Details
PAUL SIGNAC (1863-1935)
Concarneau, calme du matin (Opus no. 219, larghetto)
signed and dated ‘P. Signac. 91’ (lower left); inscribed with Opus number ‘Op 219’ (lower right)
oil on canvas
25 7/8 x 32 in. (65.7 x 81.3 cm.)
Painted in 1891
Provenance
Henri-Nicolas Lejeune France (acquired from the artist, 1891).
Henri Lejeune, Saint-Cloud (by descent from the above); sale, Sotheby Parke Bernet & Co., London, 27 June 1977, lot 13.
Bluestone Corporation, New York.
Private collection (until 1993).
Private collection; sale, Christie’s, New York, 18 November 1998, lot 28 (world auction record for the artist at the time of sale).
Acquired at the above sale by the late owner.
Literature
F. Fénéon, "Paul Signac" in La Plume, 1 September 1891, p. 299.
E. Demolder, "Le Salon des XX Bruxelles" in L'Artiste, March 1892, p. 226.
"Clôture du Salon des XX" in L'art moderne, 13 March 1892, p. 82.
A. Alexandre, "Indépendants" in Paris, 18 March 1892, p. 2.
"Instantanés. Paul Signac" in Gil Blas, 20 March 1892, p. 1.
F. Javel, "Signac" in Gil Blas, 20 March 1892, p. 3.
C. d'Hennebaut, "Salon des Indépendants" in Moniteur des arts, 25 March 1892, p. 1.
L'art moderne, 27 March 1892, p. 1.
E. Cousturier, "Société des Artistes Indépendants" in L'En-dehors, 27 March 1892, p. 3.
J. Christophe, "Salon des Artistes Indépendants" in La Plume, 1 April 1892, no. 71, p. 157.
"Exposition des Artistes Indépendants" in Entretiens politiques et littéraires, April 1892, vol. IV, no. 25, p. 189.
P.M. Olin, "Les XX" in Mercure de France, 1 April 1892, pp. 342-343.
F. Fénéon, "Au Pavillon de la Ville de Paris, Société des Artistes Indépendants" in Le chat noir, 2 April 1892, p. 1932.
C. Saunier, "Les Indépendants" in La revue indépendante, April-June 1892, vol. XXIII, nos. 66-68, p. 43.
G. Geffroy, "Les Indépendants" in La vie artistique, 1893, p. 370.
Signac, exh. cat., Musée du Louvre, Paris, 1963, p. 45.
J. Halperin, Félix Fénéon: Oeuvres plus que complètes, Paris, 1970, vol. I, pp. 198 and 212.
F. Cachin, Paul Signac Milan, 1971, p. 51 (incorrectly titled Return of the Trawlers, scherzo).
"The Sale Room" in Apollo, November 1977, vol. 106, no. 189, pp. 429 and 431 (illustrated, p. 429, fig. 3).
H. Belbeoch, Les peintres de Concarneau, Paris, 1993, p. 100 (illustrated in color).
R. Thomson, Monet to Matisse: Landscape Painting in France, New York, 1994, pp. 145-146.
L. Tansini, "Van Gogh et Basquiat triomphent à New York" in Journal des arts, 4 December 1998.
T. Rodrigues, ed., Christie's Review of the Year 1998, London, 1999, p. 74 (illustrated in color).
R. Roslak, “Symphonic Seas, Oceans of Liberty: Paul Signac’s La Mer, Les Barques (Concarneau)” in Nineteenth-Century Art Worldwide, Spring 2005, vol. 4, no. 1, p. 19 (illustrated in color, fig. 5; titled Larghetto (opus 219)).
F. Cachin, Paul Signac Catalogue raisonné de l’œuvre peint, Paris, 2000, p. 204, no. 215 (illustrated; illustrated again in color, p. 41).
C. Homburg, ed., Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music, exh. cat., The Phillips Collection, Washington, D.C., 2014, p. 40 (illustrated in color, p. 174, fig. 129).
Exhibited
Brussels, Neuvième exposition annuelle des XX, February 1892, no. 4 (titled Larghetto (Op. 219)).
Paris, Pavillon de la ville de Paris, Huitième exposition des Artistes Indépendants, March-April 1892, p. 69, no. 1128 (titled Matin, Concarneau).
New York, The Metropolitan Museum of Art, May-June 1981, January-June 1983 and October 1983-June 1985 (on extended loan).
Paris, Galeries nationales du Grand Palais; Amsterdam, Van Gogh Museum and New York, The Metropolitan Museum of Art, Signac, February-December 2001, p. 206, no. 54.
Seattle, Experience Music Project, DoubleTake: From Monet to Lichtenstein, April 2006-January 2007, p. 25 (illustrated in color, p. 24).
Maine, Portland Art Museum; Washington, D.C., The Phillips Collection; Minneapolis Institute of Arts; New Orleans Museum of Art and Seattle Art Museum, Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, October 2015-May 2017, pp. 82-85, no. 17 (illustrated in color, p. 83; detail illustrated in color, pp. 84-85).
