Pierre Bonnard

Bernheim-Jeune, Paris (acquired from the artist in 1920)
Georges Besnard (acquired from the above)
Bernheim-Jeune, Paris (acquired from the above in 1927)
Mr. Worcester, Chicago (acquired from the above)
E. & A. Silberman Galleries, New York
Knoedler Gallery, New York
Michael J. Miller, Cleveland (acquired by 1988)
Salander O'Reilly Gallery, New York
Acquired from the above

Jean & Henry Dauberville, Bonnard, Catalogue raisonné de l'oeuvre peint 1920-1939, vol. III, Paris, 1973, no. 998, illustrated p. 36

Canvas is not lined. Few pin-dot losses at center of bottom edge. Under UV light: some small retouches to top of right edge to address prior frame abrasion, as well as three small strokes at center of bottom of canvas. Few strokes of retouching at the lower left edge and one pin-dot retouch at the center of the lower left quadrant. Overall in very good 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.

In the 1920s, Bonnard spent a great deal of time on the coasts of St. Tropez, Cannes, Antibes and Le Cannet. Captivated by these towns, Bonnard painted evocative and harmonious landscapes exemplified in Soleil couchant. Bonnard's affinity for nature is captured in the background of the composition where brilliant planes of reds, yellows and blues resonate. He carefully renders each band of color to signify water, air and sky.

 

Michael Terrasse has written, "Under the blazing sun, with the mistral blowing, his palette caught fire without losing any of its subtlety. A born colorist, he was sensitive not only to bursts of color but equally to the quality of the air, to the vibration, the texture, the perfume of things: a red varies depending on whether the weather is cold or warm, a yellow is different depending on whether it comes from a dress or from a mimosa" (Michael Terrasse, Bonnard at le Cannet, London, 1988, p. 11).

 

Through his involvement with the Nabis at the beginning of the century, Bonnard had grown accustomed to using decorative stylistic elements in his paintings such as flattened patches of color and bold contours. His use of this technique was extraordinarily effective in conveying the texture of the terrain, and igniting canvases with atmospheric color of the remarkable sort seen in the present work.