About This Artwork

Henri Fantin-Latour
French, 1836-1904

Still Life: Corner of a Table, 1873

Oil on canvas
37 15/16 x 49 3/16 in. (96.4 x 125 cm)
Inscribed upper left: Fantin ‘73

Ada Turnbull Hertle Endowment, 1951.226

This canvas, exhibited at the Salon of 1873, relates to Henri Fantin-Latour’s largest and most famous painting of the decade, The Corner of a Table (1872; Musée d’Orsay, Paris), an immense composition that includes detailed portraits of several major young Parisian poets and writers. The table around which they are posed displays many of the still-life elements that are arranged in a natural, random fashion in this work. The dramatic silhouette of the delicate rhododendron blooms reflects the influence of Japanese prints.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Paris, Palais de Champs-Élysées, Salon de 1873, Explication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie, Des Artistes Vivants, May 1873, cat. 557.

London, Society of French Artists, Seventh Exhibition, 1873, cat. 83.

Paris, Palais des Beaux-Arts, Exhibition Rétrospective des oeuvres de Fantin-Latour, 1906, cat. 70.

Grenoble, Musée-Bibliothèque de Grenoble, Centenaire de Henri Fantin-Latour, August- October 1936, cat. 127 (ill.).

Paris, Musée de l’Orangerie, De David à Toulouse-Lautrec: Chefs d’Oeuvres des collections americaines, 1955, cat. 27 (ill.).

The Minneapolis Institute of Arts, The Past Rediscovered: French Painting 1800-1900, 1969, cat. 33.

The Art Institute of Chicago, Art at the Time of the Centennial, 1976, no cat.

Ottawa, National Gallery of Canada, Fantin-Latour, 1983, cat. 97 (color ill.).

Washington, The Phillips Collection, Impressionist Still Lifes, September 22, 2001–January 13, 2002; traveled to Boston, Museum of Fine Arts, February 17–June 9, 2002, pp. 29, 100–1 (ill.), 207.

Publication History

Théodore Banville, “Sur le Salon de 1873,” Le National (15 May 1873), unpaginated.

“Fine Arts: The Salon, Paris (Fourth and Concluding Notice),” The Athenaeum (June 7, 1873), p. 731.

Paul Mantz, “Le Salon IV” Le Temps (June 18, 1873), p. 1.

Georges Lafenestre, “Salon de 1873 (2e et dernier article),” Gazette des Beaux-Arts 6 (1873), pp. 29-61, p. 60.

G.A. Simcox, “The Dudley Gallery–The Society of French Artists,” The Academy (December 1, 1873), p. 445.

Léonce Bénédite, L’Oeuvre de Fantin Latour, recueil de cinquante reproductions, d’après les principaux chefs-d’oeuvres du maître réunis à l’occasion de l’exposition organisée à l’Ecole des Beaux-Arts (Paris, 1906), no. 30.

Adolphe Jullien, Fantin Latour: Sa Vie et ses Amitiés (Paris, 1909), p. 45.

Henri Floury, ed., Catalogue de L’Oeuvre Complet, (1849-1904) de Fantin-Latour (1849-1904) (Paris, 1911), no. 671.

Frank Gibson, The Art of Henri Fantin-Latour: His Life and Work (London, 1924), pl. 34, pp. 59, 117, 119-20, 209.

Gustave Kahn, Fantin Latour (London, 1927), pp. 22-26.

Art Institute of Chicago Quarterly 44 (November 15, 1952), p. 69 (ill.).

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 160 (ill.).

John Maxon, The Art Institute of Chicago (New York, 1970), pp. 266 (ill.), 280.

Katherine Kuh, Chicago Tribune Magazine (April 23, 1972), p. 33 (ill.), 36.

Fantin-Latour: Coin de table: Verlaine, Rimbaud, et les Vilains Bonshommes, exh. cat. (Musée d’Orsay, 1987) (Les Dossiers du Musée D'Orsay 18), p. 5, fig. 1.

Richard R. Brettell, French Salon Artists 1800-1900 (Chicago and New York, 1987), pp. 96 (ill.), 97, 118.

Le Japonisme, exh. cat. (Galeries nationales du Grand Palais, 1988), under cat. 191 (fig. 300).

Anne Distel et al., Gustave Caillebotte: Urban Impressionist, exh. cat. (Galeries Nationales du Grand Palais, The Art Institute of Chicago, 1995), p. 232.

Paul de Roux, Fantin-Latour: Figures et Fleurs (Paris, 1995), pp. 39 (ill.)-40.

Ownership History

Elizabeth Ruth Edwards (c. 1833-1907), Fantin-Latour’s art agent, London. Gustave Tempelaere (died 1904), Paris in 1901 [Tempelaere inventory no. 4679; see letter from Sylvie Brame to Gloria Groom, dated April 10, 2002, in curatorial file]. Antonio Mancini (died 1930), Rome by 1906 until at least 1924 [acc. to Bénédite1906 and Gibson 1924]. Possibly E. Lernoud, Paris [acc. to Ottawa 1983; mentioned in Paris 1955 as the owner preceding Mancini, but this cannot be confirmed]. Mme. Vincent Daniel, Rennes by 1936 [acc. to letter from Philippe Brame to Gloria Groom, dated April 30, 2001, in curatorial file; in Grenoble 1936 she is incorrectly listed as Madame Vincent Danielo, Vannes; in Ottawa 1983, she is incorrectly located in Vennes]; sold to Hector Brame, Paris in 1951 [acc. to letter from Philippe Brame citied above]; Hector Brame and César de Hauke, Paris; sold to the Art Institute in September 1951.




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