Barbane

Details

Nicolas de Staël (1914-1955)
Barbane
signed and dated 'Staël 44' (lower right)
oil on canvas
31¾ x 45¾in. (81 x 116.3cm.)
Painted in 1944

Provenance

Private Collection, Paris (1944).
Anon. sale, Palais d'Orsay Paris, 26 June 1979, lot 106.
Mr and Mrs Lansberg, France.
Anon. sale, Drouot Paris, 17 June 1985, lot 47.
Anon. sale, Enghien, 21 June 1988, lot lot 77.
Anon. sale, Est-Ouest Auctions Tokyo, 31 January 1991.
Private Collection, Tokyo.
Acquired from above by the present owner in the 1990s.

Literature

M. S. Dall'Oglio, 'Mostre Torinesi: Nicolas de Staël', in Letteratura, no. 43-45, Turin, January-June 1960, p. 316.
D. Cooper, Nicolas de Staël, London 1961, p. 12.
J. Dubourg and F. de Staël, Nicolas de Staël, catalogue raisonné des peintures, Paris 1968, no. 19 (illustrated, p. 62).
B. Majewska, Sztuka Inna-Sztuka ta sama, Dubuffet, de Staël, Wols, Pollock, Warsaw 1974, no. 23.
F. de Staël, Nicolas de Staël, Catalogue raisonné de l'oeuvre peint, Neuchâtel 1997, no. 27 (illustrated, p. 187).

Exhibited

Paris, Musée national d'art moderne, Nicolas de Staël 1914-1955, 1956, no. 12, p. 16.
London, Whitechapel Art Gallery, Nicolas de Staël 1914-1955, 1956, no. 6 (illustrated, p. 15).
Arles, Musée Réattu, Nicolas de Staël 1914-1955, 1958, no. 5.
Turin, Galleria Civica d'Arte Moderna, Nicolas de Staël, 1960, no. 5 (illustrated, p. 35).

Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Guillermo Cid

gcid@christies.com +44 (0)20 7752 3702

Lot Essay

'de Staël nurtured within himself the vision of a reality which he had not only perceived, but had experienced so deeply that it became an integral part of him. It was from this ordered vision that he drew the materials for his painting, wholly transforming them in the process. This was not a question of simply transposing forms; rather it was a translation of human experience in all of its diversity into another mode a pictorial mode. This was managed so successfully that the paintings, in their organic unity, were able to confront the world of natural objects and still preserve their own identity'
(R. V. Gindertael, 'Introduction', De Staël, exh. cat., Rotterdam, Zurich, Boston, Chicago & New York 1965, unpaged).

Barbane

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Lot Essay

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