.jpg?w=1)
拍品专文
Accompanied by a Patek Philippe Extract from the Archives confirming production of the present watch with enamel scene in 1985 and its subsequent sale on January 11th, 1990. Further accompanied by a Patek Philippe presentation box and outer packaging.
Beginning in the 1960s Patek Philippe reintroduced the technique of miniature enamel painting to its oeuvre, thus creating watches that were not only technical marvels but also artistic works of art. Two of the best known enamellists working for Patek Philippe at the time were Suzanne Rohr and G. Menni. Suzanne Rohr has been associated with Patek Philippe for over 35 years creating some of the finest detailed and emotionally engaging enamels for the firm. Often the subject matter portrayed was chosen by the original owner, whether a reproduction of a famous portrait or landscape or in more recent times a member of the family.
Fresh to the market, the present example is amongst a small group of enamel watches by Patek Philippe highlighting the work of August-Pierre Renoir. This exceedingly rare example is unusual due to the hunter case format which is more uncommon than openface models. The enamel portrays Renoir’s 1881 painting Les Deux Sœurs (The Two Sisters) or also known as Sur la Terrasse (On the Terrace) as the first owner Paul Durand-Ruel named the painting. The focus of attention is the two young ladies on a terrace at the Maison Fournaise, a restaurant on the Seine in Chatou, a suburb of Paris. Based on the painter’s title one would assume the two figures are sisters, however both were models used by Renoir. The older model is known, a young woman and actress named Jeanne Darlot, while the younger female remains unknown. It is interesting to note the two sisters were not related. The women are seated on a terrace with a basket of yarn in front of them and the river Seine with brush and shrubbery behind them. The blue flannel dress of the older female was a garment favored by lady boaters. The painting was first seen in public at the 7th Impressionist exhibition in the spring of 1882.
The painting changed hands a few time over the years and in 1925 was sold to Annie S. Coburn of Chicago, Illinois. Following her death in 1932, it was bequeathed to the Art Institute of Chicago, where it remains today.
Beginning in the 1960s Patek Philippe reintroduced the technique of miniature enamel painting to its oeuvre, thus creating watches that were not only technical marvels but also artistic works of art. Two of the best known enamellists working for Patek Philippe at the time were Suzanne Rohr and G. Menni. Suzanne Rohr has been associated with Patek Philippe for over 35 years creating some of the finest detailed and emotionally engaging enamels for the firm. Often the subject matter portrayed was chosen by the original owner, whether a reproduction of a famous portrait or landscape or in more recent times a member of the family.
Fresh to the market, the present example is amongst a small group of enamel watches by Patek Philippe highlighting the work of August-Pierre Renoir. This exceedingly rare example is unusual due to the hunter case format which is more uncommon than openface models. The enamel portrays Renoir’s 1881 painting Les Deux Sœurs (The Two Sisters) or also known as Sur la Terrasse (On the Terrace) as the first owner Paul Durand-Ruel named the painting. The focus of attention is the two young ladies on a terrace at the Maison Fournaise, a restaurant on the Seine in Chatou, a suburb of Paris. Based on the painter’s title one would assume the two figures are sisters, however both were models used by Renoir. The older model is known, a young woman and actress named Jeanne Darlot, while the younger female remains unknown. It is interesting to note the two sisters were not related. The women are seated on a terrace with a basket of yarn in front of them and the river Seine with brush and shrubbery behind them. The blue flannel dress of the older female was a garment favored by lady boaters. The painting was first seen in public at the 7th Impressionist exhibition in the spring of 1882.
The painting changed hands a few time over the years and in 1925 was sold to Annie S. Coburn of Chicago, Illinois. Following her death in 1932, it was bequeathed to the Art Institute of Chicago, where it remains today.