- 20
Paul Elie Ranson
Estimate
200,000 - 300,000 EUR
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Description
- Paul Elie Ranson
- Les Princesses à la terrasse, February 1894
- encaustic on canvas
- Signed P. Ranson lower right; Signed P. Ranson. and dated Fevrier-94. on the reverse
- 74 x 92,5 cm; 29 1/8 x 36 3/8 in.
Provenance
Maîtres Lair et Dubreuil, Paris, Vente posthume Paul Ranson, 7 juin 1909, lot 55
Mr. Rouché, France
Samuel Josefowitz, Lausanne
Waring Hopkins, Paris
Collection Jacques Grange, Paris (acquired from the above)
Mr. Rouché, France
Samuel Josefowitz, Lausanne
Waring Hopkins, Paris
Collection Jacques Grange, Paris (acquired from the above)
Exhibited
Toulouse, Salons de La Dépêche de Toulouse, Exposition de peinture, 1894, no. 60
Brussels, Musée d'art moderne, IIe Exposition de la Libre Esthétique, 1895, no. 532
Paris, Galerie Samuel Bing, Salon de l'Art nouveau, December 26, 1895-January 1896, no. 164
Paris, Galerie Druet, Paul Ranson, 1906, no. 8
Paris, Musée de l'Orangerie des Tuileries, Eugène Carrière et le symbolisme, December 1949-January 1950, no. 248
Zurich, Kunsthaus; Paris, Grand Palais; Paris, Musée d'Orsay, Nabis 1888-1900, 1993-94, May 28-August 15, 1993 (Zurich) and September 21, 1993-January 3, 1994 (Paris), no. 73, illustrated in the catalogue p. 204
Saint-Germain-en-Laye, Musée départemental Maurice-Denis "Le Prieuré", Paul Elie Ranson, Du Symbolisme à l'Art Nouveau, October 25, 1997-January 25, 1998, no. 57, illustrated in the catalogue p. 113
Florence, Palazzo Corsini; Montreal, Musée des Beaux-Arts, Le temps des Nabis, March 28-June 28, 1998 (Florence) and August 20-November 22, 1998 (Montreal), no. 100, illustrated in the catalogue
Brussels, Musée d'art moderne, IIe Exposition de la Libre Esthétique, 1895, no. 532
Paris, Galerie Samuel Bing, Salon de l'Art nouveau, December 26, 1895-January 1896, no. 164
Paris, Galerie Druet, Paul Ranson, 1906, no. 8
Paris, Musée de l'Orangerie des Tuileries, Eugène Carrière et le symbolisme, December 1949-January 1950, no. 248
Zurich, Kunsthaus; Paris, Grand Palais; Paris, Musée d'Orsay, Nabis 1888-1900, 1993-94, May 28-August 15, 1993 (Zurich) and September 21, 1993-January 3, 1994 (Paris), no. 73, illustrated in the catalogue p. 204
Saint-Germain-en-Laye, Musée départemental Maurice-Denis "Le Prieuré", Paul Elie Ranson, Du Symbolisme à l'Art Nouveau, October 25, 1997-January 25, 1998, no. 57, illustrated in the catalogue p. 113
Florence, Palazzo Corsini; Montreal, Musée des Beaux-Arts, Le temps des Nabis, March 28-June 28, 1998 (Florence) and August 20-November 22, 1998 (Montreal), no. 100, illustrated in the catalogue
Literature
Homodeï, "Nos expositions", in La Dépêche de Toulouse, 21 mai 1894
J.-P. de Brousse, in L'Impartial, June 1894, no. 421
Pierre-Louis Mathieu, La Génération symboliste 1870-1910, Geneva, 1990, illustrated p. 98
Caroline Boyle-Turner, Les Nabis, Lausanne, 1993, p. 24
Brigitte Ranson Bitker, Gilles Genty, Paul Ranson 1861-1909, Catalogue raisonné, Japonisme, symbolisme, art nouveau, Paris, 1999, no. 145, illustrated p. 155
J.-P. de Brousse, in L'Impartial, June 1894, no. 421
Pierre-Louis Mathieu, La Génération symboliste 1870-1910, Geneva, 1990, illustrated p. 98
Caroline Boyle-Turner, Les Nabis, Lausanne, 1993, p. 24
Brigitte Ranson Bitker, Gilles Genty, Paul Ranson 1861-1909, Catalogue raisonné, Japonisme, symbolisme, art nouveau, Paris, 1999, no. 145, illustrated p. 155
Condition
The canvas is not lined. Under UV light, there are some scattered dots of retouching, with associated flecks of paint loss and fine lines of craquelures, predominately away from the centre of the composition, notably towards the lower part of the left edge to the sitter's right hand foot and to the lower part of the right edge. There is some additional stable shrinkage predominately to the yellow pigment. There is some frame rubbing with associated minor paint loss along the extreme edges. There are a few tiny dots of paint loss to the right part of the upper edge and a surface scratch (approx. 5 cm long) to the upper right corner and a few fly spots to the lower part of the left edge. This work is in fairly 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. 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."
"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."