- 23
馬克·夏加爾
描述
- 馬克·夏加爾
- 《兩束鮮花》
- 款識:畫家簽名 Chagall 並紀年926(右下)
- 油彩畫布
- 39 1/2 x 28 3/4 英寸
- 100.7 x 73 公分
來源
Private Collection (acquired from the above in 1929 and sold: Christie's, New York, May 8, 1991, lot 15)
Private Collection (acquired at the above sale and sold: Sotheby's, New York, November 16, 1998, lot 68)
Private Collection (acquired at the above sale and sold: Sotheby's New York, November 7. 2006, lot 81)
Acquired at the above sale
出版
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.
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.
拍品資料及來源
Commenting on Chagall’s works painted in the summer of 1926, Franz Meyer noted how “Chagall was overwhelmed by the brightness of the sea. His Breton pictures were already permeated by over-bright, chalky-cool reflections. But the Mediterranean affected him differently, as a triumphal song of color in the vast, luminous space. He was also thrilled by the bunches of flowers Bella brought home from the market day after day; their dense, pure, bright colors served him as a link with the landscape. In many of his pictures a bouquet is silhouetted against the sea on a chair, a small table or the windowsill [such as the present work]. Delicate panicles, campanulas, and the great white calyces of arum lilies stand out against the foliage, bearers of light that also reflect the brightness of the distance. All is shot through with white – not like the blinding snow of the Double Portrait or the delicate cloudiness of the On the Donkey but like the primordial substance that illuminates the colors” (Franz Meyer, Marc Chagall, Life and Work, London, 1963, p. 348).
The first owner of record of this picture was the artist Rudolph Bauer, the Bauhaus colleague of Wassily Kandinsky. Bauer's own paintings explored the interplay of vibrant colors and the relationship between negative and positive space. Bauer was a favored artist of Solomon R. Guggenheim and a leader of the German avant-garde during the inter-war years, and it was during this time that he acquired the present work.