1900
Except otherwise stated, all results include the premium.
See also : Degas Tiffany Studios Inventions
See also : Degas Tiffany Studios Inventions
masterpiece
1900 Attersee by Klimt
Leopold Museum
From 1900 to 1907 Gustav Klimt spends the summer in the small village of Litzlberg on the Attersee in the Austrian Alps of Salzkammergut. Far away from the hectic life of Vienna, he has a quiet pastime including swim in the lake and outdoor painting after breakfast when the weather is fine, plus an optional swim and second painting session in the afternoon, "early to bed, early to rise in the next morning".
Like Monet he does not feel like a tourist and is not appealed by panoramic views. He is serenely looking for the deep essence of nature, catching its texture in square format. Monet also had used this solution.
In an oil on canvas 80 x 80 cm of the Attersee painted in 1900, nearly the whole surface is occupied by the turquoise spots in grazing incidence against the misty sunlight. The surface of the lake is lapping in shimmering shades from green in the forefront to bluish violet in the distance.
The sunrise and the horizon appear in a very narrow area where the sun is trimmed. Please watch the video shared by the Leopold Museum.
Klimt's textures express a sensation that anticipates the abstraction.
Like Monet he does not feel like a tourist and is not appealed by panoramic views. He is serenely looking for the deep essence of nature, catching its texture in square format. Monet also had used this solution.
In an oil on canvas 80 x 80 cm of the Attersee painted in 1900, nearly the whole surface is occupied by the turquoise spots in grazing incidence against the misty sunlight. The surface of the lake is lapping in shimmering shades from green in the forefront to bluish violet in the distance.
The sunrise and the horizon appear in a very narrow area where the sun is trimmed. Please watch the video shared by the Leopold Museum.
Klimt's textures express a sensation that anticipates the abstraction.
1900 Trois Danseuses by Degas
2015 SOLD for $ 12M by Christie's
Edgar Degas is 54 years old in 1888. Still a keen observer of the backstage of the Opéra, he shifts his interest from the petits rats of the dancing school to mature ballerinas.
In his oil paintings the misogynist artist used to display women with ugly faces damaged by vice or hard labor. L'Absinthe, painted in 1875-1876, is a great example. His pastels of ballerinas and bathing nudes had a commercial purpose, and he most often preferred hiding or blurring the faces.
Made ca 1888, Avant l'entrée en scène (deux danseuses) features two aging ballerinas in the backstage. One of them holds a fan in an overall stiff attitude that contradicts her role in a ballet. Both profile faces are visible. This 60 x 34 cm pastel was listed and withdrawn by Christie's on June 21, 2011.
Trois danseuses, painted ca 1900, features two standing women in colored tutu in the foreground plus a third one half hidden by them. They are viewed from the back. The positions are varied but clumsy. Two of them bend the body and raise an arm while the leading woman turns her head, making visible an unfriendly profile of the face.
This pastel laid down on board 65 x 52 cm was sold for $ 12M from a lower estimate of $ 6M by Christie's on May 14, 2015, lot 16C.
Trois Danseuses, pastel on tracing paper mounted on card 67 x 51 cm executed by Degas ca 1897, was sold for $ 5.8M by Sotheby's on November 20, 2025, lot 126.
Asking Grok to compare both lots.
