Maria Helena Vieira da Silva

Galerie Pierre, Paris
Acquis auprès de celle-ci par le propriétaire actuel (1960)

Houston, The Museum of Fine Arts, New York and Paris Painting in the fifties, 16 janvier-8 février 1959
Grenoble, Musée de peinture et de sculpture, Vieira da Silva, juillet-août 1964 ; catalogue no.38 (titré Chantier naval et daté 55)

Walter Weideli, Journal de Genève, Une exposition à Genève, art et travail, 4 août 1974, illustré (titré Chantier naval et daté 1955)
Guy Weelen et Jean-François Jaeger, Vieira da Silva, Catalogue raisonné, Genève, 1994, p.269, no. 1356, illustré

The colors are fairly accurate in the catalogue illustration although the overall tonality is brighter in the original work. The colors (especially the blue and red colors) are more vivid in the original than in the catalogue illustration. Under UV light, there is no evidence of any retouching. This work is in excellent 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."

Sa peinture est séquence (perspective) et présence (frontalité). La suite des notes précises se font une totalité.
Pierre Schneider in Bernard Ceysson, Maria Helena Vieira de Silva 1908-1992, Les labyrinthes de l'oeil, Paris, Galerie Jeanne Bucher, p.66