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Radiant Modernism: Signac to Albers—The Property of a European Private Collection
PAUL SIGNAC (1863-1935)
Saint-Briac, les balises (Opus 210)
Details
PAUL SIGNAC (1863-1935)
Saint-Briac, les balises (Opus 210)
signed and dated ‘P. Signac 90’ (lower left) and inscribed ‘Op. 210’ (lower right)
oil on canvas
25 ¾ x 32 ¼ in. (65.4 x 82 cm.)
Painted in June 1890
Saint-Briac, les balises (Opus 210)
signed and dated ‘P. Signac 90’ (lower left) and inscribed ‘Op. 210’ (lower right)
oil on canvas
25 ¾ x 32 ¼ in. (65.4 x 82 cm.)
Painted in June 1890
Provenance
René Morot, Paris (acquired from the artist, 1891, until at least March 1936).
Galerie Paul Pétridès, Paris.
Wildenstein & Co. Inc., New York (acquired from the above, October 1955).
Werner and Margaret Josten, New York (acquired from the above, February 1956, then by descent).
Stephen Mazoh & Co., Inc., New York (acquired from the above, 1990).
Private collection, New York (acquired from the above, by 1994); sale, Christie's, London, 22 June 2004, lot 17.
Acquired at the above sale by the family of the present owner.
Galerie Paul Pétridès, Paris.
Wildenstein & Co. Inc., New York (acquired from the above, October 1955).
Werner and Margaret Josten, New York (acquired from the above, February 1956, then by descent).
Stephen Mazoh & Co., Inc., New York (acquired from the above, 1990).
Private collection, New York (acquired from the above, by 1994); sale, Christie's, London, 22 June 2004, lot 17.
Acquired at the above sale by the family of the present owner.
Literature
The Artist's Handlist (Cahier d'Opus), no. 210.
The Artist's Handlist (Cahier manuscrit).
A. Germain, "Théorie des néo-luminaristes" in Moniteur des Arts, vol. 34, no. 1941, 20 March 1891, pp. 535-536.
O. Maus, "Courrier de Belgique" in L'Art Dans Les Deux Mondes, no. 18, 21 March 1891, p. 216.
G. Lecomte, "Causerie" in L'Art Dans Les Deux Mondes, no. 20, 4 April 1891, p. 324.
J. Christophe, "Le néo-impressionnisme à l'exposition des artistes indépendants" in Journal des Artistes, vol. 10, no. 13, 12 April 1891, p. 100.
J. Leclerq, "Aux indépendants" in Mercure de France, May 1891, p. 298.
A. Retté, "Septième exposition des artistes indépendants" in L'Ermitage, vol. II, May 1891, p. 295.
J. Antoine, "Critique d'art: Exposition des artistes indépendants" in La Plume, no. 49, 1 May 1891, p. 157.
G. Geffroy, "Illusions et recherches d'art" in La Vie Artistique, vol. I, 1892, p. 308.
Letter from F. Fénéon to P. Signac, 7 March 1934.
J.-F. Revel, "Charles Henry et la science des arts" in L'Oeil, no. 119, November 1964, pp. 26-27, fig. 2 (illustrated).
M.J. Chartrain-Hebbelinck, "Les lettres de Paul Signac à Octave Maus" in Bulletin des Musées Royaux des Beaux-Arts de Belgique, vol. 18, nos. 1-2, 1969, pp. 67-68.
F. Cachin, Paul Signac, Paris, 1971, pp. 35 and 139, no. 26 (illustrated; with incorrect provenance and titled Saint Briac. Les bouées, op. 210).
J. Rewald, Post-Impressionism: From Van Gogh to Gauguin, New York, 1978, p. 391 (illustrated).
D. Kelder, L'héritage de l'impressionnisme: Les sources du XXe siècle, Paris, 1986, p. 88, fig. 80 (illustrated; dated 1885).
J.-P. Bihr, Regards d'émeraude, Paris, 1988, p. 164 (illustrated).
F. Cachin, Signac: Catalogue raisonné de l'oeuvre peint, Paris, 2000, pp. 37 and 199, no. 206 (illustrated).
A. Crochet, "De Renoir à Sam Szafran: Une collection de la plus belle eau?" in Beaux-Arts Magazine, no. 321, March 2011, p. 140 (illustrated).
R. Roslak, "Symphonic Seas, Oceans of Liberty: Paul Signac's La Mer: Les Barques (Concarneau)" in Nineteenth-Century Art Worldwide, no. 1, spring 2005, pp. 37 and 43, fig. 10 (illustrated).
M. Ferretti-Bocquillon, Signac: L’air du large, Paris, 2021, pp. 30-31 (illustrated).
A. Pasquier, "Tradition et avant-garde au Musée Jacquemart-André" in Signac: Les harmonies colorées, exh. cat., Musée Jacquemart-André, Paris, 2021, pp. 11 and 81, no. 16 (illustrated).
The Artist's Handlist (Cahier manuscrit).