Special Notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
Details
PAUL SIGNAC (1863-1935)
Concarneau, calme du matin (Opus no. 219, larghetto)
signed and dated ‘P. Signac. 91’ (lower left); inscribed with Opus number ‘Op 219’ (lower right)
oil on canvas
25 7/8 x 32 in. (65.7 x 81.3 cm.)
Painted in 1891
Provenance
Henri-Nicolas Lejeune France (acquired from the artist, 1891).
Henri Lejeune, Saint-Cloud (by descent from the above); sale, Sotheby Parke Bernet & Co., London, 27 June 1977, lot 13.
Bluestone Corporation, New York.
Private collection (until 1993).
Private collection; sale, Christie’s, New York, 18 November 1998, lot 28 (world auction record for the artist at the time of sale).
Acquired at the above sale by the late owner.
Literature
F. Fénéon, "Paul Signac" in La Plume, 1 September 1891, p. 299.
E. Demolder, "Le Salon des XX Bruxelles" in L'Artiste, March 1892, p. 226.
"Clôture du Salon des XX" in L'art moderne, 13 March 1892, p. 82.
A. Alexandre, "Indépendants" in Paris, 18 March 1892, p. 2.
"Instantanés. Paul Signac" in Gil Blas, 20 March 1892, p. 1.
F. Javel, "Signac" in Gil Blas, 20 March 1892, p. 3.
C. d'Hennebaut, "Salon des Indépendants" in Moniteur des arts, 25 March 1892, p. 1.
L'art moderne, 27 March 1892, p. 1.
E. Cousturier, "Société des Artistes Indépendants" in L'En-dehors, 27 March 1892, p. 3.
J. Christophe, "Salon des Artistes Indépendants" in La Plume, 1 April 1892, no. 71, p. 157.
"Exposition des Artistes Indépendants" in Entretiens politiques et littéraires, April 1892, vol. IV, no. 25, p. 189.
P.M. Olin, "Les XX" in Mercure de France, 1 April 1892, pp. 342-343.
F. Fénéon, "Au Pavillon de la Ville de Paris, Société des Artistes Indépendants" in Le chat noir, 2 April 1892, p. 1932.
C. Saunier, "Les Indépendants" in La revue indépendante, April-June 1892, vol. XXIII, nos. 66-68, p. 43.
G. Geffroy, "Les Indépendants" in La vie artistique, 1893, p. 370.
Signac, exh. cat., Musée du Louvre, Paris, 1963, p. 45.
J. Halperin, Félix Fénéon: Oeuvres plus que complètes, Paris, 1970, vol. I, pp. 198 and 212.
F. Cachin, Paul Signac Milan, 1971, p. 51 (incorrectly titled Return of the Trawlers, scherzo).
"The Sale Room" in Apollo, November 1977, vol. 106, no. 189, pp. 429 and 431 (illustrated, p. 429, fig. 3).
H. Belbeoch, Les peintres de Concarneau, Paris, 1993, p. 100 (illustrated in color).
R. Thomson, Monet to Matisse: Landscape Painting in France, New York, 1994, pp. 145-146.
L. Tansini, "Van Gogh et Basquiat triomphent à New York" in Journal des arts, 4 December 1998.
T. Rodrigues, ed., Christie's Review of the Year 1998, London, 1999, p. 74 (illustrated in color).
R. Roslak, “Symphonic Seas, Oceans of Liberty: Paul Signac’s La Mer, Les Barques (Concarneau)” in Nineteenth-Century Art Worldwide, Spring 2005, vol. 4, no. 1, p. 19 (illustrated in color, fig. 5; titled Larghetto (opus 219)).
F. Cachin, Paul Signac Catalogue raisonné de l’œuvre peint, Paris, 2000, p. 204, no. 215 (illustrated; illustrated again in color, p. 41).
C. Homburg, ed., Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music, exh. cat., The Phillips Collection, Washington, D.C., 2014, p. 40 (illustrated in color, p. 174, fig. 129).
Exhibited
Brussels, Neuvième exposition annuelle des XX, February 1892, no. 4 (titled Larghetto (Op. 219)).
Paris, Pavillon de la ville de Paris, Huitième exposition des Artistes Indépendants, March-April 1892, p. 69, no. 1128 (titled Matin, Concarneau).
New York, The Metropolitan Museum of Art, May-June 1981, January-June 1983 and October 1983-June 1985 (on extended loan).
Paris, Galeries nationales du Grand Palais; Amsterdam, Van Gogh Museum and New York, The Metropolitan Museum of Art, Signac, February-December 2001, p. 206, no. 54.
Seattle, Experience Music Project, DoubleTake: From Monet to Lichtenstein, April 2006-January 2007, p. 25 (illustrated in color, p. 24).
Maine, Portland Art Museum; Washington, D.C., The Phillips Collection; Minneapolis Institute of Arts; New Orleans Museum of Art and Seattle Art Museum, Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, October 2015-May 2017, pp. 82-85, no. 17 (illustrated in color, p. 83; detail illustrated in color, pp. 84-85).
Special Notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.
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