THÉO VAN RYSSELBERGHE | Faux-poivriers et abutilon

Galerie Georges Giroux, Brussels
Lucien Hauman (acquired from the above in 1921)
Mlle Hauman, Brussels
Thence by descent to the present owner

Paris, Galerie Druet, Théo van Rysselberghe, 1913, no. 30 (titled Abutilon et faux poivrier)
Laren, Larense Kunsthandel, Théo van Rysselberghe, 1913, no. 54 (titled Abutilon et faux-poivrier)
Brussels, Galerie Georges Giroux, Esthétique Nouvelle, 1921, no. 205 (titled Bouquet de faux-poivriers et d'abutilon)
Brussels, Galerie Giroux, Rétrospective Théo van Rysselberghe, 1927, no. 67 (titled Faux-poivriers et abutilons)
Copenhagen, Carlsberg Glyptotek, Belgisk Kunst, 1931, no. 172 (titled Poivrier et Abutilon)
Brussels, Palais des Beaux-Arts & The Hague, Gemeentemuseum Den Haag, Théo van Rysselberghe, 2006, n.n., illustrated in the catalogue

Ronald Feltkamp, Théo Van Rysselberghe, Catalogue raisonné 1862-1926, Paris, 2003, no. 1913-018, illustrated p. 406 (titled Abutilon, faux-poivriers et hibiscus)

Executed on board. The board is sound with a slight convex bow. Examination under UV light reveals no signs of retouching. The edges are uneven with nicks and small losses in places. There are artist's pinholes in all four corners and at intermittent points along each edge. There are three fine surface scratches towards the centre of the lower edge. There a few scattered spots of pigment loss in places, most noticeably to the lower right edge, towards the lower left corner and above the artist's monogram. There are a few smaller specks of paint loss in the green pigment of the bouquet. This work is in overall 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."

Faux-poivriers et abutilon demonstrates a remarkable technical mastery that corresponds to a new period of maturity. As Paul Fierens describes: "Around 1900, Van Rysselberghe’s art began to loosen up. The colourist gradually abandoned the orthodoxy of Neo-impressionism.[...] He made his mark by combining pure shades of colour with a new freedom. [...] He no longer seemed to look towards anything except his own instinct and senses when choosing hues and the impact of colours, as well as in the arrangement of lines." (Paul Fierens, Théo Van Rysselberghe, Brussels, 1937, p. 27).
Lucien Hauman, the famous Belgian botanist, was the first collector to own this work. Several species of plants are named after him, as are the botanical gardens at the University of Buenos Aires.

The authenticity of this work has been confirmed by Olivier Bertrand and it will be included in his forthcoming Catalogue raisonné.