Published in Novembre 2023

Catalog edited on the occasion of our participation in FAB PARIS 2023.

FAB PARIS, the unique generalist trade fair dedicated to Fine Arts in Paris, will take place this year at the Grand Palais Éphémère from November 22nd to 26th, 2023.
It brings together 110 exhibitors from 12 countries showcasing 20 specialties.

• The list of artists  Read
• Focus on the covert artwork  Read

The list of artists

In order of appearance in the catalogue

• Piero di Giovanni Bonaccorsi, dit PERINO DEL VAGA (Florence 1501 – Rome 1547)
• Abraham BLOEMAERT (Gorinchem 1564 – Utrecht 1651)
• Simon VOUET (Paris 1590 – Paris 1649)
• Giovanni-Francesco GRIMALDI (Bologne 1606 – Rome 1680)
• Johann-Wilhelm BAUR (Strasbourg 1607 – Vienne 1642)
• Marc ARCIS (Mouzens 1655 – Toulouse 1739)
• Nicolas de PLATTEMONTAGNE (Paris 1631 – Paris 1706)
• Carlo Donelli, dit il VIMERCATI (Milan 1661 – Milan 1715)
• Rosalba CARRIERA (Venise 1675 – Venise 1757)
• Nicolas LANCRET (Paris 1690 – Paris 1743)
• Charles-Nicolas COCHIN (Paris 1715-Paris 1790)
• Jean-Baptiste LALLEMAND (Dijon 1716 – Paris 1803)
• Hubert ROBERT (Paris 1733 3 Paris 1808)
• Louis-Nicolas de LESPINASSE (Pouilly-sur-Loire 1734 – Paris 1808)
• Louis-Roland TRINQUESSE (Paris 1746 – Paris 1799)
• Anna GAULT DE SAINT-GERMAIN, née RAJECKA (Varsovie 1760 – Paris 1832)
• François Gérard, dit Baron GERARD (Rome 1770 – Paris 1837)
• Bartolomeo PINELLI (Rome 1771 – Rome 1835)
• François-Marius GRANET (Aix-en-Provence 1775 – Aix-en-Provence 1849)
• Christoffer Wilhelm ECKERSBERG (Blakrog 1783 – Copenhague 1853)
• Edouard-Henri-Théophile PINGRET (Saint-Quentin 1785 – Paris 1869)
• James PRADIER (Genève 1790 – Paris 1852)
• François-Edme RICOIS (Courtalain 1795 – Mareil-Marly 1881)
• Jean-Charles-Joseph REMOND (Paris 1795 – Paris 1875)
• Antoine-Louis BARYE (Paris 1795 – Paris 1875)
• Eugène DELACROIX (Charenton-St-Maurice 1798 – Paris 1863)
• François-Auguste BIARD (Lyon 1799 – Samois-sur-Seine 1882)
• Alexandre CALAME (Corsier-sur-Vevey 1810 – Menton 1864)
• Henri LEHMANN (Kiel 1814 – Paris 1882)
• Jean-François MILLET (Gréville-Hague 1814 – Barbizon 1875)
• François-Auguste RAVIER (Lyon 1814 – Morestel 1895)
• Isidore PILS (Paris 1815 – Douarnenez 1875)
• Adolph von MENZEL (Wroclaw 1815 – Berlin 1905)
• François BONVIN (Paris 1817 3 St-Germain-en-Laye 1887)
• Louis-Jean-Noël DUVEAU (St-Malo 1818 – Paris 1867)
• Gustave COURBET (Ornans 1819 3 La Tour-de-Peilz 1877)
• Jean-Baptiste MILLET (Gréville-Hague 1830 – Auvers-sur-Oise 1906)
• Edgar DEGAS (Paris 1834 – Paris 1917)
• Daniel RIDGWAY KNIGHT (Philadelphie 1839 – Paris 1924)
• Auguste RODIN (Paris 1840 – Meudon 1917)
• Luc-Olivier MERSON (Paris 1846 – Paris 1920)
• Fernand PELEZ (Paris 1848 – Paris 1913)
• Jules DESBOIS (Parçay-les-Pins 1851 – Paris 1935)
• Pascal-Adolphe-Jean DAGNAN BOUVERET (Paris 1852 – Quincey 1929)
• Emile-René MENARD (Paris 1862 – Paris 1930)
• Charles LACOSTE (Floirac 1870 – Paris 1959)
• Albert-Simon-Aimé BUSSY (Dole 1870 – Londres 1954)
• Georges MANZANA-PISSARRO (Louveciennes 1871 – Menton 1961)
• Georges-Paul LEROUX (Paris 1877 – Meudon 1957)
• Ernest PIGNON-ERNEST (Né en 1942 à Nice)

Focus on the cover artwork

Jean-François MILLET (Gréville-Hague 1814 – Barbizon 1875)
Le semeur

Crayon conté
24×18 cm

Preliminary study for the painting The Sower, painted in 1850 and preserved at the Museum of Fine Arts in Boston.

Provenance

Sale after the death of Jean-François Millet, Drouot Hotel, May 10-11, 1875, lot 119, stamps at the bottom left and right (L.1460). On the back, two stamps for Millet Sale (L.1816a).

Alfred Sensier, his sale after death in Paris, December 10-15, 1877, lot 211.

First critical success and one of the most emblematic subjects of the artist, Le Semeur exists in two painted versions.

The first version, sold in 1851 to the American painter William Morris Hunt, is preserved at the Museum of Fine Arts in Boston, and the second, sold to Alfred Sensier, is now preserved at the Yamanashi Prefectoral Museum of Art in Kofu, Japan.

A lithograph, three pastels made in the 1860s, and especially Vincent Van Gogh’s reinterpretation of the subject, elevated Millet’s painting to the status of an icon of 19th-century painting.

Few preparatory drawings allow us to trace the genesis of the work, and during the posthumous sale of Jean-François Millet in 1875, only two drawings were related to it, lots 119 and 120.

Lot 120 was purchased by Martin Brimmer and is preserved at the Museum of Fine Arts in Boston (no. 76.441).

Recently discovered in an American collection, our drawing corresponds to lot 119.
It comes from the former collection of Alfred Sensier and was included in his posthumous sale in 1877 under number 211. Alfred Sensier was one of the most fervent admirers of Millet’s work and one of the first collectors of the artist’s drawings.