WILLIAM JAMES GLACKENS (1870-1938)
WILLIAM JAMES GLACKENS (1870-1938)
WILLIAM JAMES GLACKENS (1870-1938)
WILLIAM JAMES GLACKENS (1870-1938)
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WILLIAM JAMES GLACKENS (1870-1938)

"In those days I often trod the Boul' Mich' without a single sou in my pocket."

Details
WILLIAM JAMES GLACKENS (1870-1938)
"In those days I often trod the Boul' Mich' without a single sou in my pocket."
signed 'W. Glackens' (lower right)
gouache, ink wash and pencil on paperboard
17 x 11 ¼ in. (43.2 x 28.6 cm.)
Executed circa 1899.
Provenance
The artist.
Estate of the above.
Kraushaar Galleries, New York.
Merton Shapiro, acquired from the above, 1975.
Avery Galleries, Bryn Mawr, Pennsylvania.
Acquired by the present owner from the above, 2012.
Literature
W. Le Queux, "The Hermit of Rue Madame," Ainslee's Magazine, vol. III, no. 3, April 1899, p. 264, illustrated.
N.E. Allyn, E.H. Hawkes, William Glackens: A Catalogue of his Book and Magazine Illustrations, Wilmington, Delaware, 1987, no. 9.
Exhibited
St. Louis, Missouri, City Art Museum; Washington, D.C., National Collection of Fine Arts, Smithsonian Institution; New York, Whitney Museum of American Art, William Glackens in Retrospect, November 18, 1966-June 11, 1967, n.p., no. 92, illustrated (as Café de la Source).
Washington, D.C., Smithsonian Institution, National Collection of Fine Arts, Drawings by William Glackens, 1870-1938, February 25-April 30, 1972, no. 8.

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Lot Essay

The present work originally illustrated William Le Queux's 1899 "The Hermit of Rue Madame," published in Ainslee's Magazine. A dramatized account of his days as a student in Paris, the story focuses on Le Queux's encounter of an old man, Jules Legros, who quickly becomes a mentor. The men discuss art and literature at length, and Legros imparts his wisdom: "'I am,' he said 'like yourself, a student. I have been all my life a student. I shall die one.'" ("The Hermit of Rue Madame," Ainslee's Magazine, vol. III, no. 3, April 1899, p. 265) After an appearance by a mysterious woman, Legros disappears without a trace, leaving no explanation for his mentee until Le Queux stumbles upon Legros in Italy, where his true identity is revealed as the master composer and renowned recluse, Salvi. The story is illustrated with numerous scenes of the Parisian theatrical and literary sphere, as well as the cafes that pervaded this culture, as seen in the present work, depicting the Boulevard Saint-Michel.

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