勒邁耶

現藏家之祖父直接購自藝術家，自此家族收藏
私人收藏，歐洲

The work is in good condition overall, as is the canvas, which is clear and sound. There is evidence of light wear and handling around the edges of the painting, but paint layers and impastos are healthy and stable. Examination under ultraviolet light reveals minor restoration near the leftmost figure (above the knees and beneath the feet), along with a minor spot of touch-up on the right margin (middle). Framed with the artist's original frame.
"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."

Adrien Jean Le Mayeur de Merpres is highly respected for his portrayals of the Balinese landscape that are rendered with impressionistic brushstrokes and rich colours to capture the vibrant energy of the island. A romantic at heart, much of the Belgian artist’s oeuvre is a testimony to a country that he embraced as his own, and subsequently acts as visual documentation to his time as a foreigner abroad.

The present work Weavers is a quintessential piece from the artist, for it incorporates all of his favourite themes and styles. Women were a frequent subject matter, for they enabled the artist to compliment the natural wildlife with the feminine presence of their physique and demeanour. Such is the play of aesthetics in the current work. Framed by the lush greenery, the women are attentive to their weaving, the quiet familiarity of their friendship evident within their postures and peaceful expressions. Thereby it may be said that it is their calming presence that enhances the overall pastoral quality of the artwork.

In contrast with the other Euro-Indo artists who celebrated Bali within their paintings, Le Mayeur’s arrival to the island happened later in the artist’s life. Influenced by European painters such as Paul Gauguin, whose nomadic adventures fuelled his body of works, the artist desired to travel overseas to an exotic locale that would provide inspiration for his own paintings. Thus at 52 years old after traveling the globe to find a country that till then had only existed in his imagination, Le Mayeur discovered Indonesia in 1932, and it was here that his creative dreams became a reality.

The artist’s wife Ni Pollock was the central figure throughout his career, and it is her presence that colours all of his compositions. A Legong dancer who was both his model and muse, she exists within the paintings to establish the ambience and tone of the works. Within Weavers she is the central figure wearing the green turban that sets her a part from the other women. Akin to a queen surrounded by her subjects, Ni Pollock graces the painting with her regal posture, and the confidence that it is she who is the main focus of the work.

Weavers may be seen a portrait of an island culture that was both absolutely foreign, and yet a vital a part of his artistic vocabulary and naturalist aesthetics. Partly a visual memory of a bygone era, the painting celebrates the warmth and vibrancy of the Balinese landscape through the eyes of the artist.