Georges Seurat

France (Paris 1859Gravelines 1891 ) - Artworks Wikipedia® - Georges Seurat
SEURAT Georges Fort De La Halle

Sotheby's /Feb 5, 2014
606,023.94 - 848,433.52
1,378,083.50

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Artworks in Arcadja
119

Some works of Georges Seurat

Extracted between 119 works in the catalog of Arcadja
Georges Seurat - Femme Tenant Un Bouquet

Georges Seurat - Femme Tenant Un Bouquet

Original 1882
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Lot number: 8
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Georges Seurat 1859 - 1891 FEMME TENANT UN BOUQUET Conté crayon on paper 12 1/4 by 9 1/2 in. 31.2 by 24.3 cm. Executed circa 1882, this work is registered in the Georges Seurat archives held at Galerie Brame et Lorenceau. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Jacques & Pierre Puybonnieux, Paris (by descent from the artist) Wildenstein & Co. Inc., New York Collection of Mr. Paul Mellon (acquired from the above in 1956) Collection of Mrs. Paul Mellon (Christmas gift from the above, December 1956) Exhibited New York, Wildenstein & Co., For the Connoisseur, 1956, cat. no. 64 Washington, D.C., National Gallery of Art, French Paintings from the Collections of Mr. & Mrs. Paul Mellon and Mrs. Mellon Bruce, Twenty-Fifth Anniversary Exhibition, 1941-1966, 1966, cat. no. 241, illustrated Literature César M. de Hauke, Seurat et son oeuvre, Paris, 1961, vol II, cat. no. 495, p. 97, illustrated Seurat's uniquely evocative technique as a draughtsman was developed early in his career, as we can see in this subtly rendered portrait of an elegant woman holding a bouquet, executed when he was only 22 years old. The enigmatic, faceless figure of the young woman is depicted in shadow, backlit against an illuminated doorway, creating an image of poignant intensity. In keeping with many of Seurat’’s female figures of this time, the woman is captured between static immobility and potential movement, in a moment of suspense and anticipation. Background detail has been left mysteriously bare, the timeless atmosphere lending the central figure a solemn, stately presence that brings to mind Classical sculpture. Nevertheless her silhouette, notably her fashionable hat and the bustle of her skirt, identify her as belonging to the fashionable bourgeoisie of the late Nineteenth Century. While the precise identity of the model is unknown, the similarity of this drawing with Dame au bouquet, de dos (1882-1883) and Femme avec deux fillettes (1882-84), both of which were inherited by the artist’’s brother-in-law Léon Appert, indicates that the woman represented may be Madame Adrien Appert, who posed for Femme avec deux fillettes with her two daughters. As Robert Herbert has observed: “By 1882, Seurat had created his unique style of drawing in which individual lines have disappeared in favor of large shadowy masses. He molded his velvety forms by delicately rubbing the rough textured paper with a greasy conté crayon, and by using the end of the crayon to form an even more dense scumble of lines which finally merged into greys and blacks” (exhibition catalogue: Seurat: Paintings and Drawings, Art Institute of Chicago, 1958). Seurat’’s method had been greatly influenced by the aesthetic theories of Charles Blanc and Humbert de Superville who had published studies explaining how the direction of lines, associated with colors, could elicit different emotions in the viewer. According to Blanc, linear directions are “unconditional signs” of emotion. Ascending lines are linked to feelings of joy and life, and, by association, expansion and voluptuousness. Using these theories as a foundation, Seurat developed a technique characterised by subtle tonal variations. Shapes are never defined, contours never drawn, figures are rendered through expressive shadowing of carefully modulated density, described thus by Gustave Kahn in 1929: “Seurat’’s originality manifests itself through the simplified silhouettes of the figures and by the varying intensity of dark shadows which appear, as they move further away from the figures, to melt into white and black. One of the characteristics of Seurat’’s drawings is that they are composed less for the sake of line than for atmosphere.” (Les Dessins de Georges Seurat 1859-1891, Paris, 1929, n.p.) The contours of the young woman are thus delineated not by lines but by gently rubbing the conté crayon (composed of black carbon, clay and graphite) against the ridged surface of the Michallet paper, with darker zones produced by applying multiple layers, recognisable by the superimposed lines running in opposite directions. The painter Henri-Edmond Cross recalled a conversation with Seurat in which he emphasised that “his vision made him conceive of values before lines” and that it never occurred to him to “begin a canvas with a line” ( “Inédits d’’Henri-Edmond Cross - V” , Bulletin de la vie artistique, Paris,15th September 1922). By applying this method to drawing, the artist achieved outstanding contrasts of dark and light, which would lead critics to hail him as a worthy successor to Rembrandt, the clair-obscuriste par excellence (Charles Blanc, Grammaire des Arts du dessin, Paris, 1886, Chapter XII). The further the viewer moves back from the work, the clearer the image becomes, allowing previously indiscernible details (such as the bouquet of flowers) to emerge. This phenomenon recalls the optic principles of Michel-Eugène Chevreul and Eugène Rood, which were at the root of Neo-Impressionism. Seurat strove to integrate these ideas not only into his paintings but also into his drawings, where he replaces colors with an infinite variety of shades of grey; the textured, granular effect of his drawings recalling the powdery haze of his Pointillist oils. The present work was acquired by Paul Mellon for Rachel Lambert Mellon as a Christmas gift in 1956. Fig. 1 Georges Seurat, Femme avex deux Fillettes , circa 1882-84, Sold: Sotheby’’’’s Paris, 
May 28th, 2009, $ 2,103,388 The work is in excellent condition. Colors are fresh and the sheet is clean. Mild adhesive stains can be found on the bottom edge of the reverse which does not affect the work. The work is inscribed "132 / Seurat / S" on the reverse in red crayon. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Georges Seurat - Femme Assise Bas

