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Georges Seurat

France (Paris 1859 -  Gravelines 1891 ) Wikipedia® : Georges Seurat
SEURAT Georges Femme Tenant Un Bouquet

Sotheby's /Nov 10, 2014
2,530,043.77 - 3,795,065.65
3,944,150.60

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Artworks in Arcadja
131

Some works of Georges Seurat

Extracted between 131 works in the catalog of Arcadja
Georges Seurat - Torse D'homme, Vu De Dos.

Georges Seurat - Torse D'homme, Vu De Dos.

Original 1890
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Lot number: 108
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Description:
GEORGES SEURAT Torse d'homme, vu de dos. Lithograph on cream wove paper, circa 1890. 262x202 mm; 10 1/4x8 inches, full margins. A superb, richly-inked impression of this extremely scarce lithograph. Seurat's (1859-1891) only known lithograph, likely made by transferring one of his crayon drawings to a lithographic stone. We have found only one other impression at auction in the past 30 years; formerly in the collection of the Parisian art dealer and publisher Ambroise Vollard and subsequently the collection of Henri M. Petiet (who acquired the bulk of Vollard's collection and published inventory); sold at Piasa, Paris, December 4, 2014, lot 207. According to a pencil inscription on the other impression, this subject was printed in a small edition of approximately only 12 impressions for Harry Clemens Ulrich Kessler (1868-1937), an Anglo-German aristocrat, diplomat and patron of the arts. The current impression was formerly in the collection of the artist Maximilien Luce (1858-1941, see lots 109 and 110), a friend and colleague of Seurat, and later also in the Henri M. Petiet collection.
Georges Seurat - Les Gradins

Georges Seurat - Les Gradins

Original 1890
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Lot number: 338
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Georges Seurat 1859 - 1891 LES GRADINS Conté crayon on paper 23 by 14.6cm., 9 1/8 by 5 3/4 in. Executed in 1890. Provenance Dikran Kelekian (sale: Rains Galley, New York, 18th January 1935, lot 49) Dorothy Hirshon, New York Private Collection, New York (sale: Sotheby's, New York, 9th May 2007, lot 138) Purchased at the above sale by the present owner Literature César M. de Hauke, Seurat et son Œuvre, Paris, 1961, vol. I, no. 711, illustrated p. 301 Catalogue Note Georges Seurat, Cirque , 1890-91, oil on canvas, Musée d’’’’ Orsay, Paris
Georges Seurat - Liseur

Georges Seurat - Liseur

Original 1881
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Lot number: 9
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Georges Seurat 1859 - 1891 LISEUR Conté crayon on paper laid down on board 31 by 22cm. 12 1/4 by 8 5/8 in. Executed circa 1881. Provenance Paul Signac, Paris Galerie Bernheim-Jeune & Cie., Paris Galerie de l'Elysée, Paris M. Renauld, Paris (acquired by 1942) Private Collection, Switzerland Private Collection, Switzerland (by descent from the above circa 1958. Sold: Christie's, New York, 7th November 2007, lot 138) Purchased at the above sale by the present owner Exhibited Paris, Galerie Bernheim-Jeune & Cie., Rétrospective Georges Seurat, 1908-09, no. 162 Paris, Galerie de France, Le Néo-Impressionnisme, 1942-43, no. 15 Bielefeld, Kunsthalle & Baden-Baden, Staatliche Kunsthalle, Georges Seurat, Zeichnungen, 1983-84, no. 22, illustrated in the catalogue Literature Les dessins de Georges Seurat (exhibition catalogue), Galerie Bernheim-Jeune & Cie., Paris, 1926, no. 51 C. M. de Hauke, Seurat et son œuvre, Paris, 1961, vol. II, no. 458, illustrated p. 75 Catalogue Note One of the most innovative and celebrated draughtsmen of the nineteenth century, Georges Seurat created works on paper of ineffable beauty that are technically dazzling and emotionally compelling. Liseur is an early example of Seurat's inimitable style. As Robert Herbert has observed: ‘By 1882, Seurat had created his unique style of drawing in which individual lines have disappeared in favour of large shadowy masses. He moulded 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’’ (R. Herbert, Seurat: Paintings and Drawings (exhibition catalogue), The Art Institute of Chicago, Chicago, 1958). Seurat's method was influenced by the aesthetic theories of Charles Blanc and Humbert de Superville who published studies explaining how the direction of lines could elicit different emotions in the viewer. Using these theories as a foundation, Seurat developed a technique characterised by subtle tonal variations. Shapes are rarely defined, with contours never drawn, but rendered through expressive shadowing of carefully modulated density, and a calculated use of unblemished paper to create silhouettes, 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’’ (G. Kahn, quoted in The Drawings of Georges Seurat, New York, 1971, p. ix). At close inspection, the intensity of the manner in which the crayon is applied in Liseur defines the figure with little distinction between the body and the background that the figure becomes diffuse. At a distance, Seurat’’s masterful technique allows previously indiscernible details 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 colours with an infinite variety of shades of grey; the textured, granular effect of his drawings recalling the powdery haze of his Pointillist oils.
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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Description:
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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Gross Price
Lot number: 387
Other WORKS AT AUCTION
Description:
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."
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