Hiver en banlieue

Details

GEORGES SEURAT (1859-1891)
Hiver en banlieue
oil on panel
6 ¼ x 9 ¾ in. (16 x 24.9 cm.)
Painted circa 1883

Provenance

Emile Seurat, Paris (brother of the artist, 1891).
Adam Natanson, Paris.
Alexandre Natanson, Paris (by descent from the above); sale, Hôtel Drouot, Paris, 16 May 1929, lot 104.
Félix Fénéon, Paris (acquired at the above sale); Estate sale, Hôtel Drouot, Paris, 30 May 1947, lot 96.
Frey collection (acquired at the above sale).
Comtesse de Ganay, Paris.
Antoine Salomon, Paris.
Mme Huguette Berès, Paris (by 1959).
Ian Woodner, New York (acquired from the above, January 1989); sale, Christie's, New York, 13 May 1999, lot 123.
Acquired at the above sale by the late owner.

Literature

H. Dorra and J. Rewald, Seurat: L'oeuvre peint, biographie et catalogue critique, Paris, 1959, p. 58, no. 61 (illustrated; dated 1882-1884).
C.M. de Hauke, Seurat et son oeuvre, Paris, 1961, vol. I, p. 40, no. 71 (illustrated, p. 41).

Exhibited

Paris, La Revue Blanche, Seurat, March-April 1900.
(possibly) Paris, Galerie Bernheim-Jeune et Cie., Georges Seurat, January 1920, no. 4 (titled Banlieue).
Paris, Galerie Paul Rosenberg, Seurat, February 1936, no. 10.
London, Wildenstein & Co., Ltd., Seurat and his Contemporaries, January-February 1937, p. 29, no. 57 (titled Snow Landscape).
Paris, Galerie Durand-Ruel et Cie., Quelques maîtres des XVIII et XIX siècles au profit de la Société des Amis du Louvre et de l'oeuvre de l'Enfance malheureuse, 1938, no. 64.
Paris, Musée Jacquemart-André, Seurat, November-December 1957, no. 8 (titled Effet de neige).
Paris, Galeries nationales du Grand Palais and New York, The Metropolitan Museum of Art, Georges Seurat, April 1991-January 1992, pp. 122-123, no. 85 (illustrated in color, p. 122; dated 1882-1883).
New York, The Museum of Modern Art, Georges Seurat: The Drawings, October 2007-January 2008, p. 252, no. 87 (illustrated in color, p. 156).

Conditions of sale

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Lot Essay

In Hiver en banlieue, Seurat "freely sketched a broad snow-covered terrain that looks across the river to a long stretch of buildings punctuated by factory chimneys. Farther back on the left, huge buildings loom out of the thick air. To render the snow, Seurat used an unusually limited palette, mostly white mixed with blue, plus some warmer tones in the sky. The warm brown of the panel, enhanced by dark purplish blue, provides most of the color for the buildings. The blues above look like plumes of industrial smoke, but they may only indicate darker portions of the leaden sky. In the foreground diagonal blue streaks suggest a footpath" (exh. cat., op. cit.,1991, p. 122).

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