Lot 73
  • 73

Jean Béraud

Estimate
40,000 - 60,000 USD
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Description

  • Jean Béraud
  • Jeune Femme descendant d'un fiacre
  • signed Jean Béraud. (lower left)
  • oil on panel
  • 18 1/8 by 14 1/2 in.
  • 46 by 36.8 cm

Provenance

Schweitzer Galleries, New York

Literature

Patrick Offenstadt, Jean Béraud 1849-1935, The Belle Époque: A Dream of Times Gone By, catalogue raisonné, Cologne, 1999, p. 110, no. 48, illustrated

Condition

Oil on stable panel. The work has been recently been cleaned. Under UV: very faint, deliberate spots inpainting fluoresce in the sky.
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

While Parisian shops long had the reputation for quality goods, it was only toward the end of the eighteenth century that the boutiques themselves became destinations and their interior décor and shopping experience became as well known as the couture they offered. While his contemporaries, the Impressionists, largely ignored the world of retail (perhaps afraid of the association with commercial advertising and fashion illustration so popular at the time), Jean Béraud embraced the shops of the rue de la Paix, including the famous Maison Doucet and Maison Paquin, as an important part of Parisian life, as seen in the present work (Françoise Tétart-Vittu,”Shops-Versus  Department Stores,” Impressionism, Fashion and Modernity, exh. cat., Musée d’Orsay, Paris, The Metropolitan Museum of Art, New York and The Art Institute of Chicago, 2012-13, p. 210-4). 
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