17
PAUL DELVAUX (1897-1994) La Vénus endormie signed and dated “P. DELVAUX 10-43” (lower right) oil...
Currency:USD
Category:Everything Else / Other
Start Price:NA
Estimated At:1,500,000.00 - 2,000,000.00 USD
NOT SOLD (BIDDING OVER)
0.00USD+ applicable fees & taxes.
This item WAS NOT SOLD. Auction date was 2002 Jun 24 @ 07:00UTC-08:00 : PST/AKDT
PAUL DELVAUX
(1897-1994)
La Vénus endormie
signed and dated “P. DELVAUX 10-43” (lower right)
oil on canvas
74 x 158 cm (29 1⁄8 x 62 1⁄8 in.)
painted in 1943
Estimate: £1,000,000–1,400,000
$1,500,000–2,000,000
Provenance
Robert Giron, Brussels
Roger Vanthournout, Belgium (by 1973)
Acquired from the above by the present owner
Exhibited
Brussels, Palais des Beaux-Arts, Delvaux Rétrospective, December 16, 1944-January 14, 1945, no. 36
Charleroi, Salle de la Bourse, XXXIe Salon du Cercle royal Artistique et Littéraire de Charleroi: Rétrospective Paul Delvaux, March 23-April 11, 1957, no. 47
Lille, Palais des Beaux-Arts, Exposition rétrospective des oeuvres de Paul Delvaux, November 9-December 31, 1966, no. 18 (illustrated; dated 1944)
Rotterdam, Museum Boymans-van Beuningen, Paul Delvaux, April 13-June 17, 1973, pp. 16-17, no. 29 (illustrated, pp. 67 and 131)
Knokke-Heist, Casino, Retrospective Paul Delvaux, June 23-September 2, 1973, pp. 21 and 125, no. 23 (illustrated)
Ostend, Museum voor Moderne Kunst, From Ensor to Delvaux, May 10, 1996-February 2, 1997, p. 66 (illustrated in colour, p. 352)
Brussels, Royal Museum of Fine Arts of Belgium, Paul Delvaux 1897-1994, March 21-July 27, 1997, p. 25, no. 52 (illustrated in colour, p. 109)
Himeji, Himeji City Museum of Art; Sakura, Sakura City Museum of Art; Tokyo, Isetan Museum of Art; Osaka, Daimaru Museum, and Okazaki, Okazaki City Museum, From Ensor to Delvaux, October 7, 2000-April 22, 2001, pp. 156-157, no. 69 (illustrated)
Literature
Armand Eggermont, “Les Arts Plastiques,” Le Thyrse, Brussels, February 15, 1945, p. 53
René Gaffé, Paul Delvaux ou les rêves éveillés, Brussels, 1945, p. 34 (illustrated, pl. 18)
Claude L. Spaak, Paul Delvaux, Monographies de l’art belge, Antwerp, 1948, pp. 5 and 10 (illustrated, pl. 11)
XXXVe Salon du Cercle royal Artistique et Littéraire de Charleroi, exh. cat., Palais des Beaux-Arts, Charleroi, 1961 (illustrated)
Rétrospective Paul Delvaux, exh. cat., Galerie Krugier, Geneva, September-October 1966 (illustrated)
Paul-Aloïse De Bock, Paul Delvaux. L’Homme.
