Christie's /Feb 8, 2012
€84,291.66 - €120,416.65
Artworks in Arcadja104
Some works of Henri, Le Douanier RousseauExtracted between 104 works in the catalog of Arcadja
Auction: Sotheby's -Nov 6, 2013 - New YorkLot number: 59
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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
Auction: Christie's -Nov 4, 2013 - New YorkLot number: 59
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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
Auction: Christie's -May 23, 2012 - ParisLot number: 44
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Le Douanier Rousseau (1844-1910; Henri, dit) Paysage d'Alger signé et daté 'Rousseau 1880' (en bas à gauche) huile sur toile 37.8 x 60.8 cm. (14¾ x 24 in.) Peint en 1880 Georges Renand, Paris; vente, Drouot Montaigne, Paris, 20 novembre 1987, lot 33. Acquis au cours de cette vente par le propriétaire actuel. 'Algiers Landscape'; signed and dated lower left; oil on canvas. Madame Dora Vallier a confirmé l'authenticité de cette oeuvre. La contribution poétique de Rousseau au mouvement moderne a été reconnue en son temps: il avait de nombreux admirateurs parmi les artistes avant-gardistes de son époque, y compris Robert Delaunay et Pablo Picasso. Ce dernier a tenu un banquet en l'honneur de l'artiste. Le maître de Malaga expliquait "Rousseau n'est pas un accident. Il représente la perfection d'un certain ordre de la pensée. La première tranche de travaux du Douanier que j'ai eu l'occasion d'acquérir s'empara de moi avec la force de l'obsession". (Pablo Picasso cité in R. Shattuck, Les Années de banquets, Les Origines de la Garde Avant en France, de 1885 à la Première Guerre mondiale, New York, 1955, p. 66). Les paysages constituent l'essentiel du corpus d'oeuvres de Rousseau. L'artiste peint notamment de grands espaces imaginaires qui donnent à voir un monde dense et impénétrable dans lequel des drames demi cachés et mystérieux se déroulent. Comptent parmi ses plus célèbres, ceux représentant la jungle, thématique féconde du peintre. A l'opposé, les paysages suburbains et ruraux montrent un monde entièrement ouvert au regard du spectateur avec de larges espaces et des horizons lointains sous un ciel sans nuages. Rousseau a fait des croquis saisis sur le vif lors de ses explorations autour de Paris et sa banlieue mais beaucoup de ses peintures ont été composées dans son atelier à partir d'images tirées de revues ou de cartes postales. Dans notre tableau, Rousseau a choisi une vue du port d'Alger qu'il a découvert grâce à des gravures (fig.1). Exploitant ces images, il reconstruit un site précis en dépeignant avec minutie la topographie des lieux mais aussi la vie des nomades de la région. Ce processus de copie et d'emprunt est un élément important de la pratique artistique et imaginative de Rousseau. Ses photos ont été souvent "assemblées de manière additive à partir de motifs individuels et d'autres ingrédients picturaux, résultant dans des compositions qui reconstruisent la réalité visible, plutôt que de la reproduire [...] Rousseau a enseigné aux artistes modernes comment construire l'inconnu à partir de composants connus" (W. Büttner, Henry Rousseau, catalogue d'exposition, Beyeler Museum, Bâle, 2010, p. 39). Rousseau's poetic contribution to the modern movement was already widely acknowledged in his day: he had many admirers among the avant-garde artists of his era, including Robert Delaunay and Pablo Picasso. The latter held a banquet in honour of the artist. The maestro of Malaga explained "Rousseau was no accident. He represents the perfection of a certain way of thinking. The first selection of the Douanier works I had the opportunity to acquire took hold of me with all the force of an obsession" (Pablo Picasso, quoted in R. Shattuck, The Banquet Years, The Origins of the Avant-Garde in France, from 1885 to World War I, New York, 1955, p. 66). Landscape painting form the core of Rousseau's body of work. The artist's paintings feature large imaginary spaces, offering a glimpse of a dense and impenetrable world in which half-hidden and mysterious dramas unfurl. Among his most famous works are those depicting the jungle, a rich source of inspiration for the painter. In contrast, his suburban and rural landscapes show a world entirely open to the viewer's gaze, with wide open spaces and distant horizons under a cloudless sky. While Rousseau often dashed off on-the-spot sketches during his explorations around Paris and its suburbs, many of his paintings were composed in his studio using images from magazines and postcards. In the present work, Rousseau chose a view of the port of Algiers he had discovered through engravings. Exploiting those images, he reconstructs a specific site by carefully portraying not only the topography but also the lives of the region's transient populations. This process of copying and borrowing forms an important part of the artistic and imaginative practice adopted by Rousseau. His pictures were often "assembled like a collage from individual motifs and other pictorial ingredients, resulting in compositions that reconstruct visible reality, rather than reproducing it [...] Rousseau taught modern artists how to build the unknown from known components" (W. Büttner, Henry Rousseau, exhibition catalogue, Beyeler Museum, Basel, 2010, p. 39).
