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framed
oil on canvas
32 11/16 x 26 in. (83 x 66 cm).
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framed
Oil on canvas
20 x 27 3/ 16 in. (51 x 69 cm).
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framed
signed with initials
oil on canvas
18 1/8 x 14 3/4 in. (46 x 37.5 cm).
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framed
Signed, number 170 on the reverse;
pencil,14 1/2 × 10 1/4 in. (36.7 × 26 cm.)
Provenance: the artistí's studio; William de Belleroche; private collection
'While his works are diverse ... they celebrate foremost the womanhood of our time ... These are thoroughly modern works which capture brief, reverent moments of joy, tenderness and wonder, much like the works of Sargent, Helleu or Besnard.Belleroche's portraits of woman are iconographic' (Claude Roger-Marx, 'Peintres-lithographes Contemporains: Albert Belleroche', Gazette des Beaux-Arts I, vol.39, 1908,p.74).
Along with Paul Helleu, Belleroche produced some of the most evocative images of belle-Èpoque women of his generation. Although Belleroche made a number of lithographs of women with turbans or toques around this period, none are known to relate specifically to this study.
We are grateful to Gordon Anderson for assistance.
View artist biography Enquire about this picture£1,750
framed
Oil on panel
25 x 16 in. (63.5 x 14.7 cm.)
Provenance: Count William de Belleroche; private collection
Belleroche was a founder member of the Salon d'Automne, exhibiting alongside the Impressionists and associating with Emile Zola, Oscar Wilde, Albert Moore, Renoir, Degas, Helleu and Toulouse-Lautrec. He shared a studio with his friend, John Singer Sargent, whose handling of pastel was to be of great inspiration to Belleroche. In turn, Belleroche's sensitivity to tone and creation of form through the modelling of light exerted an influence on Sargent. Belleroche's talent as a painter was recognized by his contemporaries - Degas purchased a work from him and in the early 1890s the French state acquired a painting for the Luxembourg Gallery. Roger-Marx, the critic who discovered Renoir, was amongst Belleroche's fervent admirers, referring to him as 'le peintre des femmes decoiffées' (Gazette de Beaux-Arts, XLX, Jan 1905).
In a D section reeded frame
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folio
Lithograph in black ink on light brown paper
Proof, inscribed Julie with inventory reference 334
16 x 11 1/2 in. (40.7 x 29.2 cm)
Provenance: from the personal collection of William de Belleroche.
The model for La Toilette is Julie Visseaux. Belleroche married her in 1910, when he was 45 and Julie 17 years his junior. Julie was the daughter of Belleroche's friend the sculptor Jules Edouard Visseaux.
Belleroche was a founder member of the Salon d'Automne, exhibiting alongside the Impressionists and associating with Emile Zola, Oscar Wilde, Albert Moore, Renoir, Degas, Helleu and Toulouse-Lautrec. He shared a studio with his friend, John Singer Sargent, whose handling of pastel was to be of great inspiration to Belleroche. In turn, Belleroche's sensitivity to tone and creation of form through the modelling of light exerted an influence on Sargent. Belleroche's talent as a painter was recognized by his contemporaries - Degas owned three lithographs by Belleroche and in the early 1890s the French state acquired a painting for the Luxembourg Gallery. Roger-Marx, the critic who discovered Renoir, was amongst Belleroche's fervent admirers, referring to him as 'le peintre des femmes decoiffées' (Gazette de Beaux-Arts, XLX, Jan 1905).
Marx also fully acknowledged Belleroche's importance as painter-lithographer, writing in 1908: Belleroche holds a premier position in the current renaissance of lithography. No one since Eugene Carriere has equaled Belleroche's technique or his understanding of lithography. He is a master.... Indeed he is a painter-lithographer: he brings his subjects to life in moving light and shwadows. His ink creates tones which reach the limits of the joyous and profound... His art, born in a daylight which is its own jstification, is created from love." (Claude Roger-Marx, Peintres-lithographes Contemporains:Albert Belleroche" Gazette des Beaux-Arts I, vol 39, 1908, p. 74.
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To be included in a
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framed
Oil on canvas, 1880's
signed on reverse
24 x 18 1/2 ins. (61 x 47 cms).
