Jean-François Millet (French, 1814-1875)
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Jean-François Millet (French, 1814-1875)

Hagar and Ishmael

細節
Jean-François Millet (French, 1814-1875)
Hagar and Ishmael
oil on panel
6¾ x 10 in. (17 x 25.4 cm.)
來源
Acquired directly from the artist by Alfred Sensier, Paris and Barbizon.
His sale; Paris, Drouot, 10-18 December 1877, lot 66.
Acquired at the above sale by Cottier.
Anonymous sale, New York, Parke-Bernet, 14 January 1970, lot 81.
with Sun Motoyama, Tokyo, 1970.
Private collection, Japan.
出版
R. L. Herbert, Jean-Franois Millet, Paris (Grand Palais exhibition catalogue), 1975, mentioned under no. 45, p. 77 (with incorrect provenance).
B. Laughton, "Millet's Hagar and Ishmael", Burlington Magazine, November 1979, p. 709, fn. 16.
F. Leeman and H. Pennock, Catalogue of Paintings and Drawings, Museum Mesdag, Amsterdam, 1996, p. 336, fn. 11 and 12 (with incorrect history).
注意事項
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

榮譽呈獻

Alexandra McMorrow
Alexandra McMorrow

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拍品專文

Jean-François Millet painted Hagar and Ishmael in the Desert in 1847-48, as he searched for biblical and historical themes that would support his interest in realistic figure painting and contemporary social problems. At the same time as he created this image of the Old Testament slave girl and her child banished into the wilderness, Millet was also painting abandoned mothers sheltering children along modern highways.

Millet took up the Hagar theme for his first government commission (from the short-lived republican regime of 1848); and it is likely this small panel served as the sketch Millet would have submitted in support of his application. The ultimate version of the subject (The Hague, Museum Mesdag, fig. 1) separates the figures of Hagar and her son.

This painting has been largely lost to public history since its sale in the collection of Alfred Sensier, a bureaucrat in the French arts establishment who befriended Millet during the late 1840s and went on to become one of his closest friends.

We are grateful to Alexandra Murphy for authenticating this work and for her assistance in cataloguing this lot.

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