LÉONARD TSUGUHARU FOUJITA | Girl with Wine

Galerie Paul Petrides label stamped on the stretcher on the reverse 

Galerie Paul Petrides, Paris
Private Japanese Collection
Private Asian Collection
Acquired directly from the above by the present important private Asian collector in 1989-1990 

The work is overall in good and its original condition. Very few hairline craquelures in the lower half are visible only upon very close inspection. Examination under UV light reveals no sign of restoration.
"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."

In the 1950s, Léonard Tsuguharu Foujita concluded his overseas travels begun twenty years before to return to Paris where he would begin his second phase of French creativity. His oeuvre during this period was remarkably different from the earlier works he created during a first sojourn in Paris. In this period, he now merged the styles of portraits from the 1920s with colour compositions from the 1930s and the dynamic sceneries of the 1940s to create a new and original style of work. Already in his elderly years and childless, Foujita expressed admiration for children through his art. This is apparent in his representation of women, which transformed from being focused on the beauty of the physical form to now being focused on the childlike qualities of innocence and naivety.  Girl with Wine (Lot 1012) was created in 1955 with solid, strong lines and exceptional skill. Foujita's use of the traditional Japanese yamato-e and tsukuri-e painting techniques enabled him to "construct" the piece, by first producing a draft sketch on tracing paper, then transferring the work to oil on canvas. He added charm to the subject with the careful use of colour to further highlight distinctive details, even in the background of the painting. The colour palette of the piece is harmonious. The work pays close attention to detail, and the style is sweet. The girl is featured in the center of the composition and styles her hair half up. Her facial expressions are soft as she stares gently ahead with an ethereal charm, typical of works that depict female saints in classical paintings. Holding a cup in one hand and a bottle of wine in the other, her red lips are full and curl slightly upwards. Fairylike, she wears a floral dress that is colourful with fine details, which are beautiful yet subtle, fully showcasing Foujita's brilliant use of colour.

The background of the painting is another key highlight. Many portraits of this era featured backgrounds in a realist style, depicting the studio or a room's decor, or views from outside the windows. Conversely, the backdrop of Girl with Wine features a tiled wall, with each tile showing different designs featuring Western architecture or animal renderings in a beautiful and detailed style. The use of ceramic tiles as decor first appeared in Spain in the 16th century. The tiles eventually became an architectural embodiment of culture, depicting customs or religious beliefs. The use of tiles in the background of Girl with Wine not only showcases the artist's skill to create a full and vivid image, but also reveals suggestions of his religious beliefs. Foujita would convert to Catholicism only two years later.

Through the innocence of the child in Girl with Wine, Foujita creates his own utopia. The work may also function as a solution to help the artist wash away wartime wounds. Furthermore, it would perhaps provide a spiritual sanctuary for his senior years, expressing Foujita’s passion and enthusiasm for the beauty of life.



This work is accompanied by a certificate of authenticity issued by Tokyo Art Club