Balthus

Galerie Claude Bernard, Paris

Roger Vanthournout, Belgium

Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), London

Acquired from the above by the present owners

(possibly) Paris, Galerie Claude Bernard, Balthus: dessins, 1978-79

Venice, Palazzo Grassi, Balthus, 2001-02, no. 144, illustrated in color in the catalogue

Jean Clair & Virginie Monnier, Balthus: Catalogue Raisonné of the Complete Works, Paris, 1999, no. D1327, illustrated p. 370

The support, often referred to as 'elephant skin paper,' simulates the appearance of suede as this descriptive name implies. The overall condition of the design layer and the support is extremely good. The sheet is planar, there are no abrasions, tears or losses. A darkening of the sheet due to previous mount, about 1/2 inch wide, is present on all sides of the sheet. On the verso, a small patch of blue plasticene, a readily reversible adhesive, is adhered to the sheet at the lower right. This work is in excellent 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.

The most iconic motif in Balthus's oeuvre is the reclining adolescent girl.  These pictures explore the sensuous geometry of the body and exploit the tantalizing potential of a bent knee or an exposed thigh.  Balthus depicted his models in variations of this salacious pose numerous times, resulting in the most definitive images of his art.   The present work belongs to a series of studies for the painting Le Lever (fig. 1).

In his memoirs, the artist wrote the following about his drawings of young women: "There is no more exacting discipline than capturing these variations in faces and poses of my daydreaming young girls.  The drawing's caress seeks to rediscover a childlike grace that vanishes so quickly, leaving us with an inconsolable memory.  The challenge is to track down the sweetness so that graphite on paper can re-create the fresh oval of a face, a shape close to angels' faces" (Balthus, Vanished Splendors, A Memoir, New York, 2002, p. 65).