Vilmos Perlrott-Csaba

The canvas is unlined. The picture surface is in generally good condition aside from some minor pulling at the upper edges. Under UV, there is one pinpoint-sized area on inpainting along the upper left edge.
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.

Vilmos Perlrott-Csaba began his training in 1904 in the artist colony at Nagybánya. He received a scholarship to the Académie Julian and the Académie de la Grande Chaumiere in Paris, which he left in 1908 to join the circle around Henri Matisse. Heavily influenced by Matisse's style, Perlrott-Csaba gave up his former Neo-Impressionist style in favor of Fauvism and showed in the Salons d'Automne of 1907 and 1911.

A study trip in 1911 led Perlrott-Csaba to Spain, where he was profoundly influenced by El Greco. Through the 1920s he traveled Europe with his wife, the artist Margit Graber, settling in the artist's colony of Szentendre, near Budapest. He continued to summer in Nagybánya, near the border of Transylvania, where he painted "en plein air" in his distinctive Cubist-Fauvist style.