- 426A
Henri Edmond Cross
Description
- Henri Edmond Cross
- La Plaine de Bormes
- signed Henri Edmond Cross (lower right)
- oil on canvas
- 73.1 by 91.8cm., 28 3/4 by 36 1/8 in.
Provenance
Henri-Edmond Canonne, France (acquired from the above on 2nd May 1923)
Sale: Christie's, New York, 21st March 1983, lot 15
Purchased at the above sale by the present owner
Exhibited
Paris, Galerie Bernheim-Jeune, H.E. Cross, 1910, no. 25
Paris, Galerie Bernheim-Jeune, La Faune, 1910, no. 44
Douai, Hôtel de Ville, Société des Amis des Arts, 1911, no. 51
Paris, Galerie Bernheim-Jeune, H.E.C., 1913, no. 36
Paris, Galerie Bernheim-Jeune, Le Paysage du Midi, 1914, no. 10
Zurich, Kunsthaus, Französische Kunst des XIX and XX Jahrhunderts, 1917, no. 273
Barcelona, Galerias Dalmau, Exposicio d'Art Frances d'Avantguarda, 1920, no. 4, illustrated in the catalogue
Literature
Lucie Cousturier, H.E. Cross, 1932, illustrated pl. 9
Isabelle Compin, H.E. Cross, Paris, 1964, no. 204, illustrated p. 305
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
When creating his landscape paintings, Cross frequently began by working in his studio in order to allow the imagination to dominate the artistic process, only working en plein air during the final creative stages in order to add a layer of verisimilitude to the scene. The artist declared that: ‘I compose in the studio, coming as close as possible to my interior vision; then, the harmony being established… I set about making my sensations objective – sensations corresponding to the initial vision – in front of nature’ (quoted in ibid., p. 46). Making specific reference to Cross’ landscape paintings, Whitfield notes that: ‘The emphasis that Cross places on what he calls his “interior vision” is in line with the Neo-Impressionist belief that a landscape painting should extol the eternal rather than the transient aspects of nature’ (ibid., p. 46). Gloriously representative of an idyllic, Arcadian vision, La Plaine de Bormes eloquently conveys this sensation of timelessness.