Jun 21, 2018
Artworks in Arcadja1057
Some works of Hubert RobertExtracted between 1,057 works in the catalog of Arcadja
Auction: Christie's -Sep 12, 2018 - LondonLot number: 25
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Hubert Robert (Paris 1733-1808) Artists sketching at Tivoli; and The Fountain of Liberty each signed \‘H. ROBERT. St-L.\’ (the first lower centre; the second centre right, on the fountain) the second inscribed \‘FONS LIBERTATS\’ (lower centre, on the fountain) oil on canvas 22 x 18 ¼ in. (55.8 x 46.3 cm.) (2)in Louis XVI carved and gilt frames with foliate inner slip, foliate and beaded outer profile and ribbon-twist back edge a pair Provenance Sigismond Bardac (1856-1919), Paris; his sale (†), Galerie Georges Petit, Paris, 10 May 1920, lots 34 and 35, where acquired by, Comte de Fels, Paris, by 1950; Galerie Charpentier, Paris, 31 March 1960, lots 28 and 29. Anonymous sale; Sotheby's, London, 16 March 1966, lot 35. with Wildenstein & Co., New York, 2000, where acquired by, Anonymous sale [Property of a New York Private Collector]; Sotheby\’s, New York, 29 January 2015, lot 388, when acquired by the present owner. Literature Apollo Magazine, LI, No. 301, March 1950, \‘Artists sketching at Tivoli\’ illustrated on the cover. M.W. Brockwell, \‘The Summer Exhibition of Pictures by Old Masters at the Agnew Galleries\’, Connoisseur, CXXVI, no. 517, August 1950, p. 66 and 68, \‘The Fountain of Liberty\’ illustrated. Colnaghi, 18th Century French Drawings, exhibition catalogue, New York 1983, under cat. no. 26. C. Boulot, J. de Cayeux and H. Moulin, Hubert Robert et la Révolution, exhibition catalogue, Valence, 1989, p. 112, under cat. no. 34. I. Néto Daguerre and D. Coutagne,Granet, peintre de Rome, exhibition catalogue, Aix-en-Provence, 1992, pp. 58 and 66, \‘Artists Sketching at Tivoli\’ illustrated. P. Bordes and A. Chevalier,Catalogue des peintures, sculptures et dessins-Musée de la Révolution francaise, Vizille, 1996, pp. 242 and 244, under cat. no. 68, fig. 68a. E. Calbi,Paysages d'Italie: Les peintres du plein air (1780-1830), Paris, 2001, no. 4, p. 11, \‘Artists Sketching at Tivoli\’ illustrated. Exhibited Paris, Galerie Jean Charpentier, Exposition Hubert Robert et Louis Moreau, June 1922, nos. 43-44. London, Thomas Agnew & Sons, Summer Exhibition of Fine Pictures by Old Masters, June-July 1950, nos. 4 and 8 (loaned by Comte de Fels). New York, Wildenstein, Hubert Robert: The Pleasure of Ruins, 15 November-16 December 1988, pp. 64-5 and 90, illustrated. Despite his reputation as a painter for the aristocracy, Hubert Robert chose to stay in Paris during the French Revolution. On 29 October 1793, Robert was arrested and taken to Sainte-Pélagie prison by the revolutionary authorities for his close ties to the Ancien Régime, although the official reason was reportedly his failure to renew his citizenship papers, before being taken to Saint Lazare seminary in January 1794. Signed distinctively with the letters \‘St-L\’, both of the present works can be firmly situated amongst the 53 paintings Robert produced during his internment. Whilst in prison Robert frequently returned to the genre with which he had established his reputation, painting landscapes both from memory as well as his vivid imagination. His depiction of the popular sketching spot of Tivoli undoubtedly looks back to the decade Robert spent in Rome in the early stages of his career, while the Fountain of Liberty evokes a visionary landscape of the revolution. The sculpture bears a close resemblance to the plaster statue of Liberty erected by F.F. Lemot (1772-1827) in the Place de la Révolution in August 1793 in place of the toppled equestrian statue of Louis XV by Bouchardon, as a reminder of the triumph of democracy. The downfall of the monarchy is further represented by the fallen and broken stele at the right of the composition and the inverted stone head it sits on, a motif frequently found in compositions executed by artists during the revolutionary storm. A testament to the artist\’s creative talent and adaptability to appeal to his new audience, the inclusion of such overt democratic symbolism in the Fountain of Liberty suggests that this work may have been produced by Robert in an effort to secure goodwill from his detainers, a sentiment that is supported by a letter he wrote to the Convention National in 1794 in which he proposed that, in exchange for his freedom, he would give them two sketches (see Musée du Louvre, Hubert Robert 1733-1808: un peintre visionnaire, Somogy éditions d\’art, 2016). Robert reproduced a number of variants of the Fountain of Liberty, one of which was sold in Paris at the Hôtel George V in 1991, along with a red chalk study for the painting located in the Museé de la Révolution Française, Vizille, and a number of watercolour versions of the subject. (See Hubert Robert et la Révolution, Musée Valence, 1989). To be included in the forthcoming catalogue raisonné of the paintings of Hubert Robert being produced with the assistance of the Wildenstein Institute.
