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Gustave Jean Jacquet

France (1846 -  1909 )
JACQUET Gustave Jean Dame Au Chapeau

Sotheby's /May 22, 2014
18,344.14 - 30,573.57
23,165.63

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Artworks in Arcadja
151

Some works of Gustave Jean Jacquet

Extracted between 151 works in the catalog of Arcadja
Gustave Jean Jacquet - La Bienvenue

Gustave Jean Jacquet - La Bienvenue

Original
Estimate:

Price:

Gross Price
Lot number: 107
Other WORKS AT AUCTION
Description:
Gustave Jean Jacquet FRENCH LA BIENVENUE signed G Jacquet (lower right) oil on canvas 71 by 50 1/2 in. 180.4 by 128.3 cm New York, Brandus Gallery (1898) John Warne Gates, St. Charles, Illinois (until1911) Dellora Baker Gates (wife of the above, until 1918) Dellora Frances Angell and Lester J. Norris (bequeathed to Angell from the above, her aunt) Art Institute of Chicago, in 1923(long term loan until 1970 in the name of Robert Francis Angell, Dellora's father) Gifted to the Art Institute of Chicago from the above in 1970 (and sold, Sotheby's, New York, October 23, 2007, lot 5, illustrated) Acquired at the above sale Exhibited Paris, Salon des Artistes Français, 1892, no. 910 Literature "Art Topic of the Week," The New York Times, December 10, 1898, p. 829 "The Brandus Gallery," The Art Collector, 1898, vol. 9, no. 2, p. 22 The New York Times Illustrated Magazine, April 30, 1899, p. 6, illustrated The Art Institute of Chicago, Annual Report, 1970-71, p. 26 Catalogue Note From the end of the long reign of Louis XIV and well after the Revolution, eighteenth century France celebrated and suffered a long list of battles, whether at home, throughout Europe, or as far away as revolutionary America. In such tense times, military heroes and their lives in army camps became fertile ground for daring and dramatic tales, as explored by artists in the eighteenth century suchas Jean-Antoine Watteau and in the nineteenth by Jean-Louis Ernest Meissonier. Gustave Jean Jacquet joins this artistic tradition withLa Bienvenue,depicting the end of a successful day's maneuvers rewarded by the comforts of food, wine and the company of an elegantly dressed group of women and their servants. At the Paris Salon of 1892,La Bienvenuehung among military subjects by Édouard Detaille and Étienne-Prosper Berne-Bellecour. In comparison to these works, which detail the strategies and postures of soldiers on the battlefield, Jacquet appears less interested in describing military maneuvers in favor of the camp's accoutrements. While these myriad details may at first seem a flight of fancy, in reality each element was carefully studied by the artist. In contrast to the group's elaborately detailed costumes, weapons, and armament, the camp cuisine is served on simple pewter plates resting on a spindly-legged table, and pocketknives are the best eating implements available. Effectively capturing the make-shift nature of a military camp site, Jacquet repurposes a drum (the beats of which called the soldiers to come and eat) as an end table while a wreath, perhaps symbolizing victory and the promise of rest and relaxation, hangs from a slender tree trunk, itself a useful pole to support a tent awning. In the 1909 sale of Jacquet's estate at the Galerie Georges Petit, over 300 lots ofmid-to late eighteenth century period costumes were offered along with an elaborate assortment of period objects. Such a collection, as Robert de Montesquiou wrote in the auction catalogue, allowed Jacquet to become the "beau cavalier" who created compositions of such "grace and force of elegance and of seduction" in their "erudite and charming" assembly of "shivering satins and shining of the dresses... which seem like a refrain from a poem made up of lingerie, lace, various items of clothing... weapons, armour, old musical instruments" (as translated from the French,Tableaux, aquarelles, pastels, dessins par Gustave Jacquet, Paris, 1909, p. 6). His consideration of detail, combined with technical skill and aesthetic flair, is what Montesquiou argued was Jacquet\’s "security in his science," and made works such asLa Bienvenuecomparable to the best by "Watteau, Degas and Boldini" (Tableaux,p. 11). La Bienvenuereceived great praise when it appeared at New York's Brandus Gallery in 1898 alongside William Bouguereau'sReverie, from the Salon of 1897, Ary Scheffer'sThe Repentance of Peter, Adolph Schreyer'sArab Horsemen, and works by Jean-Baptiste-Camille Corot and Charles-François Daubigny. A writer forThe Art Collectorwas immediately captivated by Jacquet's work, which he described as "an unusually large canvas. The usual woman faces, for which the artist is best known, are grouped here together, with all their belongings of satin gowns, lovely hands, dainty slippers, and form a bright and lively group.... The picturesque costumes and attitudes of the cavaliers add zest to the composition" ("The Brandus Gallery," p. 22). The painting also appeared in The New York Times Illustrated Magazine,pictured next to Rembrandt'sThe Man with a Cane (Portrait of the Artist in Armenian Costume)also available at the Brandus Gallery. The first recorded owner ofLa Bienvenue was John Warne Gates, the American collector whose biography and collecting sensibilities follow the era's most powerful New York art patrons. A native of Winfield, Illinois, Gates went from an entry-level position selling barbed wire throughout Texas to become a mogul of industry with his Southern Wire Company. The success of his early company lead him to become a force in the steel industry, eventually merging his company with that of J.P. Morgan's to create the United States Steel Corporation. Gates' fortune was advanced by his founding of the Texas Company (which became Texaco), as well as railroads (he acquired the Kansas City, Pittsburgh and Gulf Railroad), which in turn allowed him to become a great civic leader of the town of Port Arthur, Texas, near the crossing of his train lines (James E. Hofman, ed.,The Cyclopaedia of American Biography, New York, 1918, vol. 8, p. 61-62).
Gustave Jean Jacquet -  Full Length Portrait Of A Young Woman Wearing A Red Blouse

