Georges Rouault

Dikran Khan Kelekian, New York
Mrs George W. Helm, New York
Mr & Mrs Lee Ault, Connecticut
Georges Embiricos, Lausanne
Ellen Melas Kyriazi, Lausanne
Acquired from the above by the late owners in March 1982

New York, The American Art Association, Anderson Galleries, A Selected Group of Modern Paintings belonging to Dikran Khan Kelekian, 1938, no. 46, illustrated as the frontispiece of the catalogue
San Francisco, San Francisco Museum of Art; Boston, Institute of Modern Art & Washington, Phillips Memorial Gallery, Georges Rouault. Retrospective Loan Exhibition, 1940-41, no. 56, illustrated in the catalogue
New York, Marie Harriman Gallery, Georges Rouault. A Selection from the Retrospective Loan Exhibition, 1941, no. 28, illustrated in the catalogue
New York, Valentine Gallery, The Lee Ault Collection of Modern Paintings, 1944, no. 51, illustrated in the catalogue
New York, Museum of Modern Art, Georges Rouault Paintings and Prints, 1945, no. 56, illustrated in the catalogue
Cleveland, Cleveland Museum of Art & New York, Museum of Modern Art, Rouault Retrospective Exhibition, 1953
Los Angeles, Los Angeles County Museum of Art, Retrospective Exhibition: Rouault, 1953

Martha Davidson, "Collection from Delacroix to Dufy, Illustration of a Notable Modern Eclectic Taste", in The Art News, 12th November 1938, mentioned p. 20, illustrated p. 7
The Magazine of Art, December 1940, illustrated as the frontispiece (with incorrect dimensions)
James W. Lane, "The Passing Shows: Georges Rouault", in The Art News, 15th - 30th April 1941, p. 27
Edward Alden Jewell, Georges Rouault, New York, 1945, illustrated pl. 36
Los Angeles County Museum of Art Bulletin of the Art Division, Summer 1953, vol. V, no. 3, illustrated p. 19 
Bernard Dorival & Isabelle Rouault, Rouault. L'œuvre peint, Monte-Carlo, 1988, vol. II, no. 1187, illustrated p. 21

Executed on cream wove paper, laid down on board. All four edges are deckled. There are remnants of glue from previous mounting to the top right corner and remnants of tape running down the extreme right edge. Apart from some tiny nicks at rare intervals to all four edges, this work is in 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."

Between 1929 and 1930, Rouault responded to the rather strange proposition of making a pictorial film by producing nearly 100 gouaches. Each work was accompanied by a caption inscribed on the reverse of the work by the artist, which provides the title of this self portrait, actually the first work of the entire sequence. The biblical ring of the enigmatic caption perhaps reflects Rouault's perception of himself as an 'early Christian painter', which is mentioned in his poem Portrait spiritualiste de terre d'ombre of 1931. Rouault's extensive study of earlier artistic traditions, among them Byzantine enamels, Roman mosaics and Coptic tapestries, resulted in the development of his characteristic rough draughtsmanship and reflects his aim to rediscover the purity and spirituality of these early artworks.