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PROPERTY FROM THE FRANZ KOENIGS COLLECTION During his younger years, Franz Koenigs' education and career took him to Munich, Paris, London, Romania, the Indies, Berlin and Cologne, and for much of this time he was already forming what would become one of the most legendary of modern collections. However, it was only when he moved to Haarlem, in the Netherlands, and with his cousins founded the Rhodius Koenigs Handel-Maatschappij, a bank and trading company, that he began to collect on a vast scale. By 1935, his collection consisted of well over 2500 drawings by artists as diverse as Dürer, Grünewald, Tintoretto, Rubens, Rembrandt, Watteau, Millet, Degas, Manet, Cézanne... And alongside these, he also possessed a great number of museum-quality oil paintings, including a group of celebrated Rubens and four oils by Hieronymous Bosch. Many of these works are now in museum collections. Koenigs was born in 1881, the son of a prominent bank director in Cologne and a Dutch mother. Before becoming a banker in his own right, Koenigs travelled widely, working in various companies and fields-he had briefly studied law, worked in a jute manufacturer in London, an oil company in Romania, and held positions in various other banks and companies. His natural flair for business was always evident, and it was this that allowed him to found the Rhodius Koenigs bank before he was forty years old. Koenigs' collection was the result of a slow and steady evolution, as his tastes and his eye developed with each purchase. Despite the prominence in his collection of German, Swiss, Italian and Netherlandish drawings, his first purchases in fact appear to have been prints by Toulouse-Lautrec that he bought in Paris when he was only seventeen, and he would continue to collect his prints enthusiastically in his twenties; meanwhile, his first two drawings, which he acquired shortly afterwards in London, were by Millet. Much of Koenigs' original collection was dispersed during the Second World War in circumstances that continue to have ramifications to this day. In his seminal work, Les marques de collection de dessins et d'estampes, the art historian-and another legendary Dutch collector - Frits Lugt commented that, 'cet amateur s'est reserveé une dizaine de feuilles pour sa collection particulière', which fortunately was a great understatement of the case. Not only did Koenigs retain several Old Master drawings, but he also held onto his more modern works - with prescience, he deposited as many as possible that might have been classed as 'Entartete Kunst' from his collection in safe-keeping at the Stedelijk Museum, Amsterdam, while his collection of prints, including his cherished works by Toulouse-Lautrec -- he had accumulated the artist's entire graphic oeuvre, an awesome achievement -- remained in his house in Haarlem. He continued to collect avidly, forming his so-called 'Second Collection' from which the works on offer are largely taken. It is a reflection of the quality of this collection, that the selection being offered here includes works in various categories by artists as diverse as by Baldung, Cézanne, Cuyp, Degas, Manet, and Rembrandt. PROPERTY FROM THE FRANZ KOENIGS COLLECTION

Camille Pissarro (1831-1903)

La ferme à Châtillon-sur-Seine

细节

Camille Pissarro (1831-1903)
La ferme à Châtillon-sur-Seine
signed, dated and inscribed 'C.Pissarro Châtillon-sur-Seine 1884' (lower left)
watercolour, wash and charcoal on paper
9 3/8 x 12 1/8 in. (23.9 x 30.8 cm.)
Executed in Châtillon-sur-Seine in August 1882

来源

Possibly the sale of the artist's studio, Hôtel Drouot, Paris, 25 June 1906, lot 16 (titled Paysage Châtillon-sur-Seine).
Franz Koenigs, Amsterdam, by 1938 (on loan to the Stedelijk Museum, Amsterdam, 1938-1949, no. B919), and thence by descent to the present owners.

注意事项

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

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拍品专文

Dr Joachim Pissarro will include this work in his forthcoming Pissarro Catalogue Raisonné of Works on Paper.

According to Joachim Pissarro, the artist misdated this work '1884', probably having executed it in August 1882 when Pissarro and his wife, Julie, did a short trip to Châtillon-sur-Seine, Julie's homeland.