Back
What Do You See? The Collection of Sidney Rothberg, Part I
|
- Sale 2720
Live
| Philadelphia
Feb 27 | 12:00 PM EST
Live
| Philadelphia
Sale 2720
| Philadelphia
| Philadelphia
Estimate$50,000 – $80,000
A significant proportion of Boudin’s paintings explore the ports and harbors of northwestern France, where he
was born, died, and spend a large part of his career. Executed in 1873, Port en Bretagne is likely a view of Portrieux (now Saint-Quay-Portrieux), a village Boudin visited countless times between 1855 and 1897. While arguably better known for his depictions of Deauville, Trouville-sur-Mer, and Le Havre, in neighboring Normandy, Boudin devoted special attention to picturesque Brittany, once lamenting: “I discovered this place too late...[it] is everything I ever could have dreamed of.”
Boudin’s fascination (and intimate familiarity) with ships extended beyond mere representation; it delved into the atmospheric conditions that enveloped them. In Port en Bretagne, Boudin skillfully renders the transient effects of sunlight filtering through clouds, which cast reflections on the water’s surface before dissolving on the horizon. The interplay between light and color evokes a sense of movement and energy–in contrast to the anchored vessels. What one might expect to witness–fishermen mending nets, sailors preparing their cargo, or locals observing ships’ comings and goings–are largely absent from the present work. Rather, Boudin offers a portrait of his beloved Brittany, unpeopled and tranquil–a mediation on the timeless dialogue between ship and sea.
Collection Jonte, Paris.
His Sale, Hôtel Drouot, Paris, sale of April 24, 1880, lot 7.
Private Collection.
Sotheby's, London, sale of December 3, 1991, lot 14B.
Acquired directly from the above sale.
Collection of Sidney Rothberg, Philadelphia, Pennsylvania.
The unlined canvas in overall good condition. We notice some faint, and stable hairline craquelure across the center of the composition, in the sky. With minor scuffs visible in each corner (very minor) and light marks visible across the top and bottom outer edges. The work would likely benefit from a light cleaning judging from the remnants of old greenish varnish visible across the bottom tier of the canvas (on the boats). We notice old, precise dots of restoration across the top outer edge in the sky, as well as in the bottom left corner. Most of the aforementioned craquelure appear purplish: we believe this is due to the excess of varnish, rather than a sign of restoration itself. See Specialist's pictures for more details.
To receive additional images, or for any other information on this Lot, please email Specialist Raphael Chatroux at [email protected]
The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold "AS IS," in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot's condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition. Condition reports prepared by Freeman's staff are provided as a convenience and may be requested from the Department prior to bidding.
The absence of a posted condition report on the Freeman's website or in our catalogues should not be interpreted as commentary on an item's condition. Prospective buyers are responsible for inspecting a lot or sending their agent or conservator to inspect the lot on their behalf, and for ensuring that they have requested, received and understood any condition report provided by Freeman's.
Please email for any additional information or questions you may have regarding this lot.
To request further details about this lot, please email [email protected]
Please email [email protected] for any additional information or questions you may have