Le Peintre. Psychologie d’un Art,Brussels, 1967, p. 292, no. 58 (illustrated, p. 120)
José Vovelle, Le Surréalisme en Belgique, Brussels, 1972, p. 188
Peter Sager, “Paul Delvaux,” Das Kunstwerk, Stuttgart, May 1973, vol. XXVI, p. 41
“Ausstellungen: Paul Delvaux tentoonstelling 14 april-17 juni,” Bulletin Museum Boymans-Van Beuningen, Rotterdam, 1973, p. 26
Michel Butor, Jean Clair, and Suzanne Houbart-Wilkin, Delvaux, Catalogue de l’oeuvre peint, Brussels, 1975, pp. 201-202, no. 131 (illustrated, p. 202)
Barbara Emerson, Delvaux, Paris, 1985, p. 119 (illustrated in colour, p. 118)
Marc Rombaut, Paul Delvaux, New York, 1990, p. 126, no. 46 (illustrated in colour)
Jacques Sojcher, Paul Delvaux ou la passion puérile, Paris, 1991 p. 46 (illustrated)
<p>Distinguished by the serene sensuality of its subject and classicizing forms and motifs, La Vénus endormie conveys a tangible dream world that is characteristic of Delvaux’s most sophisticated paintings. The goddess of the present work lies passively suspended before the viewer beneath a canopy of cabled columns on a luxuriously carved antique bed. The frozen gestures and lifeless stares of her three attendants in Grecian attire echo the marble statuary in the distant courtyard and contrast with the luminous eroticism of the nude asleep in her private boudoir. Behind her smoothly modeled form, a vanishing perspective leads to an ancient urban landscape, revealing spatial and temporal incongruities that disrupt the plausibility of the scene. The viewer/spectator registers only the pictorial effects of stillness, expectation, and a circulating desire.
In the Spring of 1943, amidst the turmoil of Nazi-occupied Belgium, Delvaux retreated to his studio and produced three versions of La Vénus endormie that count among the most successful paintings of his career (see fig. 1 and La Vénus endormie, 1944, Museum Boymans-van Beuningen, Rotterdam). Having absorbed the academic and surrealist influences of the previous decade, the artist synthesized his love of pictorial illusionism and the plastic beauty of forms with mysterious and disquieting effects, heralding an artistic maturity masterfully conveyed in the present work.
The most influential event in the formation of Delvaux's surrealist sensibilities was his 1930 discovery of the Spitzner Museum of Anatomy and Hygiene at the Brussels World Fair. Among the museum's holdings were human skeletons and anatomical models that chronicled the horrors of disease and deformity, while the wax model of a reclining Venus equipped with a mechanical respirator gave the appearance of life. Delvaux confided in his later years of the lasting impression of this encounter: “…The discovery of the Spitzner Museum completely changed my conception of painting. I found then that there was a drama that could be expressed by painting, even if it remained plastic. Above all there was the contrast between the drama, the pseudo-science of the Spitzner Museum, the sleazy strange uneasy side too and the things that surrounded it on that fairground with its stalls, its merry-go-rounds and music which created a false gaiety…” (Delvaux quoted in From Ensor to Delvaux, op. cit., pp. 17-18).
The intermingling of beauty, death, and the spectacle of the fair provided direct inspiration for the present picture. The artist explains: “All of the pictures of Sleeping Venus that I have done come from there, even the one in London at the Tate Gallery. It is an exact copy of the Sleeping Venus in the Spitzner Museum, but with Greek temples and dummies, whatever you want. It is different but as for deep sentiment, the understanding is the same” (Delvaux ibid., p. 65). Delvaux painted several versions of La Vénus endormie in 1932, but was unable to capture this “contradictory feeling” he had experienced beyond documentary form and destroyed much of his work a few years later (see fig. 2).
It was Delvaux’s exposure to the work of the Surrealists in the landmark Minotaure exhibition of 1934 that proved especially liberating. De Chirico’s metaphysical paintings, in particular, “suggested that poem of silence and absence” so in tune with Delvaux’s own pictorial aims to “combine the poetic, plastic or dramatic contents which inhabit a painting and permeate life” (Delvaux quoted in ibid., p. 19; see fig. 3). Filling the empty squares, cast shadows, and classical architecture with his own ‘theatre of figures’, Delvaux created displacements and juxtapositions that evoked for the artist, “ …the unusual in the interior of things” (ibid, p. 67). Central to his staging was a procession of women, clothed and unclothed, who functioned “purely as presences, without any particular role. They form part of the pictorial structure…. active only in the lyrical sense: they have no mission in the picture beyond that of the poetic” (quoted in David Scott, Paul Delvaux: Surrealizing the Nude, London, 1992, pp. 75-76).
