Paul Cézanne

Paul Cézanne fils, Paris (by descent from the artist)
Paul Guillaume, Paris
Sir Kenneth Clark, London
H.J. Bomford, London
George Moos, Geneva
George Waechter, New York (and sold: Parke-Bernet Galleries, Inc., New York, December 13, 1967, lot 32)
Samuel J. & Ethel LeFrak, New York (acquired at the above sale)
Thence by descent

Lionello Venturi, Cézanne, son art, son oeuvre, vol. I, Paris, 1936, mentioned p. 349 
John Rewald, Paul Cézanne, The Watercolors, Boston, 1983, no. 356, illustrated n.p.

This work is in good condition. Executed on cream wove paper which has not been laid down. Hinged at the top right, top left and lower center. There are traces of old tape on the periphery of the verso. There are very minor losses along the left edge consistent with the sheet being torn out of a sketchbook. There is a minor nick to the paper along the lower left edge, not visible when framed. There is a 1/8 in loss to the upper right corner and is not visible when the work is in its mat. The sheet and medium exhibits some uniform fading consistent with age. Scattered pindots of foxing throughout the composition which do not detract from the work overall.
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.

Emerging from the influence of his friend Camille Pissarro and their time spent in Pontoise and Auvers, Cézanne’s style gradually evolved from the legacy of the French Impressionists before him to a mature style grounded in his adoration of his birthplace, Provence. Dating from this mature period, the present work demonstrates Cézanne’s delight in depicting the scenery of his native Provence and the constant source of inspiration it provided. During this last decade of his career, Cézanne’s choice of motifs developed in two different directions: in one, exemplified by his many late views of the Mont Sainte-Victoire, the artist portrayed open and expansive scenes dominated by the sense of freedom and spaciousness. In the other, exemplified by the present work, he focused on densely wooded scenes of wild, untamed growth. Whilst in his earlier works the artist created a sense of perspective by placing elements of the foreground and background in dramatic contrast, in this latter group of works he revolutionized the concept of spatial structure by fully embracing the two-dimensional quality of the canvas or sheet of paper. Executed circa 1890, this skillfully rendered composition exemplifies the significant artistic developments Cézanne made during the 1880s.

The present composition is dominated by a group of slender, elegant trees, their tops disappearing beyond the edges of the sheet. By reducing his palette to a combination of blue, green and brown tones, Cézanne achieved an increasing level of abstraction in his landscapes. Having rejected conventional methods of rendering perspective, the artist builds the spatial structure purely by juxtaposing different shapes and colors. By contrasting the thin horizontal and gently curved lines of the trees with the unpainted patches of paper he creates a sense of expanding and receding spaces, while this network of rhythmic shapes rendered in light, translucent hues imbues this watercolor with a wonderful impression of light and atmosphere. Arbes belongs to the climactic phase in Cézanne’s artistic production, during which he executed a number of his best works that were to have a pivotal influence on the development of twentieth-century art.