Pierre Puvis de Chavannes (1824-1898), Follower of - Portrait de femme au chapeau
08
days
02
hours
59
minutes
21
seconds
Current bid
€ 2
Reserve price not met
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Selected by Leo Setz
Over 30 years’ experience as art dealer, appraiser and restorer.
Estimate € 2,300 - € 2,800
 | €2 | |
|---|---|---|
 | €1 |
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Description from the seller
Portrait of a Lady with a Hat
Oil
Total measurements with frame: 26 × 31 cm
With manuscript fragment and signature attributed to the artist on the reverse
Portrait of a woman of small format, executed in oil and attributed to the French painter Pierre Puvis de Chavannes. The work depicts a young lady elegantly dressed, shown in three-quarter view and wearing a wide dark hat adorned with ribbons. The figure directs her gaze toward the viewer, with a serene and slightly introspective expression.
The composition reflects the taste of late 19th-century European portraiture. The attire, the large hat and the refined treatment of the figure evoke feminine fashion of the Belle Époque, when this type of portrait combined individual representation with a strong decorative intention.
The painting is resolved through a soft, blended brushwork, especially visible in the face, hair, and fabrics. A warm and restrained color palette predominates, consisting of browns, earth tones, ochres, creamy whites and reddish hues. The neutral, diffused background allows the viewer to focus on the face and the silhouette of the model.
From a stylistic standpoint, the work shows influences of French academic painting and the mundane portrait of the last third of the 19th century. The delicate modelling of the face, the intimate atmosphere and the absence of narrative elements place the figure in an undefined space, conceived to highlight her elegance and psychological presence.
Pierre Puvis de Chavannes
Pierre-Cécile Puvis de Chavannes was born in Lyon on December 14, 1824 and died in Paris on October 24, 1898. He was one of the most prominent figures in 19th-century French painting and is considered an important precursor of symbolism. He was especially distinguished for his large decorative, allegorical and monumental compositions, created for French public buildings.
After traveling to Italy and becoming familiar with the Renaissance mural painting tradition, he trained among painters such as Eugène Delacroix, Henri Scheffer and Thomas Couture. Nevertheless, he developed his own language, distant from both conventional academicism and the immediate capturing of reality practiced by the Impressionists.
His painting is characterized by balanced compositions, simplification of forms, matte and harmonious colors, restrained modelling and a particular sense of silence and serenity. His figures usually appear integrated into idealized and timeless landscapes, frequently associated with allegorical, historical, religious or poetic themes.
Puvis de Chavannes carried out important decorations for institutions in Amiens, Lyon, Marseille, Rouen and Paris, including the Pantheon and the Sorbonne. He was considered the most prominent French muralist of the second half of the 19th century.
His particular conception of space, based on reduced depth, broad color areas and figures with simplified modelling, exerted a decisive influence on later generations. His work was especially relevant for symbolism, the Nabis and the early development of modern painting. The Metropolitan Museum highlights in his works the use of pale colors, minimal modelling and reduced details to achieve effects of simplicity and restraint.
Among his best-known compositions are The Poor Fisherman, The Dream, Hope, Youths by the Sea and The Sacred Forest Loved by the Arts and the Muses.
Manuscript preserved on the reverse
On the back there is a fragment of handwritten correspondence attached, finished with a signature that reads:
«P. Puvis de Chavannes»
The visible text seems to correspond to the closing formula of a letter in French. Its approximate reading is:
«Veuillez agréer l’assurance de ma considération la plus distinguée.
P. Puvis de Chavannes
26 novembre 93»
Translation:
«Please accept the expression of my highest regard.
P. Puvis de Chavannes
26 November 1893»
This document constitutes a historically valuable element and will be kept attached to the reverse of the work as it is today.
