L12007

/

Lot 129
  • 129

Paul Delvaux

Estimate
350,000 - 500,000 GBP
Log in to view results
bidding is closed

Description

  • Paul Delvaux
  • LE COLLIER
  • signed P. Delvaux and dated 3-70 (lower right)
  • oil on panel

  • 70 by 61cm., 27 1/2 by 24in.

Provenance

Vic Gentil
Emiel Veranneman, Brussels
Acquired from the above by the present owner

Exhibited

Paris, Grand Palais, Paul Delvaux, peintures dessins 1922-1982, 1991, no. 58, illustrated in colour p. 91

Condition

The panel is sound. There is an uneven layer of varnish, which could be removed. UV examination reveals some small specks of fluorescence to the figure's hair above her left shoulder and to the right of the upper window of the house, which are probably due to the uneven varnish and are not characteristic of retouchings. There is a fine vertical scratch to the centre of the upper edge and a bit of light wear to the extreme upper and lower edges, not visible when framed. Otherwise, this work is in overall 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. 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."

Catalogue Note

When evoking the mysterious quality in the works of Paul Delvaux, Mira Jacob recalls a statement by Georges Braque, one of art history's opponents of strict figuration: 'in a painting, the most important aspect relates to the one we cannot fully express' (translated from French, Mira Jacob 'Ècouter Paul Delvaux' in Paul Delvaux, peintures dessins 1922-1982 (exhibition catalogue) Paris, Grand Palais, 1991, p. 22). Enigma and sensuality unite the compositional and representational power of Delvaux's iconic paintings, and Le Collier aptly conjures such facets with an aura of Classicism and Magrittian suspense. A moonlit nude figure of a young girl is placed at the foreground of the composition against a highly Surrealist setting, presenting herself to the viewer whilst delicately grasping a fine necklace. We are uncertain as to whether the figure is in the act of removing, or placing this precious object; however, it is the figure's very pose that lends the work an air of solemnity and stasis. Her eyes closed, we are invited into the sleepy haze evoked by the beautiful figure's stance and nightscape surrounding her presence in the centre of the composition.

As in so many of Delvaux's compositions, the perspective in the present work allows a glimpse of a world beyond, that is like a distant echo of the scene acted out in front of the spectator. However, as Gisèle Ollinger-Zinque has observed, the real essence of Delvaux's compositions are the women: 'The Delvaux woman is not just any woman: she is sphinx-like, having no past and no future. She is fixed in her immobility, indifferent to the people around her; she waits for something that does not happen and will never happen' (G. Ollinger-Zinque, 'The making of a painterpoet', in Paul Delvaux, Brussels, 1997, p. 22).

The passivity of Delvaux's women recalls the gentle beauty of a Botticelli, the serenity of a Piero della Francesca, or the flawlessness of a Bouguereau, and adds a sense of timelessness to the composition. The blatant and contextual inappropriateness of their nudity, however, leaves the viewer to contemplate the perplexing narrative of the composition. Imbued with a cool palette, Delvaux contrasts the horizontal elements of the sky and water, juxtaposed with the vertical building and lone tree, all creating a palpable sensation of enigmatic uncertainty. Delvaux was always fascinated with the effects of light and shadow in his pictures, and his mastery at manipulating colour to this end is demonstrated quite beautifully in this work. Discussing Delvaux's fascination with light in his paintings, Barbara Emerson has written of the way that 'Delvaux uses light to great effect, almost as if he were manipulating theatrical equipment of spots and dimmers. With consummate skill, he contrasts cool white shafts of moonlight with the warm, gentle glow from an oil lamp' (Barbara Emerson, Delvaux, Paris and Antwerp, 1985, p. 174).