FÉLIX VALLOTTON | DORADE, 1920

Galerie Druet, Paris (acquired from the artist in 1920)

Henry Kapferer, Paris (by 1920)

Alfred Vallotton, Paris

Galerie Vallotton, Lausanne (by 1931)

Louis Nicod, Lausanne

Galerie Motte, Geneva, 4th March 1973, lot 245

Christoph Rau, Stuttgart

Christie's, London, 30th March 1981, lot 46

Private collection, Switzerland (by descent)

Hedy Hahnloser-Bühler, Félix Vallotton et ses Amis, Paris, 1936, p. 320, no. 1292

Didier Romand, 'En vogue: Félix Vallotton' in Le Spectacle du Monde, 1974, p. 96

Marina Ducrey in collaboration with Katia Poletti, Félix Vallotton (1865-1925). L’oeuvre peint, catalogue raisonné, Milan/Lausanne/Zurich, 2005, vol. III, pp. 736, no. 1362, ill.

Basel, Kunstsalon, Félix Vallotton (1865-1925). Gemälde, Graphik, Bronzen, 1931, no. 23 (titled Fischstillleben)

Geneva, Galerie Moos, Félix Vallotton, 1932, no. 59

Lucerne, Kunstmuseum, Félix Vallotton, 1938, no. 45

Zurich, Kunsthaus, Félix Vallotton (1865-1925), 1938, no. 156

Basel, Kunsthalle, Félix Vallotton (1865-1925), 1942, no. 256

Zurich, Galerie Neupert, Félix Vallotton 1865-1925. Sonderausstellung, 1942, no. 25

Geneva, Palais de l'Athénée, Félix Vallotton 1865-1925, 1944, no. 30

Vallotton turned to still life compositions increasingly in the second half of his career. He wrote in his diary in August 1919: « More and more I take pleasure in the world of things; the perfection of an egg, the plumpness of a tomato, the intricate shapes of a hydrangea give me plenty of problems awaiting a solution. I approach them without pedantry and try hard to remain a painter.”  (Félix Vallotton, Documents pour une biographie et pour l'histoire d'une oeuvre, Lausanne 1975, p. 245). In this work Vallotton contrasts the shiny silver fish and red tomato with the matt surfaces of the wooden table and white linen cloth.