LOT DETAILS

Materials:

oil on canvas

Measurements:

23.62 in. (60.00 cm.) (height) by 31.50 in. (80.00 cm.) (width)

Markings:

signed with the artist's monogram and dated '1894' (lower left)

Exhibited:

Dresden, Internationale Kunst Ausstellung, September 1897, no. 657. Brussels, La Libre Esthétique, February - April 1898, no. 385. Vienna, Sezession, 1898 (not included in the catalogue). Brussels, Galerie Giroux, Théo van Rysselberghe, March 1922, no. 66. Brussels, Galerie Giroux, Théo van Rysselberghe: Exposition d'ensemble, November - December 1927, no. 27. Brussels, Galerie Giroux, Theéo van Rysselberghe, 1937. Ghent, Museum voor Shone Kunsten, Rétrospective Théo van Rysselberghe, July - September 1962, no. 62. New York, The Solomon R. Guggenheim Museum, Neo-Impressionism February - April 1968, no. 138, p. 186 (illustrated). London, Royal Academy of Arts, Post-Impressionism, Cross Currents in European Painting, November 1979 - March 1980, no. 411; this exhibition later travelled to Washington D.C., National Gallery of Art, May - September 1980. Ghent, Museum voor Schone Kunsten, Het landschap in de Belgische kunst, 1830-1914, October - December 1980, no. 225. Ghent, Museum voor Schone Kunsten, Théo van Rysselberghe, néo-impressioniste, March - June 1993, no. 48. London, Royal Academy of Arts, Impressionism to Symbolism: The Belgian avant-garde 1880-1900, July - October 1994, no. 74. Amsterdam, van Gogh Museum, The origins of art nouveau: the Bing empire, November 2004 - February 2005; this exhibition later travelled to Munich, Museum Villa Stuck, March - July 2005, Barcelona, The Caixa Forum, September - January 2006 and Paris, Musée des arts décoratifs, March - July 2006.

Literature:

L'Art Moderne, 13 March 1893. O. Maus, letter of 13 March 1898. T. van Rysselberghe, letter to O. Maus, 1898. E. Verhaeren, 'Théo van Rysselberghe' in Ver Sacrum, vol. II, Vienna, 1899, p. 9. M.O. Maus, Trente Années de lutte pour l'art, Les XX La Libre Esthétique 1884-1914, Brussels, 1926, p. 228. G. van Zype, 'Théo van Rysselberghe' in Annuaire de l'Académie Royale de Belgique, Brussels, 1932, p. 131. M.J. Chartrain-Hebbelinck, 'Le groupe des XX et La libre Esthétique' in RBAHA, vol. XXXIV, no. 1-2, 1965, p. 117. M.J. Chartrain-Hebbelinck, 'Les lettres de Théo van Rysselberghe à O. Maus' in Bulletin des Musées Royaux des Beaux-Arts, vol. XV, 1966, no. 1-2, pp. 55-130. A.M. Damigella, L'impressionismo fuori di Francia, Milan, 1967 (illustrated, pl. VIII). S. Venturi, Le pointillisme, Milan, 1991. W. Januszczak, 'Turn a dark eye' in The Sunday Times - The Culture, London, 1994, p. 29 (illustrated pp. 28-29). S. Mund, 'La cote de l'artiste Théo van Rysselberghe' in Arts Antiques Auctions, June 2001. R. Feltkamp, Théo van Rysselbergh, 1862-1926, Brussels, 2003, no. 1894-006, p. 304 (illustrated pp. 17 and 304, John Dorrance provenance incorrectly named 'John Porrance').

Provenance:

Auguste Weber, Luxembourg. Mr & Mrs Hugo Perls, New York, by 1962. Private collection, New York. Acquavella Galleries, Inc., New York. John T. Dorrance Jr., Pennsylvania, by whom acquired from the above on 20 February 1970; sale, Sotheby's, New York, 18 October 1989, lot 34. Acquired at the above sale by the present owner.