Stop by Freeman’s this weekend for the #EuropeanArt and #OldMasters exhibit, open now through Monday! Featured here, Lot 129, “Bourg-Saint-Andéol, Les Quias du Rhône” by artist #PaulSignac (French 1863-1935).
With a #provenance that reads like a who’s who of #PostImpressionist dealers and collectors, ‘La Montagne Sainte-Victoire’ depicts a seminal motif for Paul #Cézanne between 1877 and his death nearly three decades later. This #watercolour view was first owned by the dealer Ambroise #Vollard , who began representing Cézanne in 1895, having been urged to do so by #Degas , #Pissarro , and other admirers whose own reputations were more secure. The show staged at Vollard’s premises in November of that year included a number of #watercolours , and helped to establish a market for them. Works on paper, it seemed, were easier to sell, because they represented a less substantial investment on the part of collectors in the work of a painter still considered controversial. ‘La Montagne Sainte-Victoire’ then passed into the collection of Leo and Gertrude #Stein , the great American sibling modern art #collectors , who presumably purchased it from Vollard. When Leo and Gertrude had a falling-out in 1914, the watercolour remained with Gertrude. From Gertrude’s collection it passed to Paul #Rosenberg , the great #Parisian#dealer in #Impressionist and Modern art, and thence to Justin #Thannhauser , a German #Modernism dealer based in Berlin. After a period in two other Berlin collections and dealerships, the watercolour next made its way to a Los Angeles #gallery from whence it was acquired by the American industrialist collector Norton Simon. It was then purchased by the great works on paper collector Eugene V. #Thaw for his New York dealership. Thaw, in turn, sold it to Benjamin Edward #Bensinger , the Chicago and Beverly Hills-based scion of #Brunswick corps and real estate mogul. His collection was offered at Christie’s in London in 1975, whereupon the Cézanne was acquired by a Swiss collector. Happy birthday to the artist, born on this day in 1839!
Paul Cézanne, ‘LA Montagne Sainte-Victoire’, c. 1890, watercolour on buff paper. Offered for sale from a Private Collection.
Counting down to Master Drawings Week New York, opening next Friday 29th Jan! We are bringing some little jewels with us, like this small pencil ‘Portrait of Camille Pissarro seated at an easel’ (here a detail) by his friend and fellow artist Jules Cardoze (who was in turn drawn by Pissarro, a portrait now in the Ashmolean Museum, Oxford). We love the playful way Pissarro is shown sitting at his easel, absorbed in work. 🎨🎨🎨 Come visit our joint show at @otto_naumann @ambrosenaumannfineart at 22 East 80th Street, NY. @masterdrawingsny #masterdrawingsnewyork#cardoze#portrait#pissarro#pencil#drawing#detail#workonpaper#artistatwork#agnewsgallery#agnews
What is it that arrests the soul?
That compels the observer to stand transfixed, breathless
Whose meditation is so powerful we willingly draw close, entranced
what is it that stuns the mind into silence
and stills the buzzing world
What is it that arrests the soul so completely?
So passionately, so vividly
Beauty perhaps? Skill?
Memory or imagination?
With eyes wide open Vision speaks
and without a word preaches a sermon we somehow understand.
Just an impression
lingering somewhere between heart and mind;
its message sinks deep
to a place untouched by ego or will,
patiently anticipating the time
when we have fully realized it’s worth.
#muséedorsay#morningsunlightonthesnow#pissarro#mfaboston#inishmore#bushwickcollective#maynooth#sunflowers 🌻 #vangogh#metmuseum
[Then / Now, swipe ➵ ]
One of the most unexpected treats of the 'Impressionists in London' show @Tate Britain, was discovering that Camille Pissarro settled in our own (new) neighbourhood of Upper Norwood in 1870/71, during his stay in London to escape the horrors of the Franco Prussian war.
He painted many scenes of Norwood, Sydenham and Crystal Palace, including this one of Fox Hill where the steep road, though much developed, can still clearly be seen today, with the distinctive bend and rise in the road, plus many of the same houses and foliage still evident.
What a fascinating exhibition currently brightening up these gloomy days at @Tate Britain. Charting the work created in exile by the many French artists who fled the Franco-Prussian war of 1870/71.
Monet, Pissarro, Tissot and others were fascinated by the atmospheric smogs and microclimate of London (particularly along the Thames). The pomp and pageantry of British sporting occasions, the curious customs of high society and the surprising freedom and metropolitanism of Londons parks and open spaces. It's the outsiders perspective of the Impressionists that makes them so compelling, capturing our capital in totally new ways that a native artist couldn't.
How much the prevailing political climate affected the curation of this show is hard to discern, but it's notable that the introductory text makes reference to how Britain welcomed refugees and that these artists faced no entrance restrictions: anyone, irrespective of nationality, could come and stay indefinitely, even those in political exile.
How times change...
One can only hope that whatever the outcome of the current mess we find ourselves in, people will always be welcomed as fellow Londoners, to explore, enjoy and enrich our city.