Henri Fantin-Latour

Mrs Edwin Edwards, London.
C.H.T. Hawkins (sale: Christie's London, 2 November 1936, lot 100)
Arthur Tooth & Sons, London (purchased at the above sale)
Lockett Thomson, Barbizon House, London
Chester Beatty, London (acquired in 1937)
The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London (acquired in 1977)
Mr and Mrs Elbridge H. Stuart, El Paso, Texas (purchased from the above)
Elisabeth Stuart Nelson, Los Angeles (by descent from above)
Thence by descent to the present owner

London, Royal Academy of Arts, The One Hundred and Twenty-Sixth exhibition of the Royal Academy of Arts, 1894

Mme Fantin-Latour, Catalogue de l'œuvre complet de Fantin-Latour, Paris, 1911, no. 1549, listed p. 164 (titled as Roses)

The canvas is lined and there is a layer of varnish. UV examination reveals a small spot of retouching just above the upper peach, and a further small spot and tiny specks of retouching to the right of the fruitbowl. Otherwise, this work is in overall good condition. Colours: fairly accurate in the printed catalogue, though the background is slightly lighter 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."

Fantin-Latour's floral still-life paintings were first exhibited in London at the Royal Academy in 1864.  Early paintings were marked by a purity and simplicity of composition, whereas the still-lifes of the 1880s and 1890s were constructed with a more complex and detailed arrangement. Urged on by the example and influence of James McNeill Whistler, Fantin-Latour began experimenting in the subtlest possibilities of chromatic harmonies, thus simplifying dramatically the structure of his pictures. He abandoned his earlier, more ambitious compositions in favor of more classical and understated flower compositions, particularly appreciated by the English collectors in the 1890s.

The present work combines the favoured floral motif with a cornucopia of luscious fruit, thereby multiplying the sensory impact on the viewer. In his review of the Salon of 1889, Émile Zola described the artist's work as follows: 'The canvases of M. Fantin-Latour do not assault your eyes, they do not leap at you from the walls. They must be looked at for a length of time in order to penetrate them and their conscientiousness, their simple truth - you take these in entirely, and then you return' (Émile Zola, quoted in Edward Lucie-Smith, Henri Fantin-Latour, New York, 1977, p. 37).