Manuscrit autographe signé, [1890] 17 pages in-fol. Conférence sur l’art et les artistes. Une note au crayon indique que cette conférence a été prononcée à Bruxelles, Liège, Bruges, Charleroi et Anvers. Le manuscrit présente de nombreuses ratures et corrections, et des additions au crayon bleu. Raffaëlli insiste sur la nécessité de la vocation, car l’art n’est pas vraiment une carrière, ni un gagne-pain. Il distingue la voie indépendante, suivie par « les grands artistes de 1830, les Corot, les Millet, les Delacroix », de la « voie administrative » qui aboutit à l’Institut : « les Cabanel, les Boulanger, les Bouguereau étaient liés ou sont aujourd’hui les chefs de bureau de cette véritable administration ». L’artiste véritable doit affronter la calomnie, l’ironie ou même l’insulte, et faire face à l’incompréhension du public devant la nouveauté de son œuvre. Il évoque les penseurs et artistes méprisés, « comme Jean-François Millet qu’on accusa de socialisme, sous l’Empire une époque où il ne faisait pas bon l’être ». Seuls quelques-uns trouveront le succès, et beaucoup auront perdu leur jeunesse ; il cite Émile Zola, « chargé de gloire aujourd’hui et riche » qui lui disait : « Ah ! avoir vingt ans, il n’y a que ça ». Il évoque les vicissitudes des grands génies, qui, sans fortune, ne vécurent que pour leur art : Millet, Corot, Delacroix, Berlioz, Carpeaux, etc. Degas a dit « De mon temps, on n’arrivait pas ! » Il existe des centaines d’artistes « qui envient et recherchent d’atteindre par l’art, la situation tranquille et sans souci d’un sous-chef de bureau au ministère des finances ». L’art en France est actuellement organisé comme une véritable armée, avec ses généraux, ses avancements, et les artistes sont ses subordonnés, qui suivent une filière toute tracée et attendent des récompenses. Pour ce qui est du gagne-pain « je ne connais pas dix artistes véritables qui, en faisant de l’art, aient gagné une honorable aisance et pu doter leurs filles. […] Toute la dispute artistique, à notre époque, se fait sur ces deux mots : êtes-vous pour le beau absolu, ou bien êtes-vous pour le caractère qui est le beau relatif. Le beau appartient à l’art académique, quant au beau des caractères on lui barre le chemin et on l’appelle le laid, pour le disqualifier ». Boulanger dit enseigner le beau : « Comme si le beau s’enseignait ! ». Raffaëlli rappelle une conférence de Whistler sur l’art industriel, sa naissance, son développement et sa chute : le peuple « vécut dans les merveilles de l’art, mangea et but dans des chefs-d’œuvre par ce qu’il n’y avait rien d’autre dans quoi boire et manger » ; puis arrivèrent « le clinquant, le commun, la camelotte […] Le goût du commerçant supplanta alors la science de l’artiste et tous acceptèrent la chose […]. La civilisation entraîne l’abaissement des caractères et par réflexe, l’abaissement dans les œuvres d’art ». Il cite le livre de Lamennais, De l’Art et du Beau, où le Beau est joint à l’Utile : ce mot d’utilité « contient les plus merveilleuses choses à commencer par l’amour […] puisque sans lui, il n’aurait plus rien debout autour de nous […] Le beau est dans la raison, dans l’utilité des choses, soit dans ce qui les sépare ». Il en donne de nombreux exemples : les fleurs ne sont belles que pour attirer les insectes ; il y a de la beauté dans le buste de Socrate « avec son nez écrasé en pomme de terre », dans le lion qui peut être considéré comme un animal inutile, mais reste un symbole de courage, et dans tant d’autres animaux vus comme
Jean Francois Raffaelli. France. "Place de la Republique". Original impressionist town square painting with many figures bustling about. Signed lower right. Mixed media on paper laid down on cradled panel. Provenance: Wally Findlay Gallery. 2013 letter of authenticity and admitted to catalog of the artist by experts Brame and Lorenceau - Paris. Original letter available to buyer. Sight: 18 x 20.5in. Overall: 27 x 29in.