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framed
Oil on board with scratching out
8 x 14 in [20.3 x 35.5 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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framed
Lithographic crayon on a postcard
3 1/4 x 5 1/2 in [14 x 8.5 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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framed
Pencil
4 x 5 1/4 in [10 x 13 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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Lithographic crayon
Inscribed, 118
17 3/8 x 11 1/4 in [44 x 28.5 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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framed
Pencil
Each 6 1/4 x 4 5/8 in [16 x 11.5 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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framed
Lithographic crayon with coloured highlights
Inscribed, 263 [verso]; drawing by Belleroche [recto]
25 x 19 in [63.5 x 48.2 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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Lithographic Crayon
Signed, Belleroche and with initials, inscribed with title
17 1/2 x 22 1/2 in [44.5 x 57.2 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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Lithographic crayon
Signed in pencil
Inscribed, 128 on reverse
23 3/4 x 17 1/2 in [60.5 x 44.5 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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Lithographic crayon
Signed and inscribed, 249 [recto], drawing by Belleroche 306 [verso]
22 1/2 x 17 in [57.2 x 43.2 cm]
Provenance: the artist's studio; William de Belleroche; private collection
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Signed in pencil
oil on canvas
21 x 26 1/4 in. (53.2 x 66.5 cm.)
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Signed
Oil on canvas
26 1/2 x 20 1/2 ins. (67.3 x 52 cm).
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24 1/2 x 12 1/2 in. (62 x 32 cm.)
Oil on canvas (P.Aprin, Paris)
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Oil on prepared millboard (Winsor and Newton)
8 x 10 in. (20.3 x 25.5 cm.)
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Signed, oil on canvas17 1/8 x 16 3/4 in. (43.5 x 42.5 cm)
John Singer Sargent also painted Edward Boit's daughters at this period. The resulting celebrated painting, dated 1882, is in the Museum of Fine Arts, Boston.
1882 is the year in which Belleroche and Sargant met, at the atelier of Carolus Duran in Paris. Fellow students included Paul Helleu and Henri Toulouse-Lautrec. A widely traveled and wealthy artist known for his picturesque paintings, especially of Venice, Edward Darley Boit was born in Boston and died in Rome, Italy in 1915. (Some sources list 1916 as the death date). He studied at Harvard Law School and then studied art in Paris with Thomas Couture. He lived in Newport, Rhode Island from 1864 to 1871 and then went to Europe where he became an expatriate painter, living in France and Italy. Boit exhibited his watercolors at the Paris Salon between 1876 and 1888; thereafter some of his works were rejected (1890 and 1891).
Intriguingly both artists used a square format, and although the paintings appear to have been painted at the same time it is unclear if the two received the commission at the same time or indeed if the portaits were commissioned.
Provenance: The Countess Julie de Belleroche
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Oil on canvas
18 5/16 x 15 3/16 in. (46.5 x 38.5 cm.)
Provenance: with Arthur Tooth and Sons Ltd, London
Exhibtied: Albert de Belleroche, Early Paintings, Arthur Tooth and Sons Ltd, January-February 1955, no 6
"His still-life pictures - with the glimmer of light on silver and other objects, the shadows full of rich and reflected tones - has bough a new note into this kind of painting. One might say that he had carried the tradition of Chardin a step further, giving immediacy to his effects of light and colour, crystallizing the emotion of a particular moment. In this work one feels that, with his lively and nervous handling of paint, he makes the objects before him live in the moving light that plays on them, and it is not surprising that Degas though so highly of these works." Frank Brangwyn, Foreword to Albert de Belleroche by Julian A Millest, Apollo, 1935, XXI 124 April
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Signed on front with monogram, and numbered on reverse 18, lithographic crayon, 10¾ x 7¾ ins. (27.5 x 20 cms.)
Literature: Kern Steven, The Rival of Painting: the Lithographs of Albert Belleroche, San Diego Museum of Art, 2001
His works in lithography are amongst the greatest achievements of the craft since its discovery, A.M. Hind, Keeper of Prints at the British Museum, 1943.
This drawing is a preparatory work for a lithograph. Hugely admired by his contemporaries for his free drawing style and sensitivity to light, after 1900 Belleroche became a leading figure in portrait lithographs. Belleroche exhibited alongside the celebrated Impressionists and associated closely with the leading intellectuals and painters of the day such as Sargent, Toulouse-Lautrec, Zola, Oscar Wilde and Degas.
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Inscribed 106; lithographic crayon on laid paper, 6Q X 7A ins. (16.5 X 18 cms.)
Provenance: Count William de Belleroche; private collection
Belleroche was a founder member of the Salon d'Automne, exhibiting alongside the Impressionists and associating with Emile Zola, Oscar Wilde, Albert Moore, Renoir, Degas, Helleu and Toulouse-Lautrec. He shared a studio with his friend, John Singer Sargent, whose handling of pastel was to be of great inspiration to Belleroche. In turn, Belleroche's sensitivity to tone and creation of form through the modelling of light exerted an influence on Sargent. Belleroche's talent as a painter was recognized by his contemporaries - Degas purchased a work from him and in the early 1890s the French state acquired a painting for the Luxembourg Gallery. Roger-Marx, the critic who discovered Renoir, was amongst Belleroche's fervent admirers, referring to him as 'le peintre des femmes decoiffées' (Gazette de Beaux-Arts, XLX, Jan 1905).
