Henri Lebasque

Galerie Boulakia, Paris
Wally Findlay Galleries, Chicago
Sale: Christie's, New York, November 16, 1988, lot 329
Private Collection, London (and sold: Christie's, New York, November 9, 1999, lot 286)
Acquired at the above sale

Denise Bazetoux, Henri Lebasque, Catalogue raisonné, vol. I, Neuilly-sur-Marne, 2008, no. 1035, illustrated p. 261

Canvas is unlined. The edges are reinforced with tape. The surface is richly textured in places. Horizontal stretcher bar mark along top edge. Under UV light, two areas of inpainting are apparent. One towards lower left near where the carpet meets the wall, consisting of two small intersecting strokes; the other consists of broader stroke near the extreme upper left hand corner; otherwise fine. This work is in 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.

Nu au tapis rouge is a prime example of Lebasque's fascination with both the female nude and rich ornamentation, demonstrating the artist’s delight in depicting luxuriant fabrics and vibrant colors, as well as his skill in executing the delicate modeling in the soft tones of the sitter’s skin. Set against a sea of brightly-colored textiles, the model in the present work displays her nude figure with ease while discreetly lowering her face away from the viewer, evoking a quiet but lyrical intimacy.

Entirely characteristic of Lebasque's figure painting, Nu au tapis rouge is rendered with an economy of brushstrokes and a notable lack of detailed facial features, allowing the artist to thereby prioritize the effects of light on color and form. These light brushstrokes and masterful treatment of light attest to the influence of Camille Pissarro, under whom Lebasque had studied upon his arrival in Paris in 1885. There is an exquisite juxtaposition at play between the soft blue and purple tones of the background and the carefully modeled and sensitively rendered rose tints which brings life to the model's creamy skin. The areas of strong color and light with areas of cooler shades, together form an inviting scene of absolute tranquility which is quintessentially Lebasque.