1880
Except otherwise stated, all results include the premium.
See also : Manet Degas Caillebotte Monet 1879-87 Sargent Orientalism 1830-1900 Islam Historical arms Later Colts Wild West
See also : Manet Degas Caillebotte Monet 1879-87 Sargent Orientalism 1830-1900 Islam Historical arms Later Colts Wild West
MANET
1
1880 Jeune Fille dans un Jardin
2000 SOLD for $ 21M by Sotheby's
Jeune Fille dans un Jardin, oil on canvas 150 x 115 cm painted by Edouard Manet in 1880, was sold for $ 21M by Sotheby's on November 9, 2000, lot 21. The image is shared by Wikimedia.
2
1880 Monsieur Brun
2011 SOLD for $ 5.4M by Sotheby's
For Edouard Manet, a portrait painting had to consider the transition between light and shadow like for any other theme. He preferred executing it outdoors, quickly, in a single sitting session. Commissioners did not like his candid unflattering representations which in some way anticipate by around 10 years the self portrait masterpiece by le Douanier Rousseau.
Manet executed in 1879 the full length portrait of Monsieur Brun in a garden. The proportions are questionable, with narrow shoulders and small arms. This life size oil on canvas was acquired by Vollard from the deceased estate of the artist and entered from that source in the Degas collection.
Monsieur Brun enjoyed it. Degas made and signed in 1880 a small replica, otherwise identical excepted the color of the vest. This oil on paper 55 x 35 cm painted in 1880 was treasured for 130 years by the sitter and descent. Laid down on its original canvas, it was sold for $ 5.4M from a lower estimate of $ 4M by Sotheby's on May 4, 2011, lot 31.
The images of the original and of the replica are shared by Wikimedia. The original is on deposit with Bridgestone Museum of Art, Tokyo.
Manet executed in 1879 the full length portrait of Monsieur Brun in a garden. The proportions are questionable, with narrow shoulders and small arms. This life size oil on canvas was acquired by Vollard from the deceased estate of the artist and entered from that source in the Degas collection.
Monsieur Brun enjoyed it. Degas made and signed in 1880 a small replica, otherwise identical excepted the color of the vest. This oil on paper 55 x 35 cm painted in 1880 was treasured for 130 years by the sitter and descent. Laid down on its original canvas, it was sold for $ 5.4M from a lower estimate of $ 4M by Sotheby's on May 4, 2011, lot 31.
The images of the original and of the replica are shared by Wikimedia. The original is on deposit with Bridgestone Museum of Art, Tokyo.
2 bis, for reference
1879 on canvas
Bridgestne Museum of Art, Tokyo
1880 Danseuses à la Barre by Degas
2008 SOLD for £ 13.5M by Christie's
In the late 1870s Edgar Degas made much business with his paintings of the ballerinas of the Opéra de Paris, on stage, rehearsal or backstage.
Interested by their youthful flexibility, he captures them in a moment of unbalance, letting the viewer to imagine the following of the movement. Their costumes are an excuse for the bright colors of the pastel on paper. The pastel is also conducive to reworks up to the perfection required by the artist.
A lifelong bachelor, Degas was indeed not appealed by the bodies of his models. He took sketches in the Opéra and operated lengthy boring sitting sessions. He will gradually become a keen user of photography, a technique that matched his need for instantaneous effects.
Degas was not interested by the mind of his models, of whom he rarely displays the faces. The famous Deux danseuses of 1879, kept by the Shelburne Museum, is a demonstrator of Degas's misogyny.
When they are dancing or training in groups, they are all similar, often doing the same movement. He is not disturbed to trim them by the framing so that a global view of a girl is a synthesis of several figures.
The 1877 group of four from the Taubman collection, sold for $ 17M by Sotheby's in 2015, is a great example. Danseuse au repos, sold for $ 37M by Sotheby's in 2008, is a variant of the Deux Danseuses on which one of them is nearly completely trimmed, only leaving visible a shoulder and the left part of her tutu.
