Kees van Dongen

Private Collection, Tokyo
Gallery Nico Delaive, Amsterdam
Acquired from the above by the present owner circa 2005


To be included in the forthcoming Van Dongen Catalogue Raisonné being prepared by Jacques Chalom des Cordes under the sponsorship of the Wildenstein Institute.

The canvas is not lined. There are two small areas of fluorescence visble under UV light towards the upper left corner, possibly retouching. Apart from some minor craquelure in areas, mainly above the horses' heads, and surface dirt to the upper right corner and along the upper edge, this work is in very good condition. Colours: Overall accurate in the printed catalogue, although the tones are slightly softer 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."

The fashionable croisette of Cannes in the Côte d'Azur is captured in Voiture à Cheval, Cannes through essential gestural black outlines defining the shape of the horses, the carriage and the palm trees. Following his successful years in Paris, Van Dongen eventually bought an elaborate villa in this artistic and social hot-spot. This location afforded him greater accessibility to his clients and their social activities.  In the 1920s and again in the mid-1950s the summery breeze, scenic landscape and carefree attitude of Cannes would become a source of inspiration for several of Van Dongen's picturesque scenes.

Almost as a frieze, the composition of the present work elevates from the left to the right foreground charting the progess of an elegant horse-drawn carriage along the seafront. The dynamic and fresh application of colour and form through limited brushstrokes epitomise Van Dongen's style, informed by a 'youthful spontaneity that was to be a lifelong charm of his personality' (William Steadman, Denys Sutton & Cornelius Theodorus Marie, Van Dongen, (exhibition catalogue), Arizona, 1971, p. 10).