保羅.德沃爾

私人收藏 (直接購自畫家本人)
現有藏者購自上述人士

「保羅．德沃爾」，布魯塞爾，依克賽爾博物館， 1967年，品號62
「六位超現實主義者」，1967年，丹麥宏柏克湖，路易斯安那博物館，品號14
「六位超現實主義者」，布魯塞爾，皇家藝術博物館，1967年，品號26，圖錄附圖版
「非傳統主流之議題3. 關於當代藝術之國際評論」，意大利拉奎拉，卡斯特洛•西帕格諾羅， 1968年，品號B.13，圖錄附圖版
「保羅．德沃爾回顧展，油畫，水彩，油墨畫」，巴黎，裝飾藝術博物館， 1969年，品號70，圖錄附彩色圖版
「德沃爾」，鹿特丹，貝尼根博物館，1973年，品號65，圖錄附彩色圖版
「德沃爾  」，比利時克諾克-海斯特，1973年，品號54，圖錄附彩色圖版
「具有靈眼的藝術家：比利時象徵主義與超現實主義派畫家」，紐約文化中心與休士頓美術館，1974年，品號84，圖錄附圖版
「三位想像非凡的藝術巨匠：恩索爾、馬格利特、德沃爾」，墨西哥市，現代藝術博物館， 1974年，品號445，圖錄附圖版
東京國立近代美術館與京都國立近代美術館，1975年，無頁數，圖錄附圖版
「向保羅．德沃爾致敬」，布魯塞爾，皇家藝術博物館，1981年
「向保羅．德沃爾致敬，第16屆聖保羅雙年展」，巴西聖保羅， 1989-1990年
「保羅．德沃爾」，京都大丸美術館、東京伊勢丹美術館、姬路市立美術館與橫濱美術館，1991年
「保羅．德沃爾繪畫與素描 ，1922-1982」，巴黎大皇宮，1997年
「保羅．德沃爾 1897-1994」，布魯塞爾，皇家藝術博物館， 1997年， 品號108，圖錄附彩色圖版
「超現實主義大師」，岡崎市美術博物館、大阪松伯美術館與北九州市立美術館，2004年
「保羅．德沃爾之肖像畫與自畫像」，比利時聖伊德斯伯德，保羅．德沃爾基金會，2004-2005年
「保羅．德沃爾之肖像畫與自畫像」，日本新潟市立美術館、宮崎県縣立美術館、福岡市美術館、名古屋市松坂屋百貨美術館與福島縣立美術館，2006-2007年
「保羅•德沃爾的女人與秘密」，德國比利菲爾德美術館，2007-2008年
「一個漫長的夢之旅」，比利時聖伊德斯伯德，保羅•德沃爾基金會，2009年
「從明天到德沃爾」，列日，比利時重要文化藝術館，2010年
「衝擊」，倫敦，高古軒藝廊，2011年

保羅-阿羅斯．德．伯克，《保羅．德沃爾：其 人、藝術家與藝術家心理》，布魯塞爾，1967年，圖版頁168
保羅．卡索，"藝術人生，依克賽爾博物館的保羅．德沃爾作品"，《晚報》，布魯塞爾，1967年11月30日號
瑟爾吉．楊，"依克賽爾博物館慶祝保羅．德沃爾七十歲誕辰"，《綜合》月刊，布魯塞爾，1968年2月，第120頁   
J. ．德寶， "保羅．德沃爾的世界"，《二十世紀》，巴黎，1968年6月號，圖版頁64
傑克．繆瑞斯， 《與保羅．德沃爾的七次談話，附七封虛構的信》，巴黎，1971年，圖版頁118、121、123及125
法蘭辛．蓋森， "保羅．德沃爾：滿懷期待的畫家"，《今日女性》雜誌，布魯塞爾，1972年5月17日號，圖版頁146
安東．特拉斯，《保羅．德沃爾》，巴黎，1972年，圖版頁32
安東．特拉斯與讓．撒色特，《保羅．德沃爾》，柏林，1972年，圖版頁32
馬克．榮伯特，《保羅．德沃爾》，紐約，1990年，圖版頁115
"向保羅．德沃爾致敬：六十件作品概述"，《自由比利時》日報，布魯塞爾，1973年7月13日號
麥可．巴特爾，讓．克萊爾與蘇珊．修巴爾特-威爾肯，《德沃爾》，布魯塞爾，1975年，品號301，圖版頁268
賈克．蘇歇爾，《保羅．德沃爾，爛漫天真的熱情!》，巴黎，1991年，圖版頁220
大衛．史考特，《保羅．德沃爾，超現實裸體藝術》， 倫敦，1992年，圖版頁87

