112
112

PROPERTY FROM THE COLLECTION OF DR. EMIL HAHNLOSER

Édouard Vuillard
POT DE FLEURS ET PAPIERS
Estimate
250,000350,000
JUMP TO LOT
112

PROPERTY FROM THE COLLECTION OF DR. EMIL HAHNLOSER

Édouard Vuillard
POT DE FLEURS ET PAPIERS
Estimate
250,000350,000
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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New York

Édouard Vuillard
1868-1940
POT DE FLEURS ET PAPIERS
Signed E Vuillard (lower right)
Oil on board
16 7/8 by 22 3/4 in.
43 by 58 cm
Painted in 1904. 
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Provenance

Galerie Bernheim-Jeune, Paris (acquired from the artist on October 1, 1904)
Maurice Gangnat, Paris (acquired from the above on November 22, 1904)
Jos Hessel, Paris (acquired by circa 1916)
Galerie Bernheim-Jeune, Paris (acquired from the above on May 30, 1923)
Galerie Druet, Paris (acquired from the above on June 20, 1923)
Dr. Emil Hahnloser, Zurich (acquired circa 1920s) 
Thence by descent

Exhibited

Winterthur, Kunstmuseum, Austellung Französische Malerei, 1916, no. 195
Basel, Kunsthalle, Peinture française, 1917, no. 127
Paris, Galerie Druet, 25 peintres contemporains, 1925, no. 192 (titled Fleurs sur la table)
Zurich, Kunsthaus Zurich, Pierre Bonnard. Édouard Vuillard, 1932, no. 151 (titled Fleurs sur la table and dated 1905)
Zurich, Kunsthaus Zurich, Ausländische Kunst in Zürich, 1943, no. 726
Basel, Kunsthalle, Édouard Vuillard, Charles Hug, 1949, no. 170

Lausanne, Palais de Beaulieu, Chefs-d’oeuvre des collections suisses de Manet à Picasso, 1964, no. 157, illustrated in the catalogue
Paris, Orangerie des Tuileries, Chefs-d'oeuvre des collections suisses de Manet à Picasso, 1967, no. 142, illustrated in the catalogue

Literature

Antoine Salomon & Guy Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, vol. II, Paris, 2003, no. VIII-100, illustrated in color p. 878

Catalogue Note

A founding member of the Nabis movement in the late 1880s, Vuillard was among those artists who celebrated pattern and ornament in art and he was ambitious in terms of incorporating of decorative motifs into his canvases. As the son of a dressmaker he had a head-start in terms of understanding textiles and his paintings reflect a fascination with all kinds of fabrics, particularly the rich colors of the wallpaper and carpets of the haute bourgeoisie. A bright vase of flowers set against muted floral decoration is a conceit he experimented more than once (see fig. 1). In the present work the stack of papers on the worn wooden table and the earthy tones of the ceramic vase emphasize variation in surface texture, while the dynamic angle of the table is typical of Vuillard’s intimate interiors which are often cropped abruptly with some elements partially obscured to create a sense of immediacy.

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