- 171
Paul Cézanne
Estimate
35,000 - 45,000 GBP
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Description
- Paul Cézanne
- Études d'une baigneuse s'essuyant - RectoÉtudes: Une cruche et Tête de Madame Cézanne - Verso
- pencil on paper (recto and verso)
- 12.5 by 21.8cm., 4 7/8 by 8 1/2 in.
Provenance
Paul Cézanne, Paris (the artist's son)
Paul Guillaume, Paris (acquired from the above)
Adrien Chappuis, Tresserve (acquired from the estate of the above in 1934)
Barut Collection, Chambery (by descent from the above; sale: Christie's, London, 26th June 2003, formed part of lot 330, with incorrect images and cataloguing)
Sale: Christie's, London, 9th February 2006, lot 553, (with incorrect image of the recto)
Purchased at the above sale by the present owner
Paul Guillaume, Paris (acquired from the above)
Adrien Chappuis, Tresserve (acquired from the estate of the above in 1934)
Barut Collection, Chambery (by descent from the above; sale: Christie's, London, 26th June 2003, formed part of lot 330, with incorrect images and cataloguing)
Sale: Christie's, London, 9th February 2006, lot 553, (with incorrect image of the recto)
Purchased at the above sale by the present owner
Literature
Lionello Venturi, Cézanne, son art, son œuvre, Paris, 1936, listed in vol. I, no. 1295, p. 308; recto illustrated in vol. II, pl. 352
Adrien Chappuis, The Drawings of Paul Cézanne, A Catalogue raisonné, London, 1973, no. 520, listed in vol. I p.154; recto illustrated in vol. II n.p.
Cézanne, The Early Years 1859-1872 (exhibition catalogue), Royal Academy of Arts, London, 1988, illustrated p. 24
Mary Louise Krumrine, Paul Cézanne, The Bathers, Basel, 1989, illustrated p. 56
Adrien Chappuis, The Drawings of Paul Cézanne, A Catalogue raisonné, London, 1973, no. 520, listed in vol. I p.154; recto illustrated in vol. II n.p.
Cézanne, The Early Years 1859-1872 (exhibition catalogue), Royal Academy of Arts, London, 1988, illustrated p. 24
Mary Louise Krumrine, Paul Cézanne, The Bathers, Basel, 1989, illustrated p. 56
Condition
Executed on cream wove paper, not laid down, floating in the overmount and held in place with photo coners between two sheets of glass. There are a few tiny nicks to the left and right extreme edges and some extremely minor discolouration to the extreme edges probably due to previous mounting. Otherwise, this work is in overall very 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."
"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."
Catalogue Note
There are only 18 or possibly 19 known sketchbooks that Cézanne used. The present work comes from a sketchbook known as carnet CP II, which the artist used between 1872 and 1896.