Sotheby's /Dec 10, 2014
€101,201.75 - €151,802.63
Artworks in Arcadja186
Some works of Jean BéraudExtracted between 186 works in the catalog of Arcadja
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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
Auction: Sotheby's -Dec 10, 2014 - LondonLot number: 30
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Jean Béraud 1849 - 1935 FRENCH MODISTE SUR LE PONT DES ARTS signed Jean Béraud lower right oil on panel 37.5 by 56cm., 14¾ by 22in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication To be included in the supplement to the catalogue critique of Jean Béraud's painted oeuvre, being prepared by Patrick Offenstadt and the Wildenstein Institute. Provenance Mrs Burdett-Fisher, Axford Priory, Wiltshire (before 1997) Bequeathed from the above to the present owner Modiste sur le Pont des Arts belongs to the series of paintings Béraud made of the bustling Pont des Arts in wintry or windy weather, with the dome of the Institut de France visible beyond. Of the four other related versions of the subject (see Patrick Offenstadt, Jean Béraud. The Belle Epoque: A Dream of Times Gone By, Cologne, 1999, nos. 166, 167, 168, 168bis), one is in the Pushkin Museum, Moscow, and another in the Metropolitan Museum of Art, New York. Here, Béraud captures the spirit of the moment, as a gust of wind sweeps over the bridge, the men leaning forward or back into the wind and clutching their hats. Out of the corner of his eye a young artist - to judge by his canvas and paint box - steals a glimpse of a pretty young shopper laden with hat boxes, who in turn sends a coquettish glance towards the viewer. In another work in the series, the girl herself is cast as the artist, with a top-hatted man looking back at her over his shoulder. It is intriguing to speculate about the possible identity of the bearded man in the tan coat. Could he be a self-referential figure, Béraud himself catching sight of his next subject? Or could he be the painter Elixir from Proust’’s Remembrance of Things Past, known to have been a composite of Blanche, Helleu, Gervex, Vuillard, Whistler, and Jean Béraud? Béraud’’s paintings are today synonymous with the Paris Belle époque, so much so that at the turn of the century a scene of Parisian life came to be known as a ‘Béraud’’. He adored the city, in all weathers, at any time of day or night, indoors or out, and above all loved its people, whether the aristocracy and upper middle classes, the bourgeoisie, or the working people. A pupil of Léon Bonnat, Béraud’’s rigorous draughtsmanship owes something to this academic training, but his choice of subjects was poles apart from those of the Neoclassicists Bouguereau, Clairin and Gleyre. Doubtless Béraud’’s elegant realism owed something to the new art of photography pioneered by Niépce, Daguerre, and Fox Talbot. But, hungry for verisimilitude, he was in a sense a roving camera himself, making sketches on the spot, on foot or from hansom cabs. The panel is flat, even and ensuring a stable support. There are some very fine, faint lines of drying craquelure in the darker pigments of the central lady's dress, and one or two superficial light scuffs in the sky. Ultraviolet light reveals a number of small, minor scattered spots of retouching primarily in the lady's dress and in the wall and steps leading to the bridge. There appears to be a layer of surface dirt and the painting would benefit from a light surface clean. The work is otherwise in good condition. Presented framed. "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."
Auction: Christie's -Dec 9, 2014 - LondonLot number: 14
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Lot Description Jean Béraud (French, 1849-1936) Le canapé bleu signed and dated 'Jean Béraud 1912' (lower left) oil on canvas 29 x 24 in. (73.6 x 61 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Acquired directly from the artist by Bernheim-Jeune (stock no. 19179, 28 December 1912), Paris. Anonymous sale; Drouot, Paris, 8 December 1983, lot 2, as: 'Le Salon de Madame X'. with Bury Street Gallery, London. Pre-Lot Text PROPERTY FROM AN ENGLISH PRIVATE COLLECTION Literature G. Domergue, 'Les Salons de 1912. Société nationale des beaux-arts' , Le Soleil, 19 April 1912, p. 2. P. Offenstadt, Jean Béraud, La Belle Epoque, une époque rêvée, Paris, 1999, p. 187, no. 212 (illustrated). Exhibited Paris, Salon, 1912, no. 111. Paris, Salon, 1920, no. 220. View Lot Notes >