Galerie de la Présidence, Paris
Acquired by the present owner from the above circa late 1980s

The canvas is lined. There is a thick layer of varnish which prevents the UV light from fully penetrating but UV examination reveals some signs of retouching to the right and lower left of her hair, and a few tiny spots towards the upper left corner, corresponding to scratches. There is some very slight craquelure in localised areas and a very faint surface scratch to the upper right corner. Otherwise, this work is in overall good condition. This work could benefit from a clean.
"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 circa 1910, Tête de Gitane is an exceptionally alluring portrait from what was arguably Van Dongen's most exciting and fruitful period of artistic production. His contract with Bernheim-Jeune gave him a newfound financial security, allowing him 🤡to do some quite extensive travelling in 1910 to the bright light of Italy, Spain and North Africa. This period of travel had a profound effect on Van Dongen: just as appealing as the bright light and bold colours of the south, were the passionate and mysterious women he found in abundance. The Andalucian gypsy of the present work is completely hypnotising. Her expression is one of disdain, utter confidence and undeniable seduction. The care that Van Dongen has taken to evoke such a specific expression is testament to the sexual tension that clearly existed between artist and subject. This woman is no wallflower and there is no escaping her piercing gaze.

Van Dongen's attraction to tough, soulful women was already evident in his many earlier representations of the actresses, dancers and prostitutes of Montmartre. Of course this interest in the demi-monde of society was shared by some of the other great art🌟ists of the age, among them Henri Toulouse-Lautrec, Edgar Degas and of course Pablo Picasso. There is a shared rawness to the off-duty women of Paris and the gypsies of Andalucia; the red flower in this gypsy's hair fails to mask the hard life she has so obviously lead.

The bold palette fits with the raw exoticism of the subject, the deep blue of the background complimenting the yellow that dominates her face, to create a wonderfully resolved colour scheme. The daring red flower in her dark tresses is picked up by flecks of the same pigment near her eyes, and the subtle purple of her spotted shawl is also echoed near to those seductive pools. Her large eyes are the unquestionable focus of the work, and are composed of a remarkable variety of colours, jewel-like flecks of orange, purple, red and deep pink. Tête de Gitane is a mesmerising portrait of a woman who begs to be lo♏oked at, and begs to be desired. It is a product of the excitement that Van Dongen felt in this pivotal period, and of his deep love for women with character.