Dallas Auction /Nov 4, 2015
€111,267.71 - €185,446.18
Artworks in Arcadja209
Some works of Jean BéraudExtracted between 209 works in the catalog of Arcadja
Auction: Christie's -Oct 26, 2016 - New-yorkLot number: 41
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Jean Béraud (French, 1849-1936) Place ensoleillée signed 'Jean Béraud' (lower left) oil on panel 8 ½ x 12 ½ in. (21.5 x 31.5 cm.) Jean Béraud’’’’’’’’s images of Parisian life earned him the high praise of being ‘Le Boilly de fin de siècle’’’’’’’’ from his contemporary, the art critic Roger Ballu (Le Salon illustré, July 1889). Béraud clearly loved the city, and his pictures chronicle the customs and fashions of his era with precise detail. Belle Époque journalist Paul Hourie wrote: ‘when you paint scenes from everyday life, you have to place them in their context and give them their authentic setting. This means that, in order to be sincere, you have to photograph them on the spot, and forget about the conventions of the studio. As a result, Jean Béraud has the strangest life imaginable. He spends all of this time in carriages. It is not unusual to see a cab parked on a corner of a street for hours on end, with an artist sitting inside, firing off rapid sketches. That’’’’’’’’s Jean Béraud in search of a scene, drawing a small fragment of Paris. Almost all the cab drivers in the city know him. He’’’’’’’’s one of their favorite passengers, because he at least does not wear their horses out’’’’’’’’ (Offenstadt, p. 9). Béraud was the perfect flâneur, ‘a passionate spectator whom we might liken to a mirror as vast as the crowd itself (V. Steele, Paris Fashion – A Cultural History, New York, 1988, p. 90). Béraud’’’’’’’’s Paris and its denizens were always captured with the accuracy of a camera lens. Béraud was a close friend of Edouard Manet, and frequented the same cafes, restaurants and theatres as Degas, Renoir and Toulouse Lautrec. He shared with the Impressionist artists a spontaneity of brushwork and interest in the naturalistic effects of the play of light and shadow across the boulevard and upon the buildings in the background, all of which are clearly evident in this painting.
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Description: Jean Beraud (French, 1849-1935), "Une Parisienne", ca. 1880, oil on canvas, signed lower right "Jean Beraud", verso with a "Richard Green, London, U.K." gallery label and a letter of inclusion in the Catalogue Raisonne de l'oevre de Jean Beraud by Patrick Offenstadt, Fondation Wildenstein, Paris, 14" x 10". Presented in a period giltwood frame. Provenance: Richard Green Gallery, London, U.K; Christie's, New York, May 27, 1992, lot 60; Merryl Israel Aron, New Orleans, Louisiana. Jean Beraud initially began his career as a portraitist before finding his metier as a chronicler of middle-class urban life. His frequently rain-drenched street scenes depict the sophisticated, bustling denizens of Paris as they complete their often prosaic errands. A quintessential Belle Epoque painter, Beraud's subjects can be viewed as feminized versions of the flaneur or boulevardier so prevalent in the writings and art of the early 19th century. With his somewhat panoramic compositions, Beraud creates a sense of immediacy and vitality in these visual explorations of contemporary, everyday city life. As with the painting presented here, he intends for the viewer to perceive - to react to - a specific moment caught in time. To achieve this effect, Beraud had a cab specially rigged as a mobile studio, allowing him the ability to paint plein air scenes of the busy avenues and boulevards, unhindered by the activity around him. As a contemporary, the artist and journalist Henry Bacon (1839-1912) wrote in his "Glimpses of Parisian Art": "A cab...attracted our attention. Presently up went the curtain, and the familiar head of Beraud appeared. At his invitation, we thrust a head into the miniature studio to see his latest picture. His canvas was perched upon the seat in front, his color-box beside him..." Beraud studied law at the Lycee Bonaparte (now Lycee Condoret) before entering the atelier of the Academic painter Leon Bonnat (1833-1922). He had his debut at the Paris Salon in 1827, receiving a 3rd class medal in 1882 and a 2nd class medal in 1883; this last obtained for him the status of "hors concours", essentially allowing him the privilege of submitting to the Salon "at will". He was elected a chevalier of the Legion d' honneur in 1887 and was named an officier in 1894. References: Bretell, Richard R.; Tucker, Paul Hayes; Lee, Natalie H. Nineteenth and Twentieth Century Paintings in the Robert Lehman Collection . 2009. Princeton: The Princeton University Press in association with the Metropolitan Museum of Art. pp. 56-59.; Bacon, Henry. "Glimpses of Parisian Art". The Century Illustrated Monthly Magazine , Volume XXI, New York, 1886. Condition Report: Descriptions provided in both the print and on-line catalogues do not include condition reports. The absence of a condition report does not guarantee that a lot is in perfect condition or free from damage and/or wear. We strongly suggest that you request a condition report prior to bidding on any lot. All transactions are governed by New Orleans Auction Galleries? Conditions of Sale.
