Lot 21
  • 21

Robert Delaunay

Estimate
300,000 - 400,000 EUR
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Description

  • Robert Delaunay
  • Verseuse. Étude.
  • peinture à la colle et à la cire sur papier
    marouflé sur toile
  • 94 x 127,5 cm ; 37 x 50 3/8 in.

Provenance

Galerie Bing, Paris
Jorge de Brito, Portugal
Vente : Sotheby's, Londres, 1er décembre 1982, lot 49
Collection particulière, Europe
Vente : Sotheby's, New York, 2 mai 1996, lot 196
Gmurzinska Gallery, Cologne (acquis lors de cette vente)
Acquis auprès du précédent par le propriétaire actuel

Literature

Robert Delaunay, Du Cubisme à l'Art abstrait, Documents inédits suivis d'un Catalogue de l'Œuvre de R. Delaunay par Guy Habasque, Paris, 1957, no. 168, mentionné p. 277

Condition

The Paper is laid down on canvas. The canvas is not lined. UV light reveals scattered retouching throughout the composition. There are scattered fine lines of craquelure and flecks of paint loss predominately along the upper edge. The work is stable and in overall fair 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

'Peinture à la colle' and wax on paper laid down on canvas. Painted in Portugal circa 1915.

"Partis de Madrid, chassés par la chaleur torride d’août, Robert Delaunay et moi, conseillés, par des amis, peintres de Lisbonne, sommes arrivés à Villa do Conde au Nord du Portugal.

La lumière n’était pas violente, mais exaltait toutes les couleurs -  les maisons multicolores d’un blanc éclatant, d’une ligne sombre, des paysans dans des costumes populaires, des tissus, des céramiques aux lignes à la beauté antique d’une pureté étonnante, parmi la foule des bœufs hiératiques à grandes cornes – on a eu l’impression de se trouver dans un pays de rêve.

Nous nous sommes jetés dans la peinture. On peignait du petit matin au soir. Venus pour un mois d’été, nous sommes restés près de deux ans, isolés de tout au bord d’une plage immense de l’Océan, avec des amis peintres portugais et un américain (un vieil ami de Robert Delaunay) qui vivaient avec nous. Pendant cette période nous peignions avec des couleurs à la cire chaude avec l’aspic comme medium. Les tableaux sur la toile du pays, les études sur du papier. Ce qui importait c’était la plus grande pureté et force de la couleur." Sonia Delaunay, in Robert et Sonia Delaunay, Paris, Musée National d’Art Moderne, 1967.

 

“Having left Madrid, chased away by the torrid heat of August, Robert Delaunay and I, on the advice of painter friends from Lisbon, have arrived at the Villa do Conde in Northern Portugal. The light was not violent, but glorified all the colours – the multi-coloured houses of dazzling white, of sombre contour, the countrymen in popular costume, fabrics, and ceramics of beautiful, antique line and an astonishing purity, amidst the crowd of hieratic bulls with long horns – we had the impression of finding ourselves in a land of dreams.

We threw ourselves into painting. We painted from morning to evening. We had come for the summer months, but we stayed almost two years, isolated from everything, next to an immense beach by the Ocean, with Portuguese painter friends and an American (an old friend of Robert Delaunay) who lived with us.

During this period we painted with hot wax colours with aspic as a medium. Paintings on canvas from this country; sketches on paper. What was important was the greatest purity and strength of colour.” Sonia Delaunay, in Robert et Sonia Delaunay, Paris, Musée National d’Art Moderne, 1967.