A. Germain, "Théorie des néo-luminaristes" in Moniteur des Arts, vol. 34, no. 1941, 20 March 1891, pp. 535-536.
O. Maus, "Courrier de Belgique" in L'Art Dans Les Deux Mondes, no. 18, 21 March 1891, p. 216.
G. Lecomte, "Causerie" in L'Art Dans Les Deux Mondes, no. 20, 4 April 1891, p. 324.
J. Christophe, "Le néo-impressionnisme à l'exposition des artistes indépendants" in Journal des Artistes, vol. 10, no. 13, 12 April 1891, p. 100.
J. Leclerq, "Aux indépendants" in Mercure de France, May 1891, p. 298.
A. Retté, "Septième exposition des artistes indépendants" in L'Ermitage, vol. II, May 1891, p. 295.
J. Antoine, "Critique d'art: Exposition des artistes indépendants" in La Plume, no. 49, 1 May 1891, p. 157.
G. Geffroy, "Illusions et recherches d'art" in La Vie Artistique, vol. I, 1892, p. 308.
Letter from F. Fénéon to P. Signac, 7 March 1934.
J.-F. Revel, "Charles Henry et la science des arts" in L'Oeil, no. 119, November 1964, pp. 26-27, fig. 2 (illustrated).
M.J. Chartrain-Hebbelinck, "Les lettres de Paul Signac à Octave Maus" in Bulletin des Musées Royaux des Beaux-Arts de Belgique, vol. 18, nos. 1-2, 1969, pp. 67-68.
F. Cachin, Paul Signac, Paris, 1971, pp. 35 and 139, no. 26 (illustrated; with incorrect provenance and titled Saint Briac. Les bouées, op. 210).
J. Rewald, Post-Impressionism: From Van Gogh to Gauguin, New York, 1978, p. 391 (illustrated).
D. Kelder, L'héritage de l'impressionnisme: Les sources du XXe siècle, Paris, 1986, p. 88, fig. 80 (illustrated; dated 1885).
J.-P. Bihr, Regards d'émeraude, Paris, 1988, p. 164 (illustrated).
F. Cachin, Signac: Catalogue raisonné de l'oeuvre peint, Paris, 2000, pp. 37 and 199, no. 206 (illustrated).
A. Crochet, "De Renoir à Sam Szafran: Une collection de la plus belle eau?" in Beaux-Arts Magazine, no. 321, March 2011, p. 140 (illustrated).
R. Roslak, "Symphonic Seas, Oceans of Liberty: Paul Signac's La Mer: Les Barques (Concarneau)" in Nineteenth-Century Art Worldwide, no. 1, spring 2005, pp. 37 and 43, fig. 10 (illustrated).
M. Ferretti-Bocquillon, Signac: L’air du large, Paris, 2021, pp. 30-31 (illustrated).
A. Pasquier, "Tradition et avant-garde au Musée Jacquemart-André" in Signac: Les harmonies colorées, exh. cat., Musée Jacquemart-André, Paris, 2021, pp. 11 and 81, no. 16 (illustrated).
Exhibited
Brussels, VIIIe exposition des XX, February 1891, n.p. (titled Op. 210. Lancieux. (Côtes du Nord)).
Paris, Pavillon de la Ville de Paris, Champs-Élysées, 7eme Salon des Indépendants, March-April 1891, no. 1113 (titled Op. 210. Lancieux Côtes du Nord).
Paris, Petit-Palais, Exposition Paul Signac, February-March 1934, no. 10.
Paris, Galeries nationales du Grand Palais, 46eme exposition de la Société des Artistes Indépendants, February-March 1936, no. 3065 (dated 1891).
Paris, Musée national d'art moderne, Les Sources du XXe siècle: Les arts en Europe de 1884 à 1914, November 1960-January 1961, pp. 224 and 259, no. 672 (illustrated; dated May 1890).
New York, The Metropolitan Museum of Art, Summer Loan Exhibition, July-September 1966.
New York, Stephen Mazoh & Co., Inc., Spring 1990 Exhibition, spring 1990, no. 2.
Paris, Galeries nationales du Grand Palais and New York, The Metropolitan Museum of Art, Signac, February-May 2001, pp. 200-201, no. 50 (Paris, illustrated); pp. 157-158, no. 50 (New York, illustrated).
Paris, Musée d’Orsay, Le néo-impressionnisme de Seurat à Paul Klee, March-July 2005, pp. 116-117 (illustrated).
New York, Solomon R. Guggenheim Museum, Divisionism/Neo-Impressionism: Arcadia and Anarchy, April-August 2007, p. 83, no. 8 (illustrated).
Kunsthaus Zug, Das Sehen Sehen: Neoimpressionismus und Moderne, Signac bis Eliasson, February-June 2008, p. 220, pl. 52 (illustrated).
Milan, Palazzo Reale, Georges Seurat, Paul Signac e i neoimpressionisti, October 2008-January 2009, pp. 144 and 235, no. 34 (illustrated).
