Albrecht Dürer (German, 1471-1528) Christ Among the Doctors, from The
Life of the Virgin, 1511, later impression without text verso
(Hollstein, 203c/c; Meder, 203f/g). Monogrammed within the More ...
Francisco José de Goya y Lucientes (Spanish, 1746-1828) Caridad de
una Muger, plate 49 from Los Desastres de la Guerras (Harris,
169iii/iii). Unsigned, title and plate number within the plate. More ...
Francisco José de Goya y Lucientes (Spanish, 1746-1828) Disparate
Claro, from Los Proverbios, 1816-24, probably from the fifth edition of
nine (Harris, 262). Unsigned. Etching with aquatint on More ...
Adriaen Jansz van Ostade (Dutch, 1610-1685) Three Works: Peasant in a
Pointed Fur Cap, (Godefroy, 3iii/vii); Man and Woman Conversing (G.,
12iii/v); and Peasant with his Hands Behind his Back More ...
Giovanni Domenico Tiepolo (Italian, 1727-1804) The Holy Family
Disembarking, from the series Flight Into Egypt, 1753, final state of
two (DeVesme, 18; Rizzi, 84ii/ii). Unsigned. Etching on More
Rembrandt Harmensz van Rijn (Dutch, 1606-1669) Jan Uytenbogaert, The
Goldweigher, 1639, an impression on 18th century paper (Hollstein,
281ii/ii). Signed and dated within the plate. Etching on More ...
Rembrandt Harmensz van Rijn (Dutch, 1606-1669) The Circumcision in
the Stable, 1654, first state of two (Hollstein, 47 I/II). Signed and
dated within the plate. Etching on laid paper, More ...
Henri Matisse (French, 1869-1954) La Cité - Notre-Dame, 1937, edition
of 500 (Duthuit, 248). Signed within the plate. Etching on paper, plate
size 13 3/8 x 10 3/16 in. (33.8 x 25.8 cm), More ...
Jean-François Millet (French, 1814-1875) La cardeuse, c. 1855-56
(Delteil, 15). Unsigned, identified on a label from Associated American
Artists, New York, affixed to the backing. Etching More ...
(160.0
x 120.7 cm), framed. Condition: Even toning to More ...
James Jacques Joseph Tissot (French, 1836-1902) La soeur aînée, 1881,
the published state, edition of 100 (Wentworth, 53). Signed and dated
within the plate. Etching and drypoint on laid More ...
Georges Rouault (French, 1871-1958) Ballerine, 1932, from Cirque,
edition of 270, printed by Maurice Potin, Paris, published by Ambroise
Vollard Éditeur, Paris (Chapon/Rouault 205; Wofsy 205). More ...
Georges Rouault (French, 1871-1958) Le Petit Nain, 1934, from Cirque
de l'Étoile Filante, 1938, total edition of 250, published by Ambroise
Vollard, Paris, printed by Lacourière, Paris More ...
Georges Rouault (French, 1871-1958) Les disciples, 1936, from
Passion, 1939, total edition of 270, published by Ambroise Vollard,
Paris (Chapon/Rouault, 272b; Wofsy, 352). Initialed and dated More ...
Georges Rouault (French, 1871-1958) Paysage à la tour, 1938, from Les
fleurs du mal 1936-38, edition of 250, published by Vollard, Paris,
printed by Lacourière, Paris (Chapon/Rouault, 281b; More ...
Peggy Bacon (American, 1895-1987) The Untilled Fields, 1936,
published by Associated American Artists, New York, 1937, edition of 250
(Flint 132; AAA/Czestochowski, 1937.002). Signed "Peggy More ..
Thomas Hart Benton (American, 1889-1975) Swampland, from the series
Swamp Water, 1941, published by Associated American Artists, New York,
edition of 100 (Fath, 49; AAA/Czestochowski, 1941.006). More ...
