- 136
ÉDOUARD VUILLARD | Modèle au grand chapeau
估價
120,000 - 180,000 USD
招標截止
描述
- Edouard Vuillard
- Modèle au grand chapeau
- Stamped E Vuillard (lower right)
- Distemper on canvas
- 29 by 23 3/4 in.
- 73.6 by 60.3 cm
- Painted circa 1912.
來源
Estate of the artist
Sam Salz, New York
Albert J. Dreitzer, New York (acquired by 1957 and sold: Sotheby's, New York, November 13, 1985, lot 21)
Marlborough Fine Art, London (acquired at the above sale)
Private Collection, Japan
Private Collection, France
Galerie Cazeau-Béraudière, Paris
Acquired from the above on June 21, 2004
Sam Salz, New York
Albert J. Dreitzer, New York (acquired by 1957 and sold: Sotheby's, New York, November 13, 1985, lot 21)
Marlborough Fine Art, London (acquired at the above sale)
Private Collection, Japan
Private Collection, France
Galerie Cazeau-Béraudière, Paris
Acquired from the above on June 21, 2004
展覽
New York, Wildenstein & Co., Inc., Vuillard, 1964, no. 27, illustrated in the catalogue
New York, The Metropolitan Museum of Art, Paintings, Drawings and Sculpture from Private Collections, 1966, no. 200
New York, Marlborough Gallery, Inc., Masters of the 19th and 20th Centuries, 1986, no. 48, illustrated in the catalogue
New York, The Metropolitan Museum of Art, Paintings, Drawings and Sculpture from Private Collections, 1966, no. 200
New York, Marlborough Gallery, Inc., Masters of the 19th and 20th Centuries, 1986, no. 48, illustrated in the catalogue
出版
Stuart L. Preston, Édouard Vuillard, New York, 1971, no. 38, illustrated p. 31
Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. II, Paris, 2003, no. IX-112, illustrated in color p. 1082
Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. II, Paris, 2003, no. IX-112, illustrated in color p. 1082
Condition
The canvas has been lined. There are some extremely fine lines of craquelure in the light pigments to the right of the figure's profile. Under Uv light, some original pigment fluoresce but no inpainting is apparent.
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.
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.
拍品資料及來源
Édouard Vuillard, along with his contemporary Pierre Bonnard, is considered the most secular-minded of the Nabis painters. Vuillard painted in a style labeled Intimisme, producing countless scenes of domestic life. This genre of painting developed from his celebrated Nabis period, where his work was characterized by a decorative flatness and by an emphasis on color. The artist introduced new elements in his work with highly patterned surfaces and detailed decorations, thereby creating mystifying and enchanting paintings of women in domestic interiors.
The present work depicts an elegantly clad woman, likely seated within the artist’s studio, and reveals Vuillard’s superlative skill as a portrait painter. The model gazes pensively beyond the picture plane, and her face is softly portrayed under the shadow of her hat, which with its brightly colored pink and green trimmings, vies to be the subject of the picture itself. Stephen Brown has noted with specific reference to the artist's portraits that: "Vuillard may be seen as the heir of Degas, Gauguin and the Impressionists. He was also an artist of his time and, more precisely, the artist of a particular social milieu and moment…" (Stephen Brown, Édouard Vuillard, A Painter and His Muses, 1890-1940, New Haven, 2012, p. 33). Vuillard’s portraits act as an intriguing record of early twentieth-century Parisian life, documenting rich lives of the cultural elite during this period.
The present work depicts an elegantly clad woman, likely seated within the artist’s studio, and reveals Vuillard’s superlative skill as a portrait painter. The model gazes pensively beyond the picture plane, and her face is softly portrayed under the shadow of her hat, which with its brightly colored pink and green trimmings, vies to be the subject of the picture itself. Stephen Brown has noted with specific reference to the artist's portraits that: "Vuillard may be seen as the heir of Degas, Gauguin and the Impressionists. He was also an artist of his time and, more precisely, the artist of a particular social milieu and moment…" (Stephen Brown, Édouard Vuillard, A Painter and His Muses, 1890-1940, New Haven, 2012, p. 33). Vuillard’s portraits act as an intriguing record of early twentieth-century Parisian life, documenting rich lives of the cultural elite during this period.