Martigny, Fondation Pierre Gianadda, De Renoir à Sam Szafran: Parcours d’un collectionneur, December 2010-June 2011, pp. 46-47, no. 16 (illustrated).
Musée des impressionnismes Giverny, Signac: Les couleurs de l’eau, March-July 2013, pp. 82 and 230, no. 17 (illustrated).
Venice, Peggy Guggenheim Museum, The Avant-Gardes of Fin-de-Siècle Paris: Signac, Bonnard, Redon, and Their Contemporaries, September 2013-January 2014, pp. 8-13 (illustrated).
Washington, D.C., The Phillips Collection, Neo-Impressionism and the Dream of Realities, September 2014-January 2015, pp. 58-59 and 180, fig. 43 (illustrated).
Lausanne, Fondation de l’Hermitage and Lugano, Museo d'arte della Svizzera italiana, Signac: Une vie au fil de l’eau, January 2016-January 2017, pp. 57 and 180, no. 19 (illustrated).
Museo Guggenheim Bilbao and Columbus Museum of Art, Paris, Fin de Siècle: Signac, Redon, Toulouse-Lautrec y sus contemporáneos, May 2017-January 2018, pp. 12-17 and 206 (illustrated).
Montreal Museum of Fine Arts, Signac et les indépendants, July-November 2020, pp. 68-69 and 363, no. 49 (illustrated).
London, National Gallery, Radical Harmony: Helene Kroller-Müller’s Neo-Impressionists, September 2025-February 2026, pp. 21, 30-31 and 188, no. 8 (illustrated).
Paris, Pavillon de la Ville de Paris, Champs-Élysées, 7eme Salon des Indépendants, March-April 1891, no. 1113 (titled Op. 210. Lancieux Côtes du Nord).
Paris, Petit-Palais, Exposition Paul Signac, February-March 1934, no. 10.
Paris, Galeries nationales du Grand Palais, 46eme exposition de la Société des Artistes Indépendants, February-March 1936, no. 3065 (dated 1891).
Paris, Musée national d'art moderne, Les Sources du XXe siècle: Les arts en Europe de 1884 à 1914, November 1960-January 1961, pp. 224 and 259, no. 672 (illustrated; dated May 1890).
New York, The Metropolitan Museum of Art, Summer Loan Exhibition, July-September 1966.
New York, Stephen Mazoh & Co., Inc., Spring 1990 Exhibition, spring 1990, no. 2.
Paris, Galeries nationales du Grand Palais and New York, The Metropolitan Museum of Art, Signac, February-May 2001, pp. 200-201, no. 50 (Paris, illustrated); pp. 157-158, no. 50 (New York, illustrated).
Paris, Musée d’Orsay, Le néo-impressionnisme de Seurat à Paul Klee, March-July 2005, pp. 116-117 (illustrated).
New York, Solomon R. Guggenheim Museum, Divisionism/Neo-Impressionism: Arcadia and Anarchy, April-August 2007, p. 83, no. 8 (illustrated).
Kunsthaus Zug, Das Sehen Sehen: Neoimpressionismus und Moderne, Signac bis Eliasson, February-June 2008, p. 220, pl. 52 (illustrated).
Milan, Palazzo Reale, Georges Seurat, Paul Signac e i neoimpressionisti, October 2008-January 2009, pp. 144 and 235, no. 34 (illustrated).
Martigny, Fondation Pierre Gianadda, De Renoir à Sam Szafran: Parcours d’un collectionneur, December 2010-June 2011, pp. 46-47, no. 16 (illustrated).
Musée des impressionnismes Giverny, Signac: Les couleurs de l’eau, March-July 2013, pp. 82 and 230, no. 17 (illustrated).
Venice, Peggy Guggenheim Museum, The Avant-Gardes of Fin-de-Siècle Paris: Signac, Bonnard, Redon, and Their Contemporaries, September 2013-January 2014, pp. 8-13 (illustrated).
Washington, D.C., The Phillips Collection, Neo-Impressionism and the Dream of Realities, September 2014-January 2015, pp. 58-59 and 180, fig. 43 (illustrated).
Lausanne, Fondation de l’Hermitage and Lugano, Museo d'arte della Svizzera italiana, Signac: Une vie au fil de l’eau, January 2016-January 2017, pp. 57 and 180, no. 19 (illustrated).
Museo Guggenheim Bilbao and Columbus Museum of Art, Paris, Fin de Siècle: Signac, Redon, Toulouse-Lautrec y sus contemporáneos, May 2017-January 2018, pp. 12-17 and 206 (illustrated).
Montreal Museum of Fine Arts, Signac et les indépendants, July-November 2020, pp. 68-69 and 363, no. 49 (illustrated).
London, National Gallery, Radical Harmony: Helene Kroller-Müller’s Neo-Impressionists, September 2025-February 2026, pp. 21, 30-31 and 188, no. 8 (illustrated).
Presentado por
Paige Kestenman
Vice President, Senior Specialist, Co-Head of 20th Century Evening Sale