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Paul Cézanne (1839-1906)

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Paul Cézanne (1839-1906)

Coin du Lac d'Annecy (recto); Etudes de barque et figures (verso)

Details
Paul Cézanne (1839-1906) Coin du Lac d'Annecy (recto); Etudes de barque et figures (verso) watercolour and pencil on paper (recto); pencil on paper (verso) 11¾ x 17 in. (29.8 x 43.1 cm.) Executed in 1896
Provenance
Paul Cézanne fils, Paris.
With Galerie Bernheim-Jeune, Paris.
With Montross Gallery, New York.
Miss Anna C. Pellew, London; Hôtel Drouot, Paris, 6-7 July 1928, lot 98.
With Galerie Bernheim-Jeune, Paris.
Georges Bernheim, Paris; Galerie Charpentier, Paris, 7 June 1935, lot 2.
Anonymous sale; Hôtel Drouot, Paris, 15 June 1938, lot 3.
Anonymous sale; Galerie Motte, Geneva, December 1954.
Bella Hein, Paris.
With Frank Perls, Beverly Hills.
Anonymous sale; Galerie Motte, Geneva, 16 June 1972, lot 50.
Anonymous sale; Sotheby's, London, 29 June 1977, lot 217 (to Dreesmann).
Dr Anton C.R. Dreesmann (inventory no. C-71).
Literature
Anonymous [A. Hoeber], 'Art and Artists', New York Globe and Commercial Advertiser, 3 March 1911, p. 10.
W.H. Wright, International Studio, Feb. 1916, p. CXXX.
L. Venturi, Paul Cézanne, son art-son oeuvre, Paris, 1936, no. 964.
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, vol. I, London, 1973, no. 1173 (illustrated vol. II).
J. Rewald, Paul Cézanne, The Watercolours, London, 1983, no. 472 (illustrated).
Exhibited
New York, Photo Secession Gallery, 1911, no. 2.
New York, Montross Gallery, 1916, no. 33 (as 'The Boat').
New York, Museum of the French Institute, Cézanne, Redon and others, 1921, no. 14.
Paris, Galerie Bernheim-Jeune, 40 Aquarelles par Cézanne, April-May 1938.
London, Knoedler Galleries, Exhibition of Old Masters, Impressionist & Contemporary Drawings, June-July 1958, no. 26.
Special Notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

In the summer of 1896, Cézanne stayed for several months at Talloires. The spectacular scenery around the Lac d'Annecy won his admiration, despite his homesick grumblings - writing to Philippe Solari in July, he said, 'I paint to divert myself... the lake is very nice with the big hills all round, two thousand metres or so they say, it is not worth our country although without exaggeration it is fine. - But when one was born down there, it is of no use, nothing else seems to mean anything' (cited in J. Rewald (ed.), Paul Cézanne Letters, London, 1941, pp. 200-01). Despite this admission, Cézanne executed a series of watercolours around the lake, many of which were taken by his son and sold by agreement to Ambroise Vollard, Cézanne's main dealer, friend, biographer and one of the few sitters in a named portrait by the artist.

Cézanne was working with renewed kudos, having had his first ever one-man show the previous year with Vollard. This is evident in the confident treatment of the lake and shore, which have been rendered in as few strokes as possible. Most of the picture remains almost untouched by the artist, although he has still managed to capture a sense of the lake and its stillness without resorting to the too obvious use of blues for the water. Indeed, the only significant use of watercolour in painting the water is in the shimmering reflections of the shore. Cézanne thus adds to the visual effect of Coin du Lac d'Annecy by only using his watercolours to capture the solid bank and land, contrasting the colours with the uncoloured spaces that capture both the receding mountains in the summer haze and the essence of the translucent water in the lake.

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