- 118
Berthe Morisot
Estimate
350,000 - 500,000 USD
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Description
- Les Capucines
- Pastel on paper
- 22 5/8 by 18 1/4 in.
- 57.5 by 46.4 cm
Provenance
M & Mme Ernest Rouart, Paris (acquired by 1929)
Private Collection, Paris (acquired from the above and sold: Sotheby's, London, June 25, 1997, lot 130)
Acquired at the above sale
Private Collection, Paris (acquired from the above and sold: Sotheby's, London, June 25, 1997, lot 130)
Acquired at the above sale
Exhibited
Paris, Galerie Durand-Ruel, Berthe Morisot, 1896, no. 215
Levallois, France, Galerie L. Dru, Expositions de pastels, d'aquarelles, dessins, crayons de Berthe Morisot, 1927, no. 7
Paris, Galerie Bernheim-Jeune, Exposition d'oeuvres de Berthe Morisot, 1929, no. 148
Paris, Musée de l'Orangerie, Berthe Morisot, 1941, no. 131
Levallois, France, Galerie L. Dru, Expositions de pastels, d'aquarelles, dessins, crayons de Berthe Morisot, 1927, no. 7
Paris, Galerie Bernheim-Jeune, Exposition d'oeuvres de Berthe Morisot, 1929, no. 148
Paris, Musée de l'Orangerie, Berthe Morisot, 1941, no. 131
Literature
Marie-Louise Bataille & Georges Wildenstein, Berthe Morisot, Paris, 1961, no. 460, illustrated fig. 438
Condition
Executed on light blue colored laid paper, not laid down. Sheet is backed with Japan paper around the extreme perimeter on verso. Sheet is hinged to a mount at two places along top edge on verso. Edges are deckled, the left edge unevenly. Some small nicks to the extreme perimeter of the sheet and two small repairs to losses at extreme right edge near center. There is a faint may stain around the extreme perimeter and the sheet is slightly time darkened overall. Otherwise fine. Overall this work is in 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.
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.
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.
Catalogue Note
Much like her fellow female Impressionist Mary Cassatt, Berthe Morisot's chosen subjects were frequently women and children shown in simple poses or engaged in familiar daily activities. Although the society into which she was born did not freely recognize women as professional artists, her work was executed with a deftness that placed her as a respected colleague of Monet, Renoir, Pissarro and Sisley, with whom she frequently exhibited.
As nineteenth-century Paris grew and modernized, the upper class began to flee the city in order to seek bucolic tranquility. As it was considered unacceptable for bourgeois women to explore the city in the absence of a chaperone, these women, Morisot among them, were confined to predominantly domestic life as femmes au foyer and expected to embrace the Arcadian aspects of life in their suburban community of Passy. Morisot's friends, “Les dames de Passy” as she called them, thus became her subjects and their cyclically driven quotidian lives which were largely regulated by the seasons provided endlessly fascinating subject matter for the adept Morisot. An intimate view of a mother and child picking a spring bounty of orange nasturtiums in their backyard, Les capucines is therefore both a superb example of one of Morisot’s signature motifs and testimony to her celebrated handling of color and form.
As nineteenth-century Paris grew and modernized, the upper class began to flee the city in order to seek bucolic tranquility. As it was considered unacceptable for bourgeois women to explore the city in the absence of a chaperone, these women, Morisot among them, were confined to predominantly domestic life as femmes au foyer and expected to embrace the Arcadian aspects of life in their suburban community of Passy. Morisot's friends, “Les dames de Passy” as she called them, thus became her subjects and their cyclically driven quotidian lives which were largely regulated by the seasons provided endlessly fascinating subject matter for the adept Morisot. An intimate view of a mother and child picking a spring bounty of orange nasturtiums in their backyard, Les capucines is therefore both a superb example of one of Morisot’s signature motifs and testimony to her celebrated handling of color and form.