Jean-François RAFFAËLLI (Paris, 1850 - 1924) Etude de personnages bretons Gouache sur traits de crayon Study of Breton characters, gouache on pensil, by J.-F. Raffaëlli 19.68 x 27.75 in. 50 x 70.5 cm Provenance : Collection particulière, Paris Notre feuille constitue une étude de personnages pour la maquette de la partie centrale de la tapisserie La Bretagne, conservée dans les collections du Mobilier national (GOB 661), en dépôt au musée des Beaux-Arts de Quimper. Cette tenture s’inscrit dans un projet d’illustration de la diversité régionale de la France initié par Gustave Geffroy (1855-1926) en 1908 1. 1 – Guillaume Kazerouni, Les Tentures du parlement de Bretagne. Un décor oublié du palais de justice de Rennes, cat. exp., Rennes, musée des Beaux-Arts, 27 février - 7 mai 2016, pp. 64-65, n° 26 Jean-François RAFFAËLLI (Paris, 1850 - 1924) 50 x 70.5 cm Notre feuille constitue une étude de personnages pour la maquette de la partie centrale de la tapisserie La Bretagne, conservée dans les collections du Mobilier national (GOB 661), en dépôt au musée des Beaux-Arts de Quimper. Cette tenture s’inscrit dans un projet d’illustration de la diversité régionale de la France initié par Gustave Geffroy (1855-1926) en 19081. 1 – Guillaume Kazerouni, Les Tentures du parlement de Bretagne. Un décor oublié du palais de justice de Rennes, cat. exp., Rennes, musée des Beaux-Arts, 27 février - 7 mai 2016, pp. 64-65, n° 26
Two framed prints by Jean-Francois RAFFAELLI (French, 1850-1924): "A Votre Sante, la Mere Bontemps". Color etching and aquatint, 1905. Reference: Delteil 60. Very rare trial proof of the first state of two before the composition is lightened throughout. Before the small edition of 25. Signed and annotated in pencil. Plate size: 10 1/2 x 8 3/8 inches. Beautifully framed. We add by the same "La Chaumiere". Color etching and aquatint, 1914-1920. Reference: Delteil 102. Edition of 200. Signed and numbered in pencil. Plate size: 10 7/8 x 8 inches. Framed.
Jean-François RAFFAËLLI (1850-1924) Élégante à l'éventail Crayon graphite, pierre noire et rehauts d'aquarelle sur papier. Signé en bas à droite JF RAFFAËLLI. Encadrée 22 x 19 cm (à vue). (Léger brunissement du papier par endroits).
Property from the Muriel S. and Noah L. Butkin Collection, Sold to Benefit The Cleveland Museum of Art Jean-François Raffaëlli French 1850 - 1924 Place de la Trinité signed lower left: J. F. Rafffaelli. oil on canvas canvas: 24 by 19 ¾ in.; 61 by 50.2 cm framed: 33 by 28 ½ in.; 83.8 by 72.4 cm The authenticity of the present lot has been confirmed by Galerie Brame & Lorenceau, and the work will be included in the digital catalogue raisonné currently in preparation.
Jean-François Raffaëlli French 1850 - 1924 San Giorgio Under Snow, Venice signed lower right: J. F. b. Raffaëlli oil on board board: 17 ¼ by 25 ¼ in.; 43.8 by 64.1 cm framed: 25 ⅛ by 33 ¼ in.; 63.8 by 84.5 cm
Two Piece Framed Lot to include Struan Robertson (British Active 1903-1908) Landscape of a city port with fishermen and boats Watercolor Signed lower right "Struan Robertson" 15" x 14" Jean Francois Raffaelli (French 1850-1924) "Paysage de Banlieue (Le Tombereau) circa 1921 Drypoint etching with hand coloring, edition number 31 Signed lower right Sir Rafaelli 8 1/2" x 11"
Raffaëlli, Jean-François (1850-1924). Le rémouleur. Drypoint, 21x16,4 cm., signed in pencil. = Delteil 76, the 3rd and final state, w. the plate reduced (originally measuring 22x46,8 cm.).
