Department Spotlight: Impressionist and Modern Art
Ahead of our October 28 sale in New York, we sat down with Raphaël Chatroux, Vice President, Head of Department, Impressionist and Modern Art, to discuss the origins of the department, notable successes, and key highlights from the upcoming auction.
Freeman’s | Hindman: The firm began offering dedicated Impressionist and Modern art auctions last fall. What initially drew you to this collecting category, and what inspired you to formalize these standalone sales?
Raphaël Chatroux: Given my French background, working in Impressionist and Modern art has always felt inevitable. I grew up surrounded by the artists of this period in the classroom and in museums, so I’ve always felt naturally drawn (and maybe committed) to them. Now that I’m based in New York, this focus feels even more meaningful: it allows me to stay connected to my roots while championing a category that resonates strongly with an American audience. It truly is the best of both worlds! I had long wanted to create dedicated sales in this field, if only to present these artists’ work in a more focused and meaningful way. With our firm’s consistent successes in the category (both separately and, since our 2024 merger, jointly), it felt like the right time to formalize that commitment, particularly as we opened our New York galleries. These auctions are our way of celebrating artists we deeply revere and a category we profoundly believe in, one that can sometimes be overlooked or dismissed as passé at a moment when many collectors are drawn to the immediacy of contemporary art and “wet paint.”
Pierre-Auguste Renoir (French, 1841–1919) Roses | Sold for $302,400
FH: Since launching these dedicated auctions, what key market trends have you observed in the Impressionist and Modern Art category?
RC: It’s remarkable to see how quickly the market continues to evolve, even for a category as established as Impressionist and Modern Art. There’s a clear and growing appetite for Surrealism, which is wonderful to witness: it’s allowing lesser-known names to emerge and take center stage. Another fascinating development is the extraordinary rise of the Vietnamese School of Painting. From an art historical perspective, it’s a compelling manifestation of East meets West; from a market standpoint, it reflects a new generation of passionate collectors who are eager to rediscover these artists and reclaim their cultural legacy. Watching that dynamic unfold and speaking directly with collectors has been one of the most exciting aspects of our recent seasons, I must say.
Berthe Morisot (French, 1841–1895) Apollon Révélant sa Divinité à la Bergère Issé (after François Boucher) | Sold for $212,500
FH: Freeman’s | Hindman has a rich legacy of handling works by Impressionists and early 20th-century artists. Which sales or standout lots from our past auctions have been especially meaningful or memorable to you?
RC: Indeed, our firm has a long and distinguished history of handling works by the great Impressionists and Modernists, going back to landmark moments such as the Nelle Sisters sale, which featured major works by Matisse, Renoir, and de Chirico in Philadelphia. I still remember feeling genuinely giddy when entrusted with the sale of a charming Renoir still life from the Virginia Museum of Fine Arts, with impeccable provenance. Looking back, I’m particularly proud of our sale of Berthe Morisot’s Apollon Révélant sa Divinité à la Bergère Issé (after François Boucher), which was acquired by the Musée Marmottan Monet in Paris and almost immediately included in a dedicated exhibition, which felt deeply meaningful. More recently, achieving a world record for Carl Moll’s White Interior, now on view at the Neue Galerie in New York, was another unforgettable highlight, especially as our team felt it was where it belonged. Moments like these truly affirm the caliber of the works we’re handling, but also the impact they can make in the history of art.
Carl Moll (Austrian, 1861–1945) Weißes Interieur (White Interior) | Sold for $4,756,000 | World Record
FH: Many of your department’s offerings come from distinguished estates and private collections. Can you share some standout highlights from the October 28th sale that reflect this tradition?
RC: I’m particularly proud of our October 28 sale, as it shows our consignors’ commitment, and really hammers our presence in this field. One of my personal favorites is Bernard Buffet’s Le Jacquet, an imposing still life from what I consider his finest period aka the Pierre Bergé years. It’s everything one hopes for in a Buffet: austere, deeply human, and charged with that unmistakable sense of solitude and quiet angst that captures the mood of post-war France. To balance that intensity, we’re offering several luminous, color-filled landscapes, including a standout view of the Seine by Gustave Loiseau. The painting is remarkably fresh and will no doubt resonate with collectors. I’m also thrilled to present a remarkable group of works from a Private New York Family Collection, featuring important examples by Signac, and Rodin, as well as a captivating van Dongen portrait, which really sucks you in by the model’s hypnotic eyes. It also pairs beautifully with the three drawings by Matisse we are presenting. Finally, have I said how much I love Jean Hugo and proud of being the house that has offered the most of his work, globally?
Left: Kees van Dongen (Dutch/French, 1877-1968) Portrait of Dora, 1935 | Estimate: $120,000 - 180,000
Right: Bernard Buffet (French, 1928-1999) Le Jacquet, 1955 | Estimate: $100,000 - 150,000
FH: How do you see the department evolving in the next few years, and what opportunities do you foresee for collectors engaging with Impressionist and Modern Art today?
RC: I’d love to be able to develop more thematic sales, engaging on market trends such as Surrealism, Women Artists or even the Vietnamese School. I would also like to see us engage more with Europe, which remains a very vital source of consignment and buyers. I think I’d like to be able to position our sales as a great venue to discover new artists, invest in them, and compare them with established names. I also hope to strengthen our dialogue with Europe, which remains a vital pool of both consignors and collectors. Ultimately, my goal is to position our sales as dynamic spaces of discovery—places where seasoned collectors and new audiences alike can encounter emerging artists, invest in them with confidence, and view their work in conversation with the great established names of the period. Our strength lies in the care and focus we dedicate to each sale, and I want that to be reflected in both our offerings and our position in the market.
Gustave Loiseau (French, 1865-1935) Bords de Rivière (Possibly Tournedos-sur-Seine), circa 1899 | Estimate: $80,000 - 120,000
Henri Matisse (French, 1869-1954) Portrait de Femme (Liban), 1948 | Estimate: $70,000 - 90,000