Jean Dunand

lacquer, eggshell, ivory, gold and silver leaves panel
Signed Jean Dunand Paris and dated 1926 lower right

Bernard Dunand, Paris
Félix Marcilhac, Paris
Alain Lesieutre, Paris
Sale Maîtres Ader, Picard et Tajan, Collection Alain Lesieutre, Paris, December 13,  1989, lot 285

Charlette Adrianne, "Jean Dunand et son influence sur la Mode", L'Officiel de la Couture, Paris, November 1926, reproduced p. 36
Jean Dunand, Jean Goulden, exhibition catalogue, Galerie du Luxembourg, Paris, May - July 1973, reproduced p. 24
Anne Bony, Les années 20, Paris, 1989, reproduced p. 923
Yvonne Brunhammer and Suzanne Tise, French Decorative Art, The Société des artistes décorateurs, 1900-1942, Paris, 1990, reproduced pp. 144 and 145
Félix Marcilhac, Jean Dunand, Vie et oeuvre, Paris, 1991, reproduced pp. 18, 95 and 217
Florence Camard, Ruhlmann, Saint-Rémy-en-L'Eau, 2009, reproduced p. 215

Very good overall condition. Some dirt throughout the panel. Some wear under the sitter's chin and to the eggshell. What appears to be a thin vertical water mark running from the centre of the hair down the face and is partially visible in the online and printed catalogues. Some gold leaves are lifting on the necklace, with there are some minor losses. There might have been a minor restoration to the gold leaves in the past. Some oxidation to the silver leaf on the lower right part, consistent with age. A few surface scratches scattered on the lacquer and the gold and silver leaves, especially in the upper left part and in the lower part. Some minor scratches and dents to the frame, consistent with age and a small crack at the junction of the frame on the lower right angle joint. A quadrant of wood at the top right corner on the reverse which secures the panel in the frame has slipped, as have some other spacers which are now loose A french professional restorer report is available on request.
"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."

Paul Cézanne had “Montagne Sainte-Victoire”, Claude Monet “Rouen Cathedral”, Andy Warhol “Marylin Monroe”, and Jean Dunand his “Madame Agnès”. Dunand created no less than six different versions of the milliner’s portrait between 1925 and 1926. Each of these three quarters portraits were treated with great sensibility, however the present lot is the most delicate representation of Madame Agnès. It is the first in the series to be created using lacquer and eggshell. The very first example was realized in the media of paint, varnish and isinglass.
This portrait is a masterpiece, not only thanks to its striking realism, but also to its precise and stunning execution.
To represent this delicate China skin, Jean Dunand utilised expertly sifted and lacquered eggshell, which was carefully sanded until he achieved this delicate tone. The modernity of the clothes and their treatment in the work are of key importance, demonstrating the tight relationship between the artist and his model and patron, an important figure in Parisian couture. The delicacy and subtle use of applied silver and gold are reminiscent of Gustave Klimt’s work, while the geometrical pattern of the clothes demonstrate a cubist influence. This portrait  stands as compelling testimony of Dunand’s respect for one of his greatest patrons, an artist herself.