374
374

PROPERTY FROM A PRIVATE COLLECTOR

Édouard Vuillard
MADELINE DESCORPS ET SON FILS BERNARD AU JARDIN, ÉTUDE II
Estimation
100 000300 000
Lot. Vendu 125,000 USD (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT
374

PROPERTY FROM A PRIVATE COLLECTOR

Édouard Vuillard
MADELINE DESCORPS ET SON FILS BERNARD AU JARDIN, ÉTUDE II
Estimation
100 000300 000
Lot. Vendu 125,000 USD (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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Édouard Vuillard
1868 - 1940
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.
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Provenance

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

Exposition

Basel, Kunsthalle, Édouard Vuillard (1868-1940), Charles Hug, 1949, no. 201

Bibliographie

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

Description

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. 

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