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William Adolphe Bouguereau

France (1825 -  1905 ) Wikipedia® : William Adolphe Bouguereau
BOUGUEREAU William Adolphe Récolte De Noisettes

Christie's
Oct 31, 2018
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Bouguereau William-Adolphe

 

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Artworks in Arcadja
356

Some works of William Adolphe Bouguereau

Extracted between 356 works in the catalog of Arcadja
William Adolphe Bouguereau - Récolte De Noisettes

William Adolphe Bouguereau - Récolte De Noisettes

Original 1883
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Lot number: 20
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William Adolphe Bouguereau (French, 1825-1905) Récolte de noisettes signed 'W-BOVGVEREAV' (lower right) oil on canvas 63 5/8 x 44 ¾ in. (161.6 x 113.7 cm.) Painted in 1883. Provenance The artist. Goupil et Cie., Paris, acquired directly from the above, 12 December 1883. with Letts, Sons, and Co., London, 9 January 1884, transferred from the above. with Goupil et Cie., Paris, 17 April 1884, returned from the above. Clara Jessup Bloomfield-Moore (1824-1899), London, acquired directly from the above, 30 April 1884. Her sale; Christie's, London, 5 May 1900, lot 8, as The Nut-Gatherers. with Arthur Tooth & Sons, London, acquired at the above sale. Half share of the painting sold to Boussod, Valadon & Cie., Paris, 15 May 1900. with Edward Brandus, New York and Paris, acquired directly from the above, 17 May 1900. William Keeney Bixby (1857-1931), St. Louis, likely acquired directly from the above. with M. Knoedler & Co., New York, acquired directly from the above, 13 December 1905. Judge Samuel Lathrop Bronson (1834-1917), New Haven, CT, acquired directly from the above, 16 February 1906. His sale, American Art Association, New York, 15 March 1907, lot 35, as The Nut Gatherers. with Holland Galleries, New York, acquired at the above sale. James 'Diamond Jim' Buchanan Brady (1856-1917), acquired directly from the above. His sale; American Art Association, New York, 14 January 1918, lot 73, as The Nut Gatherers. Miss E. Fitzgibbon, acquired at the above sale. Anonymous sale; American Art Association, New York, 16 February 1922, lot 64, as The Nut Gatherers. William Randolph Hearst, Sr. (1863-1951), New York and San Simeon, CA, acquired at the above sale. His sale; Parke-Bernet Galleries, New York, 5 January 1939, lot 37, as The Nut Gatherers. Andrew Stone, Brentwood, California. Allan Levinson, United States. with Borghi & Co., New York, 1984. Acquired from the above by the present owner.
William Adolphe Bouguereau - Les Quatre Saisons: Le Printemps, L'été, L'automne, L'hiver

William Adolphe Bouguereau - Les Quatre Saisons: Le Printemps, L'été, L'automne, L'hiver

