- 111
PIERRE-AUGUSTE RENOIR | Portrait du Baron Barbier
估價
250,000 - 350,000 EUR
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招標截止
描述
- 皮耶·奧古斯特·雷諾瓦
- Portrait du Baron Barbier
- signed Renoir (upper left)
- oil on canvas
- 17,6 x 16,4 cm; 6 7/8 x 6 1/2 in.
Painted circa 1877.
來源
Baron Barbier (thence by descent)
Reid & Lefevre, London
Jacques Blot, Paris
Georges Renand (before 1971, and sold at his sale: Hôtel Drouot, Paris, March 15th, 1988, lot 45)
Edouard & Jeannine Chapet, Paris (acquired at the above sale)
Reid & Lefevre, London
Jacques Blot, Paris
Georges Renand (before 1971, and sold at his sale: Hôtel Drouot, Paris, March 15th, 1988, lot 45)
Edouard & Jeannine Chapet, Paris (acquired at the above sale)
出版
André Lhote, Peintures de Renoir, Paris, 1944, no. 2, illustrated
François Daulte, Auguste Renoir, Catalogue Raisonné de l'œuvre peint, Figures 1860-1890, Lausanne, 1971, vol. I, no. 243, illustrated n.p.
Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, 1858-1881, Paris, 2007, vol. I, no. 519, illustrated p. 511
François Daulte, Auguste Renoir, Catalogue Raisonné de l'œuvre peint, Figures 1860-1890, Lausanne, 1971, vol. I, no. 243, illustrated n.p.
Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, 1858-1881, Paris, 2007, vol. I, no. 519, illustrated p. 511
Condition
The canvas is lined. Examination under UV light reveals a small spot of retouching towards the upper right corner and a few smaller dots of retouching along the upper part of the right edge. There are some hairline lines of stable craquelure in places, notably in the white pigment to the collar and to the newspaper. There are a few scattered fly spots. There is some light frame rubbing, with a few associated flecks of paint losses, along the extreme edges. This work is in overall 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
This work will be included in the forthcoming Renoir Digital Catalogue Raisonné, being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.
LE BARON BARBIER
Renoir, one of the most prolific portrait painters among the Impressionists, dedicated himself with as much skill to commissioned portraits as to portraits of models from his relatives and friends, as is the case with the Portrait du Baron Barbier painted in 1877. The subtle variations of colour combined with fluid, filmy brushstrokes endow this composition with flexibility, finesse and harmony. The chromatic range is characteristic of these years and dominated by bright, slightly blurred green-blues, which reflect the variations of natural light, the face emerging subtly from a vibrant and hazy background. The model is depicted reading with concentration, as if caught in a moment of life, in a deliberately natural position. This stance is symptomatic of the painter's desire to endow his portraits with a physical, almost tangible, presence that reflects the model's very essence.
The Baron Barbier was formerly a Cavalry officer, a bohemian figure, a friend of Renoir and an intimate friend of Maupassant. A great rower, he is depicted from the back in the famous Déjeuner des canotiers (Boater's lunch), painted in 1880 and kept in The Phillips Collection in Washington. The painting depicts an animated social atmosphere at the Fournaise, a restaurant and dance hall situated on the island of Chatou, a boating station that became at the end of the 19th century a fashionable place for Parisian society to get together in the summer. Other than the Baron Barbier, recognizable with his bowler hat, it is possible to identify other figures from the era and close friends of Renoir in this painting, including Aline Charigot, Renoir's future wife, Alphonse Fournaise junior, the son of the owner, Ephrussi, editor of the "Gazette des Beaux-Arts", the actress Ellen Andrée, Lestringuez and Paul Lhote, friends of Renoir, the journalist Maggiolo, the actress and model Angèle and the painter Gustave Caillebotte.
LE BARON BARBIER
Renoir, one of the most prolific portrait painters among the Impressionists, dedicated himself with as much skill to commissioned portraits as to portraits of models from his relatives and friends, as is the case with the Portrait du Baron Barbier painted in 1877. The subtle variations of colour combined with fluid, filmy brushstrokes endow this composition with flexibility, finesse and harmony. The chromatic range is characteristic of these years and dominated by bright, slightly blurred green-blues, which reflect the variations of natural light, the face emerging subtly from a vibrant and hazy background. The model is depicted reading with concentration, as if caught in a moment of life, in a deliberately natural position. This stance is symptomatic of the painter's desire to endow his portraits with a physical, almost tangible, presence that reflects the model's very essence.
The Baron Barbier was formerly a Cavalry officer, a bohemian figure, a friend of Renoir and an intimate friend of Maupassant. A great rower, he is depicted from the back in the famous Déjeuner des canotiers (Boater's lunch), painted in 1880 and kept in The Phillips Collection in Washington. The painting depicts an animated social atmosphere at the Fournaise, a restaurant and dance hall situated on the island of Chatou, a boating station that became at the end of the 19th century a fashionable place for Parisian society to get together in the summer. Other than the Baron Barbier, recognizable with his bowler hat, it is possible to identify other figures from the era and close friends of Renoir in this painting, including Aline Charigot, Renoir's future wife, Alphonse Fournaise junior, the son of the owner, Ephrussi, editor of the "Gazette des Beaux-Arts", the actress Ellen Andrée, Lestringuez and Paul Lhote, friends of Renoir, the journalist Maggiolo, the actress and model Angèle and the painter Gustave Caillebotte.