Grok thought :
Comparison of Two Notable "Trois Danseuses" Pastels by Edgar Degas
Edgar Degas (1834–1917) created numerous works titled or subtitled Trois danseuses (Three Dancers) throughout his career, particularly in pastel, his preferred medium for ballet subjects in his later years. These often depict ballerinas in rehearsal, preparation, or performance poses, with variations in composition, color, pose, and costume. Degas frequently revisited motifs serially, refining poses and experimenting with vibrant hues and layered application.Here are the two specific works referenced, based on auction records:
1. Trois danseuses – Sotheby's New York, Modern Evening Auction, November 20, 2025, Lot 126
AspectSotheby's 2025 (Lot 126)Christie's 2015 (Lot 16C)
Composition
Earlier : three dancers; typically rehearsal/prep, asymmetrical grouping
Later : Three dancers in tutus; frieze-like, with arms raised or adjusted poses; focus on harmony and color contrast
Color Palette
Earlier : Vibrant, luminous (Degas's signature late intensity)
Later : Bold primaries/contrasts (e.g., yellow/blue/red skirts, green bodices common in series)
Technique
Earlier : Heavy pastel layering, hatching for volume and light
Later : Similar layered/opaque pastel; experimental, almost sculptural texture
Theme
Earlier : Backstage ballet life, movement frozen in time
Later : Same – emphasis on grace, effort, and artificiality of dance
Differences
Earlier : Unique pose variation
Later : More horizontal emphasis in some related series works; known for classical inspiration (e.g., echoes of The Three Graces)
Similarities
Both quintessential late Degas: obsession with ballet, serial exploration, radiant color, and psychological depth in "everyday" dancer moments
Degas produced dozens of "three dancers" variations, often without fixed titles – many share motifs but differ in orientation (e.g., dancers facing left/right), costume details, and background abstraction. The two works considered here are distinct pieces from this rich late oeuvre, where Degas's vision grew bolder, more abstract, and color-saturated as his eyesight declined. Both exemplify why his dancer pastels remain among the most sought-after Impressionist works: they capture fleeting grace with monumental presence.
In his oil paintings the misogynist artist used to display women with ugly faces damaged by vice or hard labor. L'Absinthe, painted in 1875-1876, is a great example. His pastels of ballerinas and bathing nudes had a commercial purpose, and he most often preferred hiding or blurring the faces.
Made ca 1888, Avant l'entrée en scène (deux danseuses) features two aging ballerinas in the backstage. One of them holds a fan in an overall stiff attitude that contradicts her role in a ballet. Both profile faces are visible. This 60 x 34 cm pastel was listed and withdrawn by Christie's on June 21, 2011.
Trois danseuses, painted ca 1900, features two standing women in colored tutu in the foreground plus a third one half hidden by them. They are viewed from the back. The positions are varied but clumsy. Two of them bend the body and raise an arm while the leading woman turns her head, making visible an unfriendly profile of the face.
This pastel laid down on board 65 x 52 cm was sold for $ 12M from a lower estimate of $ 6M by Christie's on May 14, 2015, lot 16C.
Trois Danseuses, pastel on tracing paper mounted on card 67 x 51 cm executed by Degas ca 1897, was sold for $ 5.8M by Sotheby's on November 20, 2025, lot 126.
Asking Grok to compare both lots.
Grok thought :
Comparison of Two Notable "Trois Danseuses" Pastels by Edgar Degas
Edgar Degas (1834–1917) created numerous works titled or subtitled Trois danseuses (Three Dancers) throughout his career, particularly in pastel, his preferred medium for ballet subjects in his later years. These often depict ballerinas in rehearsal, preparation, or performance poses, with variations in composition, color, pose, and costume. Degas frequently revisited motifs serially, refining poses and experimenting with vibrant hues and layered application.Here are the two specific works referenced, based on auction records:
1. Trois danseuses – Sotheby's New York, Modern Evening Auction, November 20, 2025, Lot 126
- Date of execution: Degas's late dancer pastels typically date from c. 1895–1910.
- Medium: Pastel (likely on paper or joined paper, mounted as was common for Degas).
- Description/Provenance highlights: aligns with Degas's iconic late-style ballerina groups – bold colors, dynamic poses, and luminous effects. Provenance traces back through private collections; many such works originated from Degas's atelier sales (1918–1919).
- Style notes: vibrant, expressive application typical of Degas's mature pastels, emphasizing movement, tutus in contrasting colors (e.g., yellow skirts, green/red bodices), and off-center framing.
- Date of execution: c. 1900–1905 (late period).
- Medium: Pastel on joined paper laid down on board.
- Dimensions: Approximately 25–26 inches in height/width (similar scale to many late Degas dancer pastels).
- Description: Depicts three ballerinas in tutus, often in preparatory or resting poses, with rich, saturated colors (e.g., variations in skirt hues like yellow, blue, or red; bodices in contrasting tones). This work belongs to Degas's series exploring frieze-like arrangements of dancers, with bold hatching, layered pastel for texture, and a sense of intimacy/backstage atmosphere.
