L13004

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Lot 231
  • 231

Charles Camoin

Estimate
20,000 - 30,000 GBP
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Description

  • Charles Camoin
  • Vue de Cagnes
  • signed Camoin (lower left)
  • oil on canvas
  • 33.1 by 41.3cm., 13 by 16 1/4 in.

Provenance

H. W. E. Rolfes, South Africa (acquired in Frankfurt in the early 1920s)
Werner Rolfes, Frankfurt (by descent from the above)
Sale: Christie's, London, 5th December 1986, lot 525
Sale: Christie's, London, 3rd December 1999, lot 25
Sale: Hôtel Drouot, Paris, 9th June 2000, lot 119
Purchased at the above sale by the present owner

Condition

The canvas is not lined. UV examination reveals some scattered small retouchings in places, mainly to the upper third and intermittently along the lower edge. Otherwise, this work is in overall good condition. Colours: fairly accurate in the printed catalogue, though overall slightly more saturated in ther original.
"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

Paysage de Cagnes is a wonderful example of Camoin’s inspiration on the natural serenity of the Mediterranean coast. Like Renoir and Monet, the artist saw Cagnes as a timeless paradise of nature. Time is suspended in the present work. Painted in 1907, the Fauve-inspired glowing colours and contrasts in the composition liberate the scene from the canvas. The brushstrokes are informal yet carefully composed, mimicking Camoin’s understanding of colour and nature as boundless.