This work is in excellent condition. Very mild periodic frame abrasion to the extreme edges. Under UV light, two spots of inpainting to the reclining nudes right thigh, 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.

Replete with some of the artist's most iconic motifs, Le canapé bleu embodies Delvaux's aesthetic magnificently. Luxuriating nudes play out an ambiguous narrative in the foreground while the background provides an ineffable sense of place. The setting here seems to occillate between a cinematic stage set, a domestic space and a train station. The train - an element that appears in many of Delvaux's works - is only hinted at through the tunnel and red light at the upper left corner of the composition. The viewer is left with an eerie feeling of erotic anticipation and excitement - a sensibility that pervades many of his earlier compositions as well, including Les cariatides from 1946 (fig. 1).

Although Delvaux's paintings are renowned for their hallucinatory imagery, the artist claimed not to be a disciple of Sigmund Freud and did not invest his compositions with the psychoanalytic references favored by Dalí, Miró and his fellow Belgian, René Magritte. Delvaux's approach to painting was more subtle in its representation of the uncanny: without being overtly grotesque or offensive with his imagery, he would interrupt the peacefulness and banality of a given scene with instances of the bizarre. Many of these pictures present a modern architectural setting, like a railway station, loggia or a street corner, that is populated by expressionless and oddly lifeless women, usually depicted in the nude. The passivity of these women recalls the gentle beauty of a Botticelli or the flawlessness of a Bouguereau and adds a certain sense of timelessness to the composition. 

Gisèle Ollinger-Zinque writes of the artist in the context of the Surrealists: "There is no need whatsoever of psychological analyses or psychoanalytical interpretations, which by the way the artist firmly rejected, to understand the world of Paul Delvaux. It is made of simplicity and reality. It is the blossoming and affirmation of poetry by means of the contrasts that exist between the great monumental figures and the anachronistic settings in which they move. In this the artist agrees with the thinking of Breton who declared that the more the relationships between two connected realities were distant and exact, the more powerful the image would be. More than Delvaux the painter, it was Delvaux the surrealist poet whom Eluard and Breton hailed because his pictorial universe exists out of time, eludes fashion and defies any attempt at classification" (G. Ollinger-Zinque, Paul Delvaux 1897-1994 (exhibition catalogue), Royal Museum of Fine Arts of Belgium, Brussels, 1997, p. 27).

Delaux was fascinated with the effects of light and shadow in his pictures, and Le canapé bleu demonstrates his virtuosic ability in this sense. He creates triangular planes of light emanating from specific sources - the ceiling lamp above the stairs, the cinematic light pole at left and the hint of a light in the background that suggests an oncoming train. The scene as a whole takes on an unsettling incandescence, and the viewer is left to consider the oddities of this 'twilight zone.' Discussing Delvaux's fascination with light in his paintings, Barbara Emerson has written, "Delvaux uses light to great effect, almost as if he were manipulating theatrical equipment of spots and dimmers.  With consummate skill, he contrasts cool white shafts of moonlight with the warm, gentle glow from an oil lamp" (Barbara Emerson, Delvaux, Paris and Antwerp, 1985, p. 174).