AURORE AMANDINE LUCILE DUPIN, DITE GEORGE SAND (PARIS 1804-1865 NOHANT)

Lot 84
18.05.2022 14:30UTC +01:00
Classic
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€ 61 740
AuctioneerCHRISTIE'S
Event locationFrance, Paris
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ID 761374
Lot 84 | AURORE AMANDINE LUCILE DUPIN, DITE GEORGE SAND (PARIS 1804-1865 NOHANT)
Estimate value
€ 30 000 – 40 000
AURORE AMANDINE LUCILE DUPIN, DITE GEORGE SAND (PARIS 1804-1865 NOHANT)Album oblong comprenant cinquante neuf dessins dont dix paysages à la dentrite, une photographie et une lithographie. Reliure en toile grise, pièce de titre de papier au centre du premier plat.titré 'Dessins de Georges Sand 1823 à 1874' (sur la première de couverture)graphite, plume et encre brune, aquarelle et gouachedessin: 15 x 25,3 cm (5 7⁄8 x 10 in.), et plus petitsalbum: 17,8 x 26 cm (7 x 10 1⁄4 in.) Post lot text AURORE AMANDINE LUCILE DUPIN, DIT GEORGE SAND, AN OBLONG ALBUM WITH 59 DRAWINGS (10 DENTRITES), A PHOTOGRAPHY AND A LITHOGRAPHY, GRAPHITE, PEN AND BROWN INK, WATERCOLOURGoing by the pen name George Sand, Amandine Aurore Dupin, the eldest daughter of Maurice Dupin de Francueil (1778-1808) and Sophie-Victoire Delaborde (1773-1837), experienced a troubled youth overshadowed by the premature death of her father when she was only four. She was brought up in part by her grandmother Marie-Aurore Dupin de Francueil, née de Saxe, who had been living in the Château de Nohant in the Indre since 1793. From this period of her youth date many nature drawings (country landscapes, portraits, still lifes with flowers and animals). Sand would remain attached to the Chateau Nohan and to the nature surrounding the castle throughout her life, even when she left to Paris to live with her mother in 1822. Two portraits of girls dated 1829 and 1830, monogrammed 'AD', show some stylistic similarities with Petite fille au rocher, a drawing in black stone and charcoal dated 1840 and kept in the Musée de la Vie Romantique (inv. JC 95.19; George Sand. Une nature d'artiste, exh. cat., Paris, Musée de la Vie Romantique, 2004, no. 140). George Sand describes in her autobiography, Histoire de ma vie (IV, 12), published in 1854, how she wanted to earn a living around 1830 by painting “flowers and ornamental birds, in microscopic compositions on snuff boxes and cigar cases”. She adds that she liked to make “portraits in pencil or watercolour in a few hours: I was able to capture the likeness very well, I drew my little heads well”. The album includes seven watercolour landscapes in which George Sand uses a technique of her own, dendrite, which she also called 'crushing watercolour', in which a patch of colour is pressed against another sheet to create random shapes with branches and trees. The artist wrote: “This crushing sometimes produces curious veins. My imagination helps me see woods, forests or lakes, and I accentuate the vague shapes produced by chance” (N. Savy, 'La découverte des dendrites', in op. cit., 2004, p. 161). The most accomplished dendrites in this album represent two seascapes where the bright blue waves strike the cliffs and a mountain landscape in a subtle gradation of blue and grey. Several landscape drawings from the 1860s depict, amongst other subjects, the Charmettes, a property located on the heights of Chambéry in Savoy where Jean-Jacques Rousseau stayed in the 18th century. This house then became a place of pilgrimage, visited in particular by George Sand, who produced a drawing dated June 1861, accompanied in the present album by a photograph and a lithograph of the place. Finally, a drawing representative of the end of his career in graphite and brown ink entitled 'Lolo going alone with her dog to see the waterfall' refers to George Sand's granddaughter, Aurore Laut, born Dudevant (1866-1961), nicknamed Lolo, with whom she enjoyed drawing. A detailed list of each drawing in the album can be found on the christies.com website.
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