- Provenance highlights: From Degas's estate/atelier sales; passed through notable collectors. Comparable to works like Trois danseuses (jupes bleues, corsages rouges) (c. 1903, Fondation Beyeler) or other late serial variations.
AspectSotheby's 2025 (Lot 126)Christie's 2015 (Lot 16C)
Composition
Earlier : three dancers; typically rehearsal/prep, asymmetrical grouping
Later : Three dancers in tutus; frieze-like, with arms raised or adjusted poses; focus on harmony and color contrast
Color Palette
Earlier : Vibrant, luminous (Degas's signature late intensity)
Later : Bold primaries/contrasts (e.g., yellow/blue/red skirts, green bodices common in series)
Technique
Earlier : Heavy pastel layering, hatching for volume and light
Later : Similar layered/opaque pastel; experimental, almost sculptural texture
Theme
Earlier : Backstage ballet life, movement frozen in time
Later : Same – emphasis on grace, effort, and artificiality of dance
Differences
Earlier : Unique pose variation
Later : More horizontal emphasis in some related series works; known for classical inspiration (e.g., echoes of The Three Graces)
Similarities
Both quintessential late Degas: obsession with ballet, serial exploration, radiant color, and psychological depth in "everyday" dancer moments
Degas produced dozens of "three dancers" variations, often without fixed titles – many share motifs but differ in orientation (e.g., dancers facing left/right), costume details, and background abstraction. The two works considered here are distinct pieces from this rich late oeuvre, where Degas's vision grew bolder, more abstract, and color-saturated as his eyesight declined. Both exemplify why his dancer pastels remain among the most sought-after Impressionist works: they capture fleeting grace with monumental presence.
1900 Stue by Hammershøi
2022 SOLD for $ 6.3M by Christie's
Born in Copenhagen, Vilhelm Hammershøi married Ida in 1891. They have no children. Vilhelm is a gifted artist but his taciturn temperament keeps him away from any worldliness. Ida follows. A gigantic portrait of five artists painted in 1901-1902, 190 x 340 cm, shows his closest colleagues including his own brother with austere and gloomy attitudes. Vilhelm and Ida have no more friends and no need for them. Their outings are the subject of landscape paintings. The dreary countryside is of extreme coldness without any animation.
From 1898 to 1909, they live at the first floor in an old building of a historic district of Copenhagen, at Strandgade 30. Throughout that period it was the main theme of his work, featured in more than 60 paintings.
The rooms are sparsely furnished and not decorated. The walls are white under the high ceiling. Ida is often present, from back, sometimes reading, in an attitude that systematically excludes anecdote and emotion. The interior doors are opened or closed. His care for light reminds the Dutch golden age and his interest for simplified geometries anticipates Mondrian.
Vilhelm is shy and austere, and the idea of a recluse life does not disturb him. His sharp compositions oppose the trends of modern art that he nevertheless knew. His questions about the society of his time resulted in a rejection. He is now considered as having been a precursor to Hopper.
The flat at Strandgade 30 is poorly lit and Vilhelm observes its dull colors. He becomes a colorist of subtle hues and the art critics like now to compare his palette with Morandi's still lifes.
On May 12, 2022, Christie's sold for $ 6.3M an oil on canvas 55 x 46 cm painted in 1900 in Strandgade 30, lot 8C. It is simply titled Stue, meaning 'Home' in Danish. The standing brunette is for sure Ida, the only person who is still accepted in Vilhelm's privacy. Facing a closed and possibly fake door inserted without handles in the wall of the apartment, she resolutely turns her back to the viewer. On the same wall, an oval mirror reflects a portion of the curtain and window.
From 1898 to 1909, they live at the first floor in an old building of a historic district of Copenhagen, at Strandgade 30. Throughout that period it was the main theme of his work, featured in more than 60 paintings.
The rooms are sparsely furnished and not decorated. The walls are white under the high ceiling. Ida is often present, from back, sometimes reading, in an attitude that systematically excludes anecdote and emotion. The interior doors are opened or closed. His care for light reminds the Dutch golden age and his interest for simplified geometries anticipates Mondrian.
