- 185
Henri le Sidaner
Description
- Henri Le Sidaner
- La Table, printemps
- signed Le Sidaner (lower left)
- oil on canvas
- 60.5 by 73.5cm., 23 3/4 by 28 7/8 in.
Provenance
Mr & Mrs William Preston Harrison, USA
Los Angeles County Museum of Arts, Los Angeles (a gift from the above in 1929)
Hammer Galleries, New York
Richmond Gallery, London
Private Collection, Europe (acquired from the above in 1980)
Thence by descent to the present owner
Literature
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."
Catalogue Note
The sight of tea set upon a table within the shade of a verdant bower within the present work epitomises Le Sidaner's talent of creating subtle, serene and intimate scenes. Yann Farinaux-Le Sidaner has noted that: 'His œuvre displays a taste for tender, soft and silent atmospheres. Gradually, he even went so far as to eliminate all human presence from his pictures, as if he feared that the slightest human form might disturb their muffled silence' (Yann Farinaux-Le Sidaner, op. cit., p. 31). Instead of figures, Le Sidaner focused on architectural and domestic environments as well as the accoutrements man creates for himself: 'He considered that the silent harmony of things is enough to evoke the presence of those who live among them. Indeed, such presences are felt throughout his works. Deserted they may be, but never empty' (Camille Mauclair, Le Sidaner, Paris, 1928, p. 12).