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Pascal Adolphe Jean Dagnan-Bouveret

(1852 -  1929 )
DAGNAN-BOUVERET Pascal Adolphe Jean Portraitof Young Woman

Sotheby's
Jun 26, 2019
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Artworks in Arcadja
69

Some works of Pascal Adolphe Jean Dagnan-Bouveret

Extracted between 69 works in the catalog of Arcadja
Pascal Adolphe Jean Dagnan-Bouveret - Portraitof Young Woman

Pascal Adolphe Jean Dagnan-Bouveret - Portraitof Young Woman

Original
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Lot number: 204
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Pascal-Adolphe-Jean Dagnan-Bouveret PORTRAITOF YOUNG WOMAN PARIS 1852 - 1929 QUINCEY Signedand datedlower leftP. Ad. Dagnan-B Juillet 89 Oil on canvas 42,3 x 33, 3 cm ; 16 15/23 by 13 1/9 in. Read Condition Report Register or Log-in to view condition report Or Provenance Exhibited Literature Catalogue Note We would like to thank Mr. Gabriel Weisberg, Professor Emeritus, University of Minnesota, who kindly confirmed the authenticity of this work.
Pascal Adolphe Jean Dagnan-Bouveret - Portrait Of Jules-alexis Muenier

Pascal Adolphe Jean Dagnan-Bouveret - Portrait Of Jules-alexis Muenier

Original
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Lot number: 186
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Pascal-Adolphe-Jean Dagnan-Bouveret PORTRAIT OF JULES-ALEXIS MUENIER PARIS 1852 - 1929 QUINCEY Monogrammed, situated, dated and dedicated lower right A Muenier PAJD / Ormoy / 18 Juillet 87 ; Bears the Muenier sale stamp on the reverse Oil on panel 23,7 x 13 cm ; 9 3/8 by 5 1/8 in. Provenance Jules-Alexis Muenier Collection, Paris ; His sale, Hôtel Drouot, Paris, 6November 2003, lot 31 ; Purchased at the above by the current owner
Pascal Adolphe Jean Dagnan-Bouveret - Étude Pour Un Poignard

Pascal Adolphe Jean Dagnan-Bouveret - Étude Pour Un Poignard

Original 1874
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Lot number: 125
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Pascal DAGNAN BOUVERET (Paris 1852-Quincey 1929) Étude pour un poignard Aquarelle sur traits de crayon noir Signé en bas à droite au crayon noir, daté et situé dans le haut "3mars 1874/à bord du Mendoza, Dakar" Petites taches Study for a dagger, watercolour on black pencil lines, signed lower right with black pencil, dated and located in the top "3 mars 1874 / aboard the Mendoza, Dakar" 26 x 16cm - 10 1/4 x 6 1/4 in.
Pascal Adolphe Jean Dagnan-Bouveret - French Madone À La Treille

Pascal Adolphe Jean Dagnan-Bouveret - French Madone À La Treille

Original 1888
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Lot number: 1
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Pascal Adolphe Jean Dagnan-Bouveret

FRENCH MADONE À LA TREILLE

1852 - 1929

signed PAJ-DAGNAN-B, dated 1888, and inscribed Ormoy (lower left) oil on canvas 76 by 51 1/2 in. 193 by 130.8 cm

Authentication

We would like to thank Dr. Gabriel P. Weisberg for kindly confirming the authenticity and providing the catalogue entry for this lot.

Provenance

Possibly, Ramón Subercaseaux (acquired directly from the artist) Arthur Tooth & Sons, London George McCulloch, Esq. (and sold, Christie's, London, May 23, 1913, lot 21, illustrated with an engraving by Mignon) Knoedler & Co., New York (acquired at the above sale) William Randolph Hearst, Los Angeles and New York (acquired from the above, July 1913, and until at least 1941)

Exhibited

Paris, Salon, 1889, no. 680 London, William Clowes and Sons, Ltd., Exhibition of Modern Works in Painting and Sculpture forming the Collection of the late George McCulloch, Esq., January-March, 1909, no. 60

