An Unexpected Success! ── Has Mr. Hoschedé Escaped Financial Crisis?

📘 In this series, we explore the human relationships, economy, and social structure surrounding Monet, centered on the theme: 'When I dug deep into the relationship between Monet and his second wife Alice—which Goro is so obsessed with—the resolution of the bourgeois society of that time improved dramatically!'

🖼️ This is the fourth installment. Monet's patron, Mr. Hoschedé, is putting his art collection up for auction once again. Unlike the previous sale, this time he has put effort into the 'presentation' and selection, appearing to have gathered works that align with the trends of the time. Has Mr. Hoschedé managed to rebuild his finances with the help of these renowned masters?

The 'presentation' of auction items, different from the first, reflects the value standards of painting at the time

On April 20, 1875, about 15 months after the first collection sale, Mr. Hoschedé put 68 paintings and 1 sculpture up for auction. The venue was the Hôtel Drouot in Paris, the same as last time, and the auctioneer and his assistant were again Mr. Pillet and the art dealer Durand-Ruel.

Although the number of items for sale was smaller this time, the exhibition method before the auction changed significantly. While the previous event only had a 4-hour general viewing per day, this time, both general viewing days and individual viewing days were set up, with 3 hours and 45 minutes allocated for each, ensuring more time for appreciation.

The title of the catalog was also changed to 'Modern Art Collection of Mr. H,' and Mr. Hoschedé's name, which had been hidden last time, appeared as an initial. Also, the volume of the catalog preface was significantly increased compared to the previous one.

The preface was written by the same Mr. Ernest Chesneau as last time. While only the initials 'E. C.' were used previously, his full name is written this time.

This preface emphasizes that the collection was carefully selected by Mr. H over many years, honing his aesthetic eye. Furthermore, this auction featured only 'works by renowned masters', focusing on technique and perfection.

It maintains the argument that 'only painters with solid technique—such as the strength of paint layers, the use of palette knives, and the harmony and expressiveness of color—are truly worthy of being called 'painters.'' It adds that 'technique alone is insufficient; a work of art only gains meaning when accompanied by a subject and intellectual conception.'

It reads as if it were rejecting the 'works by young artists' that Mr. Hoschedé had collected for the previous auction. However, in the market at the time, 'works by renowned masters' were the artworks that were guaranteed to trade at high prices.

Will Mr. Hoschedé succeed in financial reconstruction by selling 'works by renowned masters'?

In fact, the lineup for this auction was significantly different from the last. In addition to works by living artists, it included works by Corot and Millet, who had recently passed away, as well as valuable works by Delacroix.

Particularly eye-catching are the 16 works by Corot. Chesneau enthusiastically praises Corot's achievements in the catalog, and 5 works by Corot's student, Chintreuil, are also included.

Furthermore, variations and studies of masterpieces that had become topics of conversation at the Salon were also auctioned. For example, a variation of Millet's 'The Gleaners', and a preparatory study for Delacroix's ' Education of Achilles,' which he painted for the library of the Palais Bourbon.

Works by highly regarded painters of the time, such as Courbet (who had 11 works) and Stevens, were also included, and Chesneau praises Stevens as 'one of the surprises of this exhibition.'

As described, this auction was composed of a very luxurious lineup. As a result, it was a great success, and Mr. Hoschedé reportedly gained sales proceeds exceeding 200,000 francs. It is said that he used these funds to settle his commercial debts.

Next time, we will explore the circumstances behind the commission of the painting for the Grand Salon, which leads to Monet's meeting with Alice. Thank you for reading this far.