Moïse Kisling

Private Collection, Portugal (acquired by the 1940s)
Thence by descent (and sold: Sotheby's, London, February 6, 2013, lot 202)
Private Collection, Europe (acquired at the above sale)
Acquired from the above by the present owner

The canvas is not lined. UV-examination reveals no signs of retouching. The canvas is slightly undulating, primarily at the upper left and lower right corners. There are some minor areas of paint loss to the dark green pigment of the leaves, towards the top, the right and the lower left of the bouquet. There are three further small areas of paint loss within the black pigment of the table towards the centre of the lower edge. There are some minor areas of craqulure within the yellow pigment of the mimosas associated with the thick impasto. There are two small uplifting mimosa buds to the upper left of the bouquet. There are some scattered minor fly spots along the centre of the left and right edge. This work is in overall very good 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present work, stunning in scale and vibrancy, is a prime example of Kisling's celebrated series of mimosa paintings. In keeping with the Old Master tradition of artists like Jan Brueghel the Elder, Kisling renders each blossom in painstaking detail, prizing botanical accuracy and giving careful attention to the varied textures and behavior of petals whilst layering his canvas with a thick and rich impasto.

Indeed, Kisling's link to the Old Masters extended beyond mere technical emulation. "Kisling professed a high conscience of the artist's duties with regard to the perfection of basic drawing, and the quality of subject matter. As a colorist, he did not set a fixed boundary when it came to juggling nuances, contrasts, or the connection between tonalities: he paid great attention to the quality of pigments. I can still hear him say: 'Do you find this beautiful?... Yes, but you will see in 300 years! One must paint for posterity. One must also allow for the viewer to read the joy that the painter felt upon the creation of the work'" (Jean Kisling, ed., Kisling, 1891-1953, vol. III, Germany, 1995, p. 51).