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Jean Béraud

France (1849 -  1935 ) Wikipedia® : Jean Béraud
BÉRAUD Jean French Après L'office À L'église De La Sainte Trinité, Noël 1890

Sotheby's /Nov 22, 2016
564,387.17 - 752,516.23
633,427.75

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Artworks in Arcadja
226

Some works of Jean Béraud

Extracted between 226 works in the catalog of Arcadja
Jean Béraud - Young Woman With Children In Mountain Landscape

Jean Béraud - Young Woman With Children In Mountain Landscape

Original
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Lot number: 179
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JEAN BERAUD (FRENCH 1848-1935) Young Woman with Children in Mountain Landscape oil on panel 45.8 x 37.5 cm (18 x 14 3/4 in.) signed lower right PROVENANCE Hotel Drouot, Paris, June 30, 1952, lot 115 Schweitzer Gallery, New York LITERATURE Patrick Offenstadt, Jean Beraud 1849-1935, The Belle Epoque: A Dream of Times Gone by, Catalogue Raisonne, Paris, 1999, p. 237 (illustrated)
Jean Béraud - Envol D'un Biplan Type Wright

Jean Béraud - Envol D'un Biplan Type Wright

Original 1909
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Gross Price
Lot number: 26
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Jean Béraud (French, 1849-1936) Envol d'un biplan type Wright signed 'Jean Béraud' (lower left) oil on board 24 5/8 x 18 ½ in. (62.5 x 47 cm.) Painted circa 1909. The present work commemorates Wilbur Wright\\\’s flight of March 2nd, 1909 which took place at Pau in south western France. Six years earlier, Wilbur and his brother Orville Wright completed the first successful manned flight at Kitty Hawk, North Carolina. Wilbur Wright arrived in France in May of 1908. The airplane, which had been shipped to France prior to Wilbur\\\’s arrival, was damaged as a result of careless customs handling and Wilbur spent two stressful months preparing for the first flight. Hunaudières racecourse, southwest of Paris, was selection as the flying site, and Wilbur made his first flight on August 8, 1908. Seeking warmer weather, Wilbur moved his flight demonstration to Pau, a resort town in the south of France in January of 1909. Over the next year, he made more than two hundred flights in Europe, dazzling crowds whenever he took to the air. He became a hero, lavished with praise, honored at ceremonial dinners with political leaders and the aeronautical elite and was the recipient of numerous prizes and medals, including the Legion d\\\’honneur. In Envol d\\\’un biplane type Wright, Béraud has captured all of the wonder and excitement that must have accompanied these first demonstrations of man\\\’s ability to finally fly. It is clearly a social event; the elegantly attired figures of the man and woman in the foreground, she in her fur wrap and he in his elegant coat and bowler hat, look to the sky in awe, the gathered crowd all raising their hats and cheering this almost unimaginable feat. The sky and landscape are rendered in quickly laid down washes which emphasizes the spontaneity of the composition. It is as if the entire scene is set in motion, an echo of the new mode of transportation speeding towards the ebullient crowd below. James Gordon Bennett, Jr., the first owner of this painting, was the powerful American newspaper magnate and sportsman who was brought up and educated mainly in France. In 1866, his father named him to run the family owned New York Herald, which was especially known for its innovative reporting and European coverage. The younger Bennett raised the paper\\\’s profile internationally when he provided the financial backing for the 1869 expedition by Henry Morton Stanley into Africa to find David Livingstone in exchange for the Herald having the exclusive account of Stanley\\\’s progress. After he settled in Paris, he launched the Paris Herald Tribune, which became the forerunner of the International Herald Tribune. Mr. Bennett sponsored many international sporting events, including yachting, hot-air balloon and airplane races, as well as several scientific expeditions. He organized the first Polo match in the United Stated at Dickel\\\’s Riding Academy at 39th Street and Fifth Avenue in New York City and helped found the Westchester Polo Club. He established the Gordon Bennett Cup for international Yachting and the Gordon Bennett Cup for automobile races. In 1906, he funded the Coupe Aeronautique Gordon Bennett for the fastest speed on a closed circuit for airplanes. The painting was next owned by Francois Coty, the celebrated Parisian perfumer and art collector. The Coty firm, which he established in 1904, remains active today. (fig. 1) A Wright biplane in fight.
Jean Béraud - Jeune Femme Et Enfants Dans Un Paysage De Montagne

Jean Béraud - Jeune Femme Et Enfants Dans Un Paysage De Montagne

Original
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Lot number: 506
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Jean Béraud JEUNE FEMME ET ENFANTS DANS UN PAYSAGE DE MONTAGNE 1849 - 1935 signed Jean Béraud. (lower right) oil on panel 18 by 14 3/4 in.; 45.8 by 37.5 cm. Provenance Sale: Hôtel Drouot, Paris, June 30, 1952, lot 115 (titled Village de montagne) Schweitzer Gallery, New York Sale: Doyle, New York, November 2, 1998, lot 45 Acquired at the above sale by the present owner
Jean Béraud - French Après L'office À L'église De La Sainte Trinité, Noël 1890

