Kees van Dongen

M. Abecassis, Paris (sold: Palais Galliéra, Paris, March 27, 1962, lot 11)

Robert Kahn-Sriber, Paris (sold: Sotheby's, London, July 1, 1975, lot 43)

Spink, London (acquired at the above sale)

Carl Eric Björkegren, Stockholm (sold: Sotheby's, London, June 25, 1991, lot 25)

Acquired at the above sale by the present owner

Marseille, Musée Cantini, Marseille, ils collectionnent, 1985, no. 48, illustrated in color in the catalogue

The canvas is lined. There is a fine network of stable craqueleur in the thicker impasto on the figure, which is visible in the catalogue illustration. Under ultra violet light, there are a few tiny spots of retouching in the background at the upper left and upper right. Otherwise, this work is in good condition. Colors: The colors are fresher and more vibrant, with deeper contrasts, than they appear in the catalogue illustration.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This tantalizing nude dates from the height of van Dongen's involvement with the Fauves between 1905-1908. This was the pivotal period of van Dongen's career, when he participated in the 1905 Salon d'Automne.  It was during that exhibition that the term 'Les Fauves' was coined at the sight of the vivid colors and free forms of Matisse and his associates.  Van Dongen also exhibited with the Fauve group at Prath & Magnier in Paris in December of the same year and was mentioned alongside other artists in the Chronique des Arts: "At Prath & Magniers there is a gathering of avant-garde painters, the masters of the intense touch and forthright colour, the champions of the Salon d'Automne" (quoted in Anita Hopmans, The Van Dongen Nobody Knows, Early and Fauvist Drawings 1895-1912, Rotterdam, 1996, p. 67).

Dating from circa 1906-07, Nu assis exemplifies the freedom of expression and wild color choices that characterized the Fauve painters' best work.  Van Dongen's primary focus here was on the vibrancy of his palette and the directness of his expression rather than on the anatomical accuracy or descriptive value of his portraits.  While the identity of the model is unknown, she is one of the symbols of this revolutionary new style at the beginning of the 20th century.