Mary Cassatt (American, 1844-1926) Sara Smiling, c. 1904 (Breeskin,
195). Unsigned, identified on labels from Associated American Artists,
New York, affixed to the backing. Drypoint with More ...
Mary Cassatt (American, 1844-1926) Looking into the Hand Mirror No.
2, c. 1905 (Breeskin, 202). Unsigned. Drypoint on blue/gray laid paper,
plate size 8 1/4 x 5 3/4 in. (20.8 x 14.4 cm), More ...
John Steuart Curry (American, 1897-1946) Summer Afternoon, 1939,
edition of 250, published by Associated American Artists (Czestochowski,
C-36). Signed "John Steuart Curry" in pencil l.r., More ...
Peter Hurd (American, 1904-1984) Sheepherder, 1937, edition of 250,
published by Associated American Artists, New York (AAA/Czestochowski,
1937.055). Signed "Peter Hurd" in pencil l.r. and More ...
Rockwell Kent (American, 1882-1971) Pinnacle, 1928, edition of 100
(Jones, 20). Signed "Rockwell Kent" in pencil l.r. Lithograph on paper,
image size 12 x 7 1/4 in. (30.4 x 18.4 cm), framed. More ...
Martin Lewis (American, 1881-1962) R.F.D., 1933, edition of 145 plus
proofs (McCarron, 106). Signed "Martin Lewis-" in pencil l.r., signed
within the plate, identified on a label from Kennedy & More ...
Reginald Marsh (American, 1898-1954) 10th Ave. at 27th St., 1931,
final state, probably from the 1956 edition (Sasowsky, 128). Signed and
dated within the plate. Engraving on paper, plate size More ...
Reginald Marsh (American, 1898-1954) Union Square, 1933, edition of
300 (Sasowsky, 27). Signed "Reginald Marsh" in pencil l.r., initialed
and dated within the matrix. Lithograph on wove paper, More ...
James Abbott McNeill Whistler (American, 1834-1903) Annie, 1857-58,
sixth state of seven (Glasgow, 7vi/vii; Kennedy, 10). Signed, titled,
and inscribed within the plate. Etching on paper, plate More ...
James Abbott McNeill Whistler (American, 1834-1903) Fumette, 1858,
final state (Glasgow, 12v/v; Kennedy, 13). Signed and inscribed within
the plate. Etching on paper, plate size 6 1/2 x 4 1/4 More ...
James Abbott McNeill Whistler (American, 1834-1903) La vieille aux
loques, 1858, final state (Glasgow, 27iv/iv; Kennedy, 21). Signed in the
plate, identified on a label from Associated American More ...
James Abbott McNeill Whistler (American, 1834-1903) Rag Pickers,
Quartier Mouffetard, Paris, 1858, final state of five (Glasgow, 29v/v;
Kennedy, 23). Signed and dated within the plate. Etching More ...
James Abbott McNeill Whistler (American, 1834-1903) Old Westminster
Bridge, 1859, third state of four (Glasgow, 47iii/iv; Kennedy, 39).
Signed and dated within the plate. Etching on laid paper More ...
James Abbott McNeill Whistler (American, 1834-1903) Limehouse, 1859,
final state, printed in 1871 or later (Glasgow, 48vi/vi; Kennedy,
40iii/iii). Signed and dated within the plate. Etching on More ...
James Abbott McNeill Whistler (American, 1834-1903) Billingsgate,
1859, probably the final state (Glasgow, 51ix/ix; Kennedy, 47). Signed
and dated within the plate. Etching on paper, plate size More ...
James Abbott McNeill Whistler (American, 1834-1903) Soupe à trois
sous, 1859, only state (Glasgow, 64; Kennedy, 49). Signed within the
plate. Etching on fine laid paper, plate size 6 x 9 in. More ...
James Abbott McNeill Whistler (American, 1834-1903) Millbank, 1861,
final state (Glasgow, 78v/v; Kennedy, 71). Dated within the plate.