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Jean-Francois Raffaelli (French, 1850-1924) Nude Bather, color etching, pencil signed and numbered. Size: 11.5'' x 8.5'', 29 x 22 cm (sight); 18.5'' x 15.25'', 47 x 39 cm (frame).
RAFFAELLI , JEAN FRANÇOIS Paris 1850 - 1924 Title: Paris Street Scene in front of Notre Dame. Technique: Watercolour and gouache on paper. Measurement: 39 x 36cm. Notation: Signed lower right: "Raffaelli". Frame: Framed. Certificate: Sylvie Brame, Paris, 27.03.2015, original available. Verso handwritten expertise of Prof. Gustav Pauli, the driector of the Hamburg Kunsthalle, 3.V.1924: "...charakteristische wohlerhaltene Arbeit des Künstlers" ('...characteristic well-preserved work of the artist'). Provenance: Private ownership, Germany. Estimated shipping costs for this lot: Germany: 36,97 Euro plus 7,03 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance Explanations to the Catalogue Jean François Raffaelli Watercolour / Drawings Framed Paris Works on paper
Jean-François Raffaëlli Paris 1850 - 1924 Bord de mer en été Oil on cardboard laid down on panel Signed lower left JFRAFFAËLLI 53,8 x 71,8 cm ; 21⅛ by 28¼ in. (panel: 21⅝ x 28¾ in.) We are grateful to the Galerie Brame & Lorenceau for having confirmed the authenticity of the work. It will be included in the forthcoming digital catalogue critique of the artist.
Jean-François Raffaëlli (Paris 1850-1924) Bords de rivière en hiver signé 'JF RAFFAELLI' (en bas à gauche) huile sur toile signed 'JF RAFFAELLI' (lower left) oil on canvas 51 x 73cm (20 1/16 x 28 3/4in).
Jean-François Raffaëlli (Paris 1850-1924) Montmartre, le Maquis signé J.F. RAFFAELLI (en bas à droite) huile sur panneau signed 'J.F. RAFFAELLI' (lower right) oil on panel 23.6 x 33.2cm (9 5/16 x 13 1/16in).
Jean-François Raffaëlli (Paris 1850-1924) La sortie du port, Jersey signé 'JF RAFFAELLI' (en bas à droite) huile sur toile signed 'JF RAFFAELLI' (lower right) oil on canvas 22.4 x 35.4cm (8 13/16 x 13 15/16in).
JEAN-FRANÇOIS RAFFAËLLI Le Boulevard des Italiens. Color etching on imitation Japan paper, 1908. 199x318 mm; 7⅞x12½ inches, full margins. Third state (of 3). Edition of 200. Signed and inscribed "No. 21" in pencil, lower right. Delteil 83.
Jean Francois Raffaelli (French, 1850-1924) 'La Petite Rue' Etching Undated, pencil signed in margin lower right, depicting a street scene, in gold-tone wood frame, including a Merrill Chase Galleries COA Property from: an Estate, Chicago (Near North), Illinois Category: Fine Art > Prints & Multiples Estimated Sale Time: 11:27 am CST Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Last modified: July 25, 2024, 12:27 pm
(1850 Paris 1924). La Gare du Champ-de-Mar. Kaltnadelradierung mit Aquatinta, 1909. Plgr. 20 x 14, Blgr. 28 x 18,5 cm. Sign. u. mit dem Namenszug i.d. Platte, unt. re. von and. Hand betitelt u. mit St. "EHA". - Delteil 90. - Leicht gebr. u. lichtrandig, vereinz. stockfl. D
ƒ JEAN-FRANÇOIS RAFFAËLLI (1850-1924) LA PROMENADE EN HIVER Huile sur panneau parqueté Signé en bas à gauche Oil on cradled panel; signed lower left 62 X 50 CM • 24 3/8 X 19 3/4 IN.
