Jonas Netter, Paris (acquired by circa 1925-1946)
Private Collection (by descent from the above; sale: Christie's, New York, 5th November 2003, lot 300)
The Judith and Abraham Amar Foundation, Switzerland (purchased at the above sale; sale: Christie's, London, 25th June 2008, lot 512)
Purchased at the above sale by the present owner

Tokyo, Musée d'Art de Daimaru (& travelling within Japan), Modigliani et son époque, Paris 1910-1920, 1997, no. 5

Pierre Courthion, Soutine, Peintre du déchirant, Lausanne, 1972, fig. C, illustrated p. 179
Maurice Tuchman, Esti Dunow, Guy Loudmer & Klaus Perls, Chaïm Soutine (1893-1943), Catalogue raisonné, Werkverzeichnis, Cologne, 1993, vol. I, no. 10, illustrated in colour p. 360

The canvas is not lined and there do not appear to be any signs of retouching visible under UV light. This work appears to be in overall 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 circa 1917, Nature morte aux harengs et aux oignons epitomises Soutine's style with its great expressiveness, rhythmically charged brushwork and intense colouration.

Maurice Tuchman has observed that Soutine’s bold creativity and style of painting, which privileged shape, colour, and texture over representation, bridged more traditional approaches with the developing form of Abstract Expressionism: 'The growing importance of individual brushstroke, the singular touch of the painter's hand, is shared by many modern Expressionists from Van Gogh right through to the American Abstract Expressionists, passing through Soutine’ (Maurice Tuchman, Esti Dunow, Guy Loudmer & Klaus Perls, Chaïm Soutine (1893-1943), Catalogue raisonné, Werkverzeichnis, Cologne, 1993, vol. I, p. 35).

The dish of herrings is a recurring motive in the artist’s œuvre. As a traditionalꦚ meal of the poor, the subject matter was taken up by artists throughout art history – including the Dutch Old Masters and Van Gogh. The personal symbolism of food is unmistakable in the still 🎃lifes of Soutine, who endured great poverty while growing up.

In its bold creativity and its almost tactile presence, Nature morte aux harengs et aux oignons fo🔯reshadows the seething intensity of𝄹 the subsequent avant-garde.