Vilhelm is shy and austere, and the idea of a recluse life does not disturb him. His sharp compositions oppose the trends of modern art that he nevertheless knew. His questions about the society of his time resulted in a rejection. He is now considered as having been a precursor to Hopper.
The flat at Strandgade 30 is poorly lit and Vilhelm observes its dull colors. He becomes a colorist of subtle hues and the art critics like now to compare his palette with Morandi's still lifes.
On May 12, 2022, Christie's sold for $ 6.3M an oil on canvas 55 x 46 cm painted in 1900 in Strandgade 30, lot 8C. It is simply titled Stue, meaning 'Home' in Danish. The standing brunette is for sure Ida, the only person who is still accepted in Vilhelm's privacy. Facing a closed and possibly fake door inserted without handles in the wall of the apartment, she resolutely turns her back to the viewer. On the same wall, an oval mirror reflects a portion of the curtain and window.
#AuctionUpdate Vilhelm Hammershøi’s ‘Stue (Interior with an Oval Mirror)’ sets an auction record for the artist this evening; price realized $6.3 million pic.twitter.com/4eFmAXJAlq
— Christie's (@ChristiesInc) May 12, 2022
1900 The Buffalo Signal by Remington
2007 SOLD for $ 4.4M by Christie's
Frederic Remington had used to make frequent trips to the West to soak up the atmosphere. The men of the cavalry were gallant heroes against the fierce Indians, and they were also clients who could ensure his glory.
In 1900 he returns disappointed : civilization had distorted the life in the West which supported his business. He decides never to go West again and will keep his word. He still has his imagination and his artistic production is not slowed down.
Remington provides the images expected by the readers. He has no ethnological curiosity. The Indian is an enemy warrior with whom communication is impossible.
The Buffalo Signal, oil on canvas 102 x 69 cm painted in 1900, is a rare example in which Remington expresses his nostalgia. To make a signal, an Indian scout rears his horse and brandishes a buffalo hide high over his head. A buffalo skull is placed in front of him on the sand. The arid desert and the cloudless sky complete this typical atmosphere that anticipates the western movies.
Two years later Remington uses this image as the frontispiece in a book, with the title If Skulls Could Speak, a direct allusion to the bygone cultures of the American West, symbolized by the extinction of the bison herds.
The painting was sold by Christie's for $ 4.4M on November 29, 2007, lot 103, and for $ 2.9M on October 28, 2020, lot 16.
From 1901 his work for Collier's became steady. When Remington died in 1909, the magazine still had sixteen of his paintings ready to be published.
In 1900 he returns disappointed : civilization had distorted the life in the West which supported his business. He decides never to go West again and will keep his word. He still has his imagination and his artistic production is not slowed down.
Remington provides the images expected by the readers. He has no ethnological curiosity. The Indian is an enemy warrior with whom communication is impossible.
The Buffalo Signal, oil on canvas 102 x 69 cm painted in 1900, is a rare example in which Remington expresses his nostalgia. To make a signal, an Indian scout rears his horse and brandishes a buffalo hide high over his head. A buffalo skull is placed in front of him on the sand. The arid desert and the cloudless sky complete this typical atmosphere that anticipates the western movies.
Two years later Remington uses this image as the frontispiece in a book, with the title If Skulls Could Speak, a direct allusion to the bygone cultures of the American West, symbolized by the extinction of the bison herds.
The painting was sold by Christie's for $ 4.4M on November 29, 2007, lot 103, and for $ 2.9M on October 28, 2020, lot 16.
From 1901 his work for Collier's became steady. When Remington died in 1909, the magazine still had sixteen of his paintings ready to be published.
1900 Dandelion Lamp by Tiffany Studios
2021 SOLD for $ 3.75M by Rago
In 1900 skilled craftsmen rush from everywhere in the world to display their achievements at the Exposition Universelle de Paris.
In New York the Tiffany Glass and Decorating Company develops various techniques for the growing market of the lighting. Their very own recently patented favrile glass displaying bright colors is awarded a Grand Prix at that Exposition. The color glass pieces are pressed in the bulk between layers of molten glass.
Tiffany operates also a production line for bronze casting, for enameling and will soon have one for ceramics.
