Credit Line:The Walter H. and Leonore Annenberg Collection, Bequest of Walter H. Annenberg, 2002
Inscription: Signed and dated (lower left): Fantin 83
Carlos Guinle, Rio de Janeiro; by descent to César Guinle (until 1963; sold in February to Wildenstein); [Wildenstein, New York; 1963, sold September 16 to Annenberg]; Walter H. and Leonore Annenberg, Rancho Mirage, Calif. (1963–his d. 2002)
London. Tate Gallery. "The Annenberg Collection," September 2–October 8, 1969, no. 13 (as "Roses in a Bowl").
Philadelphia Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," May 21–September 17, 1989, unnumbered cat.
Washington. National Gallery of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," May 6–August 5, 1990, unnumbered cat.
Los Angeles County Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," August 16–November 11, 1990, unnumbered cat.
New York. The Metropolitan Museum of Art. "Masterpieces of Impressionism & Post-Impressionism: The Annenberg Collection," June 4–October 13, 1991, unnumbered cat.
THIS WORK MAY NOT BE LENT, BY TERMS OF ITS ACQUISITION BY THE METROPOLITAN MUSEUM OF ART.
Madame Fantin-Latour. Catalogue de l'oeuvre complet (1849–1904) de Fantin-Latour. Paris, 1911, p. 115, no. 1126, as "Roses".
Colin B. Bailey inMasterpieces of Impressionism & Post-Impressionism: The Annenberg Collection. Ed. Colin B. Bailey, Joseph J. Rishel, and Mark Rosenthal. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1991, pp. 28–29, 148, ill. (color and black and white), states that it was probably painted in the summer of 1883 at the artist's wife's family's country home at Buré in Normandy; identifies the flowers as tea roses and attributes their frequent depiction in the artist's oeuvre to the influence of Edwin Edwards, his agent, and Edwards's wife, Ruth; notes that the footed vase also appears in "Roses and Larkspur" (1885; Hunterian Museum and Art Gallery, University of Glasgow; F1212) and "Roses and Lilies" (MMA 2001.202.4); discusses the influence of Dutch seventeenth-century flower painting and Chardin, yet calls the works of Anne Vallayer-Coster the "true eighteenth-century ancestors of Fantin's peculiarly English genre".
Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 36.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 462, ill.
Colin B. Bailey inMasterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. Ed. Susan Alyson Stein and Asher Ethan Miller. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 52–54, no. 11, ill. (color).
This work may not be lent, by terms of its acquisition by The Metropolitan Museum of Art.
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Henri Fantin-Latour (French, Grenoble 1836–1904 Buré)
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