Etching on wove paper, plate size 4 x 4 15/16 in. (10.1 x More ...
James Abbott McNeill Whistler (American, 1834-1903) The Punt, 1861,
fourth state of six (Glasgow, 82iv/vi; Kennedy, 85). Signed and
identified within the plate. Etching on chine collé, plate More ...
James Abbott McNeill Whistler (American, 1834-1903) Little Putney
Bridge, 1879, final state (Glasgow, 186v/v; Kennedy, 179). Butterfly
monogram in the plate. Etching on wove paper, plate size 5 More ...
James Abbott McNeill Whistler (American, 1834-1903) Alderney Street,
1881, second state of three, published in the Gazette des Beaux-Arts,
Paris (Glasgow, 246ii/iii; Kennedy, 238). Monogrammed More ...
Grant Wood (American, 1891-1942) Tree-Planting Group, 1937, edition
of 250, published by Associated American Artists (Czestochowski, W-3).
Signed and dated "Grant Wood - 1937" in pencil l.r. More ...
‘Millet and Modern Art: From Van Gogh to Dalí’ creates an alternative narrative for the history of modern art.
Jean-François
Millet, French, 1814–1875; “Self-Portrait”, 1840-1841; oil on canvas;
25 × 18 1/2 inches; Museum of Fine Arts, Boston, Museum purchase with
funds donated by contribution 2020.49
The Saint Louis Art Museum next month will open “Millet and Modern
Art: From Van Gogh to Dalí,” an exhibition that examines, for the first
time, the international legacy of the 19th-century French painter,
Jean-François Millet.
Millet (1814-1875) was a pioneer in developing innovative imagery of
rural peasantry, landscapes and nudes, and his work had a deep impact on
later generations of artists. In the late-19th century, he was arguably
the best-known modern painter, and his works sold for the highest
prices of any modern pictures at auction. Today, he is less well known,
and “Millet and Modern Art” explores Millet’s original importance and
the international range of artists he influenced.
The exhibition is organized by the Saint Louis Art Museum and the Van
Gogh Museum, Amsterdam. It opens in St. Louis on Feb. 16 and runs
through May 17.
“This groundbreaking exhibition rediscovers Millet’s critical role in the birth and development of modern art,” saidBrent R. Benjamin,
the Barbara B. Taylor Director of the Saint Louis Art Museum. “It will
be a visually stunning treat for our visitors and it is an important
contribution to art historical scholarship.”
Masterworks on loan from many of the world’s greatest museums situate
Millet’s imagery within the context of work by a wide, international
range of artists whom he influenced. Among the latter are the Dutchman
Vincent van Gogh; the Frenchmen Camille Pissarro, Georges Seurat and
Claude Monet; the Italian Giovanni Segantini; the American Winslow
Homer; the German Paula Modersohn-Becker; the Norwegian Edvard Munch and
the Spaniard Salvador Dalí.
Rural labor was always an important theme for Millet, and the
exhibition looks at imagery such as the sower, the reaper, and the
gleaner, in which the artist articulated his sympathy for the
marginalized rural poor and suggested larger metaphorical narratives of
birth and death. Millet’s work had a particularly deep impact on Van
Gogh, who referred to him as “father Millet.”
The exhibition includes several iconic images by Van Gogh, including
two important paintings of “The Sower” and the Musée d’Orsay’s rarely
lent “Starry Night”, which predates van Gogh’s painting of the same
title in the collection of the Museum of Modern Art, New York. Among the
American artists represented in the show is Homer, whose “The Bright
Side” reinterprets Millet’s imagery through the lens of race.
In the late 19th century, Millet’s drawings and pastels were often seen as more formally radical than his paintings.
The show includes important groupings of works on paper,
demonstrating their impact on artists such as Georges Seurat. There is
also a body of Millet’s little-known nude imagery that deeply affected
Edgar Degas.
