Lot 6
  • 6

Paul Cézanne

300,000 - 400,000 GBP
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  • Paul Cézanne
  • Le verger
  • watercolour and pencil on paper
  • 32.6 by 46.8cm.
  • 11 7/8 by 18 3/8 in.


Anna C. Pellew, London (acquired in 1928. Sold: Hôtel Drouot, Paris, 6th & 7th July 1928, lot 99)

Paul Rosenberg, Paris & New York (circa 1928-29)

Wildenstein Galleries, New York

Cornelius J. Sullivan, New York (acquired from the above. Sold: American Art Association, Anderson Galleries, New York, 30th April 1937, lot 77)

Mr & Mrs David M. Heyman, New York (purchased at the above sale)

Acquavella Galleries, New York

Acquired from the above by the late owner in 1984


Chicago, The Art Institute of Chicago & New York, The Metropolitan Museum of Art, Cézanne Paintings, Watercolours and Drawings, 1952, no. 64, illustrated in the catalogue (as dating from 1885-86)

New York, Fine Art Associates, Cézanne Watercolors, 1956, no. 7, illustrated in the catalogue

New York, Wildenstein & Co., Cézanne, 1959, no. 68, illustrated in the catalogue (as dating from 1885-86)

New York, M. Knoedler & Co., Cézanne Watercolors, 1963, no. 20, illustrated in the catalogue (as dating from 1885-86)

Washington, D.C., The Phillips Collection; Chicago, The Art Institute of Chicago & Boston, Museum of Fine Arts, Cézanne, an Exhibition in Honour of the Fiftieth Anniversary of the Phillips Collection, 1971, no. 40, illustrated in the catalogue (as dating from circa 1885)

Paris, Galeries Nationales du Grand-Palais, Cézanne, 1995-96, no. 152, illustrated in colour in the catalogue (as dating from circa 1890-95)

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. 120, illustrated in colour in the catalogue

Venice, The Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, 1999, no. 139, illustrated in colour 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. 138, illustrated in colour in the catalogue

Paris, Musée Jacquemart-André, La passion du dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 121, illustrated in colour in the catalogue

Vienna, Albertina Museum, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2005, no. 106, illustrated in colour in the catalogue

Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 122, illustrated in colour in the catalogue


Lionello Venturi, Cézanne, son art - son œuvre, Paris, 1936, vol. I, no. 927, catalogued p. 255; vol. II, no. 927, illustrated pl. 286 (as dating from 1885-86)

Meyer Schapiro, Paul Cézanne, New York, 1952, illustrated p. 17 (as dating from 1885-86)

John Rewald, Paul Cézanne, The Watercolours. A Catalogue Raisonné, London, 1983, no. 407, illustrated


Executed on cream wove paper. Hinged to the mount at the top two corners. There are artist's pin-holes in the upper and lower right corners and the paper has gently discoloured with age, most significantly at the extreme edges. Apart from some old hinges still affixed to the reverse of the sheet, the upper edge has been slightly skinned toward the centre, and the upper corners are a little dog-eared, this work is in very good condition. Colours: Overall fairly accurate in the printed catalogue illustration, although fresher and more vibrant in the original.
"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.

Catalogue Note

Discussing the present work, Françoise Cachin commented: ‘Cézanne always liked to paint and draw the complex patterns of tangled branches, which naturally form a powerful structure where space is organized into irregular compartments. In Large Pine and Red Earth [fig. 1], they extend outward from the trunk like a sunburst. In the present drawing the painter lovingly described with watercolor bare winter branches, making them resemble a low vault over the schematic verticals of the tree trunks and the horizontals of the wall in the middle distance’ (F. Cachin in Cézanne (exhibition catalogue), op. cit., 1995-96, p. 269).