Johan Barthold Jongkind (Dutch, 1819-1891) Le marché aux fleurs, Boulevard Richard Lenoir, Paris, 1855 Oil on canvas 17 x 23-1/2 inches (43.2 x 59.7 cm) Signed and dated lower left: Jongkind 1855. Property from a Dallas Collection PROVENANCE: Claudius de Jonge (1932-1993), Metz, France; Palais Galliera, Paris, March 16, 1973, lot 42; Sotheby Parke-Bernet, London, December 2, 1981, lot 4; Private collection, The Netherlands; Sotheby's, New York, May 7, 2015, lot 1; Acquired from the above. EXHIBITED: Gemeentemuseum (Kunstmuseum Den Haag), The Hague, "Johan Barthold Jongkind, 1819-1891," October 11, 2003-January 17, 2004; Wallraf-Richartz Museum, Cologne, "Johan Barthold Jongkind, 1819-1891," February 6-May 8, 2004, no. 73. LITERATURE: V. Hefting, Jongkind, sa vie, son oeuvre, son époque, Paris, 1975, p. 102, no. 136, illustrated; A. Stein, S. Brame, F. Lorenceau & J. Sinizergues, eds., Jongkind, Catalogue critique de l'oeuvre, vol. I, Paris, 2003, p. 107, no. 150, illustrated. The Dutch painter Johan Barthold Jongkind's arrival in Paris in 1846 placed him at the center of a rapidly evolving artistic community. Though struggling personally and financially, the artist was known for his spirited personality and soon became associated with a circle of painters and writers. This included Narcisse Virgile Diaz de la Peña, Théodore Rousseau, Constant Troyon, and Félix Ziem, along with influential critics such as Charles Baudelaire, Jules-Antoine Castagnary, and Champfleury, who all gathered at the café Le Divan Le Pelletier or the nearby restaurant Dinochau (C. Cunningham, Jongkind and the Pre-Impressionists, exh. cat., Sterling and Francine Clark Institute, Williamstown, Massachusetts, 1976, p. 26). This period coincided with a broader rethinking of artistic subject matter, driven in part by Baudelaire's call for painters to engage with the experience of modern life. Working to build his career in a new city, Jongkind embraced this shift; by the Salon of 1849, he was exhibiting in the French section with works that were distinctly Parisian. Painted in 1855, Le Marché aux fleurs, Boulevard Richard Lenoir, Paris vividly marks Jongkind's creative development with particular clarity. The composition captures one of the arteries of mid-nineteenth-century Paris, a tree-lined promenade laid out over the covered Canal Saint-Martin in the beginning years of Haussmann's urban renewal. The stretch near the Place de la Bastille had become a lively market space, animated by vendors, shoppers, and the rhythms of daily life. In the present work, the distant silhouette of the Colonne de Juillet anchors the composition geographically, while the open, linear layout of the boulevard allows Jongkind to stage a dynamic interplay between crowd and setting. The vibrant blooms and bustling figures, punctuated by a woman daringly raising her skirt to show her leg (seen again in oil studies and related works such as Jeune femme à l'ombrelle, Paris, Stein, no. 151, dedicated to Jongkind's friend, the sculptor Prouha), reflect the boulevard's role as both marketplace and social theater—an environment in which modern urban life unfolds in full view. Rather than an anonymous street scene, the work presents a recognizable and contemporary Paris, aligning with the growing artistic interest in everyday subjects and anticipating the urban compositions of later painters such as Édouard Manet. While Le Marché aux fleurs, Boulevard Richard Lenoir, Paris was not sent to the Salon of 1855, Jongkind's continued commitment to exhibiting related works in the French section affirms his departure from his earlier identification as a Dutch landscape painter, as he embraced Realism and anticipated Impressionism. Although he did not receive official honors, the press recognized both his singular talent and the evolving artistic landscape in which he worked. "M. Jongkind is a man of taste whom I esteem; he stands well within an art still in search of itself," wrote Louis de La Rochenoire (translated from the French, as quoted in F. Auffret, Johan Barthold Jongkind, 1819–1891: héritier contemporain & précurseur: biographie illustrée, Paris, 2004, p. 86). The critic Edmond About likewise praised him as "a very fine colorist... his landscapes, vividly sketched, possess great character; his paintings could be recognized among thousands—no small merit today. He is opening a most interesting path in art, a strong one... where one proceeds alone and without being jostled" (as translated from the French, as quoted in Auffret, p. 86). About's remarks point to a defining quality of Jongkind's painting—its integrity and unmistakable individuality. As Jongkind later advised the young artist Jean-Louis Gervet, "Remain yourself, nothing more" (as translated from the French, as quoted in Auffret, p. 86). Works such as the present reflect this sense of artistic conviction: sustained, self-directed, and resistant to convention. Today, Le Marché aux fleurs, Boulevard Richard Lenoir, Paris stands as a compelling example of Jongkind's singular vision and his significant role in the emergence of modern painting. HID12401132022 © 2026 Heritage Auctions | All Rights Reserved www.HA.com/TexasAuctioneerLicenseNotice

Gemeentemuseum (Kunstmuseum Den Haag), The Hague, "Johan Barthold Jongkind, 1819-1891," October 11, 2003-January 17, 2004; Wallraf-Richartz Museum, Cologne, "Johan Barthold Jongkind, 1819-1891," February 6-May 8, 2004, no. 73.

Claudius de Jonge (1932-1993), Metz, France; Palais Galliera, Paris, March 16, 1973, lot 42; Sotheby Parke-Bernet, London, December 2, 1981, lot 4; Private collection, The Netherlands; Sotheby's, New York, May 7, 2015, lot 1; Acquired from the above.

Condition report available upon request.
Framed Dimensions 24.5 X 31.5 X 2.75 Inches