The exhibition emphasizes the significance of Millet’s landscape
paintings that increasingly dominated his practice in the last decade of
his life. His marine imagery is paired with that of his fellow Norman,
Monet, who was also fascinated by the sea. An important loan in this
section is “Spring,” a late masterpiece in which Millet showcases his
ability to capture light from a passing rainbow. This is related to
imagery by the American George Inness.
The final and culminating section of the exhibition centers on
Millet’s “Angelus,” one of the most expensive modern paintings of the
late 19th century and an important national symbol of France to this
day. The show includes related work by artists including Munch, the
Russian Natalia Goncharova, and an important group of pictures by Dalí,
who was obsessed by Millet’s “Angelus.”
The exhibition is co-curated bySimon Kelly,
curator of modern and contemporary art at the Saint Louis Art Museum,
and Maite van Dijk, senior curator at the Van Gogh Museum, Amsterdam.
ean-François
Millet, French, 1814–1875; “Man with a Hoe”, 1860-1862; oil on canvas;
32 1/4 × 39 1/2 inches; The J. Paul Getty Museum, Los Angeles 2020.41Winslow
Homer, American, 1836–1910; “The Bright Side”, 1865; oil on canvas; 12
3/4 × 17 inches; Fine Arts Museums of San Francisco, Gift of Mr. and
Mrs. John D. Rockefeller 3rd 2020.55
“Millet and Modern Art” is organized by the Saint Louis Art Museum
and the Van Gogh Museum, Amsterdam, with exceptional support from the
Musée d’Orsay, Paris. The exhibition is presented in St. Louis by the
Betsy and Thomas Patterson Foundation. Additional support is provided by
the E. Desmond Lee Family Endowment for Exhibitions; the Missouri Arts
Council, a state agency; the National Endowment for the Arts; and
Christie’s.
“Millet and Modern Art” is accompanied by a 208-page, fully illustratedcatalogueedited
by Kelly and van Dijk and published by Yale University Press. Other
contributors include Nienke Bakker, senior curator of paintings at the
Van Gogh Museum, and Abigail Yoder, research assistant at the Saint
Louis Art Museum.
Jean-François
Millet, French, 1814–1875; “The Flight Into Egypt”, 1859-1869; black
and brown conté crayon, pen, black ink and traces of black pastel, over
gray washes, on cream wove paper, edge-mounted on laminated woodpulp
board; 12 1/2 × 16 inches; Art Institute of Chicago, The Regenstein
Collection 2020.48Georges
Seurat, French, 1859–1891; “Peasants”, 1881-1884; Conté crayon; 9 3/4 ×
12 7/16 inches; The Metropolitan Museum of Art, Bequest of Miss
Adelaide Milton de Groot (1876-1967), 1967 2020.91
On February 18th, Freeman’s will hold its inaugural auction of European Art and Old Masters
at its brand new 2400 Market Street location.
THREE IMPRESSIONIST HIGHLIGHTS
One of the highlights of the sale will be
Berthe Morisot’sApollon Révélant sa Divinité à la Bergère Issé (after François Boucher)
(Lot 37; $150,000-250,000) – a striking late work completed in the fall
of 1892. The painting is one of two paintings that Morisot copied after
François Boucher, an 18th century artist she particularly revered and
studied. So distinctly Rococo in theme and technique, the present work
made an impression on Claude Monet, who insisted on including it in the
artist’s retrospective show in 1896, and which later inspired him his
famous Nymphéas series. This painting remained in the Morisot
family’s collection until it was purchased by the present owner from the
artist’s grandson, giving it impeccable provenance. Also on offer will be Bald-Headed Orphan Man, Facing Right by Vincent van Gogh (Lot 32; $120,000-180,000)
and a fresh-to-market bronze by Edgar Degas entitled Grand Arabesque, Deuxième Temps (Lot 48; $120,000-180,000)
