Félix Vallotton (1865-1925) - photo 1
Félix Vallotton (1865-1925) - photo 2
Félix Vallotton (1865-1925) - photo 3
Félix Vallotton (1865-1925) - photo 4

Félix Vallotton (1865-1925)

Lot 127
20.10.2023 14:30UTC +01:00
Classic
Sold
€ 126 000
AuctioneerCHRISTIE'S
Event locationFrance, Paris
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Archive
ID 1051683
Lot 127 | Félix Vallotton (1865-1925)
Estimate value
€ 180 000 – 250 000
Félix Vallotton (1865-1925)

Gabrielle Vallotton assise dans un rocking chair

signé et daté 'F. VALLOTTON. 02' (en bas à droite)

huile sur carton monté sur panneau parqueté

46 x 59.1 cm.

Peint à Cricqueboeuf en 1902



signed and dated 'F. VALLOTTON. 02' (lower right)

oil on board mounted on cradled panel

18 1⁄8 x 23 ¼ in.

Painted in Cricqueboeuf in 1902





Provenance

Alexandre Bernheim-Jeune, Paris (acquis auprès de l’artiste en 1902).

Galerie Beyeler, Bâle.

Galerie Moos, Genève (en 1954).

Silvan Kocher, Solothurn; vente, Christie's, Londres, 24 juin 1986, lot 122.

Sam Josefowitz, Pully (acquis au cours de cette vente).

Puis par descendance aux propriétaires actuels.



Literature

F. Vallotton, Livre de raison, no. LRZ 495 (titré ‘Portr de ma femme assise dans un rocking’) reproduit in H. Hahnloser-Bühler, Félix Vallotton et ses amis, Paris, 1936, p. 286.

I. de la Brunière et P. Grapeloup-Roche, ‘Vallotton and the Camera, Art and the Science of Photography’, in Apollo, vol. 138, No. 388, juin 1994, p. 20, fig. 6.

Le très singulier Vallotton, cat. exp., Musée des Beaux-Arts, Lyon et Musée Cantini, Marseille, 2001, p. 116.

M. Ducrey, Félix Vallotton, L'œuvre peint, Catalogue raisonné, Première partie, 1878-1909, Zurich et Lausanne, 2005, vol. II, p. 271, no. 440 (illustré en couleurs).



Exhibited

Berlin, Katalog der Neunten Kunstausstellung der Berliner Secession, 1904, p. 32, no. 220 (titré 'Dame mit Strickstrumpf').

New Haven, Yale University Art Gallery; Houston, Museum of Fine Arts; Indianapolis, The Indianapolis Museum of Art; Amsterdam, Van Gogh Museum et Lausanne, Musée Cantonal des Beaux-Arts, Félix Vallotton, A Retrospective, octobre 1991-janvier 1993, p. 299 (illustré en couleurs, p. 152, pl. 182).

Saint-Tropez, Musée de l'Annonciade, Félix Vallotton, mars-juin 1995, p. 105, no. 37 (illustré en couleurs, p. 37, fig. 4b).

Londres, Royal Academy of Arts, From Manet to Gauguin, Masterpieces from the Swiss Private Collections, juin-octobre 1995, no. 168 (hors catalogue).

Florence, Palazzo Corsini et Montréal, Musée des Beaux-Arts de Montréal, Le temps des Nabis, mars-novembre 1998, p. 113, no. 147 (illustré et illustré en couleurs, p. 62).

San Francisco, San Francisco Museum of Modern Art et Dallas, Dallas Museum of Art, The Artist and the Camera, Degas to Picasso, octobre 1999-mai 2000, p. 227 et 319, no. 353 (illustré en couleurs, p. 226).

Cleveland, Cleveland Museum of Art et Portland, Portland Art Museum, Private Lives, Home and Family in the Art of the Nabis,Paris, 1889-1900, juillet 2021-janvier 2022, p. 73 et 267, no. 17 (illustré en couleurs, p. 73).