Auction: Sotheby's -Jun 21, 2018 - ParisLot number: 49
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Hubert Robert LA PROMENADE SOLITAIRE PARIS 1733 - 1808 Bears a Hubert Robert-signatureand a date of 1777 lower right Oil on canvas 57.7 x 44.6 cm; 22 3/4 by 17 1/2 in. Provenance Anonymous Sale, Paris, Me Horsin-Déon/Levillain, 31January 1857,lot 73; Private collection,Normandy. Catalogue Note We are grateful to Mme Sarah Catala for confirming the authenticity of this work afterfirst-hand inspectionand for writing this catalogue entry. The association of the name of Hubert Robert with that of Jean-Jacques Rousseau (1712-1778) for this painting might be surprising if one forgets that the former had designed the tomb of the latter in 1778, before recording it on the eve of his re-interment in the Panthéon in 1794. However, it was in the context of collaborations on several garden embellishment projects, initiated around 1777, notably at Ermenonville, that Robert painted the 'gentle melancholy' of this promenade here. In the solitude and almost bewitching calm that rule the woods, a young woman seems to give way to reverie as she moves closer to a tomb. Robert composed his view from nature, as he had done for the Italian monuments, by creating a threshold marked by two trees, acting as repoussoirs, stretching toward the sky. The usual elements of Robert's painting are present: the jagged forms of trunks and branches inspired by the landscapes of Salvator Rosa (1615-1673), the light coming from an opening in the 'gallery' of branches and the ruin of an imagined antique sculpture based on the tombs he studied in Rome. Robert's sketchy manner is easily recognisable, with its long brushstrokes delineating the ground and the impasto used to render the foliage, to say nothing of the rapid line of the forms of the bas-reliefs and the woman's drapery. Her contemplative expression appears in a counterproof in Besançon , but her profile, her heavy drapery and her hair arranged with ribbons all recall the matron in the Shepherds of Arcadia by Nicolas Poussin (1594-1665) which Robert greatly admired . On the other hand, the palette of our canvas is distinctive, but it can be compared with the shades of blue and green which characterise the Bath, one of the six large panels painted for the bathroom of the Folie de la Bagatelle in 1777 and now belonging to the Metropolitan Museum of Artin New York. Meditation before a sarcophagus is a recurring theme in Robert's oeuvre; we find it as well in sketches in his albums  and in his project drawings for the tomb of the La Rochefoucald and Chabot families at La Roche-Guyon in 1777 . That year, Robert exhibited at the Salon La Brasserie d'Ermenonville , at the same moment that Rousseau was writing his Reveries of the solitary walker on the estate of the marquis de Girardin. It may have been at Girardin's request that Robert painted our canvas, which appears to embody the philosopher's ideas, associated with the innovations of English painting, notably that of Thomas Gainsborough (1727-1788), where the landscape in portraits is perceived as a state of the soul. In any case, the relations between Girardin and Robert are not in doubt, any more than their philosophical discussions since Robert painted the Temple of Philosophy, which the marquis had had constructed in his garden. Like our canvas, it bears neither signature nor date, nor do we know its background history, in spite of a remarkable facture that matches the richness of its subject.  Lavandières près d'une fontaine, dans un jardin, Besançon, Bibliothèque municipale, inv. vol. 453, n° 62 ; reprod. dans S. Catala, Les Hubert Robert de Besançon, 2013, n° 99.  G. Faroult dans cat. exp.Hubert Robert (1733-1808) Un peintre visionnaire, Paris, musée du Louvre, 2016, n° 62.  A. May, cat. exp. Un album de croquis d'Hubert Robert, Genève, Galerie Cailleux, 1979, n° 66. S. Catala and G. Wick, Hubert Robert et la fabrique des jardins, La Roche-Guyon, 2017.  Lisbonne, musée Calouste Gulbenkian, inv. 440.  Vente New York, Sotheby's, 31 janvier 2013, lot 89 : reprod. dans cat. exp. Paris, 2016, fig. 34, p.84.
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Capriccio with anicent ruins. Unsigned. Inscribed verso Robert. Black chalk and watercolour on paper. Sheet size 226×333 mm. Exhibited: The Nivaagaard Collection, \“Tegnekunst på Nivaagaard\”, 1983, no. 52. Reproduced pl. 52. Provenance: Johan Conrad Spengler (1767–1839) (Lugt 1434), his estate sale 1839, no. 583 (as Hubert Robert). Here purchased by Benjamin Wolff (1790–1866) (Lugt 420). Thence by descent. Hubert Robert, style of, 18th century
Auction: Tajan -May 18, 2018 - ParisLot number: 51
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Hubert ROBERT Paris 1733-1808) Paysage à la branche cassée Pierre noire Annotations postérieures dans le bas "R 1799" Collé en plein sur son montage ancien, Au verso un certificat de Jean Cailac daté du 24février 1945 Landscape with a broken branch, black chalk, posterior annotations lower: "R 1799", on the back a certificate by Jean Cailac dated 24février 1945 14,3 x 23,5cm - 5 5/8 X 9 1/4 IN.
Auction: Christie's -Apr 19, 2018 - New YorkLot number: 34
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Hubert Robert (Paris 1733-1808) The tomb of Virgil at Posilipo, Naples signed and dated 'H. ROBERT / 1784' (lower left, on the stone slab) and indistinctly inscribed 'QUI CINERES: TUMULI HAEC VESTIGIA: [C]ONDI[TUR] [OLIM] / ILLE HIC QUI CECIN[IT] PASCUA RURA DUCES' (lower left, on the rock) and 'MANTVA ME GENVIT [...]' (lower right, on the stone slab) oil on canvas 24 ¼ x 28 5/8 in. (61.5 x 72.7 cm.) Provenance [The Property of a Gentleman]; Sotheby's, London, 24 March 1965, lot 106 (£2,000 to Ames). (Probably) [The Property of a Lady]; Christie's, London, 1 April 1966, lot 73 (1,700 gns. to Laffan). with Leger Galleries, where acquired by the La Salle University Art Museum in 1976.