Jean Pougny

Private Collection, Paris
Acquired from the above by the present owner in 2002

Paris, Galerie Barbazangues, Oeuvres de J.Pougny et aquarelles de Xana Bogouslavska, 1925, no.4
Paris, Palais de Bois, Salon des Tuileries, 1925, listed no.1228
Koblenz, Ludwig Museum, Mesto vstrechi-Parizh! Khudozhniki iz Rossii: ot sezannistov do abstraktsionistov, 5 September - 23 November 2003

Salon des Tuileries exhibition catalogue, Palais de Bois, Paris, 1925, listed no.1228
A.Salmon, Art Russe Moderne, Paris: Laville, 1928, listed p.72 listed as Composition p.
H. Berninger, Pougny: Catalogue de l'œuvre, vol 2, Tübingen: E.Wasmuth, 1992, p.93, illustrated
Exhibition catalogue Mesto vstrechi-Paris! Khudozhniki iz Rossii: ot sezannistov do abstraktsionistov, Koblenz: Ludwig Museum, 2003, p.139

The canvas has been relined. There are a few minor flecks of paint loss in places and some very minor dents to the right hand edge. UV light reveals some retouching to all the edges, to the top left corner and to some small areas elsewhere including the bottle and an area to the left of the violin neck. Held in a silver painted wooden frame. Unexamined out of frame.
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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."

Pougny’s emigration to Paris in 1924, and the influence of new friendships with Fernand Léger and Gino Severini, marked the beginning of a fresh period of creativity and a move towards a more neo-classical style. ‘One day… [he] noticed the Parisian light which streamed in through the window… It surrounded the objects of his still life - his paint box, his palette, a violin and a newspaper abandoned on a chair - and imbued them with a tonal unity… Contours became less precise, objects lost their stiffness and began to vibrate, becoming living entities within a living space’ (R.Gindaerte, Pougny, Geneva: Pierre Cailler, 1957, p.19).