Kees van Dongen

Galerie Kahnweiler, Paris
Private Collection (and sold: Christie's, New York, May 13, 1998, lot 368)
Private Collection, Connecticut (acquired at the above sale and sold: Sotheby's, New York, May 6, 2010, lot 347)
Acquired at the above sale by the present owner

Paris, Musée de Montmartre & Takasaki, Musée Municipal, Montmartre et les peintres, 1994

Espirit Montmarte. Die Boheme in Paris um 1900 (exhibition catalogue), Schirn Kunsthalle, Frankfurt, 2014, illustrated in color p. 118

Oil on canvas, the canvas is not lined. UV examination reveals a 3.5cm. diameter area of paint loss to the back of the woman's hair and possible very old associated restoration. There are two small spots of retouching to the front part of her hair. There are some scattered retouchings along the lower half of the right edge and along the right part of the lower edge. There are two further minor spots of retouching in the lower left quadrant. There is a spot of retouching underneath the woman's proper right arm. There is some stable craquelure to the thicker parts of the blue and white pigments and some very old losses to the hair and to the lower part of her dress, with possible associated in-fills. There is some slight frame rubbing from previous framing along the extreme edges. Otherwise this work is in overall 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.
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.

Executed shortly after van Dongen's first exhibition with the Fauves at the Salon d'Automne, the energetic Femme à la toilette is a superb example of the artist's striking female portraits from his early career. Unlike the other Fauve painters such as Matisse and Derain, who depicted the sunlit coast of southern France, van Dongen found particular inspiration in city life. It was Parisian nightlife and the artificial lights of the circus and the concert halls, rather than nature and open spaces, that excited him.

In the present work, the woman's dramatic black stockings and hat are typical of the artist's Fauve portraits, in which his subjects are often conveyed with vibrant intensity. The artist was fascinated by costumes and ornaments, and often his female figures are embellished with oversized hats. In the present work, the hat and dressing table suggest that this sitter might be a member of high society, rather than a cabaret performer. The figure's identity remains obscure however, as van Dongen's primary interest lies in the feminine allure of her figure. The subtlety of the woman's pale skin and white slip are accentuated by her black hat, stockings, and vibrant blue outline. The green strokes highlighting her shoulder and arm demonstrate the artist's disregard for naturalistic representation, in favor of expressing the physicality and sensual presence of his sitter.