Maria Helena Vieira da Silva

Galerie Ivana De Gavardie, Paris
Acquis auprès de celle-ci par le propriétaire actuel

Stockholm, Galerie Blanche, Fransk Konst - L'Ecole de Paris, 1950 ; catalogue, no.58 (titré Lisbonne bleue)
Porto, Casa de Serralves, Vieira da Silva - Arpad Szenes nas Colecções portuguesas, 1989; catalogue, no.14 (titré Sans titre), illustré

Guy Weelen et Jean-François Jaeger, Vieira da Silva - Catalogue raisonné, Genève, 1994, p.95, no.469, illustré

The colours are fairly accurate in the catalogue illustration, although they are more vivid and very fresh in the original. The work is in excellent condition and is executed on a blotting paper. The sheet is taped to the mount at each of the four corners. No trace of retouching fluoresces under UV light.
"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."

signed and dated ; gouache, collage and typewritter on paper. Executed in 1946.

" La ville selon Vieira da Silva est le lieu privilégié où affluent et se fondent les éléments que l'on dit contradictoires, irréductibles les uns aux autres et que sa toile accueille sans brisures -amoureusement. C'est la mer et le ciel se conjuguant aux verrières des édifices, tramés de longs sillages bleus. Des bâtiments se croisent, naviguent côte à côte, dont on ne sait plus si ce sont d lentes gabares lancées au large de l'air ou des continents désancrés à la dérive. Et ne demeure, à la fin, de ces acropoles marines amoncelées que les traces pâles d'une touche chaque fois plus légère - minces linéaments de rives et d'amers."
(Claude Esteban, La conscience et l'étoilement, in 'Vieira', cat. exp. Musée National d'Art Moderne, 1969)

Lisbonne, Plaça Dom Pedro IV © D.R.