Kees van Dongen

Galerie Drouant-David, Paris
Kathryn P. Le Roy, Beverly Hills (acquired from the above)
Private Collection, Italy (acquired from the estate of the above; sale: Sotheby's, London, 6th February 2001, lot 139)
Private Collection, France (purchased at the above sale)

The panel is sound. There is a thick varnish that prevents the UV light from fully penetrating to the surface. There appear to be areas of retouching at intervals towards the top left corner and to the bottom left and right quadrants. This work appears to be in good condition. Colours: The colours are brighter and more vibrant in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted at the height of Kees van Dongen's artistic powers the present work is a potent tour de force of Fauve painting. It was at the 1905 exhibition at the Salon d'Automne that Van Dongen, Matisse, Braque and Derain were titled the Fauves (Wild Beasts) by the critic Louis Vauxcelles. Ever since this fateful exhibition, Fauvism has been labelled as one of the most defining movements in the history of Art.

Kees van Dongen contributed satirical sketches to the periodical, La Revue Blanche as a means to keep him in pocket, since his fauve works were initially difficult to sell. He was also a hugely popular figure around Montparnasse and never failed to find sitters for his portraiture thoughout his career.

The present work encapsulates the Fauve aesthetic and is made up of large pigment-laden brushstrokes which dramatically contrast with the black background, serving to heighten the dramatic visual tension. Such a striking use of pigment would have appeared shocking to the viewer in 1907 but one hundred years later the bold vision that Van Dongen expressed in paintings such as the present work shows an artist at the forefont of the new wave in early 20th Century Paris.