Louis Marie de Schryver

Marchand de fleurs, la Rue du Havre, Paris

Oil on canvas: 28(h) x 36.4(w) in /

71.1(h) x 92.4(w) cm

Signed lower right: Louis de Schryver / 1893; signed and inscribed on the reverse

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BS 349

 

LOUIS-MARIE DE SCHRYVER

1862 – Paris – 1942

 

Marchand de fleurs, la Rue du Havre, Paris

 

Signed and dated lower right: Louis De Schryver / 1893;

titled, dated and signed on the reverse: “Marchand de fleurs” / Paris / Paris – La rue du Havre / Avril – Juillet 1893 / Louis de Schryver / 2me oc. 1893

Oil on canvas: 29 x 36 ½ in / 73.7 x 92.7 cm

Frame size: 36 ½ x 44 in / 92.7 x 111.8 cm

 

Provenance:

Private collection, France

Richard Green, London, 1985;

Merryl Israel Aron (1913-2015), New Orleans;

by descent

 

 

Louis-Marie De Schryver began life as a painter of floral still lifes, turning to paintings of Paris in the mid-1880s. He combined both genres in a number of paintings showing flower stalls, a motif that brings together urban life with the fruits of the countryside. This work depicts the approach to Gare Saint-Lazare, the oldest, largest and busiest Parisian railway station of its era, which took passengers through the elegant western suburbs out to fashionable seaside resorts such as Trouville and Deauville on the Normandy coast. The station was famously depicted by Manet, Monet and Caillebotte in the 1870s.

 

Two chic ladies pause in the Rue du Havre to buy flowers before boarding their train. De Schryver presents his figures with intense realism, contrasting the touching deftness of the flower seller preparing a bouquet with the haughty, somewhat impatient expressions of her customers. Behind rears the new façade of the station, designed by Juste Lisch in 1885, a ‘palace of the people’ that emulates the grandeur of a seventeenth century château by Jules-Hardouin Mansart. The intense colours of the blooms are matched by the vivid hues of the costume of the lady to the left, made possible by new dyes invented in the nineteenth century. In the background, another woman walks purposefully and an omnibus rumbles by; everything breathes the air of brisk, bustling, modern life. 

 

 

 

 

 

Note on the provenance

 

This painting was part of the collection of Merryl Israel Aron (1913-2015), a champion amateur golfer, businesswoman and philanthropist. She won twelve city championships in her native New Orleans and seven State championships, playing golf across the country with Bob Hope and Bing Crosby in the Second World War to promote War Bonds. Married to coffee broker Sam Israel Jr. (d.1982) and later to his cousin Jack Aron (d.1994), Merryl restored a nineteenth century mansion in New Orleans’s Garden District, which she bequeathed to Tulane University. The Israels’ philanthropy is also commemorated in the Merryl and Sam Israel Jr. Environmental Sciences Building on the Tulane campus.

 

 

Merryl Israel Aron and Bob Hope.

 

 

 

LOUIS-MARIE DE SCHRYVER

1862 – Paris – 1942

 

 

Louis-Marie de Schryver was born in Paris on 12th October 1862, the son of a well-known journalist. Precociously talented, he exhibited his first works at the Salon, two flower paintings, in 1876 at the age of thirteen. The following year he studied briefly with the still life and genre painter Philippe Rousseau. In 1880 he won a bronze medal at the Sydney World Fair with Lilas.

 

Schryver painted still lifes, portraits and genre scenes, becoming a member of the Société des Artistes Français in 1888. In 1886 he began to paint scenes of Parisian life, a genre in which Jean Béraud (1849-1935) had also found great success. In 1891 Schryver entered the atelier of the genre and still life painter Gabriel Ferrier (1847-1914) and received a third-class medal at the Salon for La fin d’une rève.

 

Schryver had a studio in the Rue Pergolèse until 1900, when he built a house in the fashionable suburb of Neuilly. He began to paint genre pieces, often including flower sellers and markets, as in his earlier work, but with the protagonists in eighteenth century dress. Highly popular, these works reflected the Rococo Revival taste of the Belle Epoque. In 1902 Schryver caused a scandal at the Salon with a painting entitled Lesbiennes, rather as Béraud had done in 1891 with Mary Magdalene visiting the Pharisee (Musée d’Orsay, Paris), with its modern-dress Biblical story satirizing contemporary morals.

 

In the first decade of the twentieth century Schryver became enamoured with the cutting-edge sport of motor racing, exhibiting L’arrivée du vainqueur au Premier Prix de l’Automobile Club at the 1907 Salon des Artistes Indépendents. He captured the sensation of speed with more fluid brushstrokes and with the aid of photographs. These works found few buyers and by 1910 Schryver had reverted to his Parisian street scenes. He also painted landscapes, travelling to the Rhineland on several occasions between 1919 and 1925.

 

The work of Louis-Marie de Schryver is represented in the Musée de Cambrai; the Musée de la Voiture, Compiègne; the Musée de l’Armée, Paris; the Musée d’Art Moderne de la Ville, Paris; the Musée Tavet-Delacour, Pontoise and the Musée de Tourcoing.

 

ImpressionistLouis Marie de Schryver