皮耶.波那爾

伯恩海姆-祖尼，巴黎（購自畫家本人）
勒蘭社收藏，巴黎（購於上述人士）
皮耶．波那爾，法國（1924年購自上述人士）
維斯康提．威廉．A．喬伊特，倫敦（1948年購於上述人士）
 E. V. 梭奧公司， 紐約
私人收藏，倫敦
亞瑟．圖斯父子有限公司，倫敦
賣出：倫敦蘇富比，派克．波涅特，1978年12月6日，拍品編號249
現有藏家購自上述拍賣會

「波那爾近作1910和1911」，巴黎，伯恩海姆-祖尼畫廊， 1911年，品號18，圖錄附圖版
「二十世紀法國繪畫」，倫敦，洛弗熱畫廊， 1935年，品號5
「波那爾與維拉爾」，愛丁堡，愛丁堡藝術節，蘇格蘭皇家學院，1948年，品號 23

古斯塔夫．寇奎亞特，《波那爾) 》，巴黎，1922年，提及頁57
讓與亨利．道伯維爾，《波那爾：繪畫作品專題目錄，1906-1919》，第3冊，1968年，品號597，圖版頁191

This work is in very good condition. Canvas is lined. There is a nailhead-size loss of pigment at the extreme lower right corner. Under UV light three vertical lines of intermittent inpainting between 1 and 2 inches in length are visible to the left of the figures ankles. A 1 inch intermittent line is visible between the sitter's feet. Otherwise fine.
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.

Throughout his career, Bonnard would return to the theme of nude women at their toilette, emerging from the bath or at intimate moments of rest, as in the present work. The nudes in many of these paintings were usually inspired by people close to him, but for the most part the model was the artist's longtime companion, Marthe. Often pictured from a distance and surrounded by a comfortable interior setting, Bonnard's nudes look very much at ease with themselves, and as a result, these images have a natural and spontaneous quality, which enhances the intimacy of the scene. These women are depicted during their most private moments and convey the artist's sensitivity towards the rituals of the bourgeoisie.

In Le Canapé rose, completed in 1910, Bonnard presents his nude model resting, surrounded by richly-decorated fabrics that call to mind the works of his contemporary Vuillard and those which Matisse would later execute in Nice in the 1920s. Bonnard collapses perspective and interweaves the elements in this composition, invoking the Japanese prints that were such an important influence for him. There was a fine line between openness and vulnerability that was inherent in these compositions of nudes, and here Bonnard's careful attention to the arrangement of space ensures the delicate balance of the two qualities. The nude is captured here in a personal moment, and appears to be deeply absorbed in her thoughts, as if unaware of being watched.