Pierre Puvis de Chavannes (1824-1898), Follower of - Portrait de femme au chapeau
06
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Selected by Caterina Maffeis
Master in early Renaissance Italian painting with internship at Sotheby’s and 15 years' experience.
Estimate € 1,800 - € 2,200
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Description from the seller
Portrait of a Lady with a Hat
Oil
Total dimensions with frame: 26 × 31 cm
With manuscript fragment and signature attributed to the artist on the reverse
Small-format female portrait, done in oil and attributed to the French painter Pierre Puvis de Chavannes. The work depicts a young lady elegantly dressed, shown three-quarters, wearing a wide dark hat adorned with ribbons. The figure gazes at the viewer with a serene and slightly introspective expression.
The composition responds to 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 marked decorative intention.
The painting is resolved with a soft, blended brushstroke, especially visible in the face, hair, and fabrics. A warm, restrained color palette predominates, composed of browns, earth tones, ochres, creamy whites, and reddish hues. The neutral, diffused background allows the viewer to focus on the face and the model’s silhouette.
From a stylistic point of view, the work shows influences of French academic painting and the mundane portrait of the last third of the 19th century. The delicate modeling of the face, the intimate atmosphere, and the absence of narrative elements place the figure in an undefined space, conceived to emphasize 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 relevant figures in 19th-century French painting and is considered an important precursor of symbolism. He was especially known 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 artists such as Eugène Delacroix, Henri Scheffer, and Thomas Couture. Nevertheless, he developed his own language, distant from both conventional academicism and the immediate capture of reality practiced by the Impressionists.
His painting is characterized by balanced compositions, simplification of forms, matte and harmonized colors, restrained modeling, and a particular sense of silence and serenity. His figures are often integrated into idealized, 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 regarded as the most prominent French muralist of the second half of the 19th century.
His distinctive conception of space, based on reduced depth, broad color fields, and figures with simplified modeling, exerted a decisive influence on subsequent 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 modeling, 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 adhered a fragment of handwritten correspondence, finished with a signature reading:
«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 most distinguished consideration.
P. Puvis de Chavannes
November 26, 1893»
This document constitutes an item of historical and documentary interest and will be kept attached to the back of the work as it is currently.
However, it should be noted that the presence of the manuscript and signature on the reverse does not by itself constitute definitive certification of the painting’s authorship. No certificate of authenticity or handwriting study is provided that would allow concluding whether the text was written personally by Puvis de Chavannes or originally belonged to this work. For this reason, the painting is prudently presented as attributed to Pierre Puvis de Chavannes.
Condition
The work shows signs of age and use, including general wear, surface dirt, craquelure, rubbing, and small losses or lifting of pictorial material, especially visible in certain areas of the face, hat, and clothing.
The accompanying document shows oxidation, stains, creases, marginal losses, and wear consistent with its age. It is recommended to carefully examine all photographs, as they are an essential part of the description and show the current state of conservation.
The frame is gifted, with no commercial value. It shows significant signs of age, including rubbing, knocks, loss 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 packaged 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 sole responsibility of the buyer. The shipment 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 dimensions with frame: 26 × 31 cm
With manuscript fragment and signature attributed to the artist on the reverse
Small-format female portrait, done in oil and attributed to the French painter Pierre Puvis de Chavannes. The work depicts a young lady elegantly dressed, shown three-quarters, wearing a wide dark hat adorned with ribbons. The figure gazes at the viewer with a serene and slightly introspective expression.
The composition responds to 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 marked decorative intention.
The painting is resolved with a soft, blended brushstroke, especially visible in the face, hair, and fabrics. A warm, restrained color palette predominates, composed of browns, earth tones, ochres, creamy whites, and reddish hues. The neutral, diffused background allows the viewer to focus on the face and the model’s silhouette.
From a stylistic point of view, the work shows influences of French academic painting and the mundane portrait of the last third of the 19th century. The delicate modeling of the face, the intimate atmosphere, and the absence of narrative elements place the figure in an undefined space, conceived to emphasize 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 relevant figures in 19th-century French painting and is considered an important precursor of symbolism. He was especially known 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 artists such as Eugène Delacroix, Henri Scheffer, and Thomas Couture. Nevertheless, he developed his own language, distant from both conventional academicism and the immediate capture of reality practiced by the Impressionists.
His painting is characterized by balanced compositions, simplification of forms, matte and harmonized colors, restrained modeling, and a particular sense of silence and serenity. His figures are often integrated into idealized, 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 regarded as the most prominent French muralist of the second half of the 19th century.
His distinctive conception of space, based on reduced depth, broad color fields, and figures with simplified modeling, exerted a decisive influence on subsequent 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 modeling, 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 adhered a fragment of handwritten correspondence, finished with a signature reading:
«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 most distinguished consideration.
P. Puvis de Chavannes
November 26, 1893»
This document constitutes an item of historical and documentary interest and will be kept attached to the back of the work as it is currently.
However, it should be noted that the presence of the manuscript and signature on the reverse does not by itself constitute definitive certification of the painting’s authorship. No certificate of authenticity or handwriting study is provided that would allow concluding whether the text was written personally by Puvis de Chavannes or originally belonged to this work. For this reason, the painting is prudently presented as attributed to Pierre Puvis de Chavannes.
Condition
The work shows signs of age and use, including general wear, surface dirt, craquelure, rubbing, and small losses or lifting of pictorial material, especially visible in certain areas of the face, hat, and clothing.
The accompanying document shows oxidation, stains, creases, marginal losses, and wear consistent with its age. It is recommended to carefully examine all photographs, as they are an essential part of the description and show the current state of conservation.
The frame is gifted, with no commercial value. It shows significant signs of age, including rubbing, knocks, loss 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 packaged 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 sole responsibility of the buyer. The shipment 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
Sold with frame
Yes
Sold by
Gallery
Attribution
Follower of
Artist
Pierre Puvis de Chavannes (1824-1898)
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
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