Jean-François Raffaëlli French 1850 – 1924 Notre Dame signed lower right: JFRaffaelli oil on canvas canvas: 25 ¾ by 32 ¼ in.; 65.5 by 82 cm framed: 34 ¾ by 41 in.; 88 by 104 cm
Property from the Meier Family Collection Jean-François Raffaëlli 1850 - 1924 Vieux couple dans la rue signed J.F. Raffaëlli. (lower left) oil on cradled panel 20 ⅝ by 26 ⅞ in. 52.5 by 68.5 cm. The authenticity of the present lot has been confirmed by Galerie Brame & Lorenceau, and the work will be included in the digital catalogue raisonné currently in preparation.
French, 1850-1924 Promenade au Bord de l'eau, 1874 Signed and dated J. F. Raffaëlli 74 (lr) Oil on panel 10 5/8 x 16 inches (27 x 40.5 cm) Provenance: Daniel B. Grossman Fine Art, New York Private collection, acquired from the above in 1989 Brame & Lorenceau confirmed the authenticity of this work. It will be included in its digital Catalogue critique on the artist now in preparation. (Framed 17 5/8 x 23 inches) Scattered inpainting including: two large spots at far right center and far upper right center; small spot of inpainting at right center and upper left center edge and upper left center in trees; small spots of inpainting along the lower right edge; frame rubbing.
(1850 Paris 1924). Les invités attendant la noce. Farblithographie. Ca. 43 x 56 cm. Mit dem Namenszug im Stein. Unter Glas gerahmt (nicht ausgerahmt) u. unt. mittig auf Namensschild aus Metall betitelt. - Etw. stockfl. D
Technik: Pastellkreide auf Papier, hinter Glas, gerahmt, Signatur: unten mittig signiert 'J. Raffaelli', verso mit Zeitungsartikel zum Künstler versehen, sowie Amtsstempel Österreich-Ungarn, Maße: 27,5 x 40 cm, Rahmen 45 x 33 cm, Zustand: gut, Rahmen bestoßen
Jean-Francois Raffaelli (France, 1850-1924) Le Terrassier de la Plaine Saint-Denis, 1896 lithograph in colors on japan wove paper a very fine impression with full margins of an edition of 100; initialed in pencil and numbered 79 to lower right; published by Ambrose Vollard, printed by l' Album des Peintres-gravures.
JEAN-FRANÇOIS RAFFAËLLI (1850-1924) Paysage des environs de Paris ou Paysage de banlieue Détrempe sur carton Signée en bas à droite Tempera on carboard, signed lower right 65 x 86,5 cm - 25 5/8 x 34 in. Une attestation d'inclusion dans le Catalogue critique informatisé J.-F. Raffaëlli, en date du 2 juillet 2019, sera remise à l'acquéreur. Provenance - Galerie Serret, Vichy - Collection particulière, France (acquis auprès de cette dernière puis par descendance)
Jean-François Raffaëlli (Paris 1850-1924) Le quai des Grands Augustins, Paris signé 'JF RAFFAELLI' (en bas à gauche) huile sur toile signed 'JF RAFFAELLI' (lower left) oil on canvas 57.5 x 75cm (22 5/8 x 29 1/2in).
Daraus: 2 Kaltnadelradierungen mit typogr. bedruckten Hemdchen, 1913 bzw. 1909. Blgr. 26,5 x 18,5 cm Théophile Alexandre Steinlen (1850-1923). La grande soeur. Ca. 22 x 15 cm. - Unt. re. Ecke etw. geknickt. ╔Jean-Francois Raffaelli╗ (1850-1924). La Gare du Champ-de-Mar. Kaltnadelradierung 1909. Plgr. 20 x 14. - Delteil 90.
Jean-François Raffaëlli French 1850 - 1924 The Wedding Dress signed lower left: JRAFFAELLI oil on canvas canvas: 51 ½ by 24 in.; 130 by 60.5 cm framed: 59 by 32 ¾ in.; 150 by 83 cm
(1850 Paris 1924). La Gare du Champ-de-Mar. Kaltnadelradierung mit Aquatinta, 1909. Plgr. 20 x 14, Blgr. 28 x 18,5 cm. Sign. u. mit dem Namenszug i.d. Platte, unt. re. von and. Hand betitelt u. mit St. "EHA". - Delteil 90. - Leicht gebr. u. lichtrandig, vereinz. stockfl. D
(1850 Paris 1924). Les invités attendant la noce. Farblithographie. Ca. 43 x 56 cm. Mit dem Namenszug im Stein. Unter Glas gerahmt (nicht ausgerahmt) u. unt. mittig auf Namensschild aus Metall betitelt. - Etw. stockfl. D
ƒ JEAN-FRANÇOIS RAFFAËLLI (1850-1924) LA PROMENADE EN HIVER Huile sur panneau parqueté Signée en bas à gauche Oil on cradled panel; signed lower left 62 X 50 CM • 24 3/8 X 19 3/4 IN.