The 75 cm high Dandelion lamp is one of the masterpieces conceived especially by Tiffany for the Paris Exposition. In 1901 it will also be displayed at the Pan American in Buffalo. At the same time in France, Gallé was inspired by all current forms of nature and highlighting a mere dandelion was in the fashion of the time.
The lamp is a glass globe 29 cm in diameter atop a tall and narrow copper base. It is not enameled and its technical feat is not in the blown white glass engraved with a flow of seeds but in the copper, intricately hammered with all the growing elements of a dandelion and displaying a variety of patinations by oxidizing.
The production process was time consuming. After making a replica of the dandelion, no other unit will be made. From 1901 the assembly of a shade with hundreds of small colored favrile plaques is the solution for developing the highly successful production line of the Tiffany lamps, farther from botanical realism but more appealing to the customers.
The original Dandelion lamp has just resurfaced. It was sold for $ 3.75M by Rago on May 13, 2021, lot 273 here linked on the LiveAuctioneers bidding platform.
In New York the Tiffany Glass and Decorating Company develops various techniques for the growing market of the lighting. Their very own recently patented favrile glass displaying bright colors is awarded a Grand Prix at that Exposition. The color glass pieces are pressed in the bulk between layers of molten glass.
Tiffany operates also a production line for bronze casting, for enameling and will soon have one for ceramics.
The 75 cm high Dandelion lamp is one of the masterpieces conceived especially by Tiffany for the Paris Exposition. In 1901 it will also be displayed at the Pan American in Buffalo. At the same time in France, Gallé was inspired by all current forms of nature and highlighting a mere dandelion was in the fashion of the time.
The lamp is a glass globe 29 cm in diameter atop a tall and narrow copper base. It is not enameled and its technical feat is not in the blown white glass engraved with a flow of seeds but in the copper, intricately hammered with all the growing elements of a dandelion and displaying a variety of patinations by oxidizing.
The production process was time consuming. After making a replica of the dandelion, no other unit will be made. From 1901 the assembly of a shade with hundreds of small colored favrile plaques is the solution for developing the highly successful production line of the Tiffany lamps, farther from botanical realism but more appealing to the customers.
The original Dandelion lamp has just resurfaced. It was sold for $ 3.75M by Rago on May 13, 2021, lot 273 here linked on the LiveAuctioneers bidding platform.
Tiffany Studios Dandelion lamp, 1900, hand-blown Favrile glass & hammered & patinated copper, 29½" H x 11½" D, sold for $3,745,000 (est $50,000/75,000), setting a new auction record for a Tiffany Lamp https://t.co/GbVsxkrHkD #antiques #antique #vintage #Tiffany #lamp #lamps pic.twitter.com/BvfxkqWbzJ
— Maine Antique Digest (@AntiqueDigest) July 30, 2021
1900 Matin, soleil d'automne à Eragny by Pissarro
2025 SOLD for $ 2.05M by Christie's
Matin, soleil d'automne à Eragny, oil on canvas 65 x 81 cm painted by Pissarro in 1900, was sold for $ 2.05M from a lower estimate of $ 1M by Christie's on May 13, 2025, lot 336.
Matin, soleil d'automne à Eragny (1900) is a late-career oil on canvas (65.2 × 81.3 cm / 25¾ × 32⅛ in.), signed and dated lower left, that revisits Pissarro’s long-standing Eragny-sur-Epte motif with the freer, more spontaneous technique of his final years.
Key features of this later iteration of a classic Eragny theme include:
Matin, soleil d'automne à Eragny (1900) is a late-career oil on canvas (65.2 × 81.3 cm / 25¾ × 32⅛ in.), signed and dated lower left, that revisits Pissarro’s long-standing Eragny-sur-Epte motif with the freer, more spontaneous technique of his final years.
Key features of this later iteration of a classic Eragny theme include:
- Subject and atmosphere: It depicts an autumnal morning landscape near the artist’s home in the small village of Eragny (where he lived from 1884 until his death in 1903), bathed in subdued golden/warm light. The title carefully notes the precise seasonal, temporal, and light conditions, reflecting Pissarro’s lifelong focus on the fleeting, changeable effects of nature—“the true poem of the countryside.” It belongs to his extensive series of gardens, orchards, fields, apple trees, poplars, and rural views around the property, which form one of his two major landscape bodies of work (alongside earlier Pontoise scenes). Unlike Monet at Giverny, Pissarro left the farm largely unaltered and painted its Arcadian character as found.