Georges Seurat - Femme Assise Bas

Original -
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Lot number: 387
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Provenance Camille Platteel, Paris Sale: Galerie Charpentier, Paris, 13th June 1958, lot 38 Sale: Sotheby's, London, 29th November 1972, lot 37 Dr Anton C.R Dreesmann Sale: Christie's, London, 9th April 2002, lot 66 Purchased at the above sale by the late owner Exhibited Paris, La Revue Blanche, 'Seurat', 1900 Paris, Galerie Bernheim-Jeune, Rétrospective Georges Seurat, 1908-09, no. 146 Paris, Galerie Bernheim-Jeune, Les Dessins de Georges Seurat, 1926, no. 68 Ravenna, Loggetta Lombardesca, Da Renoir a de Staël, Roberto Longhi e il moderno, 2003, no. 14 New York, Richard L. Feigen & Co. & Jan Krugier Gallery, The Third Eye: Fantasies, Dreams and Visions, 2005-06 New York, The Museum of Modern Art, Georges Seurat. The Drawings, 2007-08, no. 50, illustrated in colour in the catalogue PROPERTY FROM THE ESTATE OF JAN KRUGIER Georges Seurat 1859 - 1891 FEMME ASSISE BAS Conté crayon on laid paper 32 by 24cm., 12⅝ by 9½in. Executed circa 1883. Executed on laid Michellet paper, not laid down, attached to the mount at all four corners and floating in the overmount. The sheet is time-stained and this reveals evidence of a previous mounting. The lower and right edges are deckled and there is a 1cm-long tear to the left part of the extreme lower edge. Otherwise, this work is in overall good condition. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Georges Seurat - Le Tombereau Au Cheval Broutant

Georges Seurat - Le Tombereau Au Cheval Broutant

Original 1883
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Lot number: 110
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Georges-Eugène Faillet dit Fagus, Paris Sale: Enchères MSA, Pontoise, 10th December 2005, lot 142 Purchased at the above sale by the late owner Paris, La Revue Blanche, Seurat, 1900 New York, The Museum of Modern Art, Georges Seurat. The Drawings, 2007-08, no. 75, illustrated in colour in the catalogue From Goya to Picasso: Works from the Private Collection of Jan Krugier 110 FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER Georges Seurat 1859 - 1891 LE TOMBEREAU AU CHEVAL BROUTANT Conté crayon on laid paper 24.5 by 31.5cm., 9 5/8 by 12 1/4 in. Executed circa 1883. Estimate 150,000 - 200,000 GBP Print Please notify me when the condition report is available
Georges Seurat - Fort De La Halle

