910
Jacques-Emile Blanche, 1927, p. 26

相關資料

'My parents wanted to have a portrait of me and Fantin consented to paint me, as he said I was the "Queen of Sitters". In writing to Mrs Edwards who had approached him on the subject, he said: "Certainement je veaux bien faire Mdlle. Budgett. C'est un très bon modèle and je l'aime bien! Et j'ai bien le temps si elle reste un mois a Paris".
Mrs Edwards told my father that he would be sure to get a perfect likeness and a beautiful painting, and was much gratified that the artist had at once accepted the commission as it was the first she had ever asked him to undertake.
I went to Paris again in 1884 and sat for it. This time Monsieur put a looking glass behind him, so that I could watch every stroke. I often played chess with his sister-in-law while he painted. He was most amusing and delightful. Madame Fantin spoke English well and was always in the studio, writing or painting. She painted flowers most beautifully under the signature of V.D.
When the portrait was finished Fantin told me I might ask any of my friends to come and see it. Mrs Milner Gibson was delighted with it and said: "I have seen many portraits but never one like that". I had written to my mother in Rome to say I hoped she would like it. On seeing it in the studio she exclaimed: "How could you for a moment doubt that I would like it? Why, I want to kiss it".
I had not worn my pearls during my sittings but the last day I begged Fantin to add them as I was very fond of them and my father had given them to me some years before. He did not want to do so and said it would spoil my neck, but I knew that a beautiful thing beautifully painted by him would be a joy for ever and so he put them in.'

Miss Sarah Budgett

十九世紀歐洲繪畫

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