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Jean Beraud (French, 1849-1936) Le Pont de Bercy, c. 1880 oil on canvas signed Jean Beraud (lower right) 18 1/4 x 22 inches. Property from a Private Collection, Lake Forest, Illinois Provenance: Private collection, Scotland Sold: Christie's, Glasgow, April 2, 1969, lot 70 Rutland Gallery, London Private collection, acquired from the above; thence by descent Sold: Sotheby's, London, November 16, 2005, lot 246 MacMonal Mason and Sons, Ltd., London Private collection, acquired by the present from the above Exhibited: London, Rutland Gallery, French and Belgian Painting Where they Meet and Diverge, 1969, no. 1 Literature: P. Offenstadt, Jean Beraud 1849-1935, The Belle Epoque, A Dream of Times Gone By, Catalogue Raisonne, Taschen, 1999, p. 156-157, no. 160, illus. London, Rutland Gallery, French and Belgian Painting Where they Meet and Diverge, exhibition catalogue, 1969, no. 1, illus. Described as "a sophisticated Parisian who knows where to go and has the gift for observation," Jean Beraud captured in his lively paintings the grand boulevards and stylish denizens of Belle Epoque Paris. Originally trained as an Academic artist, early in his career Beraud was influenced by the Impressionists, with their quick brushstrokes and urban themes. He was a close friend of Edouard Manet and frequented the same cafes as Edgar Degas, Pierre Renoir, and Henri Toulouse-Lautrec. Like them, Beraud sought to objectively convey the modernization of Paris caused by Baron Hausmann's physical reconfiguration of the city. Le Pont de Bercy displays Beraud's talent for depicting everyday life in Paris without sentimentality or picturesqueness. A man in a blue working smock converses with a smartly but soberly dressed woman. They stand on the banks of the Seine at Bercy, upstream from Paris. Originally a small, separate commune, Bercy was annexed in 1860 by the Second Empire. By the 1870s, it was developing into a residential and commercial quarter of Paris. Behind the couple can be seen the Pont de Bercy, completed in 1864, with a steady stream of traffic. Barges placidly float on the river and an idle work cart stands at the ready along the still incomplete river embankments. From the Impressionists, Be?raud also developed an interest in Japanese ukiyo-e prints, with their asymmetrical compositions. In the present work, elements of the Eastern art form can be seen in the artist's use of large expanses of empty space punctuated by dark figures, as well as the diagonal lines of the bridge and tram lines cutting across the canvas. The candid grouping of the couple, off-center focus and deep perspective likewise owe something to the new art of photography pioneered by Niépce, Daguerre and Fox Talbot. Beraud was known to sit and sketch in a hired carriage for hours in order to capture spontaneous fragments of the city's life, as if he himself was a roving camera. In both its subject matter and compositional structure, Le Pont de Bercy reveals the artist as one of the great nineteenth-century painters of modern life. Please contact us directly for a complete condition report.
Auction: Dallas Auction -Nov 4, 2015 - DallasLot number: 6
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Jean Béraud, "Le jour d'emprunt (Loan Day)" oil on canvas. Signed lower right , "Jean Béraud". Canvas: 24.75"H x 34"W; Frame: 32.25"H x 41.25"W. PROVENANCE: M. Combe (acquired in 1936). Louis Ferri (acquired in 1963). Drouot, Paris, February 1st, 1967 (h.c., ill.). Max Schweitzer Gallery, Inc., New York (acquired from the above). Christian Humann (acquired from the above in 1970). Sotheby's New York: May 23, 1997, Lot 00286. From the Collection of Sam Wyly, Dallas, Texas. EXHIBITED: "Jean Béraud: Peintre de la vie Parisienne," Musée Carnavalet, Paris, November 1936 - January 1937, no. 48. "The Elegant Epoch," Hammer Galleries, New York, 1969, no. 48 (illustrated). LITERATURE: P. Hermant, "Au temps des victorias," Le Figaro illustré, December 1936 (illustrated, p. 48). A. Dauphin-Meunier, "La Banque à travers les âges," Paris, 1937 (T. II, ill.). M. Mogenet, "Un siècle d'economie française 1863-1963," Montrouge (France), 1963 (ill., p. 105). J.-P. Crespelle, "Les Maîtres de la Belle Époque," Paris, 1966 (no. 215, ill. p. 138). Chantelou, "À l'hôtel Drouot, 30.100 F pour 'Le Jour de l'emprunt' de Jean Béraud," Le Monde, February 4, 1967. "Notable Works of Art now on the Market," The Burlington Magazine, June 1967 (ill. pl. 28). Auction, February 1970, ill. (advertisement for Schweitzer Gallery). P. Offenstadt, "Le Paris disparu de Jean Béraud," L'il, March 1987, p. 34. P. Offenstadt, "Jean Béraud: The Belle Époque, A Dream of Times Gone By. Catalogue raisonné," Cologne: Taschen, Paris: Wildenstein Institute, 1999 (éditions française et anglaise), no. 315, p. 241 and ill. in color pp. 9 and 240. Jean Béraud (French, 1849-1936) was regarded as one of the premier illustrators of the Belle Époque era in Paris during the late 19th century. Much like his Impressionist contemporaries, Béraud depicted scenes from everyday Parisian life, observing and chronicling the lives of the working class, bourgeoisie, and aristocrats. "Le jour d'emprunt" captures a scene of "the launch of a state loan, attracting subscribers to the banks and the town halls on the appointed day. Long queues sometimes resulted." (P. Offenstadt, p. 241).