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framed
Inscribed 383 (verso); drawing by Belleroche-belongs to his son William (verso)
Lithographic crayon on laid paper with column lines in brown ink
12 X 8 ins. (30.5 X 20 cms.)
Provenance: Count William de Belleroche; private collection
In 1910, at the age of forty-five, Belleroche married Julie Emilie Visseaux, seventeen years his junior, the daughter of his sculptor friend Jules Edouard Visseaux. After their marriage the couple moved to England and Belleroche withdrew increasingly from the art scene. In 1918 they moved to Rustington in Sussex and it is from this period that this portrait dates. Belleroche was no longer exhibiting or seeking public recognition (no exhibitions of the artist's work took place between 1914 and 1933), and his later works, many of which are portraits of his wife, have an intensified intimacy. We are grateful to Gordon Anderson for his assistance.
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framed
Oil on canvas, 1880's
signed on reverse
24 x 20 ins. (61 x 50.8 cms).
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framed
Oil on panel
18 x 14 in [45.5 x 35.5 cm]
Provenance: the artist's studio; William de Belleroche; private collection
In a reeded d section gilded frame
Belleroche was a founder member of the Salon d'Automne, exhibiting alongside the Impressionists and associating with Emile Zola, Oscar Wilde, Albert Moore, Renoir, Degas, Helleu and Toulouse-Lautrec. He shared a studio with his friend, John Singer Sargent, whose handling of pastel was to be of great inspiration to Belleroche. In turn, Belleroche's sensitivity to tone and creation of form through the modelling of light exerted an influence on Sargent. Belleroche's talent as a painter was recognized by his contemporaries - Degas purchased a work from him and in the early 1890s the French state acquired a painting for the Luxembourg Gallery. Roger-Marx, the critic who discovered Renoir, was amongst Belleroche's fervent admirers, referring to him as 'le peintre des femmes decoiffées' (Gazette de Beaux-Arts, XLX, Jan 1905).
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Signed in pencil, titled on the reverse
Oil on canvas
25 1/2 x 20 1/2 in. (70 x 60 cm.)
Belleroche was a founder member of the Salon d'Automne, exhibiting alongside the Impressionists and associating with Emile Zola, Oscar Wilde, Albert Moore, Renoir, Degas, Helleu and Toulouse-Lautrec. He shared a studio with his friend, John Singer Sargent, whose handling of pastel was to be of great inspiration to Belleroche. In turn, Belleroche's sensitivity to tone and creation of form through the modelling of light exerted an influence on Sargent. Belleroche's talent as a painter was recognized by his contemporaries - Degas purchased a work from him and in the early 1890s the French state acquired a painting for the Luxembourg Gallery.
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framed
Oil on canvas
25 x 17 1/4 in. (63.5 x 43.7 cm.)
This oil clearly relates to the artists lithograph of 1903 in which the same composition and model (naked in the lithographic version) appear in reverse.
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Numbered 120; inscribed 'Drawing' by Belleroche and numbered 348 on the reverse
Pencil,15 × 113/8 in.(38.1 × 28.7 cm.)
Provenance:the artist's studio; William de Belleroche; private collection
Lithographs of Yvette dated 1901 and 1903, in which the sitter is clearly older, suggest that this drawings was made circa 1898. A portrait of Yvette was exhibited at the New English Art Club, London, in 1899.
We are grateful to Gordon Anderson for assistance.
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Inscribed ‘Programme, Saturday, July 19, 1919’
Lithographic crayon with sanguine highlights
22 × 14 in. (56 × 35.5 cm)
Throughout the Summer of 1919, following the signing of theTreaty of Versailles (28 June 1919) Peace Celebrations took place across Britain, usually organised by local Parish Councils with programmes of thanksgiving, parades, games and dancing.
Belleroche lived in Rustington from 1918, having restored the Manor House which he first acquired in 1914.TheVignette shows Rustington Church upon which the celebrations centred.
This drawing comes from a relatively late period in the artist's oeuvre when he was no longer seeking public recognition, (no Belleroche exhibitions took place between 1914 and 1933).The drawing, however , calls upon Belleroche's earlier work when he was more in the public eye, exhibiting alongside the Impressionists and John Singer Sargent with whom he associated in Paris during the Belle Epoch.
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