Lot 46
  • 46

BERNARD BUFFET | Tête de bretonne, 1955

Estimate
30,000 - 40,000 EUR
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Description

  • Bernard Buffet
  • Tête de bretonne, 1955
  • 91,8 x 73,2 cm; 36 1/8 x 28 3/4 in.
signed Bernard Buffet and dated 55 upper right; signed Bernard Buffet, dedicated A Pierre Bergé and dated Le 25 Sept 1955 on the reverse; oil on canvas

Provenance

Pierre Bergé, Paris (gift from the artist)

Exhibited

Paris, Galerie Charpentier, Cent tableaux de 1944 à 1958 par Bernard Buffet, 1958, no. 71

Condition

The canvas is not lined. Examination under UV light reveals no evidence of retouching. There are a few thin lines of stable craquelure in places, notably in the white pigment to the proper right part of the model's headdress and towards the centre of the lower edge. The impasto is thick and well preserved. This work is in overall very good 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 authenticity of this work has been confirmed by the Galerie Maurice Garnier.
"The gravity of his Breton women is that of a cavalry, standing in the mystical space of the churchyard. Grave and mythical figures, timeless women, guardians of silence, of grief and of waiting, they are the memory of time, of conscious knowledge. [...] Their hieratic aspect is like a block of granite, echoing its sharp, cutting edges. Their faces, like impassive masks, exert a disturbing fascination upon us."

Lydia Harambourg