基斯·凡·唐金

Mrs. Seilegman-Ach, Paris (acquired from the artist circa 1920)

Private Collection (acquired by descent through the above)

Galerie Fabien Boulakia, Paris

Acquired from the above in 2000

Edouard des Courières, Van Dongen, Paris, 1925, illustrated

Good condition overall. The canvas is lined. Under UV light, the white pigment fluoresces in areas, possibly due to a select application of varnish.
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.
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Van Dongen's fashionable depictions of nudes synthesize all that was chic and desirable during the 1920s.  Van Dongen executed paintings inspired by his visits to the cabarets and cafés where dancers performed in exotic costumes. In 1917, the artist began a relationship with Léa Jacob, also known as Jasmy, who helped launch his career in Parisian fashion circles.  In 1922 the couple moved to a new residence at 5 rue Juliette Lamber.  Here Van Dongen held exhibitions and Jasmy hosted extravagant parties attended by influential members of society.

Writing about this period of Van Dongen's career, Denys Sutton commented:  "During the 1920s, Van Dongen became one of the most talked of figures in the French art world and it is only necessary to run through the volume of press cuttings belonging to [his daughter] to be aware of the fact that his name was news.  He was a frequent visitor to Deauville, where the smart world gathered, and to the cabarets and restaurants of Paris.  What appealed to him about the années folles were their movement and gaiety.  He once said: 'I passionately love the life of my time so animated, so feverish! Ah!  Life is even more beautiful than painting'" (D. Sutton in Cornelius Theodorus Marie Van Dongen (exhibition catalogue), Tucson, 1971, p. 46).

 

According to the artist's daughter Dolly Van Dongen, this painting was probably painted around 1920, not long before he sold it to the private collector who kept it in her family for the next 80 years.