Joseph J. Xavier Bidauld

LOT 132 THE PROPERTY OF ROBERT M. EDSEL, DALLAS, TEXAS JEAN-JOSEPH-XAVIER BIDAULD CARPENTRAS 1758 - 1846 MONTMORENCY VIEW OF THE RAVINE AT SAN COSIMATO signed and dated lower left: J ph Bidauld / 1788 inscribed on the verso: a S t Cosimato oil on unlined canvas, unframed 60,000—80,000 USD 12 3/4 by 9 1/2 in.; 32.4 by 24.1 cm. signed and dated lower left: Jph Bidauld / 1788inscribed on the verso: a St Cosimato Jules Burat (1807-1885), Paris;His (deceased) sale, Paris, Galerie Georges Petit, 28-29 April1885, lot 10;1Private Collection, France;With Artemis Fine Arts, Ltd., New York;From whom acquired by the present owner. Painted while Bidauld was in Italy, View of the Ravine at SanCosimato was once a part of the well-known collection of JulesBurat (1807-1885). An amateur, Monsieur Burat amassed a collectionthat spanned three centuries of French art. He owned works by SimonVouet; had particularly strong holdings of the French 18th century,and even owned works by David and Gros. By focusing his interestson artists who had fallen from contemporary critical favor, Buratwas able to put together a group that included the works of LeMoyne, Lancret, Pater, Nattier and Chardin, among others. Aphilanthropist, Burat often loaned works to local charity shows andother organizations and was thus a well-known figure in the Parisanart world of the mid-nineteenth century.2 The presentwork was one of four Bidaulds that Burat owned at the time of hisdeath.The crisp, clear light and idyllic, unpopulated hillsides of thepresent canvas are indicative of Bidauld's oeuvre. The artistcontinued to paint scenes of the Italian countryside throughout hiscareer, even after his return to France, using his numerous andexhaustive preparatory sketches -- done en plein air -- as guidesfor later compositions.1. An annotated copy of the sale catalogue at the Frick Collectionin New York, lists the purchaser as "Rubin" and quotes a hammerprice of 130 FF.2. For more information on Jules Burat and his collection, see PaulMantz's introduction to the 1885 sales catalogue.

Jean-Joseph-Xavier Bidauld (Carpentras 1758-1846Montmorency) The Departure for the Hunt signed and dated 'J p h Bidauld 1806' (lowercenter, on the rock) oil on canvas 33¼ x 49¾ in. (84.4 x 126.3 cm.) On a bright, cool morning, a small, masted sailboat is beingpulled ashore; a seated hunter pulls on his boots while his huntingparty and their hounds makes ready to board the boat and depart fora day's shooting. Bidauld's luminous painting, which is signed anddated 1806, is a fine example of the sort of polished, idealizedlandscape epitomizing the neoclassical style, of which the artistwas the major practitioner in France. Bidauld was born in Carpentras (Provence), and moved to Lyon wherehe studied with his brother, the landscape and still life painterJean Pierre Xavier Bidauld (1745-1813). In the late 1770s thebrothers traveled to Switzerland where they worked for severalyears. By 1783 Bidauld was in Paris, where he met and probablystudied with the preeminent landscape painter of the age, JosephVernet (1714-1789). In 1785 Bidauld traveled to Rome under theprotection of the Cardinal de Bernis, and during his five years inItaly, he visited the hill towns of Subiaco and Narni, themountains of Abruzzi, and went south to Naples. Throughout hisItalian sojourn, however, his favorite place to paint and sketchwas the Roman campagna, where he made many trips. While in Italy,the artist favored painting en plein-air (of which he was somethingof a pioneer) and he produced numerous oil sketches on paper, manyof which featured in his estate sale. On his return to France,Bidauld made a sensation when he exhibited five landscape paintingsat the Paris Salon of 1791; henceforth, he would contributeregularly to the Salon until 1844. He established a style fromwhich he would little deviate for the remainder of his career, andhis landscape paintings - whether they were 'historical' with anostensible classical subject, or included contemporary genreelements, as in The Departure for the Hunt -- conform perfectly toneoclassical precepts, with cool and clear lighting, meticulouslypainted foliage and architecture and sweeping, heroic vistas. Bidauld was a favorite of the French royal family until 1814 (hispatrons included Joseph Bonaparte and Caroline Murat, and the Ducand Duchesse de Berry), but his renown was international and healso worked for Charles IV of Spain on decorations for the Casitadel Labrador in the royal palace of Aranjuez.

