EDOUARD VUILLARD (1868-1940) La salle d'étude aux Pavillons 23 x 17 1/2in. (58.4 x 44.5cm)
Lot 10
EDOUARD VUILLARD
(1868-1940)
La salle d'étude aux Pavillons 23 x 17 1/2in. (58.4 x 44.5cm)
Sold for US$ 50,000 inc. premium
Auction Details
Lot Details
EDOUARD VUILLARD (1868-1940)
La salle d'étude aux Pavillons
stamped with signature 'E Vuillard' (lower right)
glue-based distemper on buff paper
23 x 17 1/2in. (58.4 x 44.5cm)
Painted in 1910

Footnotes

  • PROVENANCE
    Galerie Feilchenfeldt, Zurich (1961).
    Anon. sale, Sotheby's, London, 28 June 1967, lot 41.
    Henry Luce III, Fisher's Island (acquired at the above sale).
    Private collection (by descent from the above).
    Anon. sale, Christie's, New York, 4 November 2010, lot 128.
    Acquired at the above sale by the present owner.

    EXHIBITION
    Kunsthaus Zurich, Vuillard, Gemälde, Pastelle, Aquarelle, Zeichnungen, Druckgraphik, September - October 1964, no. 155 (titled Die Kinder in Villerville, dated circa 1908).

    LITERATURE
    A. Salomon and G. Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of the Paintings and Pastels, II, Paris, 2003, p. 994, no. VIII-368 (illustrated).

    Vuillard stayed at Les Pavillons, a large country house at Cricqueboeuf in Normandy from 12 July to 13 September 1910. The house had been rented for the summer by Alfred Natanson, one of three wealthy brothers who had bankrolled the avant-garde magazine La Revue Blanche which in 1891 had given Vuillard his first exhibition. Also present at Les Pavillons that summer were Vuillard's lover Lucy Hessel and her husband Jos, Vuillard's dealer, Marcelle Aron, Lucy's cousin and closest confidante, and her lover the writer Tristan Bernard, and the progressive playwright Romain Coolus, brother-in-law of Vuillard's future mistress Juliette Weill. Despite this complicated web of relationships, that glorious summer was clearly a great inspiration to Vuillard. It resulted in a wonderful sequence of drawings and paintings such as the present work, redolent of the warm sunny days and a strong sense of dolce far niente, seen for example in the great The Door into the Garden (Private Collection, Canada; A. Salomon and G. Cogeval, op. cit., p. 992, no. VIII 365).
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