Original 1872
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Lot number: 6
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FRENCH LES QUATRE SAISONS: LE PRINTEMPS, L'ÉTÉ, L'AUTOMNE, L'HIVER William Bouguereau 1825-1905 oil on canvas each, 72 7/8 by 35 3/8 in. 185 by 90 cm Provenance Monlun Family Collection, Angoulins, France (commissioned directly from the artist, 1854) Élisa Monlun, Ain, France(by descent from the above, her parents) Thence by descent Literature Charles Vendryès,Dictionnaire illustré des Beaux-Arts, Paris, 1885, p. 9 Marius Vachon,W. Bouguereau, Paris, 1900, p. 146 Mark Steven Walker, \“William-Adolphe Bouguereau: A Summary Catalogue of the Paintings,\”William-Adolphe Bouguereau, L\’Art Pompier,exh. cat., Borghi & Co., New York, 1991, p. 64 Fronia Wissman,Bouguereau, San Francisco, 1996, p. 23 Damien Bartoli and Frederick C. Ross,William Bouguereau, his life and works,New York, 2010, p. 115-6, illustrated pls. 27-30; and in the revised 2014 edition, p. 115-6, illustrated pls. 27-30 Damien Bartoli and Frederick C.Ross,William Bouguereau, Catalogue Raisonné of his Painted Work,New York, 2010, p. 34-5, no. 1854/12 A-D, illustrated; and in the revised 2014 edition, p. 34-5, no. 1854/12 A-D, illustrated Catalogue Note Before asserting himself as the most influential champion of French Academic painting, William Bouguereau demonstrated a deep reverence for Classicism and the Antique, drawing inspiration from the frescoes of Pompeii and the Herculaneum as much as he had from Jacques-Louis David and Jean-Auguste-Dominique Ingres. His monumental suite of paintings,Lesquatresaisons, is evidence of this, and among the very few of his early commissions to remain in private hands, having been passed down through generations of the same family for more than 150 years. Bouguereau was a precocious talent and showed enormous promisefrom his early childhood in La Rochelle. At the age of twelve he was sent to live with his uncle Eugènefrom whom he earned an appreciation of art and religion. He moved to Pons in 1839 tostudy the priesthood at a Catholic college, where he also had the chance totrain inpainting and drawing under Louis Sage, who had studied under Ingres. Young Bouguereau returned to his family in 1841, who were now living in Bordeaux, and after registering in the local art school was quickly recognized as a star pupil among his fellow aspiring artists. Enterprising and ambitious, heresolved toattendthe Académie Julienandat the age of twenty he sold portraits, thirty three in all,to fund his moveto Paris where joined the studio of François-Édouard Picot andhoned hisskills of Academic painting. 1850 marked a dramatic turning point for the intrepid artist, when he was awarded the coveted Prix de Rome, affording him three years at the Villa Medici. There he continued formal lessonsand, perhapsmore importantly, was granted first hand access to the works of the Renaissance masters, as well as Classical antiquities from the Greek and Etruscan eras. Bouguereau also took an interest in Classical literature, and this exposure would influence his artistic production, both technically and conceptually, for the rest of his career. After three years in Italy, Bouguereau returned to France eager to find work to pay his debts and help his family. Before his departure he had firmly established his reputationby exhibitingEgalité devant la mort(1848, Musée d\’Orsay, Paris) and his Neo-Classical masterpiece,Dante et Virgile(1850, Musée d\’Orsay, Paris) at the ParisSalon. This success was followed by one of his first major commissions which came from his cousin, Jeanne Louise Seignette, who had married the wealthy banker and arts patron, Paul Monlun, in La Rochelle. Les quatresaisonswas produced for their music pavilion, a freestanding octagon-shaped beaux-arts gazebo attheir summer residence in nearby Angoulins (fig. 1).They also commissioned a series of four large encaustic murals, representing the times of day (Private Collection, France) and a portrait of Jeanne Louiseand her6-year-olddaughter, Elisa (fig. 2, Private Collection, France). Her daughterwould eventually inheritLes quatre saisonsas a part of her dowry when she married alieutenantdragoon returning from the war in Prussia, and moved to Ain, far from La Rochelle on the Swiss border, in1871. Les quatre saisonsareBouguereau\’searliest recorded gold ground decorations. Typically reserved for sacred subjects and devotional pieces, Bouguereauwasconscious of the warm glittering effect that gold leaf would have amidst residential gas lighting (it is worth noting that the artist would continue to adapt sacred motifs to elevate secular subjects for the next fifty years, see lot 25).Bouguereau prepared his canvases with a thick coat of gesso, made up of gypsum and glue, in order to prepare a smooth surface. Onto this he would applyan earth toned medium called "bol"lending thegildedsurfacea warm glow. Once the gold was smoothly applied, he stenciled an elaborate geometric pattern across all of the canvases\’ backgrounds, emulating a richly embroidered textile or tile mosaic. Les quatre saisons' radiance must have prompted other grand commissions, including decorations for the home of Anatole Bartholini, Rue de Verneuil, Paris (1855-56, three of which are now displayed in theresidence of the American Ambassador in Paris) and the extensive murals in the Émile Pereire house,35 rue du Faubourg Saint Honoré, Paris(1857-58, now the British Embassy, the decorations having joined various private collections). Bouguereau decorated two rooms for Pereire (and Alexandre Cabanel a third), repeating the convention of the four seasons on gold grounds seen in the present work. Upon seeing these, the contemporary critic, Clément de Ris, observed: Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human body preoccupies him, and in recalling the happy results which, in this genre, the ancients and artists of the sixteenth century arrived at, one can only congratulate M. Bouguereau in attempting to follow in their footsteps… Raphael was inspired by the ancients when he drew the design in his room [reference to the Stanze in the Vatican], and no one accused him of not being original. In the same way, in taking Raphael as a point of departure, M. Bouguereau shows that modern sentiment could accommodate itself to an ancient form (as quoted in Wissman, p. 24-25). De Ris could easily have been describing the Monlun\’s Quatre saisons, for while their individual arrangement is wholly original, Bouguereau draws inspiration from the Antique. He was eager to employ the education and exposure that he had received abroad, and hovering figures, scantily clad in flowing robes, were a consistent element in Roman wall painting. However, it is the drawings he made while traveling throughout Italy that would have inspired the symbolism and specific configurations of each figure. The allegory ofL'été (Summer), carrying the bountiful harvest of golden wheat, is likely derived from the comparable Roman sculpture in the Uffizi (fig. 3); the riotous maenad of L'automne (Autumn), seen in profile wielding a thyrsus, refer to ancient classical reliefs (fig. 4), with fluttering legs and leopard skin lifted from ancient representations of dancing satyrs; the tightly wrapped face of L'hiver (Winter) might have been borrowed from the mosaic tile pavements in the Bignor Roman Villa (fig. 5, now in West Sussex, United Kingdom), showing the four seasons personified as female busts; and with one arm dramatically raised and other holding her robe,Le printemps (Spring)combines two ancient Greek statue types, the Aphrodite Pontia-Euploia and Aphrodite Fréjus (fig. 6) Bouguereau continued to win important public and private commissions throughout his long career, and Lesquatresaisons, the earliest examples, provide rare insight into the foundation of his artistic vision and ongoing quest to create extraordinary objects of beauty.
William Adolphe Bouguereau -  Admiration Maternelle - Le Bain

