Eva Gonzalès (1849-1883)
These lots have been imported from outside the EU … Read more PROPERTY FROM A EUROPEAN PRIVATE COLLECTION 
Eva Gonzalès (1849-1883)

La lecture au jardin (Femme au chapeau rouge)

Eva Gonzalès (1849-1883)
La lecture au jardin (Femme au chapeau rouge)
stamped with the signature 'Eva Gonzalès' (upper left)
pastel and charcoal on canvas
15 1/8 x 21 3/4 in. (38.3 x 55.2 cm.)
Executed circa 1880-1882
Sauvage, by 1885.
Jeanne Guérard-Gonzalès, Paris, by 1907.
Jean-Raymond Guérard, Paris, by 1924, until at least 1952.
M. Knoedler & Co., Inc., New York.
Woolworth collection, United States.
Galerie Hopkins-Thomas, Paris.
Private collection, Belgium, by whom acquired in 1991; sale, Christie's, London, 23 June 2009, lot 5.
Acquired at the above sale by the present owner.
L. Hautecoeur, 'Exposition Eva Gonzalès', in La chronique des arts et de la curiosité, no. 15, 11 April 1914, p. 115.
F. Monod, 'L'impressionnisme féminin', in Art et Décoration, supplément, May 1914, p. 3.
M.C. Sainsaulieu, Eva Gonzalès, 1849-1883, étude critique et catalogue raisonné, Paris, 1990, no. 115, pp. 248 & 277 (illustrated p. 249 and in a photograph p. 276).
'The Women Stars of Impressionism', in International Herald Tribune, 16-17 October 1993, p. 9.
La Gazette de l'Hôtel Drouot, no. 38, 22 October 1993, p. 89.
P. Piguet, 'Impressions de femmes', in La croix l'événement, 23 November 1993.
Paris, Salons de La vie moderne, Exposition-rétrospective d'Eva Gonzalès, January 1885, no. 85.
Paris, Grand Palais des Champs-Elysées, Salon d'automne, October 1907, no. 15 (titled 'Le chapeau rouge').
Paris, Galerie Bernheim-Jeune, Eva Gonzalès, May - June 1914, no. 28 (titled 'Le chapeau rouge').
Paris, Galerie Alfred Daber, Eva Gonzalès, March - April 1950, no. 16 (titled 'La femme au chapeau rouge').
Monaco, Le Sporting d'Hiver, Eva Gonzalès, March 1952, no. 27 (titled 'Le chapeau rouge').
Paris, Galerie Alfred Daber, Eva Gonzalès, May - June 1959, no. 28 (titled 'La femme au chapeau rouge').
Paris, Musée Marmottan, Les femmes impressionnistes, October - December 1993, no. 50 (illustrated; illustrated on the exhibition poster).
Frankfurt, Schirn Kunsthalle, Impressionistinnen: Berthe Morisot, Mary Cassatt, Eva Gonzalès, Marie Bracquemond, February - June 2008 (illustrated p. 213); this exhibition later travelled to San Francisco, Fine Arts Museums, June - September 2008.
Special notice
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

Brought to you by

Anna Povejsilova
Anna Povejsilova

Lot Essay

La lecture au jardin (Femme au chapeau rouge) is an exquisite example of Eva Gonzalès’s artistic skill. Executed in the first years of the 1880s, shortly before Gonzalès’s untimely death in 1883, La lecture au jardin (Femme au chapeau rouge) dates from the height of the artist’s career. With vibrant colour, Gonzalès has depicted a woman reading in a garden, capturing a sense of lightness and spontaneity, accentuated through her deft use of pastel. The contrast between the bursts of red of the lady’s hat and umbrella, with the verdant tones of the green foliage, create a strikingly bold and unified composition, which demonstrates Gonzalès’s daring and innovative artistic tendencies.

The spontaneous style of La lecture au jardin (Femme au chapeau rouge) is evocative of Gonzalès’s teacher, Edouard Manet. Gonzalès was the only official pupil of Manet, and remained deeply devoted to him. Following his advice, Gonzalès decided not to exhibit in the momentous Impressionist group exhibitions that began in 1874, and instead pursued recognition and acceptance at the annual Salon exhibitions. The rapidly applied strokes of colour in La lecture au jardin (Femme au chapeau rouge) are reminiscent of the painterly style that Manet developed in the 1870s. Gonzalès’s choice of contemporary subject matter, as well as the strong contrasts of light and colour that her work displays, is a clear example of Manet’s influence on her artistic style.

The woman in La lecture au jardin (Femme au chapeau rouge) was Jeanne Guérard-Gonzalès, the artist’s sister, to whom the present picture once belonged. Like her female Impressionist counterparts, Mary Cassatt and Berthe Morisot, Gonzalès most frequently depicted women within domestic settings or outside, ‘en plein air’, so revealing a glimpse into her nineteenth-century Parisian world. After Gonzalès died in 1883, just days after giving birth to her son, Jeanne married Gonzalès’s widower, Henri Guérard, and brought up her son, Jean-Raymond, as her own.

La lecture au jardin (Femme au chapeau rouge) has been exhibited widely; in 1885, it was included in a large posthumous retrospective of Gonzalès's work, which received great acclaim. Nearly a century later, in 1993, La lecture au jardin (Femme au chapeau rouge) was one of the highlights of the seminal exhibition, Les femmes impressionnistes, held at the Musée Marmottan, Paris.

More from Impressionist/Modern Evening Sale

View All
View All