GEORGES SEURAT (1859-1891)
Les Poseuses, Ensemble (Petite version)
oil on canvas
15 1/2 x 19 3/4 in. (39.3 x 50 cm.)
Painted in 1888
Jules F. Christophe, Paris (by 1892, then by descent).
B.A. Edynski and Max Hochschiller, Paris (by 1908).
Galerie Bernheim-Jeune et Cie., Paris.
Alphonse Kann, Paris (by 1910, until at least 1917).
Marius de Zayas, New York (by 1921).
John Quinn, New York (by 1922).
Julia Quinn Anderson, New York (by descent from the above, 1924).
Mary Anderson Conroy, New York (by descent from the above).
Henry P. McIlhenny, Esq., Philadelphia (acquired from the above, 1936); sale, Christie's, London, 30 June 1970, lot 16 (world auction record for the artist at the time of sale).
Artemis, Luxembourg (acquired at the above sale).
Heinz Berggruen, Paris (acquired from the above, 1973).
Private collection (1997).
Acquired by the late owner, 3 December 1999.
L. Cousturier, Seurat, Paris, 1921 (illustrated, pl. 22; dated 1887-1888).
J.H. Langaard, "Georges Seurat" in Kunst og Kultur, 1921, vol. 9, p. 34 (illustrated; titled Toilet).
A. Lhote, Georges Seurat, Rome, 1922 (illustrated, pl. 9).
W. Pach, "Georges Seurat" in The Arts, March 1923, p. 163 (illustrated).
W. Pach, Georges Seurat, New York, 1923 (illustrated, pl. 4).
G. Coquiot, Seurat, Paris, 1924, p. 233 (illustrated).
John Quinn: Collection of Paintings, Watercolors, Drawings and Sculpture, New York, 1926, no. 125 (illustrated).
L. Cousturier, Georges Seurat, Paris, 1926 (illustrated, pl. 27; dated 1887-1888).
O. Sitwell, "Les Poseuses" in Apollo, June 1926, vol. 3, p. 345.
R. Rey, La renaissance du sentiment classique dans la peinture française à la fin du XIXe siècle, Paris, 1931, p. 142.
C. Roger-Marx, Seurat, Paris, 1931 (illustrated, pl. 14; dated 1887-1888).
Edouard-Joseph, Dictionnaire biographique des artistes contemporains 1910-1930, Paris, 1934, vol. III, p. 293 (illustrated).
M. Renard, "In the Day of the 'Poseuses'" in Verve, January-March 1939, no. 4, p. 72 (illustrated in color).
R. Fry, Last Lectures, London, 1939. p. 16-2 (illustrated, pl. 5).
R.J. Goldwater, "Some Aspects of the Development of Seurat's Style" in The Art Bulletin, June 1941, vol. XXIII, no. 2, p. 119.
J. Rewald, Georges Seurat, New York, 1946, p. 106 (illustrated, pl. 83).
R. Huyghe, "Trois Poseuses de Seurat" in Bulletin des musées de France, August 1947, no. 7, p. 12 (detail illustrated, fig. 10).
J. Rewald, Georges Seurat, Paris, 1948 (illustrated, pl. 89).
R. Cogniat, Seurat, Paris, 1951 (illustrated, pl. 40).
J. Rewald, Post Impressionism: From Van Gogh to Gauguin, New York, 1956, p. 107 (illustrated in color).
R. Bernier, "Le musée privé d'un conservateur" in L'Oeil, March 1957, no. 27, p. 22 (illustrated; with incorrect dimensions).
R.L. Herbert, "Seurat in Chicago & New York" in The Burlington Magazine, May 1958, p. 152.
C.D. Gaitskell, Art Education in the Elementary School, New York, 1958, p. 15 (illustrated).
C. McCurdy, ed., Modern Art: A Pictorial Anthology, New York, 1958, p. 57 (illustrated, fig. A39; dated 1887-1888).
M. Schapiro, "New Light on Seurat" in Art News, April 1958, vol. 57, no. 2, p. 23 (detail illustrated, fig. 2).
J. Canaday, Mainstreams of Modern Art, New York, 1959, p. 336 (illustrated, fig. 410).
H. Dorra and J. Rewald, Seurat: L'oeuvre peint, biographie et catalogue critique, Paris, 1959, pp. 220-221, no. 179 (illustrated, p. 221).
