Georges Bernheim, Paris
Sale: Hôtel Drouot, Paris, 13th March 1939, lot 60
Galerie Bernheim-Jeune, Paris (purchased at the above sale)
Acquired from the above by the family of the present owners in 1941

Jean & Henry Dauberville, Bonnard. Catalogue raisonné de l'œuvre peint, Paris, 1973, vol. III, no. 1445, illustrated p. 353

The canvas is unlined. Apart from one small spot of retouching at the upper part of the left edge, visible under ultra-violet light, this work is in very good condition. Colours: In comparison to the printed catalogue illustration, the colours are overall considerably richer and warmer, and the upper right background has a more cream rather than white tonality 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."

Painted in 1930, Lilas mauve dans un vase de terre jaune et vert is a vibrant still-life capturing the beauty of flowers. A brightly coloured vase with purple lilacs and rich foliage is depicted in an intimate interior setting. Discussing a bouquet of flowers, Bonnard revealed to a friend in 1943: 'I often see interesting things to paint around me, but for me to have the desire to paint them, they must have a special seduction – beauty – what one could call beauty. I paint them trying to keep control of my original idea, but I am weak, and if I let myself go, like with the bouquet of roses, in a moment, I have lost my first impression, and I no longer know where I am going' (quoted in Bonnard: the Late Paintings (exhibition catalogue), The Phillips Coll🎉ection, Washington, D.C. & Dallas M🐲useum of Art, Dallas, 1984, p. 138).

 

The beautifully rendered vase and flowers stand in contrast with the more loosely painted background. Set slightly off centre, the marvellously wild bouquet dominates the composition, stretching toward its borders. The narrow format of the canvas emphasises the typically intimiste character of the scene and gives it a modern spirit strongly reminiscent of Matisse's still-lifes, as well as of paintings by Fantin-Latour and the masters of the Impressionist group, who took joy in depicting nature. Elie Faure summarised the art of Pierre Bonnard: 'He has this, as do all masters: the surprising freedom that there are so very many things to love all at once, and to understand almost as quickly, to reproduce according to the new order of his being, in a rhythm that confuses and amazes every time' (quoted in Les Cahiers d'aujourd'hui, December 1912, pp. 263-266).