Further details

Félix Vallotton a peint ce portrait représentant son épouse, Gabrielle, pendant leur séjour de 2 mois avec la famille Hessel dans la magnifique villa «Les Etincelles». Le peintre a aussi peint pendant cette période deux autres portraits d’Edouard Vuillard qui faisait également partie des hôtes au même moment.
Maître dans l’art du portrait, Félix Vallotton en avait fait son fonds de commerce dès son arrivée à Paris. C’est par ce biais qu’il réussit à se faire connaître, produisant des toiles imitant les maîtres anciens mais surtout parvenant à déceler le caractère de la personne représentée, tout en neutralité. Vallotton, avec son regard pénétrant, toise son modèle de haut en bas, et décide de rester le plus fidèle possible à ce qu’il voit. Ce n’est que plus tard, en observant des tableaux de Rembrandt, que Vallotton a une révélation: désormais, ses portraits sont moins lisses mais plus humains, et il n’hésite pas à y faire surgir un peu de lui-même.
Habitué aux nus, Vallotton réalise pourtant de nombreux portraits de sa femme sous une autre forme d’intimité. Il s’agit de représentations tendres, personnelles, comme dans le présent tableau où Gabrielle est représentée assise sur un rocking-chair, en train de tricoter, se retournant en souriant vers le spectateur – ou plutôt son mari – comme s’il venait de l’appeler. Vallotton réalisa d’autres œuvre du même style, représentant à chaque fois son épouse Gabrielle dans son quotidien: en train de se faire les ongles, de jouer du piano, à sa table de toilette… Lorsque l’artiste épouse Gabrielle en 1899, elle a dix-huit mois de plus que lui, est veuve et a déjà trois enfants. Mais elle est la fille d’Alexandre Bernheim et cette union permet à Vallotton de rapidement exposer ses toiles aux cimaises de ses nouveaux beaux-frères, grands marchands d’arts, Josse et Gaston Bernheim. Cependant, les deux jeunes époux sont amis et s’aiment.
En 1905, un nouveau revirement fera changer l’artiste de perspective, qui abandonne alors le portrait traditionnel pour ce qu’il appelle des «simili- portraits», représentant des figures anonymes. Vallotton continuera cependant à peindre sa femme, le dernier portrait de Gabrielle datant de 1908.

Félix Vallotton painted the present portrait of his wife, Gabrielle, during their two-month stay with the Hessel family at their magnificent villa “Les Etincelles”. The painter also completed two portraits of Edouard Vuillard during this period, who was also a house-guest at this time.
A master in the art of portraiture, Félix Vallotton made it his business from the moment he arrived in Paris. It was through this medium that he made a name for himself, producing paintings were inspired by the old masters but above all succeeded in capturing the character of the person portrayed, while remaining neutral. Vallotton, with his penetrating gaze, would look his models up and down, and remain as faithful as possible to what he saw. It was only later, while studying some of Rembrandt's paintings, that Vallotton had a revelation: from then on, his portraits would be less slick and more human, and he would not hesitate to bring out a little of himself in them.
Whilst the female nude was a common subject for Vallotton, he painted many portraits of his wife under the lens of a different form of intimacy. These were tender, personal depictions, as in the present painting, in which Gabrielle is shown sitting in a rocking chair, knitting, turning and smiling at the viewer - or rather her husband - as if he had just called out to her. Vallotton produced other works in the same style, each time depicting his wife Gabrielle engaged in everyday activities: doing her nails, playing the piano, at her dressing table… When the artist married Gabrielle in 1899, she was eighteen months his senior and a widow with three children. However, she was the daughter of Alexandre Bernheim, and this union soon enabled Vallotton to display his paintings on the walls of his new brothers-in-law, the great art dealers Josse and Gaston Bernheim. However, the young couple were friends and loved each other.
In 1905, the artist had another change of perspective, abandoning the traditional portrait for what he called 'mock-portraits', which depicted anonymous figures. Vallotton continued to paint his wife, however, the last portrait of Gabrielle dating to 1908.
Artist:Félix Vallotton (1865 - 1925)
Applied technique:Oil on canvas
Auction house category:Paintings
Address of auction CHRISTIE'S
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