- Late style and technique: Painted after he had largely abandoned Neo-Impressionist/Pointillist methods (adopted in the mid-1880s under Seurat and Signac’s influence, which had led him to more systematic, studio-based work with standardized dots), this work shows the liberated approach of his last decade. Brushwork is varied and expressive rather than methodical: densely applied dabs, rich impasto, feathered strokes, and lively smaller touches create a richly textured, luminous surface. This marks a return to greater immediacy, outdoor observation, and direct response to light and atmosphere—echoing the late styles of masters such as Titian or Rembrandt in its boldness and reduced laboriousness compared with earlier complex works.
- Context within Pissarro’s oeuvre: Eragny paintings from this period emphasize the ephemerality of light and time of day/season; Pissarro himself preferred these rural scenes to his urban views of Paris or Rouen. The work was included in his 1901 Durand-Ruel exhibition (among 42 canvases), where he noted the Eragny pictures seemed stronger to him. It exemplifies his mature Impressionist conviction that no painting should repeat another, capturing a singular moment through subtle atmospheric harmony.
1900 La Valse by Claudel
2017 SOLD for € 1.46M by Rouillac
From her childhood Camille Claudel is passionate about creating shapes by kneading clay. In 1882, aged 18, she opens a studio and meets Rodin. As an assistant, practitioner and model of the master, she understands that her emotions can generate another more feminine style, even more explicit in the expression of the attraction between man and woman.
She designs her group Les Valseurs from 1889. They are closely entwined and completely nude, occupied by the rapid movement of the dance and by their erotic desire. In 1892, happy with her achievement, she tries to obtain official orders according to the practice of that time.
The artwork is too bold and the expression of naked love by a woman is ahead of its time. Camille accepted the judgment of the first inspector and surrounded the woman with a whirling veil. She also changed the title : La Valse is better suited to attract the viewer's attention to the expression of movement through sculpture rather than to the ardor of the sexual desire.
Only one bronze was made on this very first version of La Valse. Cast in 1893 by Siot-Decauville, 96 cm high, it was sold for £ 5.1M including premium by Sotheby's on June 19, 2013.
The government is still not convinced and Siot-Decauville does not make promotional efforts for this young woman with sulphurous themes. Camille, who had yielded her rights for La Valse to Siot-Decauville, multiplies the variants in her plasters and sandstones and has some unauthorized bronzes made by other founders. The woman's veil is lightened, releasing the upper body, and the elongated train brings a significant increase in the effect of movement.
One of these bronzes 47 cm high in a sand cast without hollow was sold or presented around 1900 to a friend of Rodin. The heirs, maddened by its immodesty, put the sculpture in a closet more than one hundred years ago. It has just resurfaced . It was sold for € 1.46M from a lower estimate of € 500K on June 11, 2017 by Rouillac in the annual garden-party sale at the château d'Artigny, lot 170.
La Valse finally found its sponsor after 1902 when Blot bought the first bronze and the rights to Siot-Decauville. Blot published La Valse from 1905 in two sizes : 24 copies of a 46 cm high bronze and 4 copies for the smaller version.
She designs her group Les Valseurs from 1889. They are closely entwined and completely nude, occupied by the rapid movement of the dance and by their erotic desire. In 1892, happy with her achievement, she tries to obtain official orders according to the practice of that time.
The artwork is too bold and the expression of naked love by a woman is ahead of its time. Camille accepted the judgment of the first inspector and surrounded the woman with a whirling veil. She also changed the title : La Valse is better suited to attract the viewer's attention to the expression of movement through sculpture rather than to the ardor of the sexual desire.
Only one bronze was made on this very first version of La Valse. Cast in 1893 by Siot-Decauville, 96 cm high, it was sold for £ 5.1M including premium by Sotheby's on June 19, 2013.