C.M. de Hauke, Seurat et son oeuvre, Paris, 1961, vol. I, p. 144, no. 184 (illustrated, p. 145).
R.L. Herbert, Seurat's Drawings, London, 1962 (illustrated, pl. VII).
M.W. Brown, The Story of The Armory Show, New York, 1963, p. 289 (illustrated).
W.I. Homer, Seurat and the Science of Painting, Cambridge, 1964, pp. 167-175 (illustrated, fig. 48).
J. Russell, Seurat, New York, 1965, p. 282 (illustrated in color, pp. 208-209, pl. 186).
B.L. Reid, The Man from New York: John Quinn and his Friends, New York, 1968, p. 560 (illustrated).
P. Courthion, Georges Seurat, New York, 1969, p. 136 (illustrated in color, p. 137).
J. Herbert, ed., Christie's: Review of the Year 1969/1970, London, 1970, pp. 117-118 (illustrated in color, p. 116; illustrated in color again on the cover).
A. Chastel and F. Minervino, Tout l'oeuvre peint de Seurat, Paris, 1973, pp. 105-106 (illustrated, p. 105; illustrated again in color, pl. XLIII).
L. Hautecoeur, Les Impressionnistes: Seurat, Milan, 1974, p. 43 (illustrated in color).
H. Haacke, Seurat's Les Poseuses (Small Version), New York, 1975.
N. Broude, ed., Seurat in Perspective, Englewoods Cliffs, 1978, pp. 46-47.
J. Zilczer, “The Noble Buyer”: John Quinn, Patron of the Avant-Garde, exh. cat., Hirschhorn Museum and Sculpture Garden, Washington, D.C., 1978, pp. 52 and 186.
J. House and M.A. Stevens, Post-Impressionism: Cross-Currents in European Painting, exh. cat., Royal Academy of Arts, London, 1979, pp. 16-17 (illustrated, p. 17, fig. 6).
P. Georgel and A.-M. Lecoq, La peinture dans la peinture, exh. cat., Musée des beaux-arts, Dijon, 1982, p. 150 (illustrated, fig. 171).
S. Greenspan, "Berggruen's Picassos" in Art & Auction, April 1985, vol. VII, no. 9, p. 109 (illustrated in color).
J. Rewald, Seurat: A Biography, London, 1990, p. 155 (illustrated in color).
S. Moore, Framing Modern Masters: A Conversation with Heinz Berggruen, London, 1991, pp. 4 and 7 (illustrated in color; illustrated in color again on the cover).
M.F. Zimmermann, Les mondes de Seurat: Son oeuvre et le débat artistique de son temps, Paris, 1991, p. 333, no. 458 (illustrated in color).
S. de Vries-Evans, The Lost Impressionists: Masterpieces from Private Collections, Niwot, 1992, p. 129 (illustrated in color).
P. Smith, Seurat and the Avant Garde, New Haven, 1997, p. 116 (illustrated in color, fig. 127; detail illustrated in color, p. 117, fig. 128).
L. Nochlin, Representing Women, London, 1999, p. 218 (illustrated, fig. 148).
S. Lemoine, ed., From Puvis de Chavannes to Matisse and Picasso: Toward Modern Art, Milan, 2002, p. 25, no. 4 (illustrated in color).
Paris, Pavillon de Ia Ville de Paris, Cours Ia Reine, Société des artistes indépendants, 8me exposition, March-April 1892, p. 66, no. 1083.
Paris, Galerie Bernheim-Jeune & Cie., Exposition Georges Seurat, December 1908-January 1909, p. 13, no. 70.
Paris, Galerie Bernheim-Jeune & Cie., Nus, May 1910, no. 105.
New York, Armory of the Sixty-Ninth Infantry; The Art Institute of Chicago and Boston, Copley Hall, International Exhibition of Modern Art, February-May 1913, nos. 455, 371 and 198, respectively.
