M. Lacombe
Paul Gal.
Hammer Galleries, New York
Acquired from the above by the present owner

Brussels, Centre for Fine Arts Brussels; The Hague, Gemeentemuseum, Théo Van Rysselberghe, 2006, illustrated p. 232 

Ronald Feltkamp, Théo Van Rysselberghe. Catalogue Raisonné, Brussels, 2003, no. 1906-016, illustrated p. 358

The canvas is not lined. There is a nailhead-sized spot of retouching to her right hand and a few small specks of retouching to her forehead, visible under UV light. Apart from some minor surface dirt, this work is in very good condition.
"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."

Painted in Versaille in 1906, Portrait de Sylvie Lacombe shows how the artist, like many of the other Post-Impressionists, turned away from the strict discipline of pontillisme towards a more naturalistic style around the turn of the century.  "About 1900, Van Rysselberghe's art relaxed.  The colourist had gradually left behind the orthodoxy of neo-impressionism.  He was still 'separating' but in a less methodical manner.  His brush-stroke was becoming larger.  He was manipulating the brush and matching pure color tones to each other with a new freedom.  He was moving away from the technique of light-painting while preserving its spirit; he seemed no longer to consult anything but his instinct and his senses in the choice of tone and strength of colour, and in the disposition of strokes" (Paul Fierens, Théo van Rysselberghe, Brussels, 1937, p. 27).

The broader and more relaxed brushstrokes enable Van Rysselbrghe to expand the possibilities of his portraiture, providing him with more scope to capture the ambience of the scene and the sensibility of the sitter.  In the present work, the artist depicts Sylvie Lacombe, the daughter of George Lacombe, a friend and fellow artist with whom Van Rysselberghe frequently travelled.