Jean Béraud - French Après L'office À L'église De La Sainte Trinité, Noël 1890

Original
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Gross Price
Lot number: 18
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Jean Béraud FRENCH APRÈS L'OFFICE À L'ÉGLISE DE LA SAINTE TRINITÉ, NOËL 1890 1849 - 1935 signed Jean Béraud (lower right) oil on panel 19 7/8 by 26 1/2 in. 50.5 by 67.3 cm Provenance James Gordon Bennett, Jr. (acquired directly from the artist) Donated from the above in 1902 Exhibited Château de Blérancourt, Musée national de la Coopération franco-américaine, 1853-1947. Les Américains et la Légion d’’’’’’’’honneur, 1993, no. 14 Paris, Musée Carnavalet, on extended loan, 2000-2015 Literature The Paris Herald, Christmas issue, 1901, illustrated One Hundered Years of American Work and Worship in Paris, Paris, 1950, illustrated Patrick Offenstadt, Jean Béraud 1849-1935, The Belle Époque: A Dream of Times Gone By, catalogue raisonné, Cologne, 1999, p. 138, no. 124, illustrated Cameron Allen, The History of the American Pro-Cathedral of the Holy Trinity, Paris (1815-1980), Bloomington, Indiana, 2012, p. 499-500 Catalogue Note Jean Béraud’’’’’’’’s Après l'office à l'église de la Sainte Trinité, Noël, 1890, depicts elegant parishioners leaving the Church of the Holy Trinity, now known as The American Cathedral in Paris, on Christmas day. Men sport their fine coats and top hats, children are smartly dressed and women are adorned in furs and elaborate chapeaus with lace veils, their long dresses in hues of green and red. The parishioners’’’’’’’’ fashions and the carriages and drivers are punctuated with brilliant strokes of color, all serving to draw the viewer’’’’’’’’s eye to the two flags hanging over the church’’’’’’’’s entrance, sister ensigns that act as a clear and poignant symbol of Franco-American friendship. The Cathedral has a long history and played an important cultural role for Americans in Paris. In the 1870s, Dr. John B. Morgan, a cousin of J. P. Morgan, became Rector of Holy Trinity Parish in Paris and began a successful fundraising campaign for the church’’’’’’’’s expansion and the construction of what is now known as The American Cathedral in Paris on Avenue George V (then called Avenue d'Alma). The church was consecrated on Thanksgiving Day, November 25, 1886, coinciding with the dedication of the Statue of Liberty in New York and reinforcing cultural alliances between France and the United States. The Cathedral’’’’’’’’s iconic tower, among the tallest in Paris, was constructed in 1909, after the present work was painted. Après l'office à l'église de la Sainte Trinité, Noël, 1890 was commissioned by the American businessman, James Gordon Bennett, Jr., one of many influential Cathedral parishioners (a significant collection of paintings by Béraud, previously owned by parishioner Margaret Thompson Biddle, were sold in these rooms in May 2016). Bennett was the publisher of the New York Herald, the flagship newspaper founded by his father. In 1877, Bennett settled in France and launched the European edition of the newspaper, what is now known as the International Herald Tribune. Promoting cross-cultural friendship was likely Bennett’’’’’’’’s objective for the work, which he subsequently illustrated on the front page of the New York Herald’’’’’’’’s Christmas edition in 1901 and donated to the Cathedral in 1902. It is very possible that many of members of the parish can be identified in the painting, although no known documentation exists. As the popular chronicler of contemporary Parisian life, Béraud was the perfect choice to paint this winter morning in Paris. Intrigued by all aspects of la vie parisienne, Béraud was its scrupulous and devoted observer; the quintessential chronicler of Belle Époque Paris. Following the Franco-Prussian War (1870-71), Béraud abandoned previous plans to become a lawyer, and instead studied portraiture with a leading artist of the Third Republic, Léon Bonnat. Emulating Bonnat's choice of subject, Béraud painted portraits of women and children, as well as genre images of Italian peasant women. The artist began to branch out from portraiture around 1875, developing an interest in representing modern life in Paris. The spectacle of public spaces was a popular subject for French artists in the nineteenth century. Haussmannisation (1852-1870) – the urban planning commissioned by Napoleon III and lead by the Baron George Eugène Haussmann – introduced a public element to private life through wide boulevards for transportation and strolling; the American Cathedral is on the wide Avenue George V, just a few blocks south of the Champs Élysées. In showing members of different social strata mingling in these newly accessible public settings, artists such as Béraud could capture the modernization of Paris through the actions, dress, and appearances of its inhabitants. The painting remained at the Cathedral until 2000, after which time it was lent to the Musée Carnavalet, sharing wall space with many of Béraud’’’’’’’’s most iconic works and providing an additional glimpse of Parisian life at this colorful and exciting time in the country’’’’’’’’s history. Fig. 1 Early photograph of The American Cathedral in Paris, circa 1900
Jean Béraud -  Devant La Maison Paquin

Jean Béraud - Devant La Maison Paquin

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Lot number: 6
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Lot Details Lot 6 Jean Beraud French, 1849-1936 Devant La Maison Paquin Signed Jean Beraud (ll); incised JO/608 on the reverse Oil on panel 14 1/2 x 21 5/8 inches (36.8 x 55 cm) Provenance: Sale: New York, Waldorf Astoria, Mar. 8, 1901, Lot 24 Schweitzer Gallery, New York Sale: London, Sotheby's, Jun. 20, 1989, Lot 46, illus. Richard Green, London Private collection, Louisiana Exhibited: London, Richard Green, A Christmas Trilogy, Exhibition of XIXth and XXth Centuries European Paintings, 1989, no. 13, illus. Literature: Patrick Offenstadt, Jean Beraud, The Belle Epoque: A Dream of Times Gone By: Catalogue Raisonne, Cologne, 1999, p. 152, no. 146, illus. Patrick Offenstadt at the Fondation Wildenstein, Paris, issued a letter of authenticity for this work on October 30, 1989. The dressmaker Jeanne Paquin opened her fashion house on the rue du la Paix in 1891. The Maison Paquin quickly became known for its elegant evening gowns inspired by 18th-century dresses. Later Mme. Paquin gained a reputation as a modernist, even collaborating with such avant garde designers as Leon Bakst to create stage costumes. Jean Beraud painted several works featuring the Maison Paquin. C
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