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122

Ignacio Zuloaga

Portrait of Mrs Kerrigan | Portrait de Madame Kerrigan

Property from a European Private Collection | Provenant d'une collection particulière européenne

Ignacio Zuloaga

Ignacio Zuloaga

Portrait of Mrs Kerrigan | Portrait de Madame Kerrigan

Portrait of Mrs Kerrigan | Portrait de Madame Kerrigan

Ignacio Zuloaga

Eibar 1870 - 1945 Madrid

Portrait of Mrs Kerrigan


Black chalk, stumping heightened with white on canvas

Signed lower left I. Zuloaga

175,6 x 121 cm ; 69 ½ by 47 ⅝ in.

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Ignacio Zuloaga

Eibar 1870 - 1945 Madrid

Portrait de Madame Kerrigan


Pierre noire, estompe et rehauts de blanc sur toile

Signé en bas à gauche I. Zuloaga

175,6 x 121 cm ; 69 ½ by 47 ⅝ in.

For further information on the condition of this lot please contact clemence.enriquez@sothebys.com

 

Please note: Condition XVI of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. (Veuillez noter que l'Article XVI des Conditions Générales de Vente applicables aux Vendeurs (Ventes Effectuées Exclusivement en Ligne) n'est pas applicable pour ce lot.)


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.

Ignacio Zuloaga collection;

Thence by descent to the present owner.

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Collection Ignacio Zuloaga ;

Par descendance au propriétaire actuel.

E. Lafuente-Ferrari, La vida y el arte de Ignacio Zuloaga, Barcelona 1990, p. 519, no.579.

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E. Lafuente-Ferrari, La vida y el arte de Ignacio Zuloaga, Barcelone, 1990, p. 519, n° 579.

Zuloaga was highly regarded in the USA, where many of his paintings were displayed in the museums and galleries of several of the country’s large cities. John Singer Sargent wrote the preface for the catalogue of an exhibition devoted to him in New York in 1916.

In the 1890s, Zuloaga launched his career as a portrait painter, a genre in which he soon excelled. He received so many commissions that unfortunately he could not honour them all. The Kerrigans, one of the wealthy American families who admired his work, provided him with financial support for his painting in the USA. Mrs Kerrigan, wife of a rich Chicago cereal farmer, came from a family of artists: her grandfather was the American painter Morris Hunt, while her great-great uncle was also a painter and her great-uncle was the famous architect Richart Hunt.

The artist’s catalogue raisonné mentions two portraits of Mrs Kerrigan: one bust-length, painted in 1925 and reproduced in Vanity Fair that same year (November 1925), now in the Hispanic Society of America, New York (inv. A3093); the other seated full-length, painted in 1929 – for which the present drawing is a preparatory sketch.

It is interesting to note that there is a drawing by Zuloaga depicting The Gypsy Agustina in the Metropolitan Museum, New York (inv. 1975.1.981), formerly in the Robert Lehman collection, which is dedicated to ‘Señora de Kerrigan’ – evidence of the warm relationship between the artist and his model.

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Zuloaga jouissait d'une grande renommée aux États-Unis, où un grand nombre de ses tableaux étaient exposés dans des musées et des galeries de plusieurs grandes villes des Etats-Unis. John Singer Sargent a d’ailleurs rédigé la préface pour le catalogue d’une exposition qui lui était consacré en 1916 à New York.

Dans les années 1890, Zuloaga entame sa carrière de portraitiste, genre dans lequel il excelle rapidement et qui lui vaudra de recevoir de nombreuses commandes qu’il ne pourra malheureusement pas toutes honorer. La famille Kerrigan fit partie des familles fortunées des Etats Unis qui appréciaient son travail et soutenaient financièrement sa peinture outre atlantique. Madame Kerrigan, marié à un riche céréalier de Chicago, appartenait à une famille d’artistes, son grand père était Morris Hunt, peintre américain tout comme son arrière grand oncle, son grand oncle était le célèbre architecte Richart Hunt

Le catalogue raisonné de l’artiste fait mention de deux portraits de Mrs Kerrigan par l’artiste l’un en buste réalisé en 1925, conservé aujourd’hui à la Hispanic Society of America à New York (A3093), et reproduit dans Vanity fair la même année (novembre 1925), l’autre en pied, assise, réalisé en 1929 pour lequel notre dessin est préparatoire.

On notera qu’est conservé au MET à New York un dessin de Zuloaga, anciennement dans la collection de Robert Lehman, représentant La gitane Agustina et dédicacé à la "Señora de Kerrigan" (1975.1.981) témoignant des rapports cordiaux entre l’artiste et son modèle.