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Lot Essay
It has been suggested that the dedication on this work relates to the French actress Carmen de Villers who captivated audiences during the Belle Époque era.
Traditionally titled Claudea Elegans, this large and striking drawing, executed in a combination of watercolour, gouache and pastel, presents an allegorical depiction of the rich bounty of the sea. A similar subject appears in Clairin’s well-known painting La Grande Vague (The Great Wave), 1898 which was exhibited at the Salon des Artistes Français the same year. Also akin to this large drawing is a remarkable watercolour and gouache study of a nymph with a coral-like headdress, dated 1899 and dedicated by Clairin to the glass and jewellery designer René Lalique.
The work appears to be part of a corpus, mostly inspired by the sea and Clairin’s friendship with Sarah Bernhardt. The setting appears to be Belle Île, where Sarah Bernhardt created sculptures based on fish and algae. Clairin had introduced her to the island in 1893.
During the Exposition Universelle of 1900, Clairin designed the decor for Sarah’s stall where she was selling these sea related sculptures. Clairin chose to exhibit La Grande Vague (The Great Wave), 1898 which he had previously shown in the Salon alongside Sarah’s work at the Exposition Universelle.
When working on ideas around La Grande Vague, Clairin painted or drew several thematically linked works depicting female figures with a headdress of sea foam or seaweed, alongside chimeras of the sea.
Like many of Georges Clairin’s finished watercolours, this large sheet was almost certainly drawn as an independent work of art. Indeed, many of the artist’s most elaborate drawings and watercolours bear dedications to his friends and were presented to them as gifts, and the present sheet is no exception.
We are grateful to Jean-David Jumeaau-Lafond for his assistance in preparing this catalogue entry.
Traditionally titled Claudea Elegans, this large and striking drawing, executed in a combination of watercolour, gouache and pastel, presents an allegorical depiction of the rich bounty of the sea. A similar subject appears in Clairin’s well-known painting La Grande Vague (The Great Wave), 1898 which was exhibited at the Salon des Artistes Français the same year. Also akin to this large drawing is a remarkable watercolour and gouache study of a nymph with a coral-like headdress, dated 1899 and dedicated by Clairin to the glass and jewellery designer René Lalique.
The work appears to be part of a corpus, mostly inspired by the sea and Clairin’s friendship with Sarah Bernhardt. The setting appears to be Belle Île, where Sarah Bernhardt created sculptures based on fish and algae. Clairin had introduced her to the island in 1893.
During the Exposition Universelle of 1900, Clairin designed the decor for Sarah’s stall where she was selling these sea related sculptures. Clairin chose to exhibit La Grande Vague (The Great Wave), 1898 which he had previously shown in the Salon alongside Sarah’s work at the Exposition Universelle.
When working on ideas around La Grande Vague, Clairin painted or drew several thematically linked works depicting female figures with a headdress of sea foam or seaweed, alongside chimeras of the sea.
Like many of Georges Clairin’s finished watercolours, this large sheet was almost certainly drawn as an independent work of art. Indeed, many of the artist’s most elaborate drawings and watercolours bear dedications to his friends and were presented to them as gifts, and the present sheet is no exception.
We are grateful to Jean-David Jumeaau-Lafond for his assistance in preparing this catalogue entry.