Literature

"The Century's Christmas Pictures," Century Magazine, vol. 43, no. 2, December, 1891, p. 282-3, illustrated Catalogue des oeuvres de M. Dagnan-Bouveret (peintures), Paris, 1930, p. 24, illustrated Gabriel P. Weisberg, DeCourcy E. McIntosh and Alison McQueen, Collecting in the Gilded Age, Art Patronage in Pittsburgh, 1890-1910, exh. cat., Pittsburgh, Frick Art & Historical Center, 1997, p. 265-6, illustrated fig. 107 Gabriel. P. Weisberg, Against the Modern: Dagnan-Bouveret and the Transformation of the Academic Tradition, exh. cat., Dahesh Museum of Art, New York, 2002, pp. 97-9, 106, fig. 107, illustrated

Catalogue Note

Long thought to be lost, Madone à la treille marks an important re-discovery within Pascal Adolphe Jean Dagnan-Bouveret's multi-faceted oeuvre. Painted in 1888, it is a magnificent example of French Naturalist painting, a genre that he would come to define, and it foreshadows the Symbolist influence that he embraced at the turn of the century as well as the later religious scenes inspired by Renaissance and Pre-Raphaelite artists. In the present work, Dagnan-Bouveret presents the Virgin holding the Christ Child in a verdant arbor, clad in pure white robes with golden haloes drawn as simple rings of light. Although the arbor is an unusual stage for the Madonna and Child in nineteenth century religious paintings, its origins reside in Italian and Northern Renaissance works by artists such as Fra Filippo Lippi and Lucas Cranach the Elder who included grape vines as allusions to Christ\’\’\’\’\’\’\’\’s eventual sacrifice for mankind.1 Dagnan-Bouveret completed Madone à la treille on the grounds of his father-in-law\’\’\’\’\’\’\’\’s home in Ormoy, France, within a special arbor that was constructed expressly for the artist. Here, he could situate his models for the Virgin and Child amidst the dense foliage, working quietly as if in his own Parisian studio. A documentary photograph shows the artist at his easel in situ with the partially unrolled painting in front of him (fig. 1).2 The painting\’\’\’\’\’\’\’\’s evolution can be followed through initial tracings, small color sketches, and a preparatory photograph that recorded the actual models who posed for him (fig. 2). Only one drawing for the painting is known, from the collection of Carl von Stetten, Dagnan-Bouveret\’\’\’\’\’\’\’\’s colleague at the École des Beaux-Arts. In the final painting, Dagnan-Bouveret has shifted from the muted mauve tonality of his oil studies (fig. 3) to this extraordinary and unprecedented green and yellow palette, reflecting the sun filtered through the foliage and illuminating the whole composition with tenderness and light. Madone à la treille was exhibited in Paris during the Salon of 1889 alongside Les Bretonnes au Pardon (Gulbenkian Collection, Lisbon, Portugal), another of the artist\’\’\’\’\’\’\’\’s celebrated compositions. While these works earned him considerable attention from critics, many noted that the Madonna and Child within the setting of the green arbor would not be easily understood.3 In a letter to his friend Henri Amic, Dagnan-Bouveret explained that he tried to create an atmosphere, \“filled with warm maternal love\” set in an agreeable shaded garden.4 Other critics, in reference to Les Bretonnes au Pardon, commented on the ways in which Dagnan-Bouveret was simply expanding the scope of his career. The painting attracted further international attention when it was reproduced in Century Magazine and accompanied by Mary Mapes Dodge's poem, An Offertory, in 1891. Louis Comfort Tiffany adapted the composition in stained glass windows, two of which are still extant, one in the South Parish Congregational Church in Augusta, Maine, and another in the Church of the Covenant in Boston, Massachusetts (figs. 4, 5).5 While many details of the painting\’\’\’\’\’\’\’\’s subsequent history have yet to be uncovered, it is possible that the first owner of Madone à la treille was the Chilean artist and diplomat Ramón Subercaseaux, a prominent collector and painter who had studied with Dagnan-Bouveret.6 He had arrived in Paris in 1874 with his wife Amalia y Errazuriz Urmeneta, herself from a prominent Chilean family, and developed close friendships with (and commissioned major works by) some of the most important artists of the period, including John Singer Sargent, Giovanni Boldini, James McNeill Whistler and Joaquín Sorolla. The painting later entered the progressive contemporary art collection of Georges McCulloch and then sold at his sale through Christie, Manson and Woods to Knoedler in May 1913 for the substantial sum of £1207. In July 1913, Knoedler then sold it to the American newspaper publisher and collector William Randolph Hearst, whose love for Old Master paintings and the theme of the Madonna and Child is well known. After influencing the development of Salon naturalism, initiated by his colleague and friend Jules Bastien-Lepage, Dagnan-Bouveret reinvented himself with large-scale, deeply felt religious scenes. By 1900, he had been elected to the Institut Français, and his place as an academic painter had been officially secured. Over a century later, the reemergence of Madone à la Treille affords an opportunity to consider the work within the French Symbolist movement and vividly reestablishes the work as a landmark within the artist's remarkable career. 1. The author is indebted to Roberta Bartoli for pointing him in this direction. 2. For a mention of the painting and the origin of the setting, see Weisberg, Against the Modern, p. 97-8. 3. See Georges Lafenestre, \“Le Salon de 1889,\” Revue des Deux-Mondes, no. 93, 1889, p. 646-49. 4. For Amic letter see Weisberg, Against the Modern, p. 97-8 and Pauline Grisel, PAJ Dagnan-Bouveret à travers sa correspondance et album iconographique, unpublished, 1987, p. 78-9. 5. The window in the South Parish Congregational Church, Augusta, Maine was commissioned in memory of Eliza Smith Bradbury (1815-1879). The window in the Church of the Covenant, Boston was a memorial window commissioned by Albert Gallatin Wilbor, Jr. (1857-1920) for his parents Albert Gallatin Wilbor (1820-1895) and Elizabeth S. Grinnell Wilbor (1827-1907). The two panel window was designed by Frederick Wilson and was in place when the church reopened in October 1894. 6. For further discussion on the suggestion of this individual, see Grisel, 1987, p. 78.
Pascal Adolphe Jean Dagnan-Bouveret - Portrait Of Gustave Courtois

