Gustave-Adolphe Mossa

Mossa Succession, 1972
Françoise and Charles Mossa Collection
Galerie de Francony, Nice
Purchased from the above by the current owners in the 1960s or 1970s

Gustav Adolf Mossa, L'Eclaireur de Nice, Nice, January 31st - February 5th 1905, n°4

Jean-Roger Soubiran, Les Aquarelles symbolistes et la création plastique symboliste de Gustav Adolf Mossa, Doctorat Thesis, Université d'Aix-en-Provence - Marseille, 1978, illustrated p. 453-454, n°47
Jean-Roger Soubiran, Gustav Adolf Mossa, Nice, 1985, illustrated p. 189, n°260
Jean-Roger Soubiran, Gustav Adolf Mossa, Catalogue raisonné des oeuvres "symbolistes", Paris, 2010, illustrated p. 134, n°A51

The paper is slightly crinkled in the upper left with a small crinkle or tear in the upper left ; A few foxing spots are scattered on the surface and one can observe a small fold in the lower left ; The visual in the catalogue is slightly too pink. 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 1904, Jean-François-Louis Merlet, journalist from Eclaireur and poet, composes poems on Salome. Mossa is immediatly inspired by his vision of the princess of Judea, her psychology and eroticism, and paints a series of seven watercolors, counting the present work. Standing in front of the prison where the saint was kept captive, Salome holds the plate, smiling, maybe unconscious of the seriousness of death.
The theme of Salome, from the Gospel of Mathew and Mark, became popular again in the 19th century and inspired numerous artists. Mossa is delighted to paint such a story, the falt of innocence, the responsibility of the irresponsible. He first paints the young princess in 1901 in his first painting, and biggest listed (Musée des Beaux-Arts, Nice).
See image next page.