Oil, gouache and pencil on paper laid on canvas Signed. Provenance: Galerie Simonson, Paris Lucien Lefebvre-Foinet, Paris (acquired from the above) Carroll Carstairs Gallery (acquired from the above) Sale: Parke-Bernet Galleries, New York, March 16, 1944, N° 78, illustrated Knoedler Galery, New York (acquired at the above sale) Private collection of Josephine Abercrombie (acquired from the above on January 9, 1959) Stanley D. Petter, Jr. (acquired from the Estate of Josephine Abercrombie, Pin Oak Stud, 2022) Exhibition: 1929 (November 5-20), Paris, Galerie Simonson, Oeuvres par J.-F. Raffaëlli, N° 60. Related work: Le Grand-Prix de Paris, 1906, engraving, 59 x 97.8 cm, illustrated nin: Loys Delteil, Le peintre graveur illustré, (XIXe et Xe siècles), Tome seizième, Jean-François Raffaëlli, Paris, 1923, N° 74. Born in France in 1850 to a bourgeoise family of Tuscan decent, Jean-François Raffaëlli enjoyed a privileged upbringing until his teenage years, when his father’s textile business failed and Jean- François was forced to fend for himself. Raffaëlli is considered a “realist” by most art historians and by the art critics of his time, and while he had deep ties to the early Impressionist movement, Raffaëlli did not consider himself a part of any one movement and rejected all attempts to classify his art. He believed that, above all, an artist’s duty was to render the essence of the contemporary society in which he lived, stating: “My subject is all of Paris, I aim to paint the beauty of Paris as well as its wretchedness.” He is primarily remembered for his depictions of the latter: “the wretched,” the poor downtrodden peasants that populated Paris. Art critic Albert Wolff wrote: “Like Millet he [Raffaëlli] is the poet of the humble. What the great master did for the fields, Raffaëlli begins to do for the modest people of Paris. He shows them as they are, more often than not stupefied by life’s hardships.” Raffaëlli formed a friendship with Degas in the late 1870s, and at Degas’ continued insistence he exhibited a large number of works at the Fifth and Sixth Expositions Impressionnistes in 1880 and 1881. Raffaëlli’s paintings, of which there were far more of than any other artist (44 in ’80 and 34 in ’81), were universally praised by the critics, while many of the other artists’ entries were disregarded and even mocked. One critic wrote: “Quite apart I place Mr. Raffaëlli whose research differs absolutely from that of the rest of the group. This one is, on the contrary, refined in detail, an outrageous rendering.” Another critic articulated Raffaëlli’s divergence from the “impressionists” in these terms: “M. Raffaëlli is a sincere artist who makes not an impression, but a deliberate kind of painting, very studied, finished, of compact design.” Monet withheld his works from the ’80/’81 exhibitions to protest Degas’ insistence on Raffaëlli’s inclusion. Before the 1882 exhibition, Monet banded together with Caillebotte, Gauguin, and Guillaumin and told Degas that Raffaëlli was out. Degas, Rouart, Cassatt, Forain, and Tillot resigned from the group in protest. Le Grand Prix a Longchamp, painted circa 1906, is most certainly a deviation from the works for which Raffaëlli is known, both in style and subject matter. The painting on offer could be classified as highly impressionistic; the viewer can see a touch of Monet’s pallet, technique, and style in the trees bracketing the grandstand; the subject matter is reminiscent of Manet, Monet, and Forain. The use of color and light, and the way the image is cut off in the middle of the composition, are decidedly impressionistic traits. One can even see a bit of the Post-Impressionists’ influences in the distorted forms of the horses and the almost pointillist manner in which Raffaëlli handled the spectators in the grandstand. Perhaps the most noticeable difference between Le Grand Prix a Longchamp and many of Raffaëlli’s other notable works is the deviation in subject matter: Where are the “modest people of Paris,” the wretched souls “stupefied by hardship?” We will allow Raffaëlli to answer this