Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Albert Bartholomé

(1848 -  1928 ) Wikipedia® : Albert Bartholomé
BARTHOLOMÉ Albert French La Fontaine

Sotheby's
Jul 12, 2017
Find artworks, auction results, sale prices and pictures of Albert Bartholomé at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert
Artworks in Arcadja
29

Some works of Albert Bartholomé

Extracted between 29 works in the catalog of Arcadja
Albert Bartholomé - The Ferret Game

Albert Bartholomé - The Ferret Game

Original 1885
Estimate:

Price:

Lot number: 202
Other WORKS AT AUCTION
Description:
Paul-Albert Bartholomé THE FERRET GAME THIVERVAL-GRIGNON 1848 - 1928 PARIS Signed and dated lower left Bartholomé 1885 Oil on canvas 130,5 x 163,5 cm ; 51 3/8 by 64 3/8 in. Provenance Artist's studio ; Florence Bartholomé Collection, the artist's widow ; Simone-Fernande Guiboux Collection, niece of the above ; Sale, Angers, 10 December 1989, n°457 ; Sale, Hôtel Drouot, Paris, 24 May 1991, n°80 Exhibited Salon, Paris, 1886, n°121 ; Neuvième exposition annuelle des XX, Brussels, February 1892, n°1 ; Universal Exhibition, Chicago, 1893, part X, department K, Fine Arts ; Bartholomé, Künstlerhaus, Vienne, 1907, n°34 Literature Letter from Albert Bartholomé to Octave Maus, 13 November 1891, mentioned ; Prosper de Fleury, "Le Furet" in Jalons, 1886 ; Alfred de Lostalet, "Salon de 1886" in Gazette des Beaux-Arts, Paris, 1886, p. 475 ; Teodor de Wyzewa, "Peinture wagnérienne. Le Salon de 1886." in La Revue wagnérienne, Paris, 1886, p. 108-109 ; Joseph Noulens, Artistes français et étrangers au Salon, 1885-1886, Paris, 1887, p. 319 ; Jules Du Jardin, "Le Salon des XX" in La Fédération artistique, Paris, 14 February 1892 ; Emile Verhaeren, "Le Salon des XX" in Journal de Bruxelles, Brussels, 7 February 1892 ; Emile Verhaeren, "Le Salon des XX" in La Nation, Brussels, 15 February 1892 ; Léonce Bénédite, "Albert Bartholomé" in Art et Décoration, vol. VI, 2nd semester, December 1899, p. 163 ; Thérèse Burollet, Bartholomé, La redécouverte d'un grand sculpteur, Paris, 2017, p. 169, P24/A Catalogue Note Bartholomé worked with diverse techniques : oil, pastel, and most of all sculpture, to which he dedicated himself from 1886 on, and for which he remains famous.
Albert Bartholomé - French Femme Au Chignon, Sortant Du Bain Et S'essuyant Les Pieds, Assise, Les Jambes Croisées (bathing Woman Wiping Her Feet)

Albert Bartholomé - French Femme Au Chignon, Sortant Du Bain Et S'essuyant Les Pieds, Assise, Les Jambes Croisées (bathing Woman Wiping Her Feet)

Original
Estimate:

Price:

