拍品 164
  • 164

HENRI LE SIDANER | Le Vieux faune

估價
180,000 - 250,000 USD
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招標截止

描述

  • Henri Le Sidaner
  • Le Vieux faune
  • Signed LeSidaner (lower left)
  • Oil on canvas
  • 28 3/4 by 36 1/4 in.
  • 73 by 92 cm
  • Painted in Versailles in 1926.

來源

Galeries Georges Petit, Paris
Géo H. Davey, Paris
La Chêvre du Tibet, Paris & Geneva
Acquired from the above in 1987

展覽

Paris, Galeries Georges Petit, Exposition Le Sidaner, 1927, no. 26
Paris, Palais Galliera, Retrospective, 1998, no. 53

出版

Le Gaulois artistique, November 13, 1927, n.p.
Camille Mauclair, Henri Le Sidaner, Paris, 1928, p. 171
Yann Farinaux-Le Sidaner, Le Sidaner, L'Oeuvre peint et gravé, Paris, 1989, no. 585, illustrated p. 219

Condition

The canvas is unlined. The canvas is slightly undulating in the center of the in the center of the left edge and in the upper left corner. There are artist's pinholes in all four corners. The surface is richly textures and the colors are bright. Under UV light, some original pigments fluoresce but no inpainting is apparent. The work is in excellent 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

拍品資料及來源

Le Vieux faune represents Le Sidaner’s mature style, featuring elements from the several movements which characterized the arc of his career. This work likely references the grounds surrounding Le Sidaner’s cottage in the fortress town of Gerberoy, which he purchased in 1904. The modernizing influences can be seen in the vibrant color spectrum of this fall scene, particularly in the waters of the pond. The cool hues of the water stand in stark contrast to the yellows and oranges of the turning leaves. A Greco-Roman inspired sculpture of a faune in a meditative stance inhabits the foreground. This figure imbues Le Vieux faune with a sense of mystery, harkening to Le Sidaner’s Symbolist origins. Until this point in his career, the artist avoided all human presence in his work, as he “feared that [it] might disturb their muffled silence” (Camille Mauclair, op. cit., Paris, 1928, p. 31). The presence of the faune, therefore, makes this a rare example in the artist's oeuvre.

Le Sidaner's desire to escape from the urban bustle of Paris is well-documented. His choice to incorporate a classical figure in this idyllic natural scene exemplifies his yearning for a simpler time. The reflection of the foliage upon the pond just beyond the figure brings to mind Le Sidaner’s Impressionist peers, who were masters at capturing the effects of light on water. Indeed, Monet’s Giverny gardens were also north of Paris, not too distant from Le Sidaner’s home in Gerberoy. As Paul Signac stated, "Le Sidaner's entire work is influenced by a taste for tender, soft and silent atmospheres" (quoted in Yann Farinaux-Le Sidaner, op. cit., p. 31). While the sculpture in the work appears voluminous, Le Sidaner paints the rest of the scene with Divisionist brushwork. In this manner, the work is ephemeral, the specific time and place fleeting.