Self portrait

細節

Leo Gestel (1881-1941)
Self portrait
signed and dated lower right Leo Gestel 13
charcoal heightened with white on paper
44 x 35 cm

來源

Mrs A. Gestel-Overtoom, Blaricum
Anon. sale Amsterdam, Paul Brandt
Kunsthandel Monet, Amsterdam
Kunsthandel Lambert Tegenbosch, Heusden aan de Maas
Kunsthandel Willem Rueb, Amsterdam, from whom acquired by the parents of the present owner

出版

N.H. Wolf, in De Kunst 1913, p. 369, no. 268 (ill.)
A.B. Loosjes-Terpstra, Moderne kunst in Nederland 1900-1914, Utrecht 1987 (1959), p. 143
A. Venema, De Bergense School, Baarn 1976, p. 65 (ill.)

展覽

The Hague, Kunstzaal Schüller en Eissenloeffel, Tentoonstelling van Schilderijen en Teekeningen van Leo Gestel, 1913, no. 70 (ill. in catalogue)
Deurne, Museum Dinghuis, 1975-1976, no. 25
Warmenhuizen, Oude Ursulakerk, Tentoonstelling landschappen van Leo Gestel, 1977, no. 1 (ill. in catalogue)
Woerden, Gemeentemuseum Woerden, Tentoonstelling werken van Leo Gestel, 1979, no. 37 (ill. in catalogue)
Deurne, Museum De Wieger, Honderd jaar later, 1981
The Hague, Kunsthandel Ivo Bouwman, Leo Gestel, 1981, no. 18 (ill. in catalogue)
Haarlem/Den Bosch, Frans Halsmuseum/Noordbrabants Museum, Leo Gestel als modernist; werk uit de periode 1880-1941, 1983, no. 31 (ill. in catalogue)

注意事項

Christie's charge a buyer's premium of 20% (VAT inclusive) for this lot.

拍場告示

Please note that the catalogue note of the present lot erroneously refers to another, almost indentical selfportrait of Leo Gestel. Please note that the entry of the lot should read:
Provenance:
Mr H.A. Frank, Blonay (Switzerland), thence by descent

拍品專文

The present self portrait dated 1913, is one of the most radical and successful efforts of Gestel's cubist working method from the period 1912-1914, the same period of his famous Mallorca journey. After having abandoned the so-called luminist style in 1911, he explored new schemes of form and colour, mainly deriving from contemporary west European art. A.B. Loosjes-Terpstra describes Gestel's style of that time: "However close he would come to total abstraction, forms would always serve the -very interiorised- representation of a certain subject: portrait, landscape or still life. (...) A cubism of forms inspired by Cézanne takes turns with a cubism of spaces, and during that same period he is inspired by futurism and simultaneism. To start with, both Cézanne's form exploration and cubism resulted in Gestel leaving his 'flat style', in which he missed the sensation of the spatial. "Cézanne taught him to see large fields" as Van der Pluym later recalled. "Gestel will now analyse the form into neighbouring fields, in which he will accentuate these fields with a refined and sharp style of drawing (...)," according to Gestel's friend J. Slagter. And he goes on: "he was more or less about to anatomise forms geometrically (segments) and thus tried to express the idea of space, not by perceiving nature as some sort of theatre stage with side wings, but by shifting the broken fields next to each other, indeed resulting in the suggestion of space without the help of perspective, light or atmosphere!"(...) In 1913 he applied his new cubist style in a 'seated woman' (now in the Stedelijk Van Abbemuseum, Eindhoven, inv.no. 1.0131) and, more radical, in the drawing 'self portrait' from the same period.(...) Since his works from 1913, Gestel is widely known as a cubist in our country, and, besides Sluijters, as one of the two most important moderns." (op.cit. Loosjes-Terpstra in exh.cat. Haarlem/Den Bosch, p. 12-15)