Danseuses à la barre, pastel, gouache and charcoal on paper 66 x 51 cm, features two ballerinas at training. They are nearly identical with a slight difference in the position of the arm. The profile of the girl on the right is trimmed between ear and eye. By the style, this piece is dated ca 1880. It was sold for £ 13.5M from a lower estimate of £ 4M by Christie's on June 24, 2008, lot 9.
Interested by their youthful flexibility, he captures them in a moment of unbalance, letting the viewer to imagine the following of the movement. Their costumes are an excuse for the bright colors of the pastel on paper. The pastel is also conducive to reworks up to the perfection required by the artist.
A lifelong bachelor, Degas was indeed not appealed by the bodies of his models. He took sketches in the Opéra and operated lengthy boring sitting sessions. He will gradually become a keen user of photography, a technique that matched his need for instantaneous effects.
Degas was not interested by the mind of his models, of whom he rarely displays the faces. The famous Deux danseuses of 1879, kept by the Shelburne Museum, is a demonstrator of Degas's misogyny.
When they are dancing or training in groups, they are all similar, often doing the same movement. He is not disturbed to trim them by the framing so that a global view of a girl is a synthesis of several figures.
The 1877 group of four from the Taubman collection, sold for $ 17M by Sotheby's in 2015, is a great example. Danseuse au repos, sold for $ 37M by Sotheby's in 2008, is a variant of the Deux Danseuses on which one of them is nearly completely trimmed, only leaving visible a shoulder and the left part of her tutu.
Danseuses à la barre, pastel, gouache and charcoal on paper 66 x 51 cm, features two ballerinas at training. They are nearly identical with a slight difference in the position of the arm. The profile of the girl on the right is trimmed between ear and eye. By the style, this piece is dated ca 1880. It was sold for £ 13.5M from a lower estimate of £ 4M by Christie's on June 24, 2008, lot 9.
1880 Vétheuil by MONET
1
2022 SOLD for £ 11.7M by Sotheby's
A view of Vétheuil with a dark blue river and a blue sky with small white clouds was sold by Christie's for £ 5.1M on June 25, 2002, lot 6 and by Sotheby's for £ 11.7M on June 29, 2022, lot 120. The village is hidden within the lush trees. This oil on canvas 60 x 100 cm was painted by Monet in 1880. The image is shared by Wikimedia.
A view of Vétheuil from the Seine through the lush trees of one of the islands is quite similar as the example described above, excepted that the foreground of shore is now missing but the tiny boat is still present. This oil on canvas 60 x 80 cm was sold for $ 5.1M by Sotheby's on May 16, 2017, lot 8.
A view of Vétheuil from the Seine through the lush trees of one of the islands is quite similar as the example described above, excepted that the foreground of shore is now missing but the tiny boat is still present. This oil on canvas 60 x 80 cm was sold for $ 5.1M by Sotheby's on May 16, 2017, lot 8.
2
Fin d'après-midi
2010 SOLD for $ 6.2M by Sotheby's
A view taken before sunset features the village from the opposite shore of the Seine, or possibly from one the islands in-between that Monet could have reached with his studio boat.
This oil on canvas 72 x 99 cm painted in 1880 was sold for $ 6.2M from a lower estimate of $ 2.8M by Sotheby's on May 6, 2010, lot 32. The image is shared by Wikimedia.
This oil on canvas 72 x 99 cm painted in 1880 was sold for $ 6.2M from a lower estimate of $ 2.8M by Sotheby's on May 6, 2010, lot 32. The image is shared by Wikimedia.
1880 L'Homme au Balcon by Caillebotte
2000 SOLD for $ 14.3M by Christie's
With Haussmann's works, Paris lost its dangerous and unhealthy medieval streets to the benefit of wide boulevards which became the symbol of the social success of the bourgeoisie. Very attracted by the Opera district, the Caillebotte brothers moved in 1879 to the sixth floor of a luxurious building at 31 boulevard Haussmann.
