HONORÉ DAUMIER (FRENCH, 1808-1879)
HONORÉ DAUMIER (FRENCH, 1808-1879)
HONORÉ DAUMIER (FRENCH, 1808-1879)
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PROPERTY FROM A PRIVATE SWISS COLLECTION
HONORÉ DAUMIER (FRENCH, 1808-1879)

Les buveurs de bière

细节
HONORÉ DAUMIER (FRENCH, 1808-1879)
Les buveurs de bière
signed 'h. Daumier' (lower left)
oil on panel
10 ¼ x 12 1/8 in. (26 x 30.7 cm.)
Painted circa 1860.
来源
M. Ch. Salomon.
Toulouse-Lautrec (?).
Mme. Albert Esnault-Pelterie, Paris, France.
Dr Fritz Nathan, Zollikon, Zurich, Switzerland, and by descent to the present owner.
At one time handled by the late dealer Sam Salz, New York, New York.
出版
A. Alexandre, Honoré Daumier, l'homme et l'oeuvre, Paris, 1888, p. 375.
E. Klossowski, Honoré Daumier, incl. supplement, Munich, 1923, no. 272, p. 111.
J. Fontainas, La Peinture de Daumier. Ars graphica; etudes et documents, Paris, 1923, pl. 18, illustrated.
E. Fuchs, Der Maler Daumier, incl. supplement, Munich, 1930, no. 35b, illustrated.
B. Fleischmann, Honoré Daumier, Gemälde, Graphik, Vienna 1938 (French edition by Sachs, Maurice), pl. 84, illustrated.
J. Lassaigne, Daumier, New York and Paris, 1938, pl. 42, illustrated.
J. Lassaigne, Formes et Couleurs, vol. III/IV, 1945, p. 381.
P. Courthion, 'Daumier raconté par lui-même et par ses amis', Vésenaz-Genève, P. Cailler, 1945, p. 268, illustrated.
C. Scweicher, 'Daumier', Paris, Somogy, Ars Mundi, 1953, pl. 8.
G. Besson, 'Honoré Daumier', Paris, Cercle d'Art, 1959, pl. XLV, illustrated.
G. Besson, Daumier Paintings and Drawings, London, 1961, no. 30, p. 32, pl. 7c, illustrated.
R. Rey, Daumier, Library of Great Painters, New York, 1965, pp. 102-103, illustrated.
K. E. Maison, Honoré Daumier: A Catalogue Raisonné of the Paintings, Watercolors, and Drawings, 2 vols., Paris, 1967, I-155, pl. 78.
G. Mandel, Tout l'oeuvre peint de Daumier, Paris, 1972, no. 203.
P. Cabanne, Honoré Daumier, Paris, 1999, p. 144, illustrated.
Nathan, F. & P, Die Kunst des Handels, Tübinger Kunsthalle, 2005, p. 183, no. 131, illustrated.
展览
Paris, Durand Ruel, Exposition des peintures et dessins de H. Daumier, 15.6.1878, no. 90.
Paris, Galerie Georges Petit, Cent Chefs-d’Oeuvre de l’Ecole Française, Vingt Peintres du 19e Siècle, 2- 31. Mai, 1910, no. 52.
Paris, Orangerie, Exposition Daumier, 1934, no. 8.
Philadelphia, 1937, no. 4.
Winterthur, Kunstmuseum Winterthur, Europäische Meister, June - July 1955, no. 60.
Paris, Petit Palais, De Géricault à Matisse: Chefs d'oeuvre français des collections Suisses, March-May 1959, no. 37.
London, Tate Gallery, Daumier: paintings and drawings. An exhibition organised by the Arts Council of Great Britain, June-July 1961, no. 30.
Schaffhausen, Museum zu Allerheiligen, Die Welt des Impressionismus, 29 June-29 September 1963, no. 29.
Tübingen, Kunsthalle Tübingen, Die Kunst des Handelns: Meisterwerke des 14. bis 20, Jahrhunderts bei Fritz und Pether Nathan, September 2005-January 2006, unnumbered.

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Sarah Reynolds
Sarah Reynolds Specialist, Head of Sale

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拍品专文

Honoré Daumier approached his favourite subject, nineteenth century Paris, with a combination of realism and wit. Whilst some of his drawings can approach caricature, the present painting is observant and sympathetic without satire or exaggeration.

The unobtrusive wooded background heightens the rapport between the two sitting figures. Unlike other treatments of this subject from this period, such as Les Deux buveurs (c.1858, Barnes Foundation, Philadelphia), the figures are not held in intense interaction. Rather this is a calmer image where meaning can be found in subtlety. Here, both figures are settled around a small table. The left figure reads intently whilst the figure on the right, sitting with a slight recline, lights his pipe and glances over to his friend’s paper. They could be on the cusp of conversation, but in this moment both figures share an amicable moment together whilst pursuing separate pleasures.

As Ives would surmise, 'Daumier’s particular genius is evident in the stunning and disciplined clarity of his images. The artist never became mired in detail or narratives that required explanation, but instead concentrated on defining character through incisive description. Thus, true identities are revealed' (C. Ives, Daumier Drawings, exh. cat., The Metropolitan Museum of Art, New York, 1992, p. 175).

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