- 142
Théo van Rysselberghe
Estimate
80,000 - 120,000 USD
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Description
- Théo van Rysselberghe
- Jardin en été
- Stamped with the artist's monogram (lower left)
- Oil on canvas
- 15 by 24 in.
- 38 by 61 cm
Provenance
Monica & Hugo Perls, New York (and sold: Sotheby's, New York, June 22, 1983, lot 4)
Private Collection (acquired at the above sale and sold: Sotheby's, London, June 27, 1984, lot 130)
Charles Pankow, California (acquired at the above sale and sold: Sotheby's, New York, January 19, 2005, lot 21)
Acquired at the above sale
Private Collection (acquired at the above sale and sold: Sotheby's, London, June 27, 1984, lot 130)
Charles Pankow, California (acquired at the above sale and sold: Sotheby's, New York, January 19, 2005, lot 21)
Acquired at the above sale
Literature
Ronald Feltkamp, Théo van Rysselberghe, 1862-1926, Brussels, 2005, no. 1924-016, illustrated p. 439
Condition
Work is in good condition. Canvas is lined and edges are reinforced with tape. There is a layer of varnish on the surface. Under UV light: a few pindot retouches at extreme lower left edge, otherwise fine.
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.
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.
Catalogue Note
Born in Ghent in 1862, van Rysselberghe became a founding member of the avant-garde Les XX in 1884. A new exhibiting artist group, Les XX were among the first admirers and adherents of Neo-Impressionism, which rejected the spontaneity of Impressionist painting and favored instead a methodical application of paint governed by the scientific principles of color theory. Van Rysselberghe executed his earliest Neo-Impressionist paintings in 1888, two years after his first contact with Georges Seurat and Paul Signac, fully embracing this style of planar strokes and precise colors by the following year.
Jardin en été is an exceptional example of the artist's command over his medium and showcases his mature style. As Paul Fierens writes, "About 1900, Van Rysselberghe's art relaxed. The colourist had gradually left behind the orthodoxy of Neo-Impressionism. He was still 'separating,' but in a less methodical manner. His brush-stroke was becoming larger. He was manipulating the brush and matching pure colour tones to each other with a new freedom. He was moving away from the technique of light-painting while preserving its spirit; he seemed no longer to consult anything but his instinct and his senses in the choice of tone and strength of colour, and in the disposition of strokes" (Paul Fierens, Théo Van Rysselberghe, Brussels, 1937, p. 27).
Jardin en été is an exceptional example of the artist's command over his medium and showcases his mature style. As Paul Fierens writes, "About 1900, Van Rysselberghe's art relaxed. The colourist had gradually left behind the orthodoxy of Neo-Impressionism. He was still 'separating,' but in a less methodical manner. His brush-stroke was becoming larger. He was manipulating the brush and matching pure colour tones to each other with a new freedom. He was moving away from the technique of light-painting while preserving its spirit; he seemed no longer to consult anything but his instinct and his senses in the choice of tone and strength of colour, and in the disposition of strokes" (Paul Fierens, Théo Van Rysselberghe, Brussels, 1937, p. 27).