William Adolphe Bouguereau - Admiration Maternelle - Le Bain

Original 1869
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Lot number: 23
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William Adolphe Bouguereau (French, 1825-1905) Admiration maternelle - le bain signed and dated 'W-BOVGVEREAV-1869' (upper center, below the molding on the hearth) oil on canvas 51 1/8 x 39 ¼ in. (129.9 x 99.7 cm.) Provenance J. Wolfe (probably John Wolfe (1821-1894), New York). M. Knoedler & Co., New York, acquired directly from the above, 29 May 1877, as Maternal Affection. George Small (1825-1891), Baltimore, acquired directly from the above, 29 May 1879. Mary Jackson Small, his wife, by descent. Samuel Small, York, PA, her brother-in-law, by descent, by 1903. George Small Schmidt, Sr., York, PA, by descent, by 1928. George Small Schmidt, Jr., York, PA, by descent, by 1940. Josephine F. Schmidt, York, PA, by descent from the above. Her estate sale; Sotheby's, New York, 29 February 1984, lot 70. with Borghi & Co., New York. Acquired directly from the above by the present owner. Literature E. Strahan, The art treasures of America being the choicest works of art in the public and private collections of North America, vol. III, Philadelphia, 1880, p. 78, as Maternal Admiration. (possibly) M. Vachon, W. Bouguereau, Paris, 1900, p. 149 (Bouguereau painted another work also entitled Admiration maternelle in 1869 and it is unclear to which of these two works Vachon refers). D. Bartoli and F. Ross, William Bouguereau: Catalogue Raisonné of his Painted Work, New York, 2010, pp. 124-125, no. 1869/23, illustrated. 'M. Bouguereau is a true artist, one of the most accomplished in Paris.' -Edmond About, 1866 Beginning in 1865, Bouguereau became interested in themes of mothers and children and he began a series of paintings devoted to this subject matter. These classically-informed images were greatly influenced by his travels throughout Italy in the 1850s. Trekking from Naples all the way to Venice over a two year period, Bouguereau was frequently confronted by religious imagery, and he was particularly impressed with the works of Raphael. These images of mothers and children may have been further reinforced by the birth of the artist\’s fourth child in 1868, a son named Adolphe Paul. It was also in this year that the artist moved his family into the house on rue Notre-Dame-des-Champs, with its large studio on the top floor of the house. Admiration maternelle – le bain, most likely painted in the artist\’s studio in 1869, depicts a young Roman mother holding her naked baby on her lap. The baby clasps an orange before him, while his older sister looks on adoringly, her hands folded together as if in prayer. These three figures, clearly a secularized interpretation of a Holy Family or Madonna and Child with St. John, are bathed in a clear warm light which illuminates the freshly washed hair of the baby, creating a halo around his head and enhancing the association with the Christ Child. The bowl and washcloth occupy the immediate center of the composition, bringing to mind the chalice and cloth of the Liturgy of the Eucharist. The room behind the figural group is softened by the shadows of the recesses of the interior, thereby heightening the importance of the figural group. There is a photograph in the Goupil Museum in Bordeaux and in Bouguereau\’s own collection of what appears to be this work (Ross and Bartoli, 1869/02) without the linen towel and basin, a different bench and a slightly different background. It is possible that the initial purchaser of the painting asked for the changes to be made, as was the case with La Bohémienne, which also had two different backgrounds. Admiration maternelle was in the collection of George Small of Baltimore by 1879, and remained in the Small family until 1984. George Small was the President of the Ashland Iron Company and a director of the Northern Central Railroad and the Baltimore and Potomac Railroad. He amassed a fortune, but he and his wife had no children, so the painting passed to his brother\’s family upon his death in 1891.
William Adolphe Bouguereau - Entre La Richesse Et L'amour