question. The following comes from his foreword in the catalogue for an 1899 exhibition at the Art Institute of Chicago, where Raffaëlli had previously exhibited in 1894. You will find what, perhaps, to you will be an indefinable change between my present work and that of a few years since. I desire to explain this change to you as I have explained it to myself. My life has not been an easy one, for I was brought up in luxury until I was fifteen, when within a few years my family lost its entire fortune and I became acquainted with the most grinding poverty. At that period, I painted with the greatest sincerity my hopelessness, my bitterness, my anger, my madness. It follows then that my art was a violent art, somber, bitter, hopeless. I was at that time consumed with the greatest pity and commiseration for those who had been defeated in the great battle of life. I passed several years in such a state of mind as could only inspire an art sad and vibrating with a generous pity. But as the years rolled by they brought great changes into my life. First, my poverty was changed if not into immense riches at least into a comfortable independence. Then, too must I make the confession, my artistic successes have been such that all my bitterness has fled. Many of my pictures are in the best galleries in the world. The strange effects of my first trip to America, with its vivid impressions, must also be taken into account. I here discovered an unending hope for all men who have confidence in their own power. Why not also acknowledge that the success of my own efforts has brought me to believe in happiness. Since by sad sights my melancholy was not soothed, I was forced to supply by my art my great desire for charm, for beauty, grace, elegance, poetry, tenderness and the sweetness which could not flourish during my years of hardship. So that at this period I paint the portraits of young girls, the portraits of children, flowers, the sun light, all things pleasing. So after all the storms of youth I have gradually arrived at some degree of serenity, with which it is so well to finish; it is the expression most suitable to the whitening beard. Thus, if life be a succession of accidents, it must be that the oftener they are overcome the less they move us. Why not confess that one finally is tempted to laugh at it all? Again, I say it is well, it is good to quit life in an amiable and generous fashion. It is the attitude of a man who has suffered, thought, loved, worked, in a word, lived, and who is none the vainer for it. — November 9, 1899, JF Raffaelli We thank Galerie Brame and Lorenceau for kindly confirming the authenticity of this work, which will be included in their forthcoming Jean-François Raffaëlli computerized catalogue critique now in preparation. Jean-François Raffaëlli (French, 1850–1924) Born in Paris, Raffaëlli first exhibited at the Salon in 1870 and in 1871 began his only formal training, studying under Jean-Léon Gérôme at the École des Beaux-Arts in Paris. He maintained an early friendship with Edgar Degas that enabled him to exhibit with the Impressionists in 1880 and 1881, though this proved highly controversial within the group, given Raffaëlli’s grittier and realist style. He won the Légion d'honneur in 1889, and his later works focused on Parisian street scenes.
JEAN-FRANÇOIS RAFFAËLLI Le Grand-Prix de Paris. Color etching, drypoint and roulette, 1906. 632x985 mm; 25x38 3/4 inches, full margins. Second state (of 2). Edition of 215. Signed and inscribed "No. 17" in pencil, lower right. A very good impression of this scarce, large etching with strong colors. Raffaëlli (1850-1924) was a virtuoso French painter and printmaker. He was born in Paris and studied at the École des Beaux-Arts. His works combine realism and Impressionism, depicting urban and rural life in Paris, in particular the vicinity of the famous Moulin Rouge cabaret and the surrounding Montmartre area. He was a mentor to many younger artists, including most notably Vincent van Gogh, who was an admirer and a collector of Raffaëlli's color etchings. Delteil 74.
