VICTOR GABRIEL GILBERT (PARIS 1847-1933) - photo 1
VICTOR GABRIEL GILBERT (PARIS 1847-1933) - photo 2
VICTOR GABRIEL GILBERT (PARIS 1847-1933) - photo 3

VICTOR GABRIEL GILBERT (PARIS 1847-1933)

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€ 75 600
Auction dateClassic
18.05.2022 14:30UTC +02:00
Auctioneer
CHRISTIE'S
Event location
France, Paris
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Archive
ID 761443
Lot 249 | VICTOR GABRIEL GILBERT (PARIS 1847-1933)
VICTOR GABRIEL GILBERT (PARIS 1847-1933)Le pavillon de la Marée aux Halles-Centrales de Parissigné et daté 'Victor Gilbert / 1881' (en bas, à gauche)huile sur toile86 x 122,5 cm (34 x 48 in.) Provenance Collection particulière, Newcastle, Grande-Bretagne.Vente Christie's, Londres, 24 novembre 1989, lot 32.Collection particulière, Paris, France. Literature Probablement E. Montrosier, 'Victor Gilbert', Les Artistes modernes, Paris, 1884, quatrième partie, p. 27. Exhibited Probablement Paris, palais des Champs-Élysées, Salon des Artistes français, 1881, n°989. Special notice This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collectiondetails. Post lot text VICTOR GABRIEL GILBERT, THE FISH PAVILION AT LES HALLES-CENTRALES OF PARIS, OIL ON CANVAS, SIGNED AND DATEDIn Le ventre de Paris, published in 1873, Émile Zola (1840-1902) imagines the character of a realist painter Claude Lantier. In the novel, the fictive painter goes every day to the, then new, Halles market, built from 1852. He is fascinated by the modernity of this ‘[…] metal Babylone, of an Hindi lightness, traversed with suspended terraces and aerial corridoes, flying bridges thrown over the emptiness […]’ ('[...] Babylone de métal, d’une légèreté hindoue, traversée par des terrasses suspendues, des couloirs aériens, des ponts volants jetés sur le vide [...]') (É. Zola, Le ventre de Paris, Paris, 1873, p. 270). To the painter, the effervescence of the site requires rigorous observation of this ‘overflowing of food, rising in the middle of Paris ‘ ('débordement de nourriture, qui monte au beau milieu de Paris') (É. Zola, op. cit., p. 58), which the author compares to a ‘sea’ of vegetables or a ‘river of greenery’ ('fleuve de verdure') (É. Zola, op. cit., p. 62). Outside of the literary world, the building, which was an answer to Emperor Napoléon’s III (1808-18773) sanitary demands and reforms, fascinated the first photographers. Whilst this modern building, situated at the heart of a still medieval Paris, had accompagnied the birth of the medium (namely Célestin Thévenot, 'Les Halles en 1896', Paris Moderne, janvier 1897, 4), painters were reluctant to confront the building. Victor Gabriel Gilbert’s (1847-1933) willingness to face up to the challenge earned him the nicknames of the ‘painter of the markets’ (‘peintre des marchés’) and ‘painter of the Halles’ (‘peintre des Halles’) (E. Montrosier, 'Victor Gilbert', Les artistes modernes, Paris, 1884, p. 26).At each of the 1878, 1879, 1880 and 1881 Salons, Gilbert exhibited at least one painting depicting the Halles of Paris. Perhaps wishing to pay tribute to Lantier, an artist whose painting the reader will never see, Gilbert illustrated Zola’s novel with realist images elevated to the status of history painting, in the same way that Zola had turned his description of a market into a metaphor for their time’s prevailing class politics. Another composition by Gilbert depicting the fish pavilion, which was at the time in the north of the market, at the intersection of Lescot and Rambuteau streets, had been awarded a medal in the 1880 Salon. This emblematic Parisian landmark, situated on the same spot as its 12th-century predecessor, would move in 1969. The twelve pavilions, divided in groups of 6 and separated by a central alley, were to close one after the other. The first to close, in February 1969, is the flower market, followed by the fruits and vegetables, then the dairy products and finally, on the 29th of February, the seafood pavilion, represented here. All were destroyed from 1971 with the exception of pavilion n°8, which sold eggs and poultry, and which was rebuilt in the vicinity of Paris, in Nogeant-sur-Marne.We would like to thank M. Noé Willer for confirming the authenticity of the work which is included in the artist’s archives. A certificate of authenticity can be provided at the buyer’s discretion and expense.
Applied technique:Oil on canvas
Place of origin:Western Europe, France, Europe
Auction house category:Paintings
Address of auction CHRISTIE'S
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