LOT 52 JEAN-JOSEPH-XAVIER BIDAULD CARPENTRAS 1758 - 1846 MONTMORENCY EXTENSIVE MOUNTAINOUS LANDSCAPE oil on canvas, unframed 200,000—300,000 USD 13 3/4 by 19 in.; 34.9 by 48.3 cm. PROVENANCE With Leggat Bros., London, by 1941;Oliver Van Oss, Esq., by 1942;By descent in the family;Anonymous sale, London, Christie's, 30 October 1998, lot 61;There purchased by the present collector. EXHIBITED London, Council for the Encouragement of Music and Arts, AnExhibition of British Landscapes in Oils From George II to QueenVictoria , 1942-43, cat. no. 7 (as attributed to John RobertCozens). LITERATURE AND REFERENCES R. Edwards, "Letters: A Picture attributed to J.R. Cozens', inBurlington Magazine , May 1943, p. 128, reproduced fig. D,(as Attributed to John Robert Cozens);R. Edwards, An Exhibition of British Landscapes in Oils FromGeorge II to Queen Victoria , 1943, p. 6, cat. no. 7 (asAttributed to John Robert Cozens);S. Gutwirth, "Sabine Mountains: an Early Italian Landscape byJean-Joseph-Xavier Bidauld", in Bulletin of Detroit Institute ofArts , 1977, Vol. 55, No. 3, 1977, p. 151, under note 2. CATALOGUE NOTE Despite the strange misattribution to John Robert Cozens in the1942 exhibition, this is a quintessential work by Bidauld who wasparticularly notable for his masterful treatment of light. Bidauld, like other French landscape painters of his generation,travelled to Italy in 1785 to complete his artistic training in theItalian countryside. His Italian sojourn, which lasted five years,proved to be the defining experience of his career and the manyplein air sketches and paintings he produced while there providedinspiration throughout the rest of his artistic career. Though hereturned to Italy only once after his initial visit, he drewheavily upon his fond memories of the landscape and continued topaint Italian subjects throughout his career. A very similar picture by Bidauld of comparable measurements wassold at Sotheby's, New York, January 27, 2006, lot 337 for$240,000.

LOT 207 JEAN-JOSEPH-XAVIER BIDAULD 1758 - 1846 WALL WITH DISTANT SMOKESTACK watercolor on wove paper. Together with Lorenzo Quaglio theYounger, The Stuiben Falls at Reutte, inscribed L Quaglio/ 1860. inpen lower left; inscribed Pollat [?] Fall/ Gemald von. L. Quaglio/1860 in pencil on the reverse, watercolor and gouache over pencilon wove paper; and Margaret Meen (fl. 1775 - 1824), Yardley Oak,inscribed Judith in gray ink lower center and M. Meen, delin./Dec.r 1804 lower right, watercolor and gouache over pencil on wovepaper. 3 works. 3,000—4,000 USD measurements measurements note the first 4 5/8 by 3 1/4 in.; the second 9 1/4 by 13 in. (sight);the third image 8 1/4 by 5 3/4 in.; sheet 8 1/4 by 5 3/4 in. 11.9by 8.4 cm.; 23.6 by 33 cm.; 25.9 by 19.7 cm.; 21 by 14.6 cm Description watercolor on wove paper. Together with Lorenzo Quaglio theYounger, The Stuiben Falls at Reutte, inscribed L Quaglio/ 1860. inpen lower left; inscribed Pollat [?] Fall/ Gemald von. L. Quaglio/1860 in pencil on the reverse, watercolor and gouache over pencilon wove paper; and Margaret Meen (fl. 1775 - 1824), Yardley Oak,inscribed Judith in gray ink lower center and M. Meen, delin./Dec.r 1804 lower right, watercolor and gouache over pencil on wovepaper. 3 works. PROVENANCE The first: Jacques Petit-Hory (his mark in purple ink on reverseof mount, not in Lugt)Hervé Aaron and Alan Salz, New York;By whom gifted to Charles Ryskamp, 1997The second: Sale Winterberg, April 19, 2002, lot 542Arturo Cuéllar, ZurichAcquired from the above, 2004The third: Ximenes Rare Books, New York EXHIBITED The first: Morgan 2001, no. 35Yale 2010, no. 39The second: Yale, 2010, no. 46The third: Yale 2010, no. 82 PROVENANCE The first: Jacques Petit-Hory (his mark in purple ink on reverseof mount, not in Lugt)Hervé Aaron and Alan Salz, New York;By whom gifted to Charles Ryskamp, 1997The second: Sale Winterberg, April 19, 2002, lot 542Arturo Cuéllar, ZurichAcquired from the above, 2004The third: Ximenes Rare Books, New York EXHIBITED The first: Morgan 2001, no. 35Yale 2010, no. 39The second: Yale, 2010, no. 46The third: Yale 2010, no. 82

Jean-Joseph-Xavier Bidauld (Carpentras 1758-1846Montmorency) A grapevine on a flowering trellis framing a French town in anextensive river landscape beyond indistinctly signed 'J... Bida...' (lower centre) oil on canvas 12½ x 16 in. (31.7 x 40.7 cm.) Arcade Fine Arts; Sotheby's, New York, 21 January 2004, lot129. Lot Notes This painting most probably represents a village in the cantonof Geneva or Vaud, on the banks of the Lake, possibly Coppet,Versoix, or Nyon.