However, it should be noted that the presence of the manuscript and the signature on the reverse does not by itself constitute definitive authentication of the painting’s authorship. No certificate of authenticity or handwriting analysis is provided to conclusively confirm that the text was written personally by Puvis de Chavannes or that it originally belonged to this work. For this reason, the painting is prudently presented as attributed to Pierre Puvis de Chavannes.
Condition report
The work shows signs of age and use, including general wear, surface dirt, craquelure, rubbing and small losses or lifts of pictorial material, especially visible in certain areas of the face, the hat and the clothing.
The document on the back shows oxidation, stains, creases, marginal losses and wear typical of its age. It is recommended to carefully examine all photographs, as they form an essential part of the description and show the actual state of conservation.
The frame is sent as a gift, with no commercial value. It shows significant signs of age, including rubbing, knocks, losses of molding and gilding, cracks, repairs and visible damage. The condition of the frame will not be a ground for complaint.
The work will be carefully packed to ensure proper protection during transport.
Customs duties, tariffs, import taxes, processing fees and any other charges required in the destination country will be the buyer’s sole responsibility. Shipping may incur additional surcharges in countries that require customs procedures or special import handling. The seller will not be responsible for possible delays, seizures or incidents arising from customs procedures.
Seller's Story
At ARTEMISA we specialize in the selection and auction of artworks, antiques, and collectible items, combining experience, passion, and special care in the choosing and presentation of each piece.
Throughout our journey we have assembled a catalog of more than 10,000 works, spanning a wide variety of schools, styles, and periods, with particular attention to painting and European art. The pieces mainly come from private collections and other selected sources, which allows us to maintain a broad, diverse, and continually renewing offering.
Each work is studied and presented with the aim of providing the collector with rigorous and transparent information, paying special attention to its cataloging, condition, and artistic context.
We work for both seasoned collectors and those who are just beginning to discover the world of art, offering—from accessible works to pieces of special historical, artistic, or decorative interest.
At ARTEMISA we understand each auction as an opportunity to discover, conserve, and give new life to works with history, connecting them with collectors around the world.
Translated by Google TranslatePortrait of a Lady with a Hat
Oil
Total measurements with frame: 26 × 31 cm
With manuscript fragment and signature attributed to the artist on the reverse
Portrait of a woman of small format, executed in oil and attributed to the French painter Pierre Puvis de Chavannes. The work depicts a young lady elegantly dressed, shown in three-quarter view and wearing a wide dark hat adorned with ribbons. The figure directs her gaze toward the viewer, with a serene and slightly introspective expression.
The composition reflects the taste of late 19th-century European portraiture. The attire, the large hat and the refined treatment of the figure evoke feminine fashion of the Belle Époque, when this type of portrait combined individual representation with a strong decorative intention.
The painting is resolved through a soft, blended brushwork, especially visible in the face, hair, and fabrics. A warm and restrained color palette predominates, consisting of browns, earth tones, ochres, creamy whites and reddish hues. The neutral, diffused background allows the viewer to focus on the face and the silhouette of the model.
From a stylistic standpoint, the work shows influences of French academic painting and the mundane portrait of the last third of the 19th century. The delicate modelling of the face, the intimate atmosphere and the absence of narrative elements place the figure in an undefined space, conceived to highlight her elegance and psychological presence.
Pierre Puvis de Chavannes
Pierre-Cécile Puvis de Chavannes was born in Lyon on December 14, 1824 and died in Paris on October 24, 1898. He was one of the most prominent figures in 19th-century French painting and is considered an important precursor of symbolism. He was especially distinguished for his large decorative, allegorical and monumental compositions, created for French public buildings.
After traveling to Italy and becoming familiar with the Renaissance mural painting tradition, he trained among painters such as Eugène Delacroix, Henri Scheffer and Thomas Couture. Nevertheless, he developed his own language, distant from both conventional academicism and the immediate capturing of reality practiced by the Impressionists.