The government is still not convinced and Siot-Decauville does not make promotional efforts for this young woman with sulphurous themes. Camille, who had yielded her rights for La Valse to Siot-Decauville, multiplies the variants in her plasters and sandstones and has some unauthorized bronzes made by other founders. The woman's veil is lightened, releasing the upper body, and the elongated train brings a significant increase in the effect of movement.
One of these bronzes 47 cm high in a sand cast without hollow was sold or presented around 1900 to a friend of Rodin. The heirs, maddened by its immodesty, put the sculpture in a closet more than one hundred years ago. It has just resurfaced . It was sold for € 1.46M from a lower estimate of € 500K on June 11, 2017 by Rouillac in the annual garden-party sale at the château d'Artigny, lot 170.
La Valse finally found its sponsor after 1902 when Blot bought the first bronze and the rights to Siot-Decauville. Blot published La Valse from 1905 in two sizes : 24 copies of a 46 cm high bronze and 4 copies for the smaller version.
#AuxEnchères: Cette épreuve en bronze de Camille Claudel devrait faire valser les enchères ! https://t.co/QX4GLPDkSv pic.twitter.com/3ha7139zja
— Interencheres (@interencheres) June 2, 2017
1900 Le Fils d'un Saint M'rabeth by Dinet
2019 SOLD for MAD 13M (worth € 1.2M) by Artcurial
A pupil of Bouguereau, Etienne Dinet discovers the oasis of Bou Saada in 1885 during an entomological expedition. He will devote his entire career to the rural life and beliefs in the south of Algeria, on the edge of the Sahara.
Erudite, illustrator of ancient tales, he moves permanently to Bou Saada in 1905 while retaining a workshop in Paris. He retroactively announces in 1908 to his European friends that he is converted to Islam and he chooses in 1913 his Muslim surname, Nasr ed-Din. However, he practices the figurative representation prohibited by Islam, including the girls naked in the purity of the wadi.
On December 30, 2019 in Marrakech, Artcurial sold for 13M dirhams worth € 1.2M against a lower estimate of 8.8M dirhams Le Fils d'un saint M'rabeth, oil on canvas 72 x 80 cm painted in 1900, lot 50. The image is shared by Wikimedia.
In the main square of a town, perhaps Biskra, the scene stages a tumult of collective faith. A young boy is seated on the shoulders of a man, presumably to reach a sanctuary. The composition is dominated by the child's head amidst the crowd, like Christ above the other characters in Christian iconography.
The boy has the power to transmit the baraka, or divine blessing, and he knows it. The extremely dense crowd surrounds him with varied attitudes of devout passion. In the midst of the enthusiasm which he generates, he is proud and a little worried. His bearer manages with fierce energy to make their way through the faithful.
In a book published in 1928, the artist expressed the passion emanating from this scene : "Qu'il est beau, cet Aiglon, il est la clef de nos coeurs !" (How handsome he is, this Aiglon, he is the key to our hearts).
Erudite, illustrator of ancient tales, he moves permanently to Bou Saada in 1905 while retaining a workshop in Paris. He retroactively announces in 1908 to his European friends that he is converted to Islam and he chooses in 1913 his Muslim surname, Nasr ed-Din. However, he practices the figurative representation prohibited by Islam, including the girls naked in the purity of the wadi.
On December 30, 2019 in Marrakech, Artcurial sold for 13M dirhams worth € 1.2M against a lower estimate of 8.8M dirhams Le Fils d'un saint M'rabeth, oil on canvas 72 x 80 cm painted in 1900, lot 50. The image is shared by Wikimedia.
In the main square of a town, perhaps Biskra, the scene stages a tumult of collective faith. A young boy is seated on the shoulders of a man, presumably to reach a sanctuary. The composition is dominated by the child's head amidst the crowd, like Christ above the other characters in Christian iconography.
The boy has the power to transmit the baraka, or divine blessing, and he knows it. The extremely dense crowd surrounds him with varied attitudes of devout passion. In the midst of the enthusiasm which he generates, he is proud and a little worried. His bearer manages with fierce energy to make their way through the faithful.
In a book published in 1928, the artist expressed the passion emanating from this scene : "Qu'il est beau, cet Aiglon, il est la clef de nos coeurs !" (How handsome he is, this Aiglon, he is the key to our hearts).
