- 167
Henri Fantin-Latour
Estimate
450,000 - 650,000 USD
bidding is closed
Description
- Henri Fantin-Latour
- Nature morte à la carafe
- Signed Fantin and dated 1865 (upper right)
- Oil on canvas
- 18 1/2 by 15 1/2 in.
- 47.1 by 39.5 cm
Provenance
F. Myers (and sold: Christie's, Manson & Woods, London, May 28, 1920, lot 108)
Dr. Siegfried Arndt, Switzerland
Hartlet Arndt, Switzerland (by descent from the above and sold: Sotheby's, London, April 21, 1971, lot 9)
Acquavella Galleries, New York (acquired at the above sale)
Private Collection, Toronto (and sold: Sotheby's, New York, May 14, 1985, lot 1)
Private Collection, London (and sold: Sotheby's, New York, June 11, 1993, lot 15)
Acquired at the above sale
Dr. Siegfried Arndt, Switzerland
Hartlet Arndt, Switzerland (by descent from the above and sold: Sotheby's, London, April 21, 1971, lot 9)
Acquavella Galleries, New York (acquired at the above sale)
Private Collection, Toronto (and sold: Sotheby's, New York, May 14, 1985, lot 1)
Private Collection, London (and sold: Sotheby's, New York, June 11, 1993, lot 15)
Acquired at the above sale
Condition
The canvas is lined. Under UV light there are spots of retouching along the left and right extreme edges, possibly due to previous frame rubbing. There are two fine lines of horizontal retouching towards the lower edge, possibly due to restretching, and a further horizontal line towards the upper edge. There is a spot of retouching to the right of the fruit bowl. There is some lovely impasto to the fruit. 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Nature morte à la carafe is exemplary of Fantin-Latour’s oeuvre for its naturalism and the harmonious balance of its composition. Painted in 1865, this esculent arrangement was executed during a critical moment in the artist's oeuvre. It was during the 1860s that Fantin-Latour turned away from portraiture in favor of still life because the subject allowed a greater degree of experimentation with color, texture, form and composition.
The artist’s images of flowers, fruit, crystal and porcelain number among the great examples of trompe l'oeil painting of the late nineteenth century. His uninhibited use of white and tonal application of yellow and pink pigments in the present work is quintessential of his palette during this period, creating the luminous quality for which his still lifes are renowned. Urged on by the example and influence of James Abbott McNeill Whistler, Fantin-Latour experimented with the subtlest possibilities of chromatic harmonies, thus dramatically simplifying the structure of his pictures. He abandoned his earlier, more ambitious compositions in favor of the more classically understated still-life compositions, which were particularly appreciated by his English collectors.
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" (quoted in Edward Lucie-Smith, Henri Fantin-Latour, New York, 1977, p. 37).
The artist’s images of flowers, fruit, crystal and porcelain number among the great examples of trompe l'oeil painting of the late nineteenth century. His uninhibited use of white and tonal application of yellow and pink pigments in the present work is quintessential of his palette during this period, creating the luminous quality for which his still lifes are renowned. Urged on by the example and influence of James Abbott McNeill Whistler, Fantin-Latour experimented with the subtlest possibilities of chromatic harmonies, thus dramatically simplifying the structure of his pictures. He abandoned his earlier, more ambitious compositions in favor of the more classically understated still-life compositions, which were particularly appreciated by his English collectors.
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" (quoted in Edward Lucie-Smith, Henri Fantin-Latour, New York, 1977, p. 37).