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Albert de Belleroche (1864 - 1944)

Le Secretaire Louis XVI, circa 1890

SKU: 2658

Oil on canvas

Size:
Height – 46.5cm
Width – 38.5cm

DESCRIPTION

Provenance:
with Arthur Tooth and Sons Ltd, London, Ruth Wittman
Presentation:
framed

Literature: Llewellyn, Sacha, and Paul Liss. Portrait of an Artist. Liss Llewellyn, 2021, p.20.

The mise-en-sc√®ne in this studio scene shows a variety of the artist’s favourite props, with various paintings in different stages of completion, including a piece of unstretched canvas, in the background. Of Belleroche’s still lives Frank Brangwyn commented: “…
he had carried the tradition of Chardin a step further and it is not surprising that Degas thought so highly of these works.”

Exhibited Arthur Tooth & Sons LTD, Albert de Belleroche Early Paintings, January 13th . February 5th 1955, Number 6

In a Louis IV gilded frame.


“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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THE ARTIST

Albert de Belleroche
Albert de
Belleroche
1864 - 1944

Although born in Wales, he was the son of the Marquis de Belleroche, of one of the most ancient French noble families who, being Huguenots, had fled to England in 1685. In 1871, following the death of his father, he moved back to Paris with his family. After he had finished school there, he studied at the studio of Carolus Duran, and spent long hours copying at the Paris museums. He soon became familiar with the leading painters and intellectuals of the day, and became 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. Toulouse-Lautrec and Belleroche were exact contemporaries, who first met at the age of eighteen. Belleroche painted Toulouse-Lautrec’s portrait and shared with him a passion for the model Lili, who epitomised the Belle Epoch aesthetic of Toulouse-Lautrec’s most celebrated posters. Lili became Belleroche’s favourite model and mistress. In 1882 Belleroche also met the already acclaimed American painter John Singer Sargent, who recognised Belleroche’s talent and empathised with his free drawing style and sensitivity to light. They became life-long friends. Sargent’s handling of pastel was a great inspiration to Belleroche, while Belleroche’s sensitivity to tone and creation of form through the modeling of light exerted a strong influence on Sargent. In 1900, Belleroche became fascinated by the medium of lithography and by 1905 he was a leading figure in the field of lithographic portraiture. A.M. Hind, a former keeper of prints at the British Museum, described his works in lithography as “amongst the greatest achievements of the craft since its discovery.”

He held commercial exhibitions at the Goupil Gallery (1903), Graves, London (1906), Colnaghi’s (1941) and Walker Gallery, London (1942). He also exhibited with the Senefelder Club, an organisation formed in London in 1909 to promote the craft of art reproduction by the process of lithography. However, he had no need to live from his art, he rarely took on commissioned portraits, instead choosing models and sitters who interested him. This in part – though not entirely – explains why he is so little known. A room in the Musée D’Orange is dedicated to Belleroche. He was the subject of numerous publications during his lifetime, and in 2001 the San Diego Museum of Art organised an exhibition and produced a catalogue entitled The Rival of Painting: the Lithographs of Albert Belleroche.

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Les deux petits pots (Les pots jaunes) – circa 1889
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Girl seated outside of La Boissiere – circa 1909
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Blue Vase on grey background- circa 1885
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The dining room of John Singer Sargent, circa 1884
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Le Secretaire Louis XVI, circa 1890
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Landscape with green meadow and gated wall- circa 1900
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Charing Cross Station, circa 1885
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Profile portrait, young lady, waist-up, circa 1900
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