168
168

THE TRIUMPH OF COLOR: IMPORTANT WORKS FROM A PRIVATE EUROPEAN COLLECTION

Émile Bernard
NATURE MORTE AU PICHET ET AUX FRUITS SUR UNE SERVIETTE DEPLOYÉE
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
400,000600,000
LOT SOLD. 405,000 USD
JUMP TO LOT
168

THE TRIUMPH OF COLOR: IMPORTANT WORKS FROM A PRIVATE EUROPEAN COLLECTION

Émile Bernard
NATURE MORTE AU PICHET ET AUX FRUITS SUR UNE SERVIETTE DEPLOYÉE
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
400,000600,000
LOT SOLD. 405,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

|
New York

Émile Bernard
1868 - 1941
NATURE MORTE AU PICHET ET AUX FRUITS SUR UNE SERVIETTE DEPLOYÉE
Signed Emile Bernard and dated 1890 (lower left)
Oil on canvas
28 3/8 by 36 3/8 in.
72 by 92.3 cm
Painted in 1890.
Read Condition Report Read Condition Report

Béatrice Recchi Altabarra has kindly confirmed the authenticity of this work.

Provenance

Ambroise Vollard, Paris
Acquired from the above circa 1955

Exhibited

Amsterdam, Van Gogh Museum & Essen, Musuem Folkwang, Van Gogh and Early Modern Art, 1990, n.n.
Toronto, Art Gallery of Ontario (on loan)

Literature

Jean-Jacques Luthi, Émile Bernard, Catalogue raisonné de l'oeuvre peint, Paris, 1982, no. 272, illustrated p. 45

Catalogue Note

This large-scale still life dates from the most interesting period of Bernard’s career. He had shown himself to be a precocious student who absorbed new ideas quickly, but his work up until the mid-1880s was still fairly tentative. In the spring of 1887 however, partly with the aim of creating a visual equivalent to literary Symbolism, he and Louis Anquetin began to develop a style inspired by Japanese Ukijo-e woodblock prints and stained glass, with flat areas of color surrounded by bold outlines and produce fully resolved paintings.

Over precisely the same period, Paul Cézanne’s fascination with the genre of still life was evolving and arguably reached its pinnacle in the late 1880s and early 1890s, when he began to move away from dense networks of impasto and strict frontality in favor of more complex and dramatic spatial arrangements. Bernard first encountered the older artist’s work in 1886 at the Parisian paint supply shop run by Julien-François Tanguy (known affectionately as Père Tanguy), who used to accept paintings in lieu of payment. In an article written the same year the present lot was executed, Bernard recalled the astonishing impression that Cézanne’s still lifes made on him: “apples round as if done with compasses, triangular pears, crooked bowls, abundantly folded napkins“ (quoted in “Paul Cézanne,” in Les Hommes d'aujourd'hui, Paris, 1890, n.p.; see fig. 1). 

Bernard’s affinity with Paul Gauguin in his Breton works and their subsequent falling out was perhaps the more public artistic relationship at this time, but the influence of Cézanne on his still lifes was an enduring one, and the two artists maintained a warm correspondence. Almost thirty years Cézanne’s junior, Bernard continued to benefit from the older artist’s technical advice as well as his teasing reprovals. “For us men, nature has more depth than surface,” Cézanne wrote to him in 1904, “hence the need to introduce in our vibrations of light, represented by reds and yellows, enough blue tints to give a feeling of air... I would like to say that I have had another look at your study of the ground floor of the studio, it is good. All you need do, I think, is to continue along these lines, you have an understanding of what ought to be done, and you will soon be able to turn your back on the Gauguins and Van Goghs!” (Alex Danchev, ed., The Letters of Paul Cézanne, Los Angeles, 2016, n.p.).

Impressionist & Modern Art Day Sale

|
New York