Gustave Caillebotte

Ambroise Vollard, Paris (acquired circa 1894)
Sale: Hôtel Drouot, Paris, 3rd December 1910, lot 6
Probably purchased at the above sale by the father of the present owner

Marie Berhaut, Caillebotte, Sa vie et son œuvre. Catalogue raisonné des peintures et pastels, Paris, 1978, no. 243, illustrated p. 163
Marie Berhaut, Gustave Caillebotte, Catalogue raisonné des peintures et pastels, nouvelle édition revue et augmentée, Paris, 1994, no. 252, illustrated p. 168

The canvas is lined. Under UV light, two very small dots of retouching fluoresce near the lower left corner. There are a few scattered minor surface accretions. This work is 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. 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."

Although Caillebotte painted still lifes periodically throughout his career, it is evident from his most original compositions that he took up the subject with renewed enthusiasm in his later years. Whilst other artists often painted still lifes of flowers for commercial reasons Caillebotte’s interest seems to be directly connected to his relocation to Petit Gennevilliers in 1881. The change is his work reflects the change of scenery following his move when, inspired by his surroundings, he turned away from depictions of urban scenes to gardens and floral motifs.

In the present work Caillebotte renders the fullness of the petals with rich pink and white impasto, whilst he conveys the smoothness of the vase by using much flatter and more modulated brushstrokes. Blue tones used for shadows and for reflections add dimension to both the richly coloured brown table and the vase, and enhance the solidity of these objects. By means of the beautiful and well balanced composition and the dynamic application of paint, Caillebotte gives the still life a wonderful tactile and evocative quality that addresses the viewer’s senses. Gustave Geffroy praised the way that Caillebotte's still lifes 'coloured and perfumed the atmosphere' (Gustave Geffroy quoted in Marie Berhaut, Gustave Caillebotte, Catalogue raisonné des peintures et pastels, nouvelle édition revue et augmentée, Paris, 1994, p. 45), a statement which might well have been written about the present work.