Lot number: 41
Other WORKS AT AUCTION
Description:
Albert Bartholomé FRENCH FEMME AU CHIGNON, SORTANT DU BAIN ET S'ESSUYANT LES PIEDS, ASSISE, LES JAMBES CROISÉES (BATHING WOMAN WIPING HER FEET) signed: ABartholomé white marble 40 by 46.5cm., 15¾ by 18¼in. Provenance With the artist, until 1928; thence by descent to his wife, Florence Bartholomé, until 1956; her estate sale, Hotel Drouot, Paris, 12 June 1956, lot 3; purchased at the above saleby Jean Braunwald, cousin of the artist Literature T. Burollet,Albert Bartholomé, 1848-1928: laredécouverte d'un grand sculpteur, Paris, 2017, p. 257, no. S37/I Catalogue Note This sensuous marble nude bears witness to a defining phase in Albert Bartholomé\’s career: the introduction of Florence Letessier into his professional life as a model, and into his personal life as his second wife. Tragically widowed in 1886, Bartholomé married the beautifulyoung woman in 1901. She had begun posing for the artist in 1899, at the age of 21, and in return,he supported hersinging lessons at the conservatoire de musique. Bartholomé\’s choice of wife proved controversial among his circle not only because of Florence\’s comparative youth and humble background, but because of her risqué status as his former model; his friend Edgar Degas, though acknowledging her fine looks, remained sceptical of the match. Yet Florence\’s effortless beauty, youth, and tenderness provided the sculptor with a new artistic inspiration. This manifested itself most prominently in the creation of a series of female bathers modelled by Bartholomé after Florencefrom1899, whose execution in white marble represented the culmination of his engagement with the subject. According to Thérèse Burollet, the author of the recent monograph on Bartholomé, the sculptor\’s bathers epitomise 'une nouvelle vision de la femme qui conjugue un réalisme plus charnel et l\’expression d\’une beauté à la fois calme et lumineuse' ('a new vision of women whichcombines a more carnal realism with the expression of a calm and luminous beauty', op. cit., p. 92). In the present marble this aesthetic is exemplified through an intimate composition that focuses on the woman's supple lines.A side view emphasises the smoothcontours of the her back, while therear view creates a subtle eroticism through the soft modulation of flesh. The seemingly mundane activity of bathing, and the spontaneous pose, are tempered by an impressionistic treatment of the marble surface, resulting in an at once fresh and sublime celebration of the female form.The Femme sortant du bain exists in several variants, of which versions in plaster, a limited bronze edition,stone versions and onlytwoexamples in white marble have been recorded. The present marble, dated to around 1905, remained in the collection of Florence Bartholomé until her death; it is thus avery personal testament to her intimate and stimulating relationship with the sculptor. Albert Bartholomé was an autodidact who focused on painting for much of his early career. Following the early death of his wife in 1886, he devoted himself to sculpture. His most famous work,in part a tribute to his deceased wife, remains the Monument to the Dead at Père Lachaise cemetery in Paris, which he completed in 1899. Together with Rodin'sGates of Hell, this has often been regarded as one of the greatest expressions of symbolist sculpture.Bartholomé won the Grand Prix for sculpture at theExposition Universellein 1900 and continued to have a successful career as a sculptor. While his fame was later eclipsed by that of contemporaries such as Rodin, Bartholomé's considerable eminence in early Modernist sculpture is in the process of being rediscovered. The present marble is arguably the most important of his works to come to auction in recent memory, following the sales of two other marbles in these rooms on12 July 2017 (lot 84) and 13 December 2017 (lot 104). RELATED LITERATURE T. Burollet,Albert Bartholomé, 1848-1928: laredécouverte d'un grand sculpteur, Paris, 2017, pp. 87-95, 255-257
Albert Bartholomé - French Adolescente Écroulée Sur Le Sol

Albert Bartholomé - French Adolescente Écroulée Sur Le Sol

Original
Estimate:

Price:

Gross Price
Lot number: 104
Other WORKS AT AUCTION
Description:
Albert Bartholomé FRENCH ADOLESCENTE ÉCROULÉE SUR LE SOL, LA TÊTE DANS SES CHEVEUX (MOURNING GIRL) 1848 - 1928 signed:ABartholomé. white marble 15 by 43cm., 5 7/8 by 17in. English collector, sincecirca 1970 T. Burollet and N. Gourand,Bartholomé: La redécouverte d\’un grand sculpteur, Paris, 2017, pp. 245-247, no. S.6/13/B Albert Bartholomé was an autodidact who focused on painting for much of his early career. After the tragic early death of his wife in 1886, he devoted himself to sculpting. Many of his works exude a peaceful melancholy, which can also be found in his most famous Monument to the Dead at Père Lachaise cemetery in Paris, finished in 1899. Together with Rodin'sGates of Hell, this has often been seen as one of the greatest expressions of symbolist sculpture.Bartholomé won the Grand Prize for sculpture at theExposition Universellein 1900, and continued to have a successful career as a sculptor. RELATED LITERATURE P. Kjellberg,Bronzes of the 19th Century: Dictionary of Sculptors,London, 1994, pp. 52-53
Albert Bartholomé - French La Fontaine

Albert Bartholomé - French La Fontaine

Original
Estimate:

Price:

