378
378

PROPERTY FROM A DISTINGUISHED PRIVATE PORTUGUESE COLLECTION

Edouard Vuillard
LE DÉJEUNER DU PETIT JEAN GOSSET EN NORMANDIE
Estimate
200,000300,000
JUMP TO LOT
378

PROPERTY FROM A DISTINGUISHED PRIVATE PORTUGUESE COLLECTION

Edouard Vuillard
LE DÉJEUNER DU PETIT JEAN GOSSET EN NORMANDIE
Estimate
200,000300,000
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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Edouard Vuillard
1868 - 1940
LE DÉJEUNER DU PETIT JEAN GOSSET EN NORMANDIE
signed E.Vuillard and dated 1911 (lower right)
oil on canvas
81 by 102cm., 31 7/8 by 40 1/8 in.
Painted in 1911.
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Provenance

Dr & Mme Antonin Gosset, Paris (the sitter's parents, acquired directly from the artist)
Private Collection
Sale: Drouot, Paris, 15th March 2008, lot 47
Purchased at the above sale by the present owners

Exhibited

Paris, Galerie Bernheim-Jeune, Exposition Vuillard, 1912, no. 14 (titled Portrait d'enfant)
Paris, Manzi-Joyant, Exposition d'art moderne, 1912, no. 204
Basel, Kunsthalle, Edouard Vuillard, 1949, no. 214
New York, The Museum of Modern Art & Cleveland, Cleveland Museum of Art, Edouard Vuillard, 1954

Literature

Antoine Salomon & Guy Cogeval, Vuillard. The Inexhaustible Glance. Critical Catalogue of Paintings and Pastels, Paris, 2003, vol. II, no. IX-166, illustrated p. 1116

Catalogue Note

The present work is a charming and intimate portrait of Jean Gosset, depicted eating breakfast in the idyllic surrounds of a summer garden. Perched on a chair which is almost comically too large for him, the child appears utterly absorbed in his breakfast. Vuillard’s unusual use of perspective—placing the table diagonally from the corner of the picture plane—serves as a highly effective compositional tool, drawing the viewer further into the scene. According to Vuillard’s journal of the time he spent five days painting this work, between 12 and 17th September 1911. Annette Vaillant, daughter of an actress whose close circle included artists such as Renoir and Toulouse-Lautrec, recalls Vuillard's painting of this composition: 'Jean Gosset was the son of the well-known and highly fashionable surgeon. Dr Gosset had installed his wife and child in a nearby villa and there Vuillard started on his lovely portrait of the little boy in a pink jersey sailor-suit, with his little hat pushed back over his blond curls. He was taking a snack out in the sun, drinking from a large white cup…' (quoted in Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, Paris, 2003, vol. II, p. 1117).

Portraiture formed a key part of Vuillard’s œuvre throughout his career, and some of his most successful paintings depict his close friends and their families. 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’ (Stephen Brown, Edouard Vuillard, A Painter and his muses, 1890-1940, p. 33).

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