OSCAR DOMINGUEZ | Pase de cape

Henriette & André Gomès, Paris
Private Collection (by descent from the above)
Sale: Artcurial, Paris, 7th December 2011, lot 129
Purchased at the above sale by the present owner

The canvas is not lined. Inspection under UV light reveals no signs of retouching. There are some minor handling marks to the edges which are not visible when framed. Otherwise, this work is in overall very 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."

The present works by Oscar Dominguez (lots 394 & 395) boast distinguished provenance, having both belonged to André and Henriette Gomès. The couple married in 1938, and soon established themselves at the heart of a group of avant-garde artists and intellectuals that included Pablo Picasso and Joan Miró. They would often meet at the Parisian Café de Flore and Café des Deux Magots. After working with the French dealer Pierre Loeb, Henriette opened a gallery in her own name on avenue Matignon in Paris. Although a modest space, it was home to many exhibitions that included the works of Georges Rouault and Paul Cézanne before the German occupation forced the gallery to close in 1940. André enlisted in the French army and Henriette was forced to flee Paris, but she helped in the war effort by working with the French Resistance. Following the liberation of Paris in 1945, Henriette re-opened the gallery 'Henriette Gomès' on 6 Rue de Cirque, which again served as a meeting place for their friends, intellectuals, and avant-garde artists. Henriette was one of the first to defend and promote abstract art when she exhibited works by Joan Miró, Jean Helion, and Hans Hartung. André spoke of his wife as being a 'woman with strong convictions, who never made concessions, and who sought to fulfill her ideas even if they were not always well-received' (translated from the French, Le Regard d’Henriette: Collection Henriette et André Gomès (exhibition catalogue) Musée Picasso Antibes, Paris, 1994, p. 9). Later in life, they donated some of their collection to museums, including the Musée de Grenoble and Musée National d’Art Moderne de Paris, with the desire for avant-garde artists such as Oscar Dominguez to be more greatly represented in France.

Ana Vázquez de Parga and Isidro Hernández Gutiérrez, (CEEDOC, Comité de Expertos y en Defensa de la obra de Óscar Domínguez) have confirmed the authenticity of this work.