Gustave Jean Jacquet - Full Length Portrait Of A Young Woman Wearing A Red Blouse

Original 20th century
Estimate:

Price:

Lot number: 1396
Other WORKS AT AUCTION
Description:
Oil on canvas. Housed in an early 20th century giltwood frame with linen liner. Signed lower right "G. Jacquet", verso canvas stenciled "Hardy-Alan" and bears several labels on verso, including "John Surovek Fine Arts" SIZE: 35-1/2" x 26". Overall: 42" x 32". CONDITION: Good restored condition, lined with 4" area of restoration center background and minor scattered touch-ups. 52117-9 Gustave Jean Jacquet (1846 - 1909) Lot 1396: GUSTAVE-JEAN JACQUET (French, 1846-1909) FULL LENGTH PORTRAIT OF A YOUNG WOMAN WEARING A RED BLOUSE.
Gustave Jean Jacquet - Woman With Blue Bow

Gustave Jean Jacquet - Woman With Blue Bow

Original 1908
Estimate:

Price:

Lot number: 1163
Other WORKS AT AUCTION
Description:
Gustave Jean Jacquet (French, 1846-1909) Woman with Blue Bow, signed lower left "G. Jacquet" and with atelier wax seal verso with date "1908", oil on canvas, 11-1/2 x 7-3/4 in.; original gilt wood and composition frame, abrasions, accretion from frame at edges, crackle; frame with losses to composition Lot Notes: Exhibited: frame plaque "Hors Concours" indicates work was exhibited but not entered for judging Estate of Marjorie and Charles West
Gustave Jean Jacquet - Dame Au Chapeau

Gustave Jean Jacquet - Dame Au Chapeau

Original
Estimate:

Price:

Gross Price
Lot number: 71
Other WORKS AT AUCTION
Description:
Sale: Phillips, London, 3 April 2001, lot 105

Sale: Sotheby's, New York, 28 October 2003, lot 55

Purchased at the above sale by the present owner

PROPERTY OF A GERMAN PRIVATE COLLECTOR
Gustave Jacquet
FRENCH
1846-1909
DAME AU CHAPEAU

signed G Jacquet lower right

oil on canvas

81 by 66cm., 32 by 26in.
Gustave Jean Jacquet - Portrait Of A Lady

Gustave Jean Jacquet - Portrait Of A Lady

Original
Estimate:

Price:

Gross Price
Lot number: 2702
Other WORKS AT AUCTION
Description:
Gustave Jean Jacquet

(French, 1846-1909)

Portrait of a Lady

oil on canvas

signed

G. Jacquet

(center left)

26 x 18 inches.

Craquelure throughout; frame abrasions along left and lower edges; nailhead loss to paint in lower left corner; undulations in canvas in upper third; Under UV, no evidence of restoration or retouch.

Framed: 32 1/2 x 25 inches.
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