Jules Pascin

Pierre M. Bloch (vente : Palais Galliera, Paris, 12 mars 1964, lot 56)
Vente : Sotheby's, Londres, 1er juillet 1970, lot 37
Acquis lors de cette vente par le propriétaire actuel

Yves Hemin, Guy Krohg, Klaus Perls & Abel Rambert, Pascin : Catalogue raisonné, Peintures, Aquarelles, Pastels, Dessins, vol. 2, Paris, 1987, no. 831, illustré p. 237

The canvas is lined. Under UV light, there are minor retouchings at the extreme edges, principally at the left edge, as well as a thin vertical 4cm line of retouching near the upper right corner, and a nail-head sized spot in the area of the legs. This work is in good condition.
"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."

Fig. 1, Pascin et ses modèles Césarine et Paquita et le peintre Pierre Marseille, dans l'atelier de ce dernier, 1925

"A côté du portrait un peu convenu du modèle, Pascin ne vise plus la description à la Renoir ou à la Rubens du sujet. Il invente une transparence où les lignes du dessin se superposent aux taches de couleur. Les tons se diluent, apportant de-ci de-là un rehaut de couleur qui suffit à traduire le climat de l'instant." (Bertrand Lorquin, "Pascin, l'enfant prodige", in Pascin, le magicien du réel, Fondation Dina Vierny-Musée Maillol, Paris, 2007).

C'est à son retour des Etats-Unis, dans les années 1923-24, qu'apparaît le style dit "nacré". Pascin adopte une touche fluide, tout en transparence, travaillant avec des pinceaux presque secs. Cette technique lui permet d'allonger les tons, de rendre la figure presque immatérielle, en multipliant les jeux de reflets.

"Next to the slightly conventional portrait of a model, Pascin no longer aims for a Renoir or Rubens portrayal of the subject. He invents a transparency where the lines of the drawing are superimposed over patches of colour. The tones are diluted, creating here and there a highlight of colour that suffices to translate the mood at that moment." (Bertrand Lorquin, "Pascin, l'enfant prodige", in Pascin, le magician du réel, Fondation Dina Vierny-Musée Maillol, Paris, 2007).

 

It was during his return to the United States, during the years 1923-24, that the style called "nacré" (pearl) appeared. Pascin adopted a smooth touch, always transparent, working with nearly dry brushes. This technique permitted him to elongate the shades and to render the figure almost ethereal by multiplying the effects of reflections.