Auction: Sotheby's -Nov 3, 2015 - New-yorkLot number: 70
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Jean Béraud 1849 - 1935 FRENCH LE CHRIST LIÉ À LA COLONNE signed Jean Béraud and dated 1901 (lower right) oil on canvas 31 7/8 by 25 7/8 in. 80.7 by 65.5 cm Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Exhibited Paris, Salon, 1901, no. 73 Literature Maurice Hamel, Salons de 1901, Paris, 1901, illustrated M. Demaison, "Les Salons de 1901. La Peinture," La Revue de l'art ancien et moderne, 1901, p. 402 Paul Leroi, "Salons de 1901, Ce qu'il faut y voir," L'Art, 1901, p. 261 Arsène Alexandre, "Les Salons de 1901. Société nationale des beaux-arts," Le Figaro, April 21, 1901 Louis de Fourcaud, "Les Salons de 1901. Société nationale des beaux-arts," Le Gaulois, supplément au journal, April 21, 1901, p. 1 Furetières, "Vernissages. Société nationale des beaux-arts," Le Soleil, April 21, 1901, p. 2 B. Guineaudeau, "Le Salon. Société nationale des beaux-arts," Le Temps, supplement, April 21, 1901, p. 2 "Le Salon de la Société nationale des beaux-arts. Toiles sensationnelles," La Nation, April 22, 1901, p. 2 Marcel Fouquier, "Le Salon de la Société nationale des beaux-arts. La peinture," Le XIXeme Siècle, April 22, 1901, p. 1 J. Torlet, "Le vernissage," L'Aurore, April 22, 1901, p.2 G. Denoinville, "Le Salon de 1901. Société nationale des beaux-arts," Le Voltaire, April 23, 1901, p. 3 Aug. Dalligny, "Le Salon de 1901. Société nationale des beaux-arts," Le journal des arts, April 24th, 1901, p. 1 Tutur, "Oh!, héles peintres, lettre de Tutur à Toto," Gil Blas, April 27, 1901, p.1 Octave Mirbeau, "Le Christ proteste," Le Journal, April 28, 1901 Le Monde illustré, May 4, 1901, illustrated as cover "Société nationale des beaux-arts," L'Illustration, May 4, 1901, p. 299, illustrated M. Tourneaux, "Le premier Salon du XXe siècle," Gazette des beaux-arts, June 1901, p. 469H.-P. Linel, "Le Salon de 1901," Le Figaro, June 12, 1901, p. 3 F. Hoffman, "L'exposiotion de la Société nationale des beaux arts," Le Journal des arts, June 13, 1901, p. 2 "Une histoire de Jean Béraud," Le Petit Journal, October 11, 1935, p. 2 Patrick Offenstadt, Jean Béraud, 1849-1935, The Belle Époque: A Dream of Times Gone By, catalogue raisonné, Cologne, 1999, p. 272, no. 360, illustrated Catalogue Note In Jean Béraud’’ s Le Christ lié à la colonne, the central figure of Christ is depicted with all of the attributes of the Passion: the bloody reed and the crown of thorns, radiant halo and ecstatic expression. Much like Jean-Jacques-Joseph Tissot and other artists before him, Béraud became interested in religious subjects towards the end of his life and modernized the narrative by situating his scenes within contemporary Paris and including archetypal figures who he may have observed on the city’’s streets. The painting was a sensation when it was exhibited at the Paris Salon in 1901. As one viewer reported at the time: “Jean Béraud represents Christ tied to the column by the Freemasons and Republicans. The old painters - Holbein in Basel, Fra Angelico in San Marco - showed Him scourged by the soldiers. Who should we believe??” (as translated from the French, “Les Salons de 1901,” La Revue de Paris, year 8, vol. 3, May-June 1901, p. 601). Béraud’’s ambitious statement may be viewed as a response to France’’s increasingly secular society, a subject that he explored in his Salon submissions of 1894 and 1912, each titled Le Chemin de Croix (1894, unlocated, Offenstadt no. 259; and 1912, unlocated, Offenstadt no. 260). The appearance of this painting marks an important rediscovery in Béraud’’s oeuvre; it probably has not been exhibited since the Salon of 1901 and its location has remained unknown ever since. Please note this lot will be sold unframed. See More See Less