MAURICE ESTÈVE | Charoute

Galerie Tendances, Paris
Private Collection, Europe
Christie's London, 20th Century Art, 2 July 1998, lot 223
Acquired during the above sale by the present owner

Monique Prudhomme-Estève, Maurice Estève, Catalogue raisonné de l'œuvre peint, Lausanne, 1995, p. 400, no. 649, illustrated

This work is executed on its original canvas and is not relined. The canvas is slightly loose. Stabilized drying cracks are visible in the yellow area in the upper left quadrant. Upon close inspection, wear marks are visible along the upper edge and small hairline cracks are visible in the lower right corner.
"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."

Nouvelle Ecole de Paris : lumière et transparences Dès 1945, Paris va être le témoin d'une révolution artistique qui compte parmi les plus importantes de l'histoire de l'art du XXème siècle et qu'on désignera comme : L'Ecole de Paris. Jean Bazaine, Roger Bissière, Maurice Estève, Alfred Manessier, Geer van Velde ou encore Jean-Michel Atlan vont en devenir les acteurs majeurs. De nombreuses galeries historiques soutiendrons ces artistes et mènerons avec eux le combat de l'abstraction ou plutôt, selon leurs propres termes, de la « non-figuration ».

Il s'agissait pour eux de traduire les émotions évoquées par les éléments naturels et en particuliers de retranscrire les effets de la lumière dans ses mouvements et ses transparences.

Ces artistes ne formeront jamais un groupe artistique au sens historique du terme mais cette esthétique nouvelle qui en émerge sera bientôt désignée comme la « Nouvelle École de Paris ». Par la peinture, le vitrail, la mosaïque ou la tapisserie, ils n'ont eu de cesse de livrer une singulière vision du monde, célébrant la nature et l'univers comme nuls autres.

From 1945, Paris will witness an artistic revolution that is among the most important in the history of art of the twentieth century and will be designated as: The School of Paris. Jean Bazaine, Roger Bissiere, Maurice Esteve, Alfred Manessier, Geer Van Velde or Jean-Michel Atlan will become major players. Many historical galleries will support these artists and lead with them the fight of abstraction or rather, in their own words, "non-figuration".

It was for them to translate the emotions evoked by the natural elements and in particular to transcribe the effects of light in its movements and transparencies.

These artists will never form an artistic group in the historical sense of the term but this new aesthetic that emerges will soon be designated as the "New School of Paris". Through painting, stained glass, mosaic or tapestry, they have never ceased to deliver a singular vision of the world, celebrating nature and the universe like no others.