Paul Cézanne

Paul Cézanne fils, Paris (by descent from the artist)
Paul Guillaume, Paris
Adrien Chappuis, Tresserve
Henriette & André Gomes, France (and sold: Briest Scp., Paris, June 18, 1997, lot 198)
Acquired at the above sale

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin—Preussischer Kulturbesitz, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 118, illustrated in color in the catalogue
Venice, The Peggy Guggenheim Collection, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, 1999, no. 137, illustrated in color in the catalogue
Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 135, illustrated in color in the catalogue
Paris, Musée Jacquemart-André, La Passion du dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 120, illustrated in color in the catalogue

Gertude Berthold, Cézanne und die alten Meister. Die Bedeutung der Zeichnungen Cézannes nach Werken anderer Künstler, Stuttgart, 1958, nos. 155 (recto) & 152 (verso), illustrated n.p.
Adrien Chappuis, The Drawings of Paul Cézanne: A Catalogue Raisonné, vol. I, London, 1973, nos. 975 (recto) & 1198 (verso); illustrated vol. II, n.p. 
Lionello Venturi, Cézanne - son art - son oeuvre, vol. I, San Francisco, 1989, nos. 1321 (recto) & 1322 (verso); illustrated vol. II, pl. 355

Executed on cream-wove paper. The sheet is deckled along the top edge as though extracted from a notebook. Faint evidence of a prior mount is visible at a few points on extreme edges of the verso. The sheet is a little time-darkened and a few water stains are faintly visible to the recto. There is a studio stain visible toward the lower left edge of the recto, and several studio stains scattered across the upper half of the verso. A one-inch studio stain that is visible on both sides of the sheet in the cited literature has since been treated although a faint stain remains. Overall the work is in very good condition. Numbered LXXX at lower right on recto.
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.

The recto of this sheet was executed after the marble entitled Mercure (1941) by Jean-Baptiste Pigalle; the verso (not illustrated) was executed after the marble Adonis se reposant de la chasse (1910) by Nicolas Coustou. Both marbles are located at the Musée du Louvre, Paris.