Gustave Caillebotte does not need to sell his paintings. He appropriates Monet's virtuosity, which he adapts to the scenes of his familiar surrounding. He wanted to be seen as a guarantor of impressionism at a time when new styles, notably around Degas, were questioning the basics of the movement.
In his apartment, Caillebotte develops the theme of the balcony, this observatory that ensures the transition between the cozy interior and the grandiose exterior. On May 8, 2000, Christie's sold for $ 14.3M L'Homme au balcon Boulevard Haussmann, oil on canvas 117 x 90 cm painted in 1880, lot 8. The image is shared by Wikimedia.
Seen from behind, the standing man looks at the boulevard above which he has a dominant position. He is a visitor : he kept his top hat according to the fashion of the time, quite similar to the one we see on photos featuring Gustave.
The balance of this composition makes it an example worthy for demonstration, which Caillebotte will exhibit in 1882 at the Septième Exposition des Artistes Indépendants. On a beautiful sunny day, the foliage and buildings appear between the wrought iron grille and the elegant two-tone canopy.
This painting was given by the artist to his notary, who is probably the bourgeois of this scene.
Gustave Caillebotte does not need to sell his paintings. He appropriates Monet's virtuosity, which he adapts to the scenes of his familiar surrounding. He wanted to be seen as a guarantor of impressionism at a time when new styles, notably around Degas, were questioning the basics of the movement.
In his apartment, Caillebotte develops the theme of the balcony, this observatory that ensures the transition between the cozy interior and the grandiose exterior. On May 8, 2000, Christie's sold for $ 14.3M L'Homme au balcon Boulevard Haussmann, oil on canvas 117 x 90 cm painted in 1880, lot 8. The image is shared by Wikimedia.
Seen from behind, the standing man looks at the boulevard above which he has a dominant position. He is a visitor : he kept his top hat according to the fashion of the time, quite similar to the one we see on photos featuring Gustave.
The balance of this composition makes it an example worthy for demonstration, which Caillebotte will exhibit in 1882 at the Septième Exposition des Artistes Indépendants. On a beautiful sunny day, the foliage and buildings appear between the wrought iron grille and the elegant two-tone canopy.
This painting was given by the artist to his notary, who is probably the bourgeois of this scene.
1880 Young Woman Reading by Hamdi Bey
2019 SOLD for £ 6.7M by Bonhams
Osman Hamdi Bey was the son of Ibrahim Edhem Pasha who had a remarkable career in Constantinople. Edhem Pasha was a Greek-born who became a slave at the age of 3 after the massacres of Chios. This brilliant intellectual became a mining engineer in Paris and then rose in the Ottoman hierarchy up to the position of grand vizier reached in 1877.
Osman came to Paris in 1860 at the age of 17 to complete his law studies. When he returned to Constantinople in 1869 with a French fiancée, he was an Orientalist artist, former student of the late Boulanger and friend of Gérôme.
Deputy Director of the Ottoman protocol in 1871, he was to remain loyal to this dynasty threatened by decline. Influenced by European culture, Hamdi Bey became director of the Imperial Museum in 1881 and founded in 1882 the Academy of Fine Arts that would enable young artists to develop their skills without an exile in Europe. He early had a remarkable pioneering achievement in the protection of the archaeological heritage of the Middle East.
He nevertheless does not abandon painting in these years of intense official activity. His scenes of mosques are typical for the time but his portraits of courtiers are in the following of the Qajar art of Persia to which he brings an increased emotion.
The career of Osman Hamdi Bey as a painter is inseparable from the Tanzimat, the vast reorganization movement of the Ottoman Empire started in the 1830s by Sultan Mahmud II.
He had learned from his French masters the techniques of realistic figuration that are based on photographs. He disdains the scenes of artificial harems and keenly observes the religious practices and the luxurious costumes of the Turkish elites.
