Pierre Bonnard

Bernheim-Jeune, Paris (acquired from the artist)

Leclanché Collection, Paris (acquired from the above)

Pierre Bonnard, France (acquired from the above in 1924)

Bernheim-Jeune, Paris (acquired from the artist)

Viscount William A. Jowitt, London (acquired from the above by 1948)

E. V. Thaw & Co., New York

Private Collection, London

Arthur Tooth & Sons, Ltd., London

Sale: Sotheby Parke-Bernet, London, December 6, 1978, lot 249

Acquired at the above sale

Paris, Galerie Bernheim-Jeune, Oeuvres récentes (1910 et 1911) de Bonnard,1911, no. 18, illustrated in the catalogue

London, The Lefevre Gallery, XXth Century French Paintings, 1935, no. 5

Edinburgh, The Edinburgh Festival, Royal Scottish Academy, Bonnard and Vuillard, 1948, no. 23

Gustave Coquiot, Bonnard, Paris, 1922, mentioned p. 57

Jean & Henry Dauberville, Bonnard, Catalogue raisonné de l'oeuvre peint 1906-1919, vol. 3, 1968, no. 597, illustrated p. 191

This work is in very good condition. Canvas is lined. There is a nailhead-size loss of pigment at the extreme lower right corner. Under UV light three vertical lines of intermittent inpainting between 1 and 2 inches in length are visible to the left of the figures ankles. A 1 inch intermittent line is visible between the sitter's feet. 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.

Throughout his career, Bonnard would return to the theme of nude women at their toilette, emerging from the bath or at intimate moments of rest, as in the present work. The nudes in many of these paintings were usually inspired by people close to him, but for the most part the model was the artist's longtime companion, Marthe. Often pictured from a distance and surrounded by a comfortable interior setting, Bonnard's nudes look very much at ease with themselves, and as a result, these images have a natural and spontaneous quality, which enhances the intimacy of the scene. These women are depicted during their most private moments and convey the artist's sensitivity towards the rituals of the bourgeoisie.

In Le Canapé rose, completed in 1910, Bonnard presents his nude model resting, surrounded by richly-decorated fabrics that call to mind the works of his contemporary Vuillard and those which Matisse would later execute in Nice in the 1920s. Bonnard collapses perspective and interweaves the elements in this composition, invoking the Japanese prints that were such an important influence for him. There was a fine line between openness and vulnerability that was inherent in these compositions of nudes, and here Bonnard's careful attention to the arrangement of space ensures the delicate balance of the two qualities. The nude is captured here in a personal moment, and appears to be deeply absorbed in her thoughts, as if unaware of being watched.