- 258
LÉOPOLD SURVAGE | Nice
Estimate
100,000 - 150,000 USD
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Description
- Léopold Survage
- Nice
- Signed L. Survage. (lower left)
- Oil on canvas
- 39 1/2 by 31 7/8 in.
- 100 by 81 cm
- Painted in 1916.
Provenance
Estate of the artist, Paris
Acquired from the above in 1972
Acquired from the above in 1972
Exhibited
Paris, Galerie Bongard, Peintures de Léopold Survage, 1917, n.n.
Cologne, Kölner Kunstverein, Leopold Survage Retrospective, 1960, n.n.
Paris, Galerie Lucie Weill, Survage, 1965, n.n.
Paris, Musée Galliéra, Rétrospective Survage, 1966, no. 26
Lyon, Musée des Beaux-Arts de Lyon, Survage, 1968, no. 11
Paris, Salon Comparaisons, Survage Jean Eve, 1969, n.n.
Cologne, Kölner Kunstverein, Leopold Survage Retrospective, 1960, n.n.
Paris, Galerie Lucie Weill, Survage, 1965, n.n.
Paris, Musée Galliéra, Rétrospective Survage, 1966, no. 26
Lyon, Musée des Beaux-Arts de Lyon, Survage, 1968, no. 11
Paris, Salon Comparaisons, Survage Jean Eve, 1969, n.n.
Literature
Jeanine Warnod, Survage, Brussels, 1983, illustrated p. 51
Condition
It has not been possible to see the work entirely unframed. The canvas is not lined and slightly loose. There are some raised lines of stable craquelure, most notably in the lower left quadrant and upper right quadrant. There has been a small impact towards the centre of the right edge with some associated pigment loss. There is a small line of craquelure (approx. 2 cm long) with associated flecks of pigment loss, to the upper left corner of the green and pink decorative shape in the upper right quadrant. There are further paint losses along all four edges and a few scattered fly spots. There is some frame rubbing visible intermittently along all four edges, some of which has resulted in minor discolouration to the paint. Under UV light, there are two small dots of retouching the the upper part of the right edge. This work is in overall 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
The young Russian artist Leopold Survage arrived in Paris in 1908, drawn by the Modern French painting he had discovered in the Shchukin collection and during his studies at the School of Fine arts in Moscow. In France he followed the teachings of Matisse whilst assimilating the influence of Cézanne and the Cubists with whom he exhibited at the Salon des Indépendants in 1911.
Survage rapidly developed his own style in which he schematized figurative elements and inscribed them within a system of contradictory perspectives. The painter did not enlist in World War I due to health problems and in 1915 left for the South of France with his mistress the Baroness Hélène d'Oettingen. In Nice, as other artists had before him, he discovered with shock the beauty of Mediterranean light. The painting Nice is bathed in sunlight while the bright blue sky mingles with the sea in the background. The silhouettes of the figures that appear within the various perspectival planes of the buildings give this work a mysterious quality that seems to anticipate the Surrealist aesthetic. It was Guillaume Apollinaire, a close friend of the painter and of Hélène d'Oettingen, who organized Survage's first exhibition in Paris in 1917 at the Bongard Gallery where the artist exhibited 32 paintings, including the present work, and for which Apollinaire wrote a foreword in the form of one of his famous calligrammes.
Survage rapidly developed his own style in which he schematized figurative elements and inscribed them within a system of contradictory perspectives. The painter did not enlist in World War I due to health problems and in 1915 left for the South of France with his mistress the Baroness Hélène d'Oettingen. In Nice, as other artists had before him, he discovered with shock the beauty of Mediterranean light. The painting Nice is bathed in sunlight while the bright blue sky mingles with the sea in the background. The silhouettes of the figures that appear within the various perspectival planes of the buildings give this work a mysterious quality that seems to anticipate the Surrealist aesthetic. It was Guillaume Apollinaire, a close friend of the painter and of Hélène d'Oettingen, who organized Survage's first exhibition in Paris in 1917 at the Bongard Gallery where the artist exhibited 32 paintings, including the present work, and for which Apollinaire wrote a foreword in the form of one of his famous calligrammes.