Anne Estelle Rice

The original canvas is sound. There is some light paint loss and surface abrasions along all four edges. There are areas of craquelure across the surface in all four quadrants, some small paint loss in the flowers and a spot of paint loss to the left of the vase in the lower left quadrant. There is some surface dirt otherwise it is in good overall condition with strong passages of impasto througout. Under ultraviolet light there appear to be no signs of retouching. Unframed. Please telephone the department on 020 7293 6132 if you have any questions regarding the present work.
"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."

The present work, depicting a fashionable Parisian café, is an unusual subject matter within Anne Estelle Rice's work, which comprises landscapes and still-lifes. Yet in such scenes, Rice proves herself to have a sharp social eye, inherited from her time as an illustrator of bourgeois society on her first visit to France in 1906. It was while in France, having travelled from her hometown in Philadelphia that Rice's distinctive style developed. In Jeune Femme au Chapeau Assise dans un Café, the influence of the French Impressionists is clear, recalling in particular Manet's work. In Jeune Femme au Chapeau Assise dans un Café, the solitary female figure confronts the viewer with an austere gaze, enhanced by the yellow light that floods across the painting and highlights her heavily made-up face. In contrast to the figures seen conversing in the background, the sense of intrigue about the lady alone in this opulent environment is heightened.

 

Another great influence in Rice's work was that of John Duncan Fergusson, whom she also met in France, where together they formed an important alliance. Rice responded positively to Fergusson's encouragement and contributed regularly to his journal Rhythm. The combination of Fergusson's influence and her time in Paris significantly informed Rice's painting, evident in the loose and energetic brushwork and vibrant colours of the present work. It is for such characteristics that Rice has arguably come to be recognised as the most talented female associate of the Scottish Colourists.