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ÉDOUARD VUILLARD | Madeline Descorps et son fils Bernard au jardin, étude II
估價
100,000 - 300,000 USD
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招標截止
描述
- Edouard Vuillard
- Madeline Descorps et son fils Bernard au jardin, étude II
- Stamped E. Vuillard (lower right)
- Peinture à la colle on paper mounted on canvas
- 39 1/4 by 25 1/2 in.
- 99.3 by 64.9 cm
- Painted in 1919-20.
來源
Estate of the artist
Galerie Georges Moos, Geneva
Silvan Kotcher, Solothurn, Switzerland
Private Collection, Europe (by descent from the above and sold: Christie’s, London, June 23, 1986, lot 25)
Galerie Taménaga, Tokyo
Galerie Daniel Malingue, Paris
Private Collection, Europe
Gallery Sakai, Tokyo
Private Collection, United States
Acquired from the above
Galerie Georges Moos, Geneva
Silvan Kotcher, Solothurn, Switzerland
Private Collection, Europe (by descent from the above and sold: Christie’s, London, June 23, 1986, lot 25)
Galerie Taménaga, Tokyo
Galerie Daniel Malingue, Paris
Private Collection, Europe
Gallery Sakai, Tokyo
Private Collection, United States
Acquired from the above
展覽
Basel, Kunsthalle, Édouard Vuillard (1868-1940), Charles Hug, 1949, no. 201
出版
Curt Schweicher, Vuillard, Bern, 1955, illustrated in color pl. 44
Antoine Salomon & Guy Cogeval, Vuillard. The Inexhaustible Glance. Critical Catalogue of Paintings and Pastels, vol. III, Paris, 2003, no. XI-195, illustrated p. 1401
Antoine Salomon & Guy Cogeval, Vuillard. The Inexhaustible Glance. Critical Catalogue of Paintings and Pastels, vol. III, Paris, 2003, no. XI-195, illustrated p. 1401
Condition
The work is in excellent condition. Executed on cream-wove paper which has been mounted to canvas. The extreme perimeter of the sheet and canvas has been taped. The work is otherwise fine and the colors are bright and fresh.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
Madeline Descorps, the subject of the present work known colloquially as Manon, was the daughter of Albert Reiss, a relative of the Bernheim-Jeune brothers Gaston and Josse. In August 1919, Vuillard made a note in his journal that he had "made an appointment with Manon for portrait of the baby" (quoted in Antoine Salomon & Guy Cogeval, op. cit., p. 1402). Vuillard went on to execute two studies of the completed piece, the more finished of which is the present work.
Painted in the garden at the Hessel family's Villa Anna, Vuillard described that his young sitters kept him busy, "all morning; hope; recover impressions of years gone by, gradual release, good mood, lunch sweltering heat, cigar; sketch" (ibid. p. 1402). Manon's light summer dress and loose chignon are indicative of the oppressive summer heat, further expressed by the work's saturated pinks, blues and greens which sensationalize the fleeting languidness yet distinct joy of summer.
Painted in the garden at the Hessel family's Villa Anna, Vuillard described that his young sitters kept him busy, "all morning; hope; recover impressions of years gone by, gradual release, good mood, lunch sweltering heat, cigar; sketch" (ibid. p. 1402). Manon's light summer dress and loose chignon are indicative of the oppressive summer heat, further expressed by the work's saturated pinks, blues and greens which sensationalize the fleeting languidness yet distinct joy of summer.