William Adolphe Bouguereau - Entre La Richesse Et L'amour

Original 1869
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Lot number: 28
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William Adolphe Bouguereau (French, 1825-1905) Entre la richesse et l'amour dated and signed '-1869-/W-BOVGVEREAV' (lower right) oil on canvas 41 7/8 x 35 in. (106.5 x 89 cm.) Entre la richesse et l\’amour has an interesting and varied history. As usual, Bouguereau sold this painting to Goupil on 27 January 1869. It was sold on in December of the same year to James H. Stebbins of New York, who was an avid art collector and the President of the Citizens Gas Light Company. The work found its way into the private collection of Colonel James Elverson, Jr., an avid stamp collector, yachtsman, clock collector and member of the Pennsylvania National Guard. It remained in American collections until late in the 20th century. Beginning in 1869, images denoting a new aesthetic interest on the part of the artist began to appear in Bouguereau\’s oeuvre of which the present painting is the first. These paintings, populated by figures in Renaissance costume of the 16th century, are interesting as they are the manifestation of a new interest in a historical period that had not previously attracted him. There is no documentary evidence to explain why the artist chose this particular period, and there are only six pictures in the artist\’s extensive oeuvre that belong to this group, the other five being Le fleur d\’aubépine, Le collier des perles, Séduction, La femme au gant and a sketch very similar to Séduction which remained in the artist\’s studio. Perhaps a confluence of current events, the artist\’s personal rediscovery of the works of Goethe and a developing relationship with Charles Gounod may have contributed to this new interest. The impact of literature and opera on the intellectual and artistic life of the 19th century cannot be underestimated. When Gounod was revising his Faust for the Paris Opéra in 1867 and 1868, he probably discussed this with Bouguereau who may even have attended one of the earliest rehearsals for the new version. The success of Gounod\’s revised opera, with its themes of love, death and sin may have influenced this slight diversion in Bouguereau\’s choice of subject matter. Entre la richesse et l\’amour depicts a young girl, demurely dressed in a rose-colored gown, seated between two suitors; an old grey-bearded man offering a jewelry box and a young musician, his hand over his heart as if that is the only offering he can make. Her hands are folded in her lap and she looks softly out of the picture frame, her gaze turned away from both suitors, her enigmatic smile revealing nothing about her ultimate choice. The narrative and interpretive aspects of the painting, as well as its setting in the 16th century, make Entre la richesse et l\’amour a unique example of the abilities of the foremost master of academic painting in the 19th century.
William Adolphe Bouguereau - La Leçon De Flûte

William Adolphe Bouguereau - La Leçon De Flûte

Original 1868
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Lot number: 66021
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Description: William Adolphe Bouguereau (French, 1825-1905) La leçon de flûte, 1868 Oil on canvas 46 x 35 inches (116.8 x 88.9 cm) Signed and dated lower right: W. Bouguereau 1868 PROPERTY FROM A PROMINENT HOUSTON ESTATE PROVENANCE: The artist; Goupil & Cie, Paris, acquired from the above, December 15, 1868; Hollender of Brussels, acquired from the above, February 19, 1869; Hammer Galleries, New York; Acquired by the present owner from the above, 1973. LITERATURE: Bouguereau's accounts as La leçon de flûte; Goupil's stockbooks and sales records (no. 3792) as La leçon de musique; C. Vendryès, William Bouguereau, Paris, 1885, p. 38 as La leçon de flûte; C. Franquet (Comte de Franqueville), Le premier siècle de l'Institut de France, Paris, 1895, p. 370 as La leçon de flûte; M. Vachon, William Bouguereau, Paris, 1900, p. 149 as La leçon de flûte; D. Bartoli and F. Ross, William Bouguereau, Catalogue Raisonné of his Painted Work, Vol. II, New York, 2010, p. 112, no. 1868/15 as La leçon de flûte, pl. 89 illustrated. In the 1860s, Bouguereau beguiled his audience with Italian pastoral subjects, many featuring the feminine charms of modern day Madonnas. Differing from these many works is The flute lesson where the artist has chosen instead to depict a father introducing his young child to the delights of music. As the patient teacher gently embraces the young one and steadies the instrument, the mastery of Bouguereau's brush breathes such life into the figures that the viewer can almost hear the first tentative notes from the little student's efforts. Bouguereau's accomplished handling can also be seen in the description of the various textures: the hardness of stone, the softness of the child's chemise. Equally compelling is the artist's sureness in the harmony of line and color that produces a wonderful balance between these country folk and the rugged mountain setting. In its discussion of the musical instruments depicted in this painting, the catalogue raisonné of the artist notes that Bouguereau has portrayed not a flute but a piffero, a double-reed oboe-type instrument played in the mountains of the Apennines and elsewhere in Italy. Also pictured to the right of the young father is a zampogna, a double-chantered bagpipe, a traditional instrument played in The Marches and southward into Sicily. These instruments were often played together and were the livelihood of traveling musicians who were frequently depicted entertaining city folk in popular contemporary pictures. In the present picture, however, the viewer is treated to a tender moment between the musicians at home, playing the traditional music of Italy just for themselves. HID04901242017
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