Georges Seurat - Fort De La Halle

Original
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Lot number: 8
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Estate of the artist Emile Seurat, Paris (the artist's brother, by descent from the above in 1891) Paul Signac, France (acquired by 1908; until 1935) Jacques Chambuin, Paris Acquired from the above by the late owner on 12th December 1977 Paris, La Revue Blanche, Georges Seurat, Œuvres dessinées, Paris, 1900 Paris, Galerie Bernheim-Jeune, Rétrospective Georges Seurat, 1908-09, no. 171 Paris, Galerie Bernheim-Jeune, Les Dessins de Seurat, 1926, no. 58 Baden-Baden, Staatliche Kunsthalle, Georges Seurat Zeichnungen, 1984 Paris, Galeries Nationales du Grand Palais & New York, The Metropolitan Museum of Art, Georges Seurat, 1991-92, no. 38 (in Paris); no. 39 (in New York), illustrated in the catalogue (as dating from 1882-84) Bern, Kunstmuseum & Hamburg, Kunsthalle, Zeichnen ist Sehen, Meisterwerke von Ingres bis Cézanne aus dem Museum der Bildenden Künste Budapest und aus Schweizer Sammlungen, 1996, no. 98, illustrated in the catalogue Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin - Preussischer Kulturbesitz, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 113, illustrated in colour in the catalogue Venice, Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection,1999, no. 124, illustrated in colour in the catalogue Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 149, illustrated in colour in the catalogue Paris, Musée Jacquemart-André, La Passion du Dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 138, illustrated in colour in the catalogue Vienna, Albertina, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2005, no. 82, illustrated in colour in the catalogue Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 137, illustrated in colour in the catalogue New York, The Museum of Modern Art, Georges Seurat: The Drawings, 2007-08, no. 40, illustrated in the catalogue (as dating from 1882-84) 8 FROM GOYA TO PICASSO: WORKS FROM THE PRIVATE COLLECTION OF JAN KRUGIER Georges Seurat 1859 - 1891 FORT DE LA HALLE Conté crayon on laid paper 32 by 25.5cm. 12 5/8 by 10in. Executed circa 1882. Estimate 500,000 - 700,000 GBP Print Please notify me when the condition report is available
Georges Seurat - Paysage Avec Cheval

Georges Seurat - Paysage Avec Cheval

Original
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Lot number: 24
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Description:
Lot Description Georges Seurat (1859-1891) Paysage avec cheval oil on panel 6¼ x 9.7/8 in. (16 x 25.2 cm.) Painted circa 1882-1883 Provenance The artist's estate (inventory no. L 54; inscribed by Maximillien Luce on the reverse of the panel). Marie-Christine Chevallot (the artist's aunt), Dampierre, Aube, by descent from the above. Constant-Augustave Chevallot, Dampierre, by descent from the above. Clémentine Mason, Dampierre, by descent from the above. Jeanne Gerbier, Dampierre, by descent from the above. Marguerite Richard, by descent from the above. Richard Wildenstein, Paris, by descent from the above circa 1982. Private collection, France. Pre-Lot Text PROPERTY FROM A PRIVATE COLLECTION Literature D. Wildenstein, Seurat, Paris, 1982, pp. 21 & 49 (illustrated). J. Rewald, Seurat, New York, 1990, p. 44 (illustrated). Exhibited Tokyo, Wildenstein Gallery, Masterpieces of French Painting, June - July 1986 (illustrated). Zurich, Kunsthaus, Georges Seurat, Figure in Space, October 2009 - January 2010, no. 23 (illustrated p. 47); this exhibition later travelled to Frankfurt, Schirn Kunsthalle. View Lot Notes >
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