LOT 332
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HENRI FANTIN-LATOUR (1836-1904) Lys et fleurs diverses dans un vase bleu
作品估价：USD 150,000 - 250,000
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成交状态：待拍
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26%
图录号：
332
拍品名称：
HENRI FANTIN-LATOUR (1836-1904) Lys et fleurs diverses dans un vase bleu
拍品描述：
HENRI FANTIN-LATOUR (1836-1904)
Lys et fleurs diverses dans un vase bleu
signed 'Fantin.' (upper right) and dated '1862.' (upper left)
oil on canvas
18 ¼ x 15 in. (46.3 x 38.2 cm.)
Painted in 1862
Galerie Bernheim-Jeune et Cie., Paris.
F. & J. Tempelaere, Paris.
Hector Brame, Paris.
Achille Fanien, Paris (acquired from the above, 1909).
Galerie Jacques Dubourg, Paris.
P. and D. Colnaghi & Co., London.
J.A. Davidson, New York.
M. Knoedler & Co., Inc., New York (on consignment from the above, December 1950).
Etta and Mark C. Steinberg, St. Louis (acquired from the above, January 1953).
Blair Laing, Toronto.
Cecil Fennell, Ontario.
Anon. sale, Sotheby's, New York, 18 May 1983, lot 17.
(probably) Acquired at the above sale by the late owner.
Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, p. 27, no. 192 (titled Fleurs).
The Connoisseur, vol. 143, February 1959, p. XXXIV (illustrated).
Paris, Galerie Schmit, Maîtres XIXe-XXe siècles, Oeuvres majeures, May-July 1984, no. 10 (illustrated in color).
Brame & Lorenceau will include this work in their forthcoming Fantin-Latour catalogue raisonné des peintures et pastels.
The bountiful blooms of
Lys et fleurs diverses dans un vase bleu exemplify Fantin-Latour's mastery of the genre of still-life painting. Fantin-Latour’s richly painted bouquets offered a distinctive take on the tradition of the floral still life. Unlike his contemporaries, the Impressionists, who brought their easels outdoors and painted
en-plein-air, Fantin-Latour carefully selected and gathered his flowers, bringing them into his studio where he arranged them into bouquets of symphonic color and texture. Fantin-Latour's extraordinary attention to detail derives from his personal connection to his subject-matter. He gathered many of his flowers from the garden of his house at Buri, and combined different species, some freshly picked, others wilting, to emphasize the brevity of their existence. Jacques-Emile Blanche praised the artist’s ability to capture the individuality of each bloom stating, “He captures the physiognomy of the flower he is copying; it is that particular flower and not another on the same stem: he draws and constructs the flower, and does not satisfy himself with giving an impression of it through bright, cleverly juxtaposed splashes of color" (quoted in "Fantin-Latour,"
Revue de Paris, 15 May 1906, pp. 311-312).
While this arrangement has all the spontaneity of a freshly picked bouquet, nothing in fact has been left to chance – demonstrating the artist’s mastery of composing form and light. Crowning the composition, the white lilies assert a striking vertical presence, their luminous petals unfolding with sculptural clarity against the dark ground. Beneath them, a densely layered pink peony anchors the bouquet, its soft, full bloom offering a moment of lush stillness. Surrounding these central elements, a diverse array of seasonal flowers—including pansies, daisies, cornflowers, and clustered wildflowers—introduce rhythmic variation and colorful richness. The overall effect is one of careful balance between natural spontaneity and formal structure, emblematic of Fantin-Latour’s refined approach to still life painting.
Lys et fleurs diverses dans un vase bleu
signed 'Fantin.' (upper right) and dated '1862.' (upper left)
oil on canvas
18 ¼ x 15 in. (46.3 x 38.2 cm.)
Painted in 1862
Galerie Bernheim-Jeune et Cie., Paris.
F. & J. Tempelaere, Paris.
Hector Brame, Paris.
Achille Fanien, Paris (acquired from the above, 1909).
Galerie Jacques Dubourg, Paris.
P. and D. Colnaghi & Co., London.
J.A. Davidson, New York.
M. Knoedler & Co., Inc., New York (on consignment from the above, December 1950).
Etta and Mark C. Steinberg, St. Louis (acquired from the above, January 1953).
Blair Laing, Toronto.
Cecil Fennell, Ontario.
Anon. sale, Sotheby's, New York, 18 May 1983, lot 17.
(probably) Acquired at the above sale by the late owner.
Mme Fantin-Latour, Catalogue de l'oeuvre complet de Fantin-Latour, Paris, 1911, p. 27, no. 192 (titled Fleurs).
The Connoisseur, vol. 143, February 1959, p. XXXIV (illustrated).
Paris, Galerie Schmit, Maîtres XIXe-XXe siècles, Oeuvres majeures, May-July 1984, no. 10 (illustrated in color).
Brame & Lorenceau will include this work in their forthcoming Fantin-Latour catalogue raisonné des peintures et pastels.
The bountiful blooms of
Lys et fleurs diverses dans un vase bleu exemplify Fantin-Latour's mastery of the genre of still-life painting. Fantin-Latour’s richly painted bouquets offered a distinctive take on the tradition of the floral still life. Unlike his contemporaries, the Impressionists, who brought their easels outdoors and painted
en-plein-air, Fantin-Latour carefully selected and gathered his flowers, bringing them into his studio where he arranged them into bouquets of symphonic color and texture. Fantin-Latour's extraordinary attention to detail derives from his personal connection to his subject-matter. He gathered many of his flowers from the garden of his house at Buri, and combined different species, some freshly picked, others wilting, to emphasize the brevity of their existence. Jacques-Emile Blanche praised the artist’s ability to capture the individuality of each bloom stating, “He captures the physiognomy of the flower he is copying; it is that particular flower and not another on the same stem: he draws and constructs the flower, and does not satisfy himself with giving an impression of it through bright, cleverly juxtaposed splashes of color" (quoted in "Fantin-Latour,"
Revue de Paris, 15 May 1906, pp. 311-312).
While this arrangement has all the spontaneity of a freshly picked bouquet, nothing in fact has been left to chance – demonstrating the artist’s mastery of composing form and light. Crowning the composition, the white lilies assert a striking vertical presence, their luminous petals unfolding with sculptural clarity against the dark ground. Beneath them, a densely layered pink peony anchors the bouquet, its soft, full bloom offering a moment of lush stillness. Surrounding these central elements, a diverse array of seasonal flowers—including pansies, daisies, cornflowers, and clustered wildflowers—introduce rhythmic variation and colorful richness. The overall effect is one of careful balance between natural spontaneity and formal structure, emblematic of Fantin-Latour’s refined approach to still life painting.