- 227
Eva Gonzalès
Estimate
120,000 - 180,000 USD
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Description
- Eva Gonzalès
- Portrait de femme
- Signed Eva Gonzalès and inscribed Étude corrigée par mon Maître M. Édouard Manet, Valence-1869, Oloron-1870 (upper left)
- Oil on canvas
- 21 3/4 by 18 1/4 in.
- 55.3 by 46.3 cm
Provenance
Henri-Charles Guérard, Paris (the artist's husband)
Private Collection, Paris
Private Collection (acquired from the above in March 1969)
Private Collection, Paris
Private Collection (acquired from the above in March 1969)
Exhibited
Coral Gables, Florida, Lowe Art Museum, French Impressionists Influence American Art, 1971, no. 46
Winston-Salem, Salem Fine Arts Center & Raleigh, North Carolina Museum of Art, Women: A Historical Survey of Works by Women Artists, 1972, no. 25, illustrated in the catalogue
Winston-Salem, Salem Fine Arts Center & Raleigh, North Carolina Museum of Art, Women: A Historical Survey of Works by Women Artists, 1972, no. 25, illustrated in the catalogue
Literature
Linda Nochlin, "Why Have There Been No Great Women Artists?" in Art News, vol. LXIX, no. 9, January 1971, illustrated p. 32
Boston, Museum of Fine Arts, ed., The Rathbone Years: Masterpieces Acquired for the Museum of Fine Arts, Boston, 1955-1972, and for the St. Louis Art Museum, 1940-1955, 1972, p. 128
Marie-Caroline Sainsaulieu & Jacques de Mons, Eva Gonzalès, 1849-1883: Étude critique et catalogue raisonné, Paris, 1990, no. 16, illustrated p. 77
Jacques-Sylvain Klein, La Normandie, Le Berceau de l'impressionnisme, 1820-1900, Rennes, 1996, p. 105
Russell T. Clement, Annick Houze & Christiane Erbolato- Ramsey, The Women Impressionists: A Sourcebook, Westport & London, 2000, p. 168
Boston, Museum of Fine Arts, ed., The Rathbone Years: Masterpieces Acquired for the Museum of Fine Arts, Boston, 1955-1972, and for the St. Louis Art Museum, 1940-1955, 1972, p. 128
Marie-Caroline Sainsaulieu & Jacques de Mons, Eva Gonzalès, 1849-1883: Étude critique et catalogue raisonné, Paris, 1990, no. 16, illustrated p. 77
Jacques-Sylvain Klein, La Normandie, Le Berceau de l'impressionnisme, 1820-1900, Rennes, 1996, p. 105
Russell T. Clement, Annick Houze & Christiane Erbolato- Ramsey, The Women Impressionists: A Sourcebook, Westport & London, 2000, p. 168
Condition
This work is in good condition. The canvas is lined and the edges are reinforced with tape. There is some stable hairline craquelure visible on the figure's neck, cheeks and forehead. Under UV light: there is a varnish which prevents a thorough examination but some small spots of fluorescence along the perimeter indicate retouching to old frame abrasion. There are two tiny pindots of inpainting to the figure's chest and one just below her right eye.
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.
Catalogue Note
The artist's own inscription acknowledges the guiding hand of her teacher, Édouard Manet in the completion of the present work.