Eugène Boudin

Dr Paulin, Paris (sale: Hôtel Drouot, Paris, 21st November 1901, lot 8)
Tedesco Frères, Paris
Acquired from the above by the family of the present owner in 1935

Paris, Galerie Charpentier, Trésors du Musée de Caen et Boudin, 1958, no. 32
Paris, Jean-Claude Bellier, Exposition: Pour le plaisir, 1970, no. 5 

Robert Schmit, Eugène Boudin, 1824-1898, Paris, 1973, vol. II, no. 2454, illustrated p. 430

The board is sound. Apart from a 4cm. diagonal line of retouching to the centre left, this work is in very good condition. Colours: Overall fairly accurate although richer and more subtle in the original.
"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."

Among the masters of late nineteenth century painting, Boudin is renowned for his vision of the beaches, seascapes and bustling harbours of Northern France. Inspired by Daubigny's and Corot's depictions of washerwomen at the riverside, Boudin created a series of views where local washer women appear as the focal point of the composition.

"In their subject these paintings are the antithesis of Boudin's beach scenes. Unlike the fashionable visitors idling in the sand, these local women are hard at work. Boudin rarely shows them turning to each other and chattering; instead they are seen from behind, their backs bent, intent on their task. By the nature of their task, these washerwomen provided Boudin with an ideal subject combining as it did observation of the human figure with description of water, sky and landscape. In a series of small, almost repetitive pictures, Boudin explored a variety of colour harmonies, often achieving rich tapestry-like effects" (V. Hamilton, Boudin at Trouville (exhibition catalogue), Glasgow Museums, Glasgow, 1992, p. 123).