- 385
Paul Signac
Estimate
40,000 - 60,000 USD
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Description
- Paul Signac
- Venise, matin (recto); Étude pour Venise, Saint-Georges (verso)
- Signed P. Signac (lower left); signed P. Signac (on the verso)
- Brush and ink, ink wash, watercolor, pastel, black crayon and pencil on paper
- 28 by 34 1/4 in.
- 71.1 by 86.9 cm
Provenance
Jan Hachette, Paris
Denise Soliac, Paris (by descent from the above in 1958)
Private Collection (and sold: Sotheby's, New York, May 4, 2006, lot 115)
Acquired at the above sale
Denise Soliac, Paris (by descent from the above in 1958)
Private Collection (and sold: Sotheby's, New York, May 4, 2006, lot 115)
Acquired at the above sale
Condition
Executed on buff-colored wove paper, not laid down, hinged to the mount at several places at the top on the verso. Work is double-sided. Left edge is deckled an the bottom, right and top edges are irregularly cut. A few very small nicks and tears to the perimeter of the sheet, most noticeable near center of right edge and at upper left corner. Artist's pinholes at lower right corner and at center of right edge. On the verso, several repairs are visible, the most significant of which is a 6 inch vertical repaired tear extending from the center of top edge. The lower corners have been carefully repaired. Some remnants of prior mounting is also visible in places along the perimeter of verso. The previously mentioned restorations have been expertly done and are barely visible on the recto of the sheet. The medium is very well-preserved. Overall this work is in 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.
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.
Catalogue Note
Signac spent the spring of 1908 in Italy, visiting Florence, Siena and Rome before spending a month in Venice. It was during this stay that the present studies for two major canvases were executed. The recto is a study for Venise, matin (Françoise Cachin, Signac, Catalogue raisonné de l'oeuvre peint, Paris, 2000, no. 468) and the verso for Venise, Saint-Georges (ibid., no. 469).
Signac's preparatory studies for large canvases were often made on a large scale so that their compositions could simply be squared off and transferred from watercolor to oil. Accordingly, the dimensions of the present work closely resemble those of eleven major oils Signac painted in his 1908 Venice series. In a small notebook in the James T. Dyke Collection, Arkansas, the artist dates the finished oil from which the recto of the present work is a study. Venise, matin was completed in June 1908, one month after the artist had returned from Italy (see: Paul Signac, A Collection of Watercolors and Drawings (exhibition catalogue), Arkansas Art Center, Little Rock, 2000, no. 36).
Signac's preparatory studies for large canvases were often made on a large scale so that their compositions could simply be squared off and transferred from watercolor to oil. Accordingly, the dimensions of the present work closely resemble those of eleven major oils Signac painted in his 1908 Venice series. In a small notebook in the James T. Dyke Collection, Arkansas, the artist dates the finished oil from which the recto of the present work is a study. Venise, matin was completed in June 1908, one month after the artist had returned from Italy (see: Paul Signac, A Collection of Watercolors and Drawings (exhibition catalogue), Arkansas Art Center, Little Rock, 2000, no. 36).