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Henri, Le Douanier Rousseau

France (Laval 1844 -  Paris 1910 )
ROUSSEAU Henri, le Douanier La Seine À Suresnes

Sotheby's /Nov 6, 2013
365,657.45 - 511,920.43
403,191.00

Find artworks, auction results, sale prices and pictures of Henri, Le Douanier Rousseau at auctions worldwide.
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Variants on Artist's name :

Rousseau Henri Julien

Douanier Rousseau (le)

Rousseau Henri

 

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Artworks in Arcadja
142

Some works of Henri, Le Douanier Rousseau

Extracted between 142 works in the catalog of Arcadja
Henri, Le Douanier Rousseau - Esquisse Pour Vue Du Pont De Sèvres

Henri, Le Douanier Rousseau - Esquisse Pour Vue Du Pont De Sèvres

Original
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Gross Price
Lot number: 11
Other WORKS AT AUCTION
Description:
Henri Le Douanier Rousseau (1844-1910)
Esquisse pour Vue du pont de Sèvres
signed 'H. J. Rousseau' (lower right); signed, inscribed and dated 'Vue de Sèvres 1908. appartenant à mon ami Brummer, Paris Le 13 Xbre 1908. Rousseau' (verso)
oil on paper
19.2 x 27.3cm (7 9/16 x 10 3/4in).
Painted in 1908
Henri, Le Douanier Rousseau - Vase De Fleurs Sur Un Tapis À Franges

Henri, Le Douanier Rousseau - Vase De Fleurs Sur Un Tapis À Franges

Original
Estimate:

Price:

Lot number: 18
Other WORKS AT AUCTION
Description:
Henri Le Douanier Rousseau (French, 1844-1910)

Vase de fleurs sur un tapis à franges
oil on canvas
40.5 x 32cm (15 15/16 x 12 5/8in).

Footnotes

***Two Important Works by Henri 'Le Douanier' Rousseau from a Swiss Private Collection.***

Provenance
Aubry Collection, Paris.
Dr. Grantoff Collection.
Galerie Benador, Geneva (acquired from the above in 1920).
Private collection, Geneva (acquired from the above in 1949).

Exhibited
Paris, Musée d'Art moderne de la Ville de Paris,
Henri Rousseau Le Douanier
, 22 December 1944 - 21 January 1945, no. 7.
Geneva, Musée de l'Athenée,
L'univers des naïfs
, 8 July - 7 September 1983, no. 79 (titled 'Fleurs').

Literature
R. Grey,
Henri Rousseau
, Paris, 1943, no. 26 (illustrated).
D. Vallier,
Tout l'oeuvre peint de Henri Rousseau
, Paris, 1970, no. 2 (illustrated p. 123).
Henri, Le Douanier Rousseau - Le Joueur De Flûte

Henri, Le Douanier Rousseau - Le Joueur De Flûte

Original
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Price:

Lot number: 24
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Description:
Description:
Henri ROUSSEAU
(1875-1933)
LE JOUEUR DE FLÛTE
Pierre noire, aquarelle et gouache sur papier
Signé "Henri Rousseau" et daté "27" en bas à gauche
h: 48 w: 59 cm
Commentaire : BLACK CHALK; WATERCOLOR AND GOUACHE ON PAPER; SIGNED AND DATED LOWER LEFT; 18,72 x 23,01 in.
Henri, Le Douanier Rousseau - La Seine À Suresnes

Henri, Le Douanier Rousseau - La Seine À Suresnes

Original
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Price:

Gross Price
Lot number: 59
Other WORKS AT AUCTION
Description:
This work is accompanied by certificates of authenticity from the late Dora Valier and the late Henri Certigny.

Provenance

Galerie L'Effort Moderne (Léonce Rosenberg), Paris

Acquired by the family of the present owners in the 1930s and thence by descent

Exhibited

Paris, La Grande Maison de Blanc, Douanier Rousseau, 1925

PROPERTY FROM A PRIVATE FRENCH COLLECTION
Henri Rousseau
1844 - 1910
LA SEINE À SURESNES

Signed Henri Rousseau (lower left)

Oil on canvas

18 1/8 by 21 3/4 in.

46.1 by 55.2 cm
Henri, Le Douanier Rousseau - Banlieue

Henri, Le Douanier Rousseau - Banlieue

Original 1896
Estimate:

Price:

Gross Price
Lot number: 59
Other WORKS AT AUCTION
Description:
Lot Description

Henri 'Le Douanier' Rousseau (1844-1910) Banlieue signed 'Henri Rousseau' (lower right) oil on canvas 19 3/8 x 25 5/8 in. (49.1 x 65 cm.) painted circa 1896

Provenance

Galerie Bing, Paris. Madame Jean Walter, Paris (by 1944). Albert D. Lasker, New York (by 1951). Dr. Paul Hänggi, Vaduz, Liechtenstein (acquired from the above, 1961). Private collection, Switzerland (by descent from the above); sale, Sotheby's, New York, 7 November 2006, lot 84. Jan Krugier, acquired at the above sale.

