Eva Gonzalès

M. Moniar, Paris (acquired in 1872)
Henri Guérard, Paris (the artist's husband; acquired circa May 24, 1897)
Jeanne Guérard-Gonzalès, Paris (the artist's sister; acquired by 1897)
Jean-Raymond Guérard, Paris (the artist's son; acquired circa 1924)
André Watteau, Paris
Private Collection, Paris
Sale: Sotheby's, New York, November 11, 1999, lot 104
Private Collection, New York (acquired at the above sale) 
Acquired from the above in 2007

Paris, Palais des Champs-Elysées, Salon, 1872, no. 723
Paris, Salons de la Vie Moderne, Eva Gonzalès, 1885, no. 17         
Paris, Grand Palais, Exposition Universelle Centennale de l’art français 1800-1889, 1900, no. 330
Vienna, Die Kunst der Frau, 1910, no. 94 (titled Die Ruhende)
Paris, Galerie Bernheim-Jeune, Eva Gonzalès, 1914, no. 2
Paris, Galerie Marcel Bernheim, Eva Gonzalès, 1932, no. 2
Paris, Alfred Daber, Eva Gonzalès, 1950, no. 2
Monaco, Sporting de Monaco, Eva Gonzalès, 1952, no. 2
Paris, Galerie Daber, Eva Gonzalès, 1959, no. 3

Jules Castagnary, “Le Salon de 1872” in Le Siècle, June 1, 1872, mentioned p. 2
Émile Zola, “Lettres Parisiennes” in La Cloche, May 12, 1872, mentioned p. 2
Jules Clarétie, Peintres et sculpteurs contemporains, Paris, 1874, mentioned p. 263
Philippe Burty, “Eva Gonzalès” in La République Française, January 24, 1985, mentioned p. 3
Paul Ferronays, “L’Exposition d’Eva Gonzalès” in La Vie Moderne, January 24, 1885, mentioned p. 62
Firmin Javel, “Nos illustrations” in L’Art français, January 3, 1891, mentioned p. 1
Jules-Antoine Castagnary, Salons, vol. II, Paris, 1892, mentioned pp. 34-35
Robert Henard, “Les Expositions” in La Renaissance, April 4, 1914, mentioned p. 25
Paul Bayle, “L'exposition Eva Gonzalès” in La Vie féminine, April 7, 1914, illustrated p. 2
Louis Hautecoeur, “Exposition Eva Gonzalès” in La Chronique des arts et de la curiosité, April 11, 1914, mentioned p. 115
L. Dimier, “Chronique des arts” in L'Action française, April 12, 1914, illustrated p. 4
François Monod, “L'Impressionnisme féminin” in Art et décoration, May 1914, mentioned p. 2
Paule Bayle, “Eva Gonzalès” in La Renaissance, June 1932, mentioned p. 114
Fabien Solar, “Expositions, Rétrospective Eva Gonzalès à la galerie Marcel Bernheim” in Les Echos d'art, August 1932, mentioned p. IV
Claude Roger-Marx, “Eva Gonzalès” in Arts, Paris, July 1950, mentioned p. 8
Claude Roger-Marx, Eva Gonzalès, Saint-Germain-en-Laye, 1950, illustrated pl. IV
Patrick Brady, 'L'Oeuvre' de Émile Zola, Geneva, 1958, mentioned p. 101
Dictionnaire universel de la peinture, vol. 3, Paris, 1975, mentioned p. 137
Sophie Monneret, L'Impressionnisme et son époque, vol. I, Paris, 1978, illustrated p. 252
Marie-Caroline Sainsaulieu & Jacques de Mons, Eva Gonzalès, 1849-1883, Étude critique et catalogue raisonné, Paris, 1990, no. 39, illustrated p. 113
Souren Melikian, "A Bizarre Week of Impressionism" in International Herald Tribune, New York, November 13-14, 1999, mentioned n.p.

This work is in overall very good condition. For the complete condition report prepared by Simon Parkes Art Conservation please contact the Impressionist & Modern Art Department at +1 (212) 606 - 7360.
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.
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Eva Gonzalès first received critical attention at the Paris Salon of 1870, when she exhibited three pictures and was herself the subject of a fourth: Portrait d’Eva Gonzalès by Edouard Manet (National Gallery, London). The sitter for this delicately painted portrait is Jeanne Gonzalès, the artist’s younger sister and favorite model, who was also a painter. When L’Indolence was first exhibited in the Salon of 1872, it was praised by the writer and critic Emile Zola: “I would like to point out an adorable painting depicting a young child, a naive figure dressed in pink with a muslin scarf chastely knotted around her neck. It is simply a sketch of freshness, of whiteness; it is a virgin fallen from a stained-glass window and painted by a naturalist artist of our times” (Zola, op. cit., p. 2, translated from the French).

The painting was also greatly admired by the critic Jules Clarétie: “Mlle Eva Gonzalès…has exhibited a portrait of a young girl to which she has given this title: L’Indolence. It is a seated figure, a young girl dressed in a delicate pink robe, with a mesh scarf around her waist…This charming Indolence is the work of an artist of rare talent, who takes the brush after having handled pastel like Rosalba” (Clarétie, op. cit., p. 263, translated from the French).