Maurice de Vlaminck

Daniel-Henry Kahnweiler, Paris
Van der Velde Collection, Le Havre
Acquired by the present owner in 2009

Paris, Galerie Schmit, Choix d'un amateur - 19e-20e siècle, 1977, no. 77, illustrated in the catalogue


To be included in the forthcoming Maurice de Vlaminck Catalogue raisonné being prepared by Maïthé Vallès-Bled and Godeliève de Vlaminck under the sponsorship of the Wildenstein Institute.

The canvas is lined. Apart from a few very small scattered spots of retouching and a few small nailhead-sized losses in the impasto, this work is in good condition. Colours: The colours are fairly accurate in the printed catalogue although they are slightly more subtle in the original.
"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."

Vlaminck first gained notoriety in 1905 when Louis Vauxcelles derided the revolutionarily colourful canvases of Vlaminck, Matisse and Braque on display at the Salon d'Automne as the rantings of 'wild beasts'. Strongly influenced by Van Gogh whom he venerated, Vlaminck's Fauve canvases were stridently coloured and boldly executed to such an extent that in 1907, the year of his first solo exhibition at the Galerie Vollard, he was christened 'the wildest of the Fauves'. 

Although the Fauves usually channelled their passion for colour through the subject of landscape, the present work is a rare example of a still life from this period. Painted circa 1907-08 the explosive impact of the present work is derived from Vlaminck's intensely concentrated observation of a bunch of flowers in a vase. The composition is rich in Fauve elements including the lavishly modulated sequence of dabs of red that define the peonies and the bold flamboyant brushstrokes of the leaves. Whilst the profuse application of pigment creates an effect of great optical richness with rich impasto present throughout.