The reading of sacred books is one of Hamdi Bey's favorite themes. His characters are made appealing by their passions or their carelessness. This deep humanism that leads the social criticism up to a pleasant mockery has no equivalent in European orientalist art, even less in Ottoman art.
Painted in 1878 with the atmosphere from Topkapi, the picture of a young prince sprawled on a couch for better focusing on his reading passed at Sotheby's on April 24, 2012. A young woman fooling her boredom by looking at a big book, oil on canvas 41 x 51 cm painted in 1880, was sold for £ 6.7M by Bonhams on September 26, 2019 from a lower estimate of £ 600K, lot 62. Please watch the video prepared by the auction house.
Osman came to Paris in 1860 at the age of 17 to complete his law studies. When he returned to Constantinople in 1869 with a French fiancée, he was an Orientalist artist, former student of the late Boulanger and friend of Gérôme.
Deputy Director of the Ottoman protocol in 1871, he was to remain loyal to this dynasty threatened by decline. Influenced by European culture, Hamdi Bey became director of the Imperial Museum in 1881 and founded in 1882 the Academy of Fine Arts that would enable young artists to develop their skills without an exile in Europe. He early had a remarkable pioneering achievement in the protection of the archaeological heritage of the Middle East.
He nevertheless does not abandon painting in these years of intense official activity. His scenes of mosques are typical for the time but his portraits of courtiers are in the following of the Qajar art of Persia to which he brings an increased emotion.
The career of Osman Hamdi Bey as a painter is inseparable from the Tanzimat, the vast reorganization movement of the Ottoman Empire started in the 1830s by Sultan Mahmud II.
He had learned from his French masters the techniques of realistic figuration that are based on photographs. He disdains the scenes of artificial harems and keenly observes the religious practices and the luxurious costumes of the Turkish elites.
The reading of sacred books is one of Hamdi Bey's favorite themes. His characters are made appealing by their passions or their carelessness. This deep humanism that leads the social criticism up to a pleasant mockery has no equivalent in European orientalist art, even less in Ottoman art.
Painted in 1878 with the atmosphere from Topkapi, the picture of a young prince sprawled on a couch for better focusing on his reading passed at Sotheby's on April 24, 2012. A young woman fooling her boredom by looking at a big book, oil on canvas 41 x 51 cm painted in 1880, was sold for £ 6.7M by Bonhams on September 26, 2019 from a lower estimate of £ 600K, lot 62. Please watch the video prepared by the auction house.
1880 Jeune Fille Endormie by Renoir
2023 SOLD for £ 5M by Christie's
Jeune Fille endormie (La Dormeuse), oil on canvas 50 x 61 cm painted by Renoir ca 1880, was sold for £ 5M from a lower estimate of £ 2M by Christie's on February 28, 2023, lot 28.
This bust portrait is staged outdoors with sunlight on the innocently sleeping young woman.
This bust portrait is staged outdoors with sunlight on the innocently sleeping young woman.
(1880)-1881 the Colt that killed Billy the Kid
2021 SOLD for $ 6M by Bonhams
From 1878 in New Mexico, the Lincoln County War is a conflict without mercy between gangs for the control of cattle and horses. The very young Billy the Kid, a robber from the age of 16, a murderer for any reason and a federal fugitive, went to be one of these gang leaders. He used several names in his short life, all of them in relation with his family.
In November 1880, Pat Garrett is elected sheriff of the county. Although his term was to begin on January 1, he immediately obtains a commission to pursue Billy the Kid within the limits of the county. On December 13 a $ 500 bounty is posted by the governor for the capture of the outlaw.
On December 23 Billy the Kid and his whole gang are captured by Garrett and his men. Sentenced to hang, Billy escapes from custody on April 28. While in jail his notoriety had raised through the local gazettes.
Garrett is not yet awarded with the bounty. On July 14, in search for the fugitive, he discusses the issue with a ranch owner. Around midnight a man enters the room in the dark. Garrett will state that he had recognized the voice of Billy the Kid. He fires twice and kills the man.