Despite his affinities with the Surrealists, Delvaux denied any formal connection with the movement. He chose to define himself as a “naturalist…attempting to approach Nature without any naturalistic representation” (Delvaux quoted in Marc Rombaut, op cit., p. 11). Indeed, the hallucinatory quality of his surrealist vision relied upon the illusion of verisimilitude, precise draughtsmanship and a strict adherence to local colour. The perspectival views of the urban landscape in the present work recall Perugino and Raphael, artists Delvaux had seen and admired during his trips to Italy in 1938 and 1939. Equally, the smooth modeling, meticulous detail and expressive play of light recall the French classicism of Ingres, whose “dangerous side… extraordinary freshness and serenity” profoundly influenced the artist throughout his maturity (quoted in David Scott, op cit., p. 70). La Vénus endormie clearly relates to Ingres’s Odalisque à l’esclave, both in her erotic pose and in the “mystery” she evokes as an object of desire which, as David Scott observes, is here transposed from Orientalist fantasy to Surrealist frisson (ibid., p. 68; fig. 4).
In spite of Delvaux's essentially conservative pictorial language, his originality as an artist lay paradoxically in this ability to distract attention from his painting procedures by submerging the viewer in his disquieting vision. As Marc Rombaut offers: “…Silence, absence, emptiness: these key words are crucial… they form a meaningful group of values when we examine the artist’s portrayal of women. Because its meaning lies beyond appearances: the work incites the desire of the spectator, the critic, and the writer, to participate in the spectacle that it offers… the day appears as a dream and silence announces the absence of characters in a real world installed on the threshold of the unreal… Delvaux’s work embraces mythology, the mystery of things and the world, the silence of beings, strange encounters and the truth of dreams which erupt on our visual landscape, passing out of the real and creating another time, outside of the time of the world, in Time” (Marc Rombaut op cit., p. 12).
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<p> (iii) details of each bidder’s use of auction and related services provided by the Company.
<p>The Company will use personal information for the following purposes:
<p> (i) providing auction and related services (including billing and payment collection services, customer care, technical and record maintainance, notification of changes to services, improvement and development of services, arrangements for absentee bidding and related services);
<p> (ii) record-keeping for up to six years following termination of the Agreement;
<p> (iii) operation and enforcement of the terms and conditions of the Agreement;
<p> (iv) credit checks on prospective bidders;
<p> (v) transferring our business to a purchaser;
<p> (vi) in relation to resolution of legal and regulatory matters, including:
<p> (1) compliance with laws and applicable regulations, orders of courts and other competent tribunals;
<p> (2) co-operation with the police or any government or regulatory body;
<p> (3)investigation of claims that use of any service that the Company provides infringes any rights or breaches any law, rule, regulation or order.
<p>The Company will disclose personal information to the legal advisors of any person claiming that any bidder’s use of services provided by the Company infringes any right or breaches any law, rule, regulation or order. Where a breach of the Agreement is suspected, personal information may be disclosed or passed to other parties as needed to assist the Company in recovering payment or otherwise enforcing a term or condition of the Agreement.
<p>The Company may contact bidders with information about products or services offered by affiliates of the Company. The Company will not sell, rent or otherwise transfer personal information to a third party for marketing purposes. Unless the bidder has opted out of receiving marketing information from the Company on the registration or absentee bidder form, the bidder consents to receiving such information from the Company and to processing of his personal information for this purpose. If at any time the bidder no longer wishes to receive such information, he must write to the Company at the Company’s registered office. Implementation of such notice will take place within 30 days of receipt at the correct address.
