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拍品專文
The landscape, La Seine du Balcon, a view taken from the Hôtel du Quai Voltaire, confirms that Bonnard and his circle were a primary source of inspiration to Sickert at this period. It is unique among Sickert's landscapes in the decorative formality of it's conception; the horizontal planar arrangement of balcony, embankment, and river are made to read as bands climbing the surface rather than receding into depth; the surface pattern created by these bands is dominated by the decorative iron-work motif of the balcony which covers over half the picture, while in the upper segment Sickert forces the interest to remain on the surface with the verticals of the trees and the quaint little frontal figures. The artificial decorative stylization of this landspace is wholly within the Nabi manner. (op. cit. pp. 93 - 94).
Sickert painted few townscapes in Paris. This rare example is a view from the Hôtel du Quai Voltaire, probably painted when Sickert stayed there during the autumn to winter 1906. According to the annotated catalogue of the Hôtel Drouot sale in 1909, lot 49 was bought by someone called Griffith. This might well have been Frank Griffith who was at the time studying at L'École de la Palette in Paris and was later to be a pupil of Sickert's at Rowlandson House. (op. cit., p. 351).
W.B.
Sickert painted few townscapes in Paris. This rare example is a view from the Hôtel du Quai Voltaire, probably painted when Sickert stayed there during the autumn to winter 1906. According to the annotated catalogue of the Hôtel Drouot sale in 1909, lot 49 was bought by someone called Griffith. This might well have been Frank Griffith who was at the time studying at L'École de la Palette in Paris and was later to be a pupil of Sickert's at Rowlandson House. (op. cit., p. 351).
W.B.