His painting is characterized by balanced compositions, simplification of forms, matte and harmonious colors, restrained modelling and a particular sense of silence and serenity. His figures usually appear integrated into idealized and timeless landscapes, frequently associated with allegorical, historical, religious or poetic themes.
Puvis de Chavannes carried out important decorations for institutions in Amiens, Lyon, Marseille, Rouen and Paris, including the Pantheon and the Sorbonne. He was considered the most prominent French muralist of the second half of the 19th century.
His particular conception of space, based on reduced depth, broad color areas and figures with simplified modelling, exerted a decisive influence on later generations. His work was especially relevant for symbolism, the Nabis and the early development of modern painting. The Metropolitan Museum highlights in his works the use of pale colors, minimal modelling and reduced details to achieve effects of simplicity and restraint.
Among his best-known compositions are The Poor Fisherman, The Dream, Hope, Youths by the Sea and The Sacred Forest Loved by the Arts and the Muses.
Manuscript preserved on the reverse
On the back there is a fragment of handwritten correspondence attached, finished with a signature that reads:
«P. Puvis de Chavannes»
The visible text seems to correspond to the closing formula of a letter in French. Its approximate reading is:
«Veuillez agréer l’assurance de ma considération la plus distinguée.
P. Puvis de Chavannes
26 novembre 93»
Translation:
«Please accept the expression of my highest regard.
P. Puvis de Chavannes
26 November 1893»
This document constitutes a historically valuable element and will be kept attached to the reverse of the work as it is today.
However, it should be noted that the presence of the manuscript and the signature on the reverse does not by itself constitute definitive authentication of the painting’s authorship. No certificate of authenticity or handwriting analysis is provided to conclusively confirm that the text was written personally by Puvis de Chavannes or that it originally belonged to this work. For this reason, the painting is prudently presented as attributed to Pierre Puvis de Chavannes.
Condition report
The work shows signs of age and use, including general wear, surface dirt, craquelure, rubbing and small losses or lifts of pictorial material, especially visible in certain areas of the face, the hat and the clothing.
The document on the back shows oxidation, stains, creases, marginal losses and wear typical of its age. It is recommended to carefully examine all photographs, as they form an essential part of the description and show the actual state of conservation.
The frame is sent as a gift, with no commercial value. It shows significant signs of age, including rubbing, knocks, losses of molding and gilding, cracks, repairs and visible damage. The condition of the frame will not be a ground for complaint.
The work will be carefully packed to ensure proper protection during transport.
Customs duties, tariffs, import taxes, processing fees and any other charges required in the destination country will be the buyer’s sole responsibility. Shipping may incur additional surcharges in countries that require customs procedures or special import handling. The seller will not be responsible for possible delays, seizures or incidents arising from customs procedures.
Seller's Story
At ARTEMISA we specialize in the selection and auction of artworks, antiques, and collectible items, combining experience, passion, and special care in the choosing and presentation of each piece.
Throughout our journey we have assembled a catalog of more than 10,000 works, spanning a wide variety of schools, styles, and periods, with particular attention to painting and European art. The pieces mainly come from private collections and other selected sources, which allows us to maintain a broad, diverse, and continually renewing offering.
Each work is studied and presented with the aim of providing the collector with rigorous and transparent information, paying special attention to its cataloging, condition, and artistic context.
We work for both seasoned collectors and those who are just beginning to discover the world of art, offering—from accessible works to pieces of special historical, artistic, or decorative interest.
At ARTEMISA we understand each auction as an opportunity to discover, conserve, and give new life to works with history, connecting them with collectors around the world.
Translated by Google TranslateDetails
Artist
Pierre Puvis de Chavannes (1824-1898)
Sold with frame
Yes
Sold by
Gallery
Attribution
Follower of
Title of artwork
Portrait de femme au chapeau
Technique
Oil painting
Signature
Signed
Country of origin
France
Condition
Fair condition
Height
31 cm
Width
26 cm
Depiction/theme
Portrait
Period
19th century
Sold by
