Leonard Rosen, Los Angeles
Julian Aberbach, New York (sold: Sotheby Parke Bernet Inc., New York, 17th October 1973, lot 65)
Purchased at the above sale by the present owner

The canvas is unlined and there is no evidence of retouching under ultra-violet light. Apart from a very small spot of paint loss to the background near the right edge (visible in the catalogue illustration), this work is in very good original condition. Colours: Overall fairly accurate in the printed catalogue illustration, although brighter 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."

A stunning example of Van Dongen's art from the 1920s, which became known as the 'années folles', Caille sur canapé depicts♏ a reclining woman, whose striking pose, clothes and jewellery give her an air of vibrancy and boldness characteristic of Van Dongen's most accomplished portraits. Fully clothed in an elegant evening dress, the alluring model is depicted in a seductive pose, her beauty accentuated by her hair, vibrant red lips and nails, and necklace and bracelet executed in dabs of paint applied directly from the tube. These attributes identify the sitter as a member of high society, although Van Dongen's primary interest lay in the feminine allure of her figure rather than in her individuality. The subtlety and the warm glow of the woman's skin are emphasised by the contrast with the painting's background rendered in wide brushstrokes of various shades of blue and grey, this lack of reference in the setting underlining the mysterious character of the composition. The use of his favoured emerald green highlighting the figure's skin demonstrates the artist's disregard for anatomy and naturalistic representation, in favour of depicting the physicality and sensual presence of his sitter.

Van Dongen's fashionable portraits of society doyennes synthesise all that was chic and desirable during the 1920s. To have a portrait painted by Van Dongen was a coveted status symbol for the most fashionable women of the era, and this image of the svelte and coquettishly nicknamed Caille beautifully exemplifies the style of these works. Here the sitter is depicted at her glamorous💧 best - bejewelled, wearing the latest gown straight from the showroom of one of Paris's couturiers and sporting a sophisticated hair style - and signifying all that was in vogue for the modern woman.  

Known as the principle portraitist among the Fauve artists, Van Dongen executed portraits inspired by his visits to the cabarets and cafés where dancers performed in exotic costumes, as well as those of members of high society. In 1918, the artist began a relationship with Léo Jacob, also known as Jasmy La Dogaresse, who helped launch his career among the Parisian fashion circles. In 1922 the couple moved to a new residence in rue Juliette Lamber, where Van Dongen held exhibitions and Jasmy hosted extravagant parties attended by influential members of society. Writing about this period of Van Dongen's career, Denys Sutton commented: 'During the 1920s, Van Dongen became one of the most talked of figures in the French art world and it is only necessary to run through the volume of press cuttings belonging to [his daughter] to be aware of the fact that his name was news. He was frequent visitor to Deauville, where the smart world gathered, and to the cabarets and restaurants of Paris. What appealed to him about the années folles were their movement and gaiety. He once said: "I passionately love the life of my time so animated, so feverish! Ah! Life is even more beautiful than painting''' (D. Sutton in Cornelis Theodorus Marie Van Dongen (exhibition catalogue), The Univers꧑ity of Arizona Museum of Art, Tucson, 1971,♔ p. 46).