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) 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.
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-Francois RAFFAELLI (1850-1924): "The Old Oak Tree" / "Le Vieux Chene". Color etching and aquatint on thick wove paper, 1907. Ref: Delteil 79. Edition of 225. With the blindstamp of the "Cercle de la Librairie" (Lugt 438). Signed and numbered in pencil. Plate size: 17 3/4 x 22 1/4 inches.
Jean-François RAFFAËLLI (1850-1924) "Quai d'orsay" Huile sur toile signée en bas en bas à droite. Dimensions : 74 cm x 94 cm Provenance : Collection Leirens, Gand. Acquis à l'artiste en octobre 1908 et livré en janvier 1909. Accompagné de deux lettres autographes signées de l'artiste.( Elles seront remises à l'acquéreur )" Je travaille comme un nègre - J'ai peu retouché votre tableau". Par descendance. " Cet analyste, probe et fin, ne tomba jamais dans la minutie: il y avait en son art spirituel tant de notations directes, ce que l'auteur de la Fille Elisa appelle " l'écriture artiste". Il résume, dit l'essentiel, ne bavarde jamais. Raffaelli, qui fut toute sa vie un chercheur passionné et souhaitait s'évader de la formule où certains critiques entendaient le maintenir, eut aussi le souci de l'élégance et réussit des portraits féminins d'une rare délicatesse. " Louis Vauxcelles Ai-je mis, sans programme, et de toute mon ardeur d'homme, et d'humain, un peu de ce tressaillement dans des oeuvres d'artistes, depuis les champs noirs de la banlieue jusqu'aux avenues ombragées et fleuries de la ville ? C'est toute l'ambition que j'avoue ici et qui a remplacé, aussi vive, aussi brûlante, la flamme d'enthousiasme de la jeunesse. » J.-F. Raffaelli, Paris 10 juin 1909 (extrait de la préface de l'exposition Galeries Georges Petit en 1909). "…j'aime aussi ses paysages parisiens où son imagination se plaît à remuer, dans la lumière spéciale et l'air criard de Paris, le grouillement des foules et la vie des rues. M.Raffaëlli est doué très vivement du sens de la modernité et je ne sais pas de meilleur compliment à lui adresser, en cette époque où tant de peintres, qui prétendent faire du moderne, n'arrivent qu'à caricaturer des coprs antiques et des figures de la Renaissance, avec de vieux habits achetés à la Belle-Jardinière et dans les décrochez-moi-ça des marchands à la toilette.
RAFFAELLI, Jean Francois, (French, 1850-1924): Narrow European Street Scene with Vendors, Oil/Board, 10.5'' x 7.25'', signed lower right, framed, 14.25'' x 11''.
+Jean Francois Raffaelli (French, 1850-1924),"Le Petit Oiseau", 1915, etching in colors, trial proof on "Verge" paper, signed in pencil lower right, depicts a mother and children waiting by roadside with bags, framed and matted behind glass, not examined out of frame, wear consistent with age including very light and even toning, minor waving of paper, ss: 7 1/2" h. x 9" w. [PROVENANCE: Purchased from Galerie Grillon, 44 Rue de Seine, Paris, for $900. Copy of receipt available to successful buyer]
Jean Francois Raffaelli (American, 1850-1924), etching on paper of a man in a big black coat walking down the street, signed "J. F. Raffaelli" l.r., 5 1/2" x 7" sight, 14 1/2" x 16" framed.
+Jean Francois Raffaelli (French, 1850-1924), "Le Remouleur (the Grinder)", 1907, color drypoint, depicts panoramic landscape of French countryside with man pushing cart in foreground, signed and numbered in pencil lower right "no. 39", Ref: Delteil 76 II/III, second state of three, from the edition of 63, nicely framed and matted under glass, not examined out of frame, wear consistent with age including minor waving of paper, ss: 9 1/2" h. x 19" w. [PROVENANCE: Purchased from Galerie Michael, 430 N. Rodeo Drive, Beverely Hills, CA in 2001 for $3400, copy of receipt and Certificate of Authenticity (COA attached verso) available to successful buyer.]
