Édouard Vuillard

Katia Pissarro, Paris (artist and wife of Camille Pissarro's grandson, Isaac)
JPL Fine Arts, London
Acquired from the above by 2002

Antoine Salomon & Guy Cogeval, Vuillard: The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, Milan, 2003, vol. III, no. XI-261, illustrated p. 1442
Edouard Vuillard, A Painter and his Muses 1890-1940 (exhibition catalogue), The Jewish Museum, New York, 2012, illustrated in colour p. 58

The canvas is lined. UV light examination reveals retouching to the upper part of the left edge, the lower left corner, the sitters' faces and to the portrait painting. There are scattered further retouchings throughout. The surface is dry, consistent with the materials used. There are scattered fine lines of craquelure, all of which appear stable, and some frame abrasion at the extreme edges. Otherwise, this work appears to be in good overall 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."

Painted in 1927-29, at a time when Edouard Vuillard had achieved the distinction of being one of the most sought after and admired portrait painters in Paris, Madame Jean Bloch et ses enfants, première version is a significant example of the artist’s mature portraiture. Imbued with the gloriously saturated colours which characterised Vuillard’s painting during the 1920s, the present work depicts Madame Bloch, the wife of a wealthy industrialist who rose to prominence by supplying kitchen and bathroom fittings, surrounded by her three children and their nanny. The scene is one of tranquil domesticity: the young mother depicted in the act of reading aloud, whilst her children gather round her. The drawing-room in which they sit is redolent of comfort and prosperity, with the richly patterned carpet complementing the brocaded sofa, dominated by the deep red walls and the green and gold panelling which graces the doors. The red silk walls are further adorned by a portrait of Pope Pius XI by the Italian late Baroque painter Pietro Nelli and two elaborate golden candle sconces.

Stephen Brown has noted with specific reference to Vuillard’s portraits that: ‘Vuillard may be seen as the heir of Degas, Gauguin and the Impressionists. He was also an artist of his time and, more precisely, the artist of a particular social milieu and moment… Rarely has an artist so completely entered the circle of his patrons’ (Edouard Vuillard, A Painter and his Muses, 1890-1940 (exhibition catalogue), op cit, p. 33). Vuillard’s portraits serve as an intriguing record of Parisian life between the wars, documenting the cultural leaders of society during this period. In serving as the subject of one of Vuillard’s portraits, the Bloch family joined the ranks of other celebrated artistic patrons such as Tristan Bernard, Gaston and Josse Bernheim, Jos and Lucy Hessel and the Natanson family, all of whom played an important role as supporters and friends of the artist throughout his career.