Théo van Rysselberghe

Galerie Druet, Paris
Hirschl and Adler, New York
R. Monks, Connecticut
Sale: Habsburg & Feldman, Geneva, June 26, 1988, lot 59
Private Collection, Switzerland
Sale: Sotheby's, London, June 22, 2004, lot 133
Acquired at the above sale by the present owner

Brussels, Centre for Fine Arts; The Hague, Gemeentemuseum, Théo van Rysselberghe, 2006, n.n., illustrated in color in the catalogue (titled Pointe Layet)

Letter from the artist to Octave Maus, circa March, 1908, mentioned
Ronald Feltkamp, Théo van Rysselberghe, 1862-1926, Brussels, 2003, no. 1904-016, illustrated p. 346

Work is in good condition. Canvas is strip lined. Surface is clean with a rich impasto. Under UV light: a one inch area with several strokes of inpainting three inches above rocks at left and a few small strokes to the left of these correspond to patches on the reverse. A two inch vertical line of inpainting a center of left edge also corresponds to a patch on the reverse. Five or six pindots of inpainting in sky towards upper left corner, otherwise fine.
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.

Van Rysselberghe was one of the few followers of Seurat and Signac who fully mastered their chromatic discoveries of applying paint in small dabs of complementary and contrasting color.

La Pointe du Rossignol, I is an outstanding example of the artist's technical command and showcases his mature style.  "About 1900, Van Rysselberghe's art relaxed.  The colourist had gradually left behind the orthodoxy of neo-impressionism. He was still 'separating,' but in a less methodical manner.  His brush-stroke was becoming larger.  He was manipulating the brush and matching pure colour tones to each other with a new freedom.  He was moving away from the technique of light-painting while preserving its spirit; he seemed no longer to consult anything but his instinct and his senses in the choice of tone and strength of colour, and in the disposition of strokes" (Paul Fierens, Théo Van Rysselberghe, Brussels, 1937, p. 27).