Paul Cézanne

(possibly) Ambroise Vollard, Paris
Auguste Pellerin, Paris
M. & Mme. (née Pellerin) René Lecomte, Paris
Private Collection (and sold: Christie's, New York, November 8, 1999, lot 131)
Acquired at the above sale

Paris, Musée de l'Orangerie, Hommage Paul Cézanne, 1954, no. 38, illustrated p. 14, pl. XVI
Basel, Kunstmuseum, Paul Cézanne: Die Badenden, 1989, no. 20, referenced pp. 96, 312, illustrated in color p. 98, pl. 63 (dated circa 1875-1877 by M.L. Krumrine)

Roger Fry, "Le développement de Cézanne," L'Amour de l'Art, December 1926, p. 416 (illustrated as Petite bauche (A))
Roger Fry, Cézanne: A Study of His Development, New York, 1927, illustrated pl. XXXIII, fig. 53
Lionello Venturi, Cézanne, son art - son oeuvre, Paris, 1936, vol. I, p. 122, no. 255; vol. II, illustrated pl. 68 (dated 1875-1876)
Sandra Orienti, The Complete Paintings of Cézanne, New York, 1976, no. 279, illustrated p. 98
John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné, New York, 1996, vol. I, p. 396, no. 592; vol. II, illustrated p. 197

Canvas is not lined. A small diagonal surface scuff crossing the figure's shins is very faintly visible. Under UV light: No inpainting is apparent. Overall the work is in excellent 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.
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.

Paul Cézanne's exploration of Biblical themes is represented by this lively portrayal of Bathsheba, wife of Uriah the Hittite and then of King David.  The story narrates the occasion when David first spied Bathsheba, then Uriah's wife, bathing. Falling in love at first sight, he seduced and made her pregnant.  In an attempt to conceal his sin, David summoned Uriah from a far flung battle, in the hope that he would re-consummate his marriage and be deceived into believing that Bathsheba's child was his own. Rather than going home to his own bed, however, Uriah preferred to remain with the palace troops, foiling David's plans.

The desperate king gave the order to his general that Uriah should be abandoned during battle and left to the hands of the enemy. Uriah himself carried the message that sealed his fate, and, following his death, David made the now widowed Bathsheba his wife. The Lord was angry at this injustice, and sent Nathan the prophet to reprove the king. King David confessed his sin and expressed sincere repentance; however, punishment came when Bathsheba's child was struck with a severe illness and died a few days after birth.

In the present work, the artist confronts us with an exploration of essential lines and curvaceous movement. The active brushstrokes invite the viewer into the work, making us participants of the scene. Cézanne continuously studied this particular theme, producing a diverse number of sketches and other versions, portraying the figures almost as modern-day baigneuses rather than as Biblical characters. By using this Old Testament story, Cézanne places himself within the pantheon of Old Masters including Luca Giordano, Memling, Rubens, and Veronese, all of whom created paintings on the theme. However, through Cézanne's re-interpretation of this event and communion of harmonic forms, he creates a unique and universal portrayal of the elements of man and nature.