Gross Price
Lot number: 84
Other WORKS AT AUCTION
Description:
Albert Bartholomé FRENCH LA FONTAINE 1848 - 1928 signed: ABar Tholomé. sc. white marble 87cm., 34¼in. Catalogue Note Albert Bartholomé was an autodidact who focused on painting for much of his early career. After the tragic early death of his wife in 1886, he devoted himself to sculpting. Many of his works exude a peaceful melancholy, which can also be found in his most famous Monument to the Dead at Père Lachaise cemetery in Paris, finished in 1899. Together with Rodin's Gates of Hell, this has often been seen as one of the greatest expressions of symbolist sculpture. Bartholomé won the Grand Prize for sculpture at the Exposition Universelle in 1900, and continued to have a successful career as a sculptor. The present marble, La Fontaine, was first modelled in plaster by the sculptor in 1896 (Burollet, op. cit. S. 28/A), intended as a preparatory plaster for a marble to be exhibited at the Salon de la Société nationale des Beaux-Arts. Bartholomé retained the plaster in his studio, which inspired several later versions in bronze and marble, one of which was recorded as part of his widow's collection in 1928. Another version in marble, dating to 1905, is part of the Imperial Collection in Japan. The present La Fontaine, with its fluid lines and organic structure, presents the opportunity to acquire an impressive marble by the important symbolist sculptor who has been recently 'rediscovered' (see Burollet, op. cit.). RELATED LITERATURE P. Kjellberg, Bronzes of the 19th Century: Dictionary of Sculptors, London, 1994, pp. 52-53; T. Burollet, Bartholomé: La redécouverte d\\’un grand sculpteur, Paris, 2017, pp. 245-247, no. S.28 84 Albert Bartholomé signed: ABar Tholomé. sc. white marble 87cm., 34¼in.
Albert Bartholomé - L'esprit De Vie Et De Lumière (the Sprit Of Life And Light)

Albert Bartholomé - L'esprit De Vie Et De Lumière (the Sprit Of Life And Light)

Original
Estimate:

Price:

Lot number: 102
Other WORKS AT AUCTION
Description:
32 by 51cm., 12½ by 20in.
DESCRIPTION
signed:
AB Bartholomé
and numbered α
21
Ω andinscribed:
Sur ceux qui habite le pays de l'ombre de la mortune lumière resplendit
plaster
CATALOGUE NOTE
In 1928 the art critic for
Le Figaro
, Arsene Alexandre,wrote that in sculpture 'Rodin reconquit les droits del'imagination, Dalou, ceux de la grand tradition, Bartholomé, ceuxde la simplicité des silhouettes et de la sobriété expressive demodèle.'
Indeed, Bartholomé was a talented and profound artist. He wastrained as a painter and studied under the tuteledge of Jean-LéonGérôme (1824-1904). From 1878 until 1886 he exhibited hisnaturalistic paintings at the
Salon des

ArtistesFrançais
. The death of his wife the following year had adevastating affect on the artist. Struck by deep depression,Bartholomé ceased his practice until his good friend Edward Degas(1834-1917) encouraged him to sculpt his wife's tombstone.
Inspired by the project, he commenced work on the
Monument auxMorts
for the Père Lachaise cemetery in 1899. It was deemed"one of the greatest expressions of symbolist sculpture." In 1895,he introduced a plaster model of the project at the Salon of theNational Society of Fine Arts in Paris, musée des beaux-arts deLyon (Inv. 1997-9). On 1 November 1899 the monument was opened tothe public. There were ninety-eight thousand visititors on itsinaugural day.
The monument assumes the form an Egyptian mastaba (a forerunner ofthe pyramid). It is composed of a series of high reliefs in stonearranged in two registers. The central relief of the monument is aseated female figure with her arms outstretched in a Christiangesture of blessing and resurrection. With her open and expansivepose, she is an allegory of the monument's inscription.
Bartholomé created various partial studies of the monument. Thisreduced workshop version of the central panel preservers a momentin the sculptor's practice and, as such, exhibits all the sombrebeauty and refinement of Bartholomé's masterpiece.
RELATED LITERATURE
Demaison, pp. 265–80; Burollet, pp. 109–16;
La Sculpturefrançaise au XIXe siècle
, pp. 224, 226–30, figs 243–5;
DeCarpeaux a Rodin
, p. 91-2;
The Romantics to Rodin
,p.106, fig.100
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr