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THE GILDED AGE REVISITED: PROPERTY OF A DISTINGUISHED AMERICAN COLLECTION

Henri Fantin-Latour
POMMES
前往
150

THE GILDED AGE REVISITED: PROPERTY OF A DISTINGUISHED AMERICAN COLLECTION

Henri Fantin-Latour
POMMES
前往

拍品詳情

印象派及現代藝術日拍

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紐約

Henri Fantin-Latour
1836-1904年
POMMES
Signed Fantin. and dated 88 (upper right)
Oil on canvas
17 3/8 by 22 1/4 in.
44.1 by 56.5 cm
Painted in 1888. 
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This painting will be included in the catalogue raisonné of Fantin-Latour’s paintings and pastels by Galerie Brame & Lorenceau now in preparation.

來源

Mrs. Edwin Edwards, London (acquired directly from the artist)
Sale: Hôtel Drouot, Paris, February 21, 1913, lot 21
Gustave Tempelaere, Paris
Félix Gérard, Paris
Rosenberg Collection, Europe
Sale: Christie's, New York, November 15, 1989, lot 365
Private Collection (acquired at the above sale and sold: Christie's, New York, November 2, 1993, lot 17)
The Lefevre Gallery, London
Private Collection, Europe (acquired from the above and sold: Sotheby's, London, February 4, 2003, lot 5)
Richard Green Fine Paintings, Ltd., London (acquired at the above sale)
Acquired from the above in 2004

展覽

Paris, Palais de l'école nationale des Beaux-Arts, Exposition de l'oeuvre de Fantin-Latour, 1906, no. 109

出版

Madame Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour 1849-1904, Paris, 1911, no. 1340, p. 140

相關資料

The first owner of this work and the previous lot was Ruth Edwards, wife of English painter Edwin Edwards and a friend of James Abbott McNeill Whistler. It was Whistler himself who persuaded Fantin-Latour to come to London for the first time in 1859. Mr. & Mrs. Edwards became Fantin-Latour's greatest patrons, for whom he painted a large number of works. Fantin-Latour's technique, as evidenced by the present work, owes much to the technique in development by many of his close friends, including Édouard Manet. Continually influenced by the Old Masters he studied at the Louvre, he was especially drawn to the flower and vanitas painters of the seventeenth-century Netherlands. In the still-life paintings with fruit, Fantin-Latour's debt to Chardin becomes very clear (see fig. 1). The light and airy brushwork seen in the flower paintings yields to a stronger concern for balance of mass and volume. Nevertheless, he maintains his usual sense of delicacy, effectively contrasting the weighty rotund forms of the fruit with the finely woven strand of the basket. 

印象派及現代藝術日拍

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紐約