- 347
Maurice de Vlaminck
Estimate
140,000 - 180,000 GBP
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Description
- Maurice de Vlaminck
- PAYSAGE DE BEAUCE
- signed Vlaminck (lower left)
- oil on canvas
- 60.3 by 73cm., 23 3/4 by 28 3/4 in.
Provenance
Galerie de l'Élysée (Alex Maguy), Paris
Mr L. H. Langston
Blanche Fabry Tézé Inc., New York
Acquired from the above by the late owners in December 1980
Mr L. H. Langston
Blanche Fabry Tézé Inc., New York
Acquired from the above by the late owners in December 1980
Condition
The canvas is not lined. There are spots and lines of old retouching to the house in the centre of the foreground and areas of retouching running down the right edge, left edge and at intervals to the top edge, all visible under UV light. Apart from a pinhead-sized spot of paint loss to the extreme bottom right corner and some light stable craquelure running along the top edge, this work is in good condition.
Colours: Richer in the original. The reds are much deeper in the original.
"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."
"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."
Catalogue Note
By 1910 Maurice de Vlaminck had developed his style from the bold, intense colours of his fauve period to a more introspective and composition-based approach. Since Cézanne's retrospective at the Salon d'Automne in Paris in 1907, Vlaminck experimented with different approaches to pictorial depth and structure.
'To work by pressing the tube directly onto a canvas soon leads to excessive cleverness; in the end you transpose mathematically... emerald green becomes black, pink a flamboyant red, etc. Suddenly numbers stand out and success is deadened. The play of colours... the extreme orchestration into which I threw myself unrestrainedly, no longer satisfied me. I could not stand not being able to hit harder, to have reached maximum intensity, to be limited by the blue or red of a paint dealer' (Marcil Giry, Fauvism, Origins and Development, New York, 1982, p. 219).
In the present work, executed in 1910, we see flat planes of colour in the bottom half: pure red-browns which form a dramatic balance against the darker hues of the background. The depiction of houses in Vlaminck's townscapes are vital to their compositions and add highlights to aid their pictorial structure. As the present work demonstrates, the drama of Vlaminck's Cézanne period is one of thoughtful composition as opposed to the colourful energy of his earlier work.
'To work by pressing the tube directly onto a canvas soon leads to excessive cleverness; in the end you transpose mathematically... emerald green becomes black, pink a flamboyant red, etc. Suddenly numbers stand out and success is deadened. The play of colours... the extreme orchestration into which I threw myself unrestrainedly, no longer satisfied me. I could not stand not being able to hit harder, to have reached maximum intensity, to be limited by the blue or red of a paint dealer' (Marcil Giry, Fauvism, Origins and Development, New York, 1982, p. 219).
In the present work, executed in 1910, we see flat planes of colour in the bottom half: pure red-browns which form a dramatic balance against the darker hues of the background. The depiction of houses in Vlaminck's townscapes are vital to their compositions and add highlights to aid their pictorial structure. As the present work demonstrates, the drama of Vlaminck's Cézanne period is one of thoughtful composition as opposed to the colourful energy of his earlier work.