ANDRÉ HAMBOURG (French, 1909-1999). Le Dessert (Le Présentoir aux Fruits). Oil on canvas. 8-5/8 x 6-3/8 inches (21.9 x 1...

Description

ANDRÉ HAMBOURG (French, 1909-1999)
Le Dessert (Le Présentoir aux Fruits)
Oil on canvas
8-5/8 x 6-3/8 inches (21.9 x 16.2 cm)
Signed lower right: a. hambourg
Initialed and inscribed verso: a.h. / Le présentoir / aux fruits

PROPERTY FROM A PRIVATE TEXAS ESTATE

PROVENANCE:
Findlay Galleries, Inc., New York (label verso);
Collection of Mr. and Mrs. John R. McFarlin.


NOTE:
This work is accompanied by a photocopy of a certificate of authenticity from Findlay Galleries, Inc., signed and dated October 1965, as well as a copy of a letter from the artist to Mr. and Mrs. McFarlin, handwritten on a 6 7/8 x 9 3/8" black and white photograph of the artist, signed and dated December 24, 1965: Pour Madame et Monsieur John McFarlin avec mon grand plaisir de me d'avoir represente dans leur collection . . . . et en hommage (For Mr. and Mrs. John McFarlin with great pleasure for having me represented in their collection . . . . and with my compliments).

Hambourg was a natural painter from the the start, and someone who seemed to have had an instinctive gift as a colorist. Born and trained in Paris, he achieved recognition early following his studies at the École Superieure des Arts Decoratifs and the École des Beaux-Arts. At nineteen he was awarded his first one-man exhibition, and a year later showed at the Salon des Tuilleries. Soon afterwards his works were accepted in the Salon des Indépendants, the Salon d'Automne, les Peintres Temoins de leur Temps, Salon du Dessin and Salon de la Peinture a l'Eau.

In 1957 Hambourg first went to Venice which proved to be the inspiration for a new lushness in his painting ever since. As one writer noted, his color has both radiance and delicacy and this combination of effects can be easily seen in the present fruit still life. When Hambourg strayed from his favorite beach scenes and Venetian subjects to still lifes of fruit and flowers, his painting detail has a shimmering jewel-like quality. In the present work one can see how he achieves this effect in a manner quite reminiscent of the great Venetian colorist, Tintoretto. He drags a fine brush loaded with a high-keyed pigment such as white or yellow along the edges and high points of the forms. These little flecks and lines create bright, scintillating spots of brilliance against the deeper hues. Collectively they give a shimmering surface effect to the entire composition.






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