Lot 113
  • 113

Paul Cézanne

150,000 - 200,000 USD
bidding is closed


  • Paul Cézanne
  • Le Cache-pot bleu and Le Fils de l'artiste: A DOUBLE-SIDED DRAWING
  • Recto: Watercolor, gouache and pencil on paper
    Verso: Pencil on paper
  • 8 1/2 by 4 3/4 in.
  • 21.5 by 12 cm


Ambroise Vollard, Paris
Auguste Pellerin, Paris
René Lecomte and Mme. Lecomte (née Pellerin), Paris
Sale: Galerie Charpentier, Paris, Collection Mme. X, June 8, 1956, lot 3
Sam Salz, New York
Marina Salz, Pennsylvania (by descent from the above)
By descent from the above to the present owner


Paris, Orangerie des Tuileries, Hommage à Cézanne, 1954, no. 68
New York, Columbia University Department of Art History and Archaeology, Cézanne Watercolors: An Exhibition at M. Knoedler & Company, 1963, no. 8, illustrated pl. IV (recto)
Philadelphia, Museum of Art, Cézanne in Philadelphia Collections, 1983, p. 58


Lionello Venturi, Cézanne, Son Art- Son Oeuvre, Paris, 1936, vol. I, catalogued no. 1539A; illustrated vol. II, pl. 391 (as titled Vase bleu and dating from 1879-1882)
Wayne V. Andersen, Cézanne’s Portrait Drawings, Cambridge, 1970, no. 125
John Rewald, Paul Cézanne, The Watercolors, Boston, 1983, no. 229 illustrated, verso illustrated p. 139

Catalogue Note

Cézanne found a unique form of expression in the medium of watercolor, and he would return to it throughout his life to explore its emotive and artistic possibilities.  His use of watercolor and gouache has led to some of the most magnificent examples of the medium, demonstrating a singular mastery of its potential and offering unique insight into the artist's character.  As Deborah Gribbon describes, "... the brilliant white of the paper surface, the silvery line of sharpened graphite, and the translucent brilliance of liquid color seem to imbue his famously struggling temperament with a lighter sense of being" (Carol Armstrong, Cézanne in the Studio: Still Life in Watercolors, Los Angeles, 2004, p. ix).

The present piece offers a poignant glimpse into the artist's creative process with a page from his sketchbook. Le cache-pot bleu depicts a blue metal pot out of which grows a plant with long, slim leaves. Cézanne emphasizes the undulating exterior of the pot and its contrast with the sharp, concise lines of the extending leaves.  The closer attention to detail on the left side gives way to a fuller abstraction on the right.  Also distinctive to this study is the opacity attained through gouache.  As Joseph Rishel writes of the present work, "In this compact and intense image, the densely applied lean pigments follow the pencil drawing with precise delineation and are dragged over the surface very dryly, maintaining a consistent opacity further emphasized by the white gouache highlights (slightly toned with blue) of the cachepot" (Joseph J. Rishel, Cézanne in Philadelphia Collections (exhibition catalogue), Philadelphia Museum of Art, 1983, p. 58).

The pencil drawing of the artist's son (verso) offers a compassionate and tender portrait.  Le fils de l'artiste reveals a deep affection  between the artist and his son.  Cézanne uses a blunt pencil that offers a softness to the concise diagonal lines.  In letters dating from 1976-1977, Adrien Chappuis asked Marina Salz for a photograph of the drawing of Cézanne's son for his forthcoming supplement, to which she sent him the photo and was very warmly thanked by Chappuis for her assistance.  The supplement was unfortunately never published.

Once owned by the influential dealer Sam Salz, Le cache-pot bleu has remained in the family by descent, testifying to its value as a significant view into the artistic process of Cézanne.