PROPERTY OF A PRIVATE MANHATTAN COLLECTOR
Édouard Vuillard
VUE PLONGEANTE SUR LA COLLINE
拍品已售
75,000 美元
成交價 (含買家佣金)
拍品詳情
印象派及現代藝術日拍
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Édouard Vuillard
1868-1940年
VUE PLONGEANTE SUR LA COLLINE
Stamped E Vuillard (lower right)
Oil on board mounted on canvas
15 1/4 by 11 1/8 in.
38.7 by 28.2 cm
Painted circa 1900.
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Oil on board mounted on canvas
15 1/4 by 11 1/8 in.
38.7 by 28.2 cm
Painted circa 1900.
來源
Arnoé Collection, Paris
Jan Krugier, Geneva
Albert Loeb & Krugier, New York (acquired in 1968)
Xavier Fourcade, Inc., New York
Samuel J. Wagstaff, Jr., Detroit (acquired circa 1971)
Robert Mapplethorpe, New York (by descent from the above in 1987)
Sale: Christie's, New York, May 12, 1994, lot 143A
Private Collection, United States (and sold: Sotheby's, New York, November 13, 1997, lot 258)
Private Collection, New York (acquired at the above sale and sold: Sotheby's, New York, November 7, 2012, lot 388)
Acquired at the above sale
Jan Krugier, Geneva
Albert Loeb & Krugier, New York (acquired in 1968)
Xavier Fourcade, Inc., New York
Samuel J. Wagstaff, Jr., Detroit (acquired circa 1971)
Robert Mapplethorpe, New York (by descent from the above in 1987)
Sale: Christie's, New York, May 12, 1994, lot 143A
Private Collection, United States (and sold: Sotheby's, New York, November 13, 1997, lot 258)
Private Collection, New York (acquired at the above sale and sold: Sotheby's, New York, November 7, 2012, lot 388)
Acquired at the above sale
展覽
New York, Albert Loeb & Krugier, Les Nabis. The Last Years of the Nineteenth Century, 1969, no. 87, illustrated in the catalogue
Toronto, Art Gallery of Ontario; San Francisco, California Palace of the Legion of Honor & Chicago, Art Insitute of Chicago, Édouard Vuillard, 1971-72, no. 52, illustrated in the catalogue
Toronto, Art Gallery of Ontario; San Francisco, California Palace of the Legion of Honor & Chicago, Art Insitute of Chicago, Édouard Vuillard, 1971-72, no. 52, illustrated in the catalogue
出版
John Russell, Édouard Vuillard, 1868-1940, London, 1971, no. 52, illustrated n.p.
Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. II, Paris, 2003, no. VII-95, illustrated p. 588
Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. II, Paris, 2003, no. VII-95, illustrated p. 588
相關資料
As Antoine Salomon and Guy Cogeval write of this work, "Unlike so many of Vuillard's sketches, which verge at times on the banal, this elevated view strikes a distinctly radical note. While renewing with the painter's early Synthetist manner, it is dominated by small brushstrokes and a monochrome palette characteristic of Vuillard's work at this period" (Antoine Salomon & Guy Cogeval, op. cit., p. 588).
Vue plongeante sur la colline was previously owned by Sam Wagstaff, groundbreaking art curator and collector as well as partner and patron of photographer Robert Mapplethorpe. Wagstaff is famously credited not only with championing the artistic development of both Mapplethorpe and writer-musician Patti Smith, but also with transforming public perception of photography as a collecting category and medium of fine art. Indeed, with its uniquely modern perspective—a bird’s-eye view of a farmscape—as well as its sensitivity to light and shadow, the present lot underscores the evolving sensibilities in art that would become key principals of twentieth-century photography. Upon Wagstaff’s death in 1987, this work was bequeathed to Mapplethorpe.
Vue plongeante sur la colline was previously owned by Sam Wagstaff, groundbreaking art curator and collector as well as partner and patron of photographer Robert Mapplethorpe. Wagstaff is famously credited not only with championing the artistic development of both Mapplethorpe and writer-musician Patti Smith, but also with transforming public perception of photography as a collecting category and medium of fine art. Indeed, with its uniquely modern perspective—a bird’s-eye view of a farmscape—as well as its sensitivity to light and shadow, the present lot underscores the evolving sensibilities in art that would become key principals of twentieth-century photography. Upon Wagstaff’s death in 1987, this work was bequeathed to Mapplethorpe.
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