The revolver that killed Billy the Kid is a Colt Single Action Army made in 1880, taken near new by Garrett when he arrested the gang on November 23. It was sold for $ 6M from a lower estimate of $ 2M by Bonhams on August 27, 2021, lot 11.
The corpse was certified by the local justice of the peace but the reward was not paid to Garrett. He managed to respond to the rumors that he had been unfair. His biographical account of Billy the Kid co-authored by an itinerant journalist was considered as factual in period. It contributed to transform that ferocious but enigmatic desperado into the major folk hero of the Wild West.
A doubt still subsists on who was killed by Garrett on July 14. On July 28 a local newspaper reported that the outlaw had allowed his beard to grow and had stained his skin brown to look like a Mexican. Dead or alive, the mythic gang leader never resumed his criminal industry.
In November 1880, Pat Garrett is elected sheriff of the county. Although his term was to begin on January 1, he immediately obtains a commission to pursue Billy the Kid within the limits of the county. On December 13 a $ 500 bounty is posted by the governor for the capture of the outlaw.
On December 23 Billy the Kid and his whole gang are captured by Garrett and his men. Sentenced to hang, Billy escapes from custody on April 28. While in jail his notoriety had raised through the local gazettes.
Garrett is not yet awarded with the bounty. On July 14, in search for the fugitive, he discusses the issue with a ranch owner. Around midnight a man enters the room in the dark. Garrett will state that he had recognized the voice of Billy the Kid. He fires twice and kills the man.
The revolver that killed Billy the Kid is a Colt Single Action Army made in 1880, taken near new by Garrett when he arrested the gang on November 23. It was sold for $ 6M from a lower estimate of $ 2M by Bonhams on August 27, 2021, lot 11.
The corpse was certified by the local justice of the peace but the reward was not paid to Garrett. He managed to respond to the rumors that he had been unfair. His biographical account of Billy the Kid co-authored by an itinerant journalist was considered as factual in period. It contributed to transform that ferocious but enigmatic desperado into the major folk hero of the Wild West.
A doubt still subsists on who was killed by Garrett on July 14. On July 28 a local newspaper reported that the outlaw had allowed his beard to grow and had stained his skin brown to look like a Mexican. Dead or alive, the mythic gang leader never resumed his criminal industry.
1880-1882 Venetian Loggia by Sargent
2004 SOLD for $ 5.6M by Sotheby's
Inspired by the art of Velazquez after a visit to Spain in 1879, John Singer Sargent was increasingly looking for unprecedented subjects with special light and color effects. He desired his art to be confronted with the avant-garde French painting.
After an extended stay in Venice in the fall of 1880 and early 1881, he went back to that city in late 1882. He painted through both stays a series of images featuring local women in their working day inside a palazzo or in a street.
Venetian Loggia, oil on canvas 72 x 81 cm, stages seven women, not interacting with one another, the one in forefront with a baby on her lap. The room is lit through an arched arcade that creates an illusion of orientalism. The palace is not identified and the picture was titled from 1898 to 1960 Spanish cloister or Spanish courtyard. Spanish and Venetian subjects were indeed intertwined in Sargent's oeuvre of the period.
It was sold for $ 5.6M by Sotheby's on May 19, 2004, lot 18. The image is shared by Wikimedia.
After an extended stay in Venice in the fall of 1880 and early 1881, he went back to that city in late 1882. He painted through both stays a series of images featuring local women in their working day inside a palazzo or in a street.
Venetian Loggia, oil on canvas 72 x 81 cm, stages seven women, not interacting with one another, the one in forefront with a baby on her lap. The room is lit through an arched arcade that creates an illusion of orientalism. The palace is not identified and the picture was titled from 1898 to 1960 Spanish cloister or Spanish courtyard. Spanish and Venetian subjects were indeed intertwined in Sargent's oeuvre of the period.
It was sold for $ 5.6M by Sotheby's on May 19, 2004, lot 18. The image is shared by Wikimedia.
