12 July 2016
Property of an Important Private European Collector
Henri Fantin-Latour (French, 1836-1904)
signed and dated 'Fantin. 68' (lower right)
oil on canvas
6 x 7 ¼ in. (15.2 x 18.4 cm.)
Jacques-Emile Blanche, Paris.
with Galerie Brame & Lorenceau, Paris.
Acquired from the above by the present owner.
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
+44 (0)20 7389 2538
+44 (0)20 7389 2453
+44 (0)20 7389 2256
+44 (0)20 7389 2729
Gustave Courbet e il suo tempo, Verona, 2008, pp. 225-226, no. 65 (illustrated p. 134).
Lausanne, Fondation de l'Hermitage, Fantin-Latour: de la réalité au rêve, 29 June-28 October 2007, p. 183, no. 29 (illustrated p. 91).
Fantin painted numerous sketches of flowers and fruit to great acclaim in England, resulting in the acceptance of his still-lifes in the 1862 Royal Academy exhibition in London. The following year the American artist James McNeill Whistler purchased several of his still-lifes and commissioned several others. Despite his explosive success in London, his reputation spread more quietly in Paris, however, he was held in high regard among a small circle of fellow painters and critics in the Batignolles group; whose best known member was Edouard Manet. The present lot is characterised by the crisp green colours and verisimilitude of its subject matter. The strong impact of the artist’s palette is accentuated by the quiet neutrality of the background infusing the composition with a very distinctive three dimensional quality.
Artists, patrons and critics have argued for centuries over the right way to frame a painting. Ultimately, it’s a matter of personal taste, says Andrew Graham-Dixon
The stories behind the names given to a selection of iconic Rolex wristwatches
Alastair Smart profiles the life and work of the Pre-Raphaelite artist described by Burne-Jones as ‘the best of us all’ — illustrated with works offered in July
Arne Everwijn, Head of Sale, 19th Century Art, London, discusses 'Pommes' by Henri Fantin-Latour.