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Cézanne's still lifes have long been recognised as among the greatest achievements, the works in which can be seen most clearly the innovations that led to the stylistic developments of early 20th Century art.

Paul Cezanne,
"Rideau, cruchon et compotier", detail 1

Cézanne achieved in still life the expression of the most exalted feelings and the deepest intuitions of his nature. This painting formerly belonged to the collection of Mrs and Mr John Hay Whitney. It first was bought by the Paris dealer Ambroise Vollard who sold it to Cornelis Hoogendijk and then was in the possession of Paul Rosenberg, of Dr Albert C. Barnes and of the Carroll Carstairs Gallery.

Paul Cezanne,
"Rideau, cruchon et compotier", detail 2

On a simple wooden-table, concealed by a white cloth into which is nestled an assortment of fruit-lemons, apples, pears and oranges, Cézanne placed a grey-blue earthenware jug, used seven times in works of varying complexity and a white faience dish containing an arrangement of fruit. A patterned blue drapery used in a number of still lifes of the 1880's and 1890's adds a formal decorative note to the left. The still life arrangement is silhouetted against a plain background; a wall transformed into a symphony of subtly modulated coloured patches.

During the same sale, a preparatory painting (65.1 x 79.1 cm) by Georges Seurat for his famous work “Un Dimanche à la Grande Jatte” sold for $ 32 million against an estimate of $ 25-35 million causing some disappointment as it was expected to reach the $ 40 million level.

Georges Seurat,
"Paysage, l'Ile de la Grande-Jatte", detail 1

Painted between 1884 and 1889 and retouched during this latter year when Seurat added dots on its borders, this painting was of a quality never seen so far on the market regarding the painter's works.

In the entire history of art, there are few images that are instantly recognised throughout the world. One of them is Seurat's Un Dimanche à la Grande Jatte, 1884-86 (The Art Institute of Chicago), which became famous from the moment it was first exhibited in the eighth and last Impressionist group show in 1886.

There are numerous drawings and oil studies on small wooden panels for Un Dimanche à la Grande Jatte but there are only two relatively large easel paintings that are clearly preliminary to the final work; the present example, Paysage, l'Ile de la Grande Jatte and the Etude d'ensemble also of 1884. The relationship of both to the final composition is particularly interesting but when he worked on the final painting he made scores of changes and adjustments, and he probably referred to numerous studies and drawings as he proceeded.

The Whitney painting was included in important exhibitions twice during Seurat's life. It was first shown in 1884-85 at the exhibition organised by the Independents. In 1886 it was sent to an exhibition organised by Durand-Ruel at the American Art Galleries and National Academy of Design in New York and evidently Seurat intended it to be seen as a work of art in its own right.

The painted border was added later, apparently in 1889 or 1890. In 1884 the canvas would have lacked the small dabs that now are found across the shaded and sunlit grass and in the shaded portions of the distant trees. When he reworked the picture, he used smaller strokes principally to add contrasting hues, especially the solar orange sprinkled over the shaded grass and the pinks that oppose the bluish purples.

Georges Seurat,
"Paysage, l'Ile de la Grande-Jatte", detail 2

This painting was probably made as the result of several visits when the island was virtually unpeopled and devoid of nearly all activity. As such, the image seems to have taken on a life of its own and is unquestionably one of the most beautiful and sublime of Seurat's paintings.