Pascal Adolphe Jean Dagnan-Bouveret - Portrait Of Gustave Courtois

Original 1883
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Gross Price
Lot number: 28
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Pascal Adolphe Jean Dagnan-Bouveret

1852 - 1929

FRENCH

PORTRAIT OF GUSTAVE COURTOIS

titled Gustave Courtois, dated 1883 and inscribed Aetatis Suae XXXI (upper right); signed PAD·DAGNAN·B (lower right)

oil on canvas

12 3/4 by 9 3/4 in.

32.5 by 24.5 cm

Read Condition Report Read Condition Report

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Saleroom Notice

Authentication

We would like to thank Dr. Gabriel P. Weisberg for kindly contributing to this catalogue entry.

Provenance

Doctor Robert Didier, 3 Square Rapp, Paris

Literature

Marie Legrand, Catalogue chronologique des oeuvres de Dagnan Bouveret, n.p. (in the archives of Dr. Gabriel P. Weisberg)

Possibly, Gabriel P. Weisberg, Against the Modern, Dagnan-Bouveret and the Transformation of the Academic Tradition, New York, 2002, p. 56

Catalogue Note

Dagnan-Bouveret\’\’s Salon submission of 1880, The Accident (1879, Walters Art Gallery, Baltimore) earned him substantial praise and marked his emergence as one of the leading French Naturalist artists. It was around this time that he and fellow artist Gustave Courtois, the sitter of the present portrait, opened a studio together in Neuilly-sur-Seine. The two artists met through Jean-Léon Gérôme\’\’s studio and remained close friends throughout their lives. While both artists pursued careers as a portraitists, supported by wealthy patrons, Dagnon-Bouveret examined the lives of France's urban and rural peoples, and conveyed their hardships and experiences with a sensitive and potent intimacy, particularly evident in his paintings of friends and family. In this Portrait of Gustave Courtois, Dagnan-Bouveret has captured his dear friend\’\’s incisive and sly gaze. Marie Legrand, an early chronicler and friend of Dagnan-Bouveret\’\’s, catalogued the present work with the notation \“reître,\” referring to his sixteenth century cavalier costume, a choice that may reflect Courtois\’\’ reputation as an eccentric dandy. He was compelled to paint his friend\’\’s likeness on a number of occasions, including Bouderie (1880, sold in these rooms May 5, 2011, lot 41), The Laundress (1880, location unknown), Portrait of Gustave Courtois (1884, Musée des beaux-arts et d\’\’archéologie, Besançon) and in the present work, dated 1883.

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