Jean-François Raffaëlli (French, 1850-1924) En Bretagne, l'église et le cimetière, 1877 oil on panel signed J.F. Raffaelli and dated (lower left) 13 1/4 x 9 3/8 inches. The Collection of Philip and Judith Sieg, Bellefonte, Pennsylvania We are grateful to Galerie Brame & Lorenceau for kindly confirming the authenticity of this lot, which will be included in their forthcoming Jean-François Raffaëlli digital catalogue critique currently in preparation. Provenance: Sold: Christie's, London, date unknown Alexander Morten Esq., acquired at the above sale Sold: American Art Association, New York, May 10, 1916, Lot 93 Charles Adams Platt, acquired from the above sale Thence by descent to William and Geoffrey Platt, sons of the above Jeffery R. Brown Fine Arts, Lincoln, Massachusetts, 1979 Acquired from the above by the present owners, 1983
Jean-François Raffaëlli French 1850 - 1924 Figures on a Quai Beside a River and Village signed lower right: JF Raffaelli oil on board board: 16 ¾ by 22 in.; 42.5 by 56 cm framed: 23 ¾ by 29 in.; 60.5 by 74 cm
(French, 1850-1924) Banlieue de Paris, circa 1880, with figures of dogs, chickens and a donkey, signed lower right "J. F. Raffaelli", oil on canvas, 15-1/8 x 29-3/4 in.; painted and leafed wood and composition frame, 33-3/4 x 48-1/2 in. Provenance: Ex Collection Dr. Tomas Le Breton, 1920, sold, No. 163; Ex Collection of Rafael Augustin Bullrich (1877-1944), Buenos Aires, No.158 (label verso); Estate of Anthony "Billy" Packer, Charlotte, North Carolina Exhibitions: Societe Nationale des Beaux Arts, 1908, No. 971, See: https://archive.org/details/catalogueillust1908soci/page/n27/mode/2up Note: Raffaelli moved to Asnieres in the late 1870s. Once there he would paint interpretations of life in this suburb of Paris. Sotheby's, in their note for a similar painting references a statement from Vincent Van Gogh, an admirer of Raffaelli, "'But he who paints, like Raffaelli, the ragpickers of Paris in their own quarter has far more difficulties, and his work is more serious' (M. Young, 'Heroic Indolence: Realism and the Politics of Time in Raffaelli's Absinthe Drinkers,' The Art Bulletin, June 2008, vol. 90, no. 2, p. 246).", See: Christie's New York, October 27, 2014, Lot 00021
JEAN-FRANCOIS RAFFAELLI (French, 1850 - 1924). Le Petit Oiseau, circa 1915, Lithograph with colors. Pencil signed lower right hand corner. This print was the frontispiece for the book titled: "Le Peintre-Graveur Illustre, Vol. 16: Jean-Francois Raffaelli." Unframed. Note: The artwork is not glued down to a hard surface; it is mounted with hinges to a removable back board. - Plate: 6 1/4 x 7 5/8 inches; Sheet: 9.5 x 12.5 inches Viewing by appointment only.
(1850 Paris 1924). La Gare du Champ-de-Mar. Kaltnadelradierung mit Aquatinta, 1909. Plgr. 20 x 14, Blgr. 28 x 18,5 cm. Sign. u. mit dem Namenszug i.d. Platte, unt. re. von and. Hand betitelt u. mit St. "EHA". - Delteil 90. - Leicht gebr. u. lichtrandig, vereinz. stockfl. D
JEAN FRANCOIS RAFFAELLI (1850-1924) Le quai des Grands Augustins, Paris signé 'JF RAFFAELLI' (en bas à gauche) huile sur toile signed 'JF RAFFAELLI' (lower left) oil on canvas 57.5 x 75cm (22 5/8 x 29 1/2in).
JEAN-FRANCOIS RAFFAELLI (French, 1850 - 1924). Le Petit Oiseau, circa 1915, Lithograph with colors. Pencil signed lower right hand corner. This print was the frontispiece for the book titled: "Le Peintre-Graveur Illustre, Vol. 16: Jean-Francois Raffaelli." Unframed. Note: The artwork is not glued down to a hard surface; it is mounted with hinges to a removable back board. - Plate: 6 1/4 x 7 5/8 inches; Sheet: 9.5 x 12.5 inches Viewing by appointment only.