Auction: Christie's -Feb 8, 2012 - LondonLot number: 462
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Henri 'Le Douanier' Rousseau (1844-1910) Tête de lion signed 'H. Rousseau' (lower left) oil on board 6 1/8 x 8 in. (15.5 x 20.2 cm.) Galerie Jean-Claude Bellier, Paris. Private collection, Monza. Galleria Annunciata, Milan. Acquired from the above by the present owner in 1990. THE PROPERTY OF A LADY Y. le Pichon, Le monde du Douanier Rousseau, Paris, 1981, p. 150 (illustrated). Sold with a photo-certificate from Dora Vallier.
Auction: Christie's -Nov 2, 2011 - New YorkLot number: 320
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Lot Description Henri 'Le Douanier' Rousseau (1844-1910) L'Hiver signed and dated 'H. Rousseau 1907' (lower left) oil on canvas 15 7/8 x 20½ in. (40.3 x 52.1 cm.) Painted in 1907 Provenance (possibly) Joseph Brummer, Paris (acquired from the artist). M. Flachfeld, Paris (possibly acquired from the above). Anon. sale, Hôtel Drouot, Paris, 31 March 1927, lot 58. Georges Bernheim, Paris (acquired at the above sale). Gaston Schulmann, Neuilly-sur-Seine. Albert Loeb and Krugier, New York (1970). Acquired from the above by the late owners, circa 1970. Pre-Lot Text Property from the Estate of François Dupré Literature Le Figaro Artistique, 28 April 1927. A. Basler, Henri Rousseau, Paris, 1927 (illustrated, pl. 31). C. Zervos, "Henri Rousseau," Cahiers d'Art, 1927, no. 59 (illustrated; titled L'Hiver. Vue d'un paysage. Effet de neige). J. Bouret, Henri Rousseau, Neuchâtel, 1961, p. 228, no. 189 (illustrated). D. Vallier, Tout l'oeuvre peint de Henri Rousseau, Paris, 1982, pp. 106-107, no. 189 (illustrated, p. 107; dated 1906?). D. Vallier, La Revue de l'art, No. 7, 1970, p. 96 (illustrated). H. Certigny, Le Douanier Rousseau en son temps, biographie et catalogue raisonné, Tokyo, 1984, vol. II, p. 512, no. 246 (illustrated, p. 513). Exhibited Kunsthalle Basel, Henri Rousseau, March-April 1933, no. 43. Paris, Musée de Grenoble, Les Maîtres Populaires de la réalité, 1937, no. 14. Tokyo, Henri Rousseau et le Monde des Naïfs, 1966, no. 35. View Lot Notes › Landscapes constitute by far the largest number of Rousseau's paintings. Many are fairly small--he would make free oil sketches from nature--but most were composed in his studio using motifs he drew during his long walks around Paris and its environs. He also relied on postcards and engravings of local and more distant sites. In L'Hiver, "Le Douanier" recreates in his own distinctive manner a winter landscape based on Dutch old master paintings. From a series of pictures representing the "Four Seasons" (Vallier, nos. 186-189; see Evening Sale lot __), Rousseau depicts a frozen waterway replete with a skater dressed in 17th Century garb pushing his companion along in a bird-shaped sledge and a towering windmill on the embankment. In Rousseau's world each person, thing and landscape feature proclaims its individual character. Each building appears like a tiny self-contained fortress, with no apparent pattern or design. Yet all of these components fit comfortably together to form a harmonious and holistic world, a "peaceable kingdom" in which everything has its place, and quietly gets along with everything else. In this democracy of images, each thing possesses its own measure of enchantment. By 1907, the year in which the present work was painted, Rousseau associated with the avant-garde. He had made the acquaintance of Pablo Picasso--to whom he famously declared that, "we are the two great painters of our time, you in the Egyptian style, I in the modern style" --Guillaume Apollinaire and Robert Delaunay. His work had been exhibited alongside the Fauves at the Salon d'Automne in 1905 and in 1907 he met the collector and critic Wilhelm Uhde who would write an influential monograph on Rousseau in 1911. Rousseau's realism is an intensely felt literalness, in which he reveals the simple and essential character of his subjects. The critic Gustave Coquiot, one of the artist's earliest supporters, wrote that Rousseau possessed "such style, such inventiveness, such a deployment of rare qualities: and above all he offers such a love, such personal generosity, such a gift of his naked heart, such absence of falsehood, of insincerity, that we can rightly speak of Rousseau's contribution to painting as both generous and unique" (quoted in the C. Lanchner and W. Rubin, Henri Rousseau and Modernism, exh. cat., Museum of Modern Art, New York, 1985, p. 37).