<p>The Company may transfer personal information between affiliates of the Company, for administration and auction-related purposes, including companies based outside the United Kingdom and the European Economic Area in countries which may not provide an equivalent level of data protection to that provided in the United Kingdom. By agreeing to be bound by these Standard Terms and Conditions, each bidder consents to the transfer of personal information abroad as required by the Company.
<p>16 INFORMATION
<p>If you need further information or have any questions about these Standard Terms and Conditions, the Authorship Warranty or any other provisions applicable to a sale, please call us at +44 20 7318 4010.
<p>
<p>AUTHORSHIP WARRANTY
<p>The Company provides the following limited warranty for each lot offered in the Catalogue. The Standard Terms and Conditions shall fully apply to this warranty.
<p>Definitions: The term “authorship” means the creator, period, culture, source or origin of a work of fine art or other property as identified in the description of the work in the Catalogue. The term “fine art” means a painting, sculpture, drawing, photograph or work of graphic art and prints.
<p>Limited Warranty: The Company warrants the authorship of fine art for a period of five years from the date of the sale by the Company, subject to the exclusions and limitations set forth below. This warranty only covers the original buyer of record from the Company (that is, the registered bidder).
<p>The provisions of Paragraph 3 of the Standard Terms and Conditions fully apply.
<p>Exclusions and Limitations: This Authorship Warranty does not cover:
<p> (i) subsequent owners or assigns of the Property, such as purchasers from, or donees of, the original buyer, and heirs, successors, beneficiaries and assigns;
<p> (ii) fine art created prior to 1870, unless the Property is determined to be counterfeit (a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty, which is materially less than the purchase price paid;
<p> (iii) any description which states that there is a conflict of specialist opinion on the authorship of the Property;
<p> (iv) any description which on the date of sale was consistent with the generally accepted opinions of specialists, scholars or other experts, despite the later discovery of new information;
<p> (v) descriptions or dating of the Property proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the Catalogue, or which were at such time deemed unreasonably expensive or impractical to use.
<p>PAYMENT & COLLECTION
<p>PLACE OF PAYMENT AND COLLECTION OF PURCHASED PROPERTY
<p>A Please note that payment for purchases will be accepted during or after the sale at 49 Grosvenor Street, London W1K 3HP.
<p>B No purchase may be claimed or removed unless full payment has been received, or otherwise agreed to in writing by the Company.
<p>C All purchased lots will be transferred after the sale to 49 Grosvenor Street, London W1K 3HP, where lots may be collected by purchasers beginning on 25 June 2002.
<p>D As a service to our clientele, the Shipping Coordinator is available to assist in arranging for collection, estimates of the shipping costs and shipment of purchased lots.
<p>E For packing, crating or shipping of lots, Purchasers must complete a Shipping Instruction Form and return the form to the Company along with payment. All shipping costs will be billed directly to the Purchaser by the shipper. Please refer to Paragraph 7 of the Standard Terms and Conditions for further provisions concerning these arrangements. Purchasers have the option to choose their own shipper and should notify the Company in writing. It is important to instruct the outside shipper to contact the Company at least 24 hours in advance of collection in order to provide a bill of lading and schedule pick-up.
<p>F After 28 days from the date mentioned in paragraph C, uncollected property may be placed into public storage. Costs of storage and other charges as set forth in the Standard Terms and Conditions shall apply and be billed by the Company. Property will not be released until all payments due for storage and otherwise have been paid in full.
<p>G VAT:
The symbol ° next to a lot number indicates that VAT is payable by the buyer at the standard rate, on the hammer price. The symbol * next to a lot number indicates that the lot has been imported from outside the European Union under HMCE Temporary Importation Regulations, and that the effective rate of 5% will be payable by the buyer on the hammer price and on the premium. For lots which appear without either of the above symbols, no VAT will be payable on the hammer price and the premium will be shown inclusive of VAT. The VAT inclusive with the premium is not normally recoverable by the buyer. Note: There is no VAT payable on the hammer price, or on the premium, for books bought at auction.