Louis Marcoussis

Valentine Dudensig Gallery, New York
E.V. Thaw & Co., New York
Private Collection, New York (acquired from the above circa 1964)
Thence by descent

New York, E.V. Thaw & Co., Abstract, Cubist, Futurist and Surrealist Art in the Collection of E.V. Thaw & Co., 1964, no. 12, illustrated in the catalogue

This work is in good condition. The canvas is unlined, but the tacking edges have been reinforced and the stretcher is new. The paint layer is stable, clean and varnished. Under UV light: there are a few tiny retouches visible around the extreme edges and a spot or two of retouching within the very textured pigment on the surface, 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.

The present work belongs to a series of interiors Marcoussis painted from the late 1920s into the early 1930s that consistently feature a half-open door with a prominently placed musical instrument. In Soleil couchant, the interior is awash with the glow of the titular sun’s red tones, making the light a clear physical presence that affects everything that crosses its path. This use of sunlight, particularly when cast upon musical instruments, is reminiscent of Johannes Vermeer’s resplendent canvases in which the combination of light and music are links to the world beyond the confines of the depicted interiors. Marcoussis was similarly fascinated with the role of light in his paintings, and he asserted that light was “the only real mystery in painting” (Jean Lafranchis, Marcoussis, Paris, 1961, p. 115, translated from the French).