ANDRÉ LHOTE | 14 JUILLET EN AVIGNON
100,000 - 150,000 USD
Cubism and Beyond
(1885 - 1962)
14 JUILLET EN AVIGNON
Signed A. Lhote. (upper right)
Oil on canvas
22¾ by 27½ in. (58 by 70 cm)
Framed: 33 by 37½ in. (83.8 by 95.2 cm)
Painted in 1930.
This work will be included in the forthcoming catalogue raisonné being prepared by Dominique Bermann Martin.
The work is in very good condition. Canvas is not lined, though the edges have been reinforced with tape which is slightly visible at extreme edges in current frame. Scattered cracquelure throughout the canvas. There are a few fibers stuck to the canvas at lower left. Under UV light, scattered retouches visible along upper edge and lower edge towards left corner to address prior frame abrasions. There are also two nailhead sized retouches in the orange dress near lower left and one just above the head of woman in blue at lower left, as well as some tiny pindot retouches in face. Otherwise fine.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
Anne Fonjalles, Paris (acquired from the artist)
Sale: Christie's, London, April 3, 1990, lot 361
Sale: Loudmer Scp., Paris, June 16, 1990, lot 102
Private Collection, Switzerland (and sold: Sotheby's, London, June 25, 1997, lot 329)
Private Collection, Europe (acquired at the above sale)
Acquired from the above in 2015
Anatole Jakovsky, André Lhote, Paris, 1947, no. 26, illustrated n.p.
Lyon, Hommage à André Lhote, 1962, n.n.
A celebration of French culture conveyed through Cubist principles, 14 Juillet en Avignon represents what Lhote deemed the “return to order” following the devastation of World War I. Cubism had been criticized for its overt anti-establishment aesthetic and adjacency to a Germanic conventionality which the French ultimately blamed for the War, but Lhote saw a mode through which the aesthetic could be seen in line with core Francophone values. In a letter from Lhote to the intellectual Jacques Rivière in 1913, he “sent a chart demonstrating how Cubism had resumed the most important essentials of the primitives, the Renaissance and the school of David, about which Rivière had just written in NRF. In the same letter he explained that the mistake of the Impressionists was not in attempting to fix a sensation, but it not knowing how to bring this into the tradition” (Jane Lee, ed. Malcolm Glee, Art Criticism Since 1900, London, 1993, p. 87). Lhote’s decisive belief that the artist had a moral obligation to embrace historical French culture is nowhere as outwardly asserted as in 14 Juillet en Avignon. Presented with the inhabitants of a provincial French village in the midst of Independence Day celebrations in the style of Salon Cubism, we see sharp lines consistent with Medieval French architecture, further integrating notions of French historical patrimoine. One of multiple undertakings of this subject, two other versions of the present work are held in the collections of the Musée national d'art moderne, Centre Georges Pompidou, Paris and the Musée des beaux-arts, Paris respectively.