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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 4, 2019 | Dorotheum | Vienna | Modern Art | 30 | $****** - ****** | Still Life |
Works on Paper
66 x 53 cm (25.98 x 20.87 in)
watercolor, pencil and ink on thick paper
signed and dated Jeanneret 22
Gift of the artist to James Johnson Sweeney (1900–1986), New York
by descent to his son Sean Sweeney, New York
Mitchell-Innes & Nash Gallery, New York (label on the reverse) –
acquired from the above
European Private Collection
Paris, Galerie Denise René, Le Corbusier, December 1971 New York,
February 1972, ill. on the cover
signed and dated Jeanneret 22, watercolor,
pencil and ink on thick paper, 66 x 53 cm, framed
Provenance:
Gift of the artist to James Johnson Sweeney (1900-1986), New York
by descent to his son Sean Sweeney, New York
Mitchell-Innes & Nash Gallery, New York (label on the reverse) -
acquired from the above
European Private Collection
Exhibited:
Paris, Denise René Gallery, Le Corbusier, December 1971 New York,
February 1972, ill. on the cover
Painting: a mechanical event of psychic mobility in the special form of plastic creation.
Psychics: emerging from the depth of consciousness and exteriorized by a sensitivity
characteristic of nature. The obsession of expressing all emotion in plastic writing, a child of aggravated malady, or a child of aggravated state of grace. A painter is chosen. If he does not know this, life will teach him; he does not want escape. Little by little his life is encumbered by the particular need to act through drawing, through form, through color: he is the
center of invisible-cible reactions: those worries, those perceptions, those acknowledgments, those measures, those choices, those relationships, those groupings, those affirmations
- in other words, those intimate and perfectly indiscreet manifestations - of his self.
Painting - his painting - strips him nude in the street. That's just the way it is!
Texts by the artist. Editions Albert Morance, Paris, 1937
What makes this work especially interesting are its
exceptional provenance and its illustrious history.
Its special value comes from Le Corbusier to James Johnson Sweeney. Sweeney (1900-1986) was featured with influential art critic, historian, exhibition organizer and museum director, who served in prominent posts at the New York and the Guggenheim Museum of Modern Art.
Subsequently, this work came into the possession of the renowned Mitchell-Innes & Nash Gallery New York and then to its current owner. In the 1960s, it was exhibited at the famous Denise René Gallery in Paris and New York.