Literature

W. Uhde, Cinq maîtres primitifs, Paris, 1949, p. 53 (illustrated in color; illustrated in color again on the cover). M. Gauthier, Henri Rousseau, 1949, pl. XVII (illustrated; titled Banlieue Parisienne). L. Duca, Henri Rousseau, dit le Douanier, Paris, 1951, p. 8 (illustrated; titled Sur les bords de la Marne). J. Bouret, Henri Rousseau, Neuchâtel, 1961, p. 250, no. 23 (illustrated in color, p. 105; titled Banlieue, bord de Marne and dated 1903). D. Vallier, Henri Rousseau, Paris, 1961, p. 308, no. 80 (illustrated; titled Paysage de banlieue and dated circa 1905). L. and O. Bihalji-Merin, Leben und Werk des Malers Henri Rousseau, Dresden, 1971, p. 246, no. 7 (illustrated; titled Landschaft der Banlieue and dated circa 1905). L. and O. Bihalji-Merin, Henri Rousseau: Leben und Werk, Cologne, 1976, no. 2 (illustrated). C. Keay, Henri Rousseau, le Douanier, New York, 1976, p. 180, no. 32 (illustrated, p. 135; titled Banlieue, bord de Marne and dated 1903). Y. le Pichon, Le monde du Douanier Rousseau, Paris, 1981, p. 283, no. 116 (illustrated in color, p. 116; titled Bords de la Marne). D. Vallier, Tout l'oeuvre peint de Henri Rousseau, Paris, 1982, p. 104, no. 166 (illustrated, p. 105; titled Paysage de banlieue and dated before 1905). H. Certigny, Le Douanier Rousseau en son temps: biographie et catalogue raisonné, Tokyo, 1984, vol. I, p. 248, no. 124 (illustrated, p. 249).

Exhibited

(possibly) Paris, Salon des Indépendants, 1896, no. 985 (titled Vue du canal de Charenton, soleil couchant). Musée d'art moderne de la ville de Paris, Henri Rousseau, le Douanier, December 1944-January 1945, p. 29, no. 14. New York, Sidney Janis Gallery, Henri Rousseau, November-December 1951, no. 2 (dated circa 1894). Kunsthalle Tübingen, Henri Rousseau, der Zöllner: Grenzgänger zur Moderne, February-June 2001, p. 106, no. 20 (illustrated in color, p. 107).
View Lot Notes >
The landscapes that Rousseau painted of quiet, prosaic suburban vistas near Paris, which constitute by far the largest number of his pictures, form a surprising and poetic contrast to his imaginary jungle scenes. Whereas the jungles present a dense, impenetrable world in which half-hidden and mysterious conflicts roil, Rousseau's suburban landscapes are meticulously ordered and entirely open to the viewer's gaze, with diminutive figures ambling along paths, bridges, and quays under a wide sweep of sky. Unlike the Impressionists, who preferred the colorful holiday life along the Seine at Argenteuil and Bougival, Rousseau was fond of the gray, working-class neighborhoods on the immediate outskirts of Paris, which he imbued (despite their ever-present tokens of industrialization and modernity) with a sense of time suspended--"a quietude and stasis that imparts the fixity of eternal order to the banal subject matter," Carolyn Lanchner and William Rubin have written (Henri Rousseau, exh. cat., The Museum of Modern Art, New York, 1985, p. 42; compare fig. 1).

Henry Certigny has proposed that the present canvas may have been exhibited at the 1896 Salon des Indépendants as Vue du canal de Charenton, soleil couchant (op. cit., p. 248). Charenton is a suburb of Paris four miles southeast of the city center, at the confluence of the Seine and the Marne; although the exact location of the present scene remains unknown, it was likely painted on the canalized section of the Marne east of the Pont de Charenton, since fishing from the quay was prohibited closer to the capital by an 1887 ordinance.

The painting has a spare, taut composition, with depth suggested by a succession of horizontal bands that extend the full width of the canvas. These frieze-like zones are punctuated by a series of rhythmic, repeated verticals (walls, windows, chimneys, and fence posts, along with a single outsized smokestack), while the bare tree branches, silhouetted with linear precision against the late afternoon sky, offer a sinuous contrast to the prevailing rectilinear structure. The scene is bracketed at the top and bottom by the turquoise of sky and water, with flat, layered planes of local color enriching the central zone. Intentional oddities of perspective and scale lend the painting an element of whimsy that checks the geometric regularity of the composition: front and side views of the houses are freely combined, for instance, and the tiny figures in the foreground (including one in the very center who observes the scene, a stand-in for Rousseau the flâneur) are dwarfed by the receding townscape. The flat, inconsistent illumination of the painting (there are no cast shadows) also contributes to its poetic resonance, or, as André Breton was to say of Rousseau's work, its "magic" (quoted in exh. cat., op. cit., New York, 1984, p. 43). Lanchner has concluded, "In Rousseau's world, there is no nostalgia for a prelapsarian paradise; the Paris Sunday of petit bourgeois leisure is both the dream and the reality of a modernized Golden Age" (ibid., p. 220).

Rousseau in his studio, circa 1908. BARCODE: 28858454

(fig. 1) Henri Rousseau, La fabrique de chaises à Alfortville, circa 1897. Musée de l'Orangerie, Paris. BARCODE: 28858447
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