Johan Barthold Jongkind (Latrop 1819 - Côt-St- André 1891)
A Windmill on the Butte-aux-Cailles, Paris Sold
Pen and brown ink and brown wash. Dated and inscribed butte aux cailles / 17 7bre 1849 at the lower right centre [the word ‘cailles’ written over another word]. Further inscribed Moulin des prés at the lower left and with colour notes moulin gris / [?] jaun[e] / terrain rouge at the lower right corner.204 x 292 mm. (8 x 11 1/2 in.)ENQUIRE
Drawn in 1849, when Jongkind was living in Paris and working in a studio on the Place Pigalle, this drawing depicts a windmill known as the Moulin des Prés on the Butte-aux-Cailles; a small hill on the southern outskirts of Paris. Rising to a modest height of 65 metres, the hill was named for the Cailles family that once farmed the land, and was covered with windmills until the late 19th century. The Butte was where Pilâtre du Rozier landed the first manned hot-air balloon in 1783, and was also one of the strongholds of the Paris Commune of 1871. The Butte remained a working-class village until it was incorporated into Paris in the late 19th century, and is today part of the 13th arrondissement of the city.Jongkind had arrived in Paris in 1846, and was soon accompanying his teacher Isabey on sketching trips to Normandy and Brittany. He also, however, spent a considerable amount of time painting and sketching views of Paris, particularly in the year 1849. It is perhaps not surprising that he would have been drawn to the windmills of the Butte-aux-Cailles, given his fondness for the same motif in his Dutch views. An early sketchbook of 1849, in the collection of the Louvre, contains a number of views of Montmartre and its windmills, while a similar study of another windmill, drawn in 1852 at Sannois on the outskirts of Paris, is also in the Louvre.The present sheet once belonged to the eminent scholar of Impressionist and Post-Impressionist art John Rewald (1912-1994). According to a note on the former backing board, this drawing was given by him as a Christmas present in 1984 to his longtime research assistant Frances Weitzenhoffer (1944-1991). At her death in March 1991 the drawing returned to Rewald’s collection.
An unidentified collector’s mark, with a monogram in a circle (not in Lugt), stamped in green ink on the versoJohn Rewald, New York (Lugt 1514a), his mark on the verso Given by him to Frances R. Weitzenhoffer, New York, in December 1984John Rewald, New York, after March 1991His posthumous sale, New York, Christie’s, 22 May 1997, lot 198.