Copenhagen, Royal Museum, Fransk Malerkunst fra det 19nde Aarhundrede, May-June 1914, p. 43, no. 192.
New York, Galleries of Joseph Brummer, Paintings and Drawings by Georges Seurat, December 1924, no. 17.
The Brooklyn Art Museum, 1926.
Cambridge, Fogg Art Museum, Harvard University and Philadelphia Museum of Art, French Artists of the 18th and 19th Centuries, 1936-1937, no. 190.
Philadelphia Museum of Art, Inaugural Opening of the French Gallery, 1937.
Paris, Exposition Universelle, Palais national des arts, Chefs-d'oeuvre de I’art français à l'Exposition Internationale de 1937, 1937, pp. 199-200, no. 414 (dated 1887-1888).
New York, The Museum of Modern Art, Art in Our Time, May-September 1939, no. 75 (illustrated).
Baltimore Museum of Art, Exhibition of Modern Painting "Isms" and How They Grew, January-February 1940.
Detroit Institute of Arts, The Age of Impressionism & Objective Realism, 1940, no. 38.
Worcester Art Museum, The Art of the Third Republic, February-March 1941, no. 17 (illustrated).
Philadelphia Museum of Art, Masterpieces of Philadelphia Private Collections, May 1947, p. 73, no. 27.
New York, Wildenstein & Co. Inc., A Loan Exhibition of Six Masters of Post-Impressionism, Benefit of Girl Scout Council of Greater New York, April-May 1948, p. 57, no. 51 (illustrated on the frontispiece).
New York, M. Knoedler & Co., Inc., Seurat: Paintings and Drawings, Loan Exhibition for the Benefit of the Home for the Destitute Blind, April-May 1949, no. 19 (illustrated).
Philadelphia Museum of Art, The Henry P. McIlhenny Collection, 1949.
Philadelphia Museum of Art, Diamond Jubilee Exhibition: Masterpieces of Painting, November 1950-February 1951, no. 81 (illustrated).
Paris, Musée de l'Orangerie, De David à Toulouse-Lautrec: Chefs-d'oeuvre des collections américaines, 1955, no. 52 (illustrated, pl. 90).
The Art Institute of Chicago and New York, The Museum of Modern Art, Seurat: Paintings and Drawings, January-May 1958, pp. 16 and 33, no. 136 (illustrated in color).
San Francisco, The California Palace of the Legion of Honor, The Henry P. McIlhenny Collection, June-July 1962, no. 38 (illustrated in color).
Utica, Munson-Williams-Proctor Institute and New York, Armory of the Sixty-Ninth Regiment, 1913 Armory Show: 50th Anniversary Exhibition, February-April 1963, p. 211, no. 455 (illustrated in color, p. 24).
London, David Carritt Ltd., Seurat: Paintings and Drawings, November-December 1978, p. 63, no. 23 (illustrated).
Kunsthalle Bielefeld; Baden-Baden, Staatliche Kunsthalle and Kunthaus Zürich, Georges Seurat: Zeichnungen, October 1983-May 1984 (illustrated in color, pl. 11; dated 1887-1888).
Geneva, Musée d'art et d'histoire, Berggruen Collection, June-October 1988, p. 72, no. 25 (illustrated in color, p. 73; illustrated in color again on the cover).
Paris, Galeries nationales du Grand Palais and New York, The Metropolitan Museum of Art, Georges Seurat, April 1991-January 1992, pp. 292-294, no. 191 (illustrated in color, p. 293; illustrated in color again on the cover).
London, The National Gallery, Seurat and "The Bathers", July-September 1997, pp. 146-147, no. 60 (illustrated in color, p. 147, pl. 172).
Seattle, Experience Music Project, DoubleTake: From Monet to Lichtenstein, April 2006-January 2007, pp. 18-19 (illustrated in color).
New York, The Metropolitan Museum of Art, Seurat's Circus Sideshow, February-May 2017, p. 130 (illustrated in color, p. 55, fig. 49; dated 1887-1888).
London, The National Gallery (on extended loan).
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.