Chaïm Soutine

(18941943 ) - Artworks Wikipedia® - Chaïm Soutine
SOUTINE Chaïm Nature Morte Aux Poissons, Oeufs Et Citrons

Christie's /Nov 5, 2014
593,427.79 - 890,141.68
1,950,192.20

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Artworks in Arcadja
209

Some works of Chaïm Soutine

Extracted between 209 works in the catalog of Arcadja
Chaïm Soutine - Tête De Jeune Fille

Chaïm Soutine - Tête De Jeune Fille

Original
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Lot number: 174
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Chaïm Soutine 1893 - 1943 TÊTE DE JEUNE FILLE Signed Soutine (upper right) Oil on panel mounted on cradled panel 13 3/4 by 12 3/8 in. 34.9 by 31.4 cm Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Authentication This painting will be included in the forthcoming Volume III of the Chaim Soutine Catalogue Raisonne by Maurice Tuchman and Esti Dunow, currently in preparation. Provenance Hilda (Bobbie) Weinstein, New York (acquired circa the 1950s) Thence by descent
Chaïm Soutine - Paysage

Chaïm Soutine - Paysage

Original 1918
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Lot number: 9
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Chaïm Soutine (Russian, 1893-1943) Paysage oil on canvas 53.7 x 65cm (21 1/8 x 25 9/16in). Painted circa 1918 Footnotes This work will be included in Volume III of the Chaïm Soutine catalogue raisonné currently being prepared by Mr. Maurice Tuchman and Mrs. Esti Dunow. Provenance Private collection, France. Anon. sale, Sotheby's, Paris, 9 December 2009, lot 65. Private collection, UK. Exhibited Munich, Galerie Thomas, Chaïm Soutine: The Passion of Painting , 31 March - 16 May 2009. Chaïm Soutine produced his most important works during the uneasy peace of the entre-deux-guerres ; executed circa 1918 the remarkable and powerful Paysage is surely to be counted among these ground-breaking works. One of the earliest of Soutine's landscapes, this view of the lush French countryside was most likely executed following his time in Paris with friend and fellow artist Amedeo Modigliani, with whom he had shared a studio. Inspired to travel from Lithuania to Paris in the company of classmate Michel Kikoïne, the young Soutine found himself a resident of La Ruche or 'The Beehive': a rounded octagonal building in Montparnasse designed by Gustave Eiffel for the Great Exposition of 1900, eventually converted into a collaborative cité d'artistes . Here he encountered the likes of Marc Chagall, Moïse Kisling and Jacques Lipchitz, and it is through the latter that he first met Modigliani. In 1916, Soutine and his new-found Italian comrade moved to the cité Falguière , a dilapidated set of artists' studios located in the vicinity of La Ruche , where they would live for close to three years in near destitution. With what little they earned being diverted to the purchasing of canvas, paints and other supplies (and in the case of Modigliani his rapidly worsening drug and alcohol habits), both men relied on uncertain income from the occasional day job and the generous financial support of friends. Neither Soutine nor Modigliani would ever fully emerge from the bohemianism of their early careers, epitomising the myth of the brilliant yet impoverished artist. Modigliani naturally exercised a certain level of influence on the younger painter and Soutine's early portraiture certainly recalls his elegantly elongated figures. Yet Soutine resisted the easy grace and stylisation of Modigliani's peaceful figures, instead allowing his models to exhibit vivid and sometimes intense expressions. It has been suggested that Soutine owed a greater debt to the post-Impressionist Paul Cézanne, whose influence would impact Soutine's own oeuvre most profoundly. Although the obvious influence of Vincent van Gogh on Soutine's swirling, vivid handling of the trees in the foreground of Paysage cannot be denied, it is from Cézanne that the complex spatial composition of this work surely stems. Positioning a dense thicket of foliage unapologetically to the foreground, Soutine disrupts the illusion of depth within the composition by abutting the red-orange houses to the middle-ground sharply against it - all but eliminating the space between the near and middle planes. This compression of space, appropriated by the artist in the most striking of ways, is typical of Cézanne whose: 'way of severely constricting and enclosing space' and ''flatness' became more than just a pictorial device for Soutine.' Indeed, 'Soutine would transform this plastic construct into a supremely personal metaphor: a means of expressing the ineluctable fusion of all form and matter, the identification of form, flesh and pigment which is so basic to his landscapes, still lifes and portraits' (Galerie Thomas, Chaïm Soutine: The Passion of Painting , Munich, 2009, p. 65). It is precisely this synthesis of technique with form that enables Soutine to express his subjectivity in Paysage , a method which he would soon revisit and examine in his comparable landscapes of Céret, a small hill-town in the French Pyrenees. Forced to flee the German artillery bombardment of Paris in 1918, Soutine ventured south with the financial backing of his dealer Léopold Zborowski, a move which would inspire a notable shift away from his previously more sombre colour palette. The artist's first stop was Cagnes-sur-Mer, where it is likely that the present work was painted. Coming after years of squalid living in the bustling, rapidly modernizing city built of steel and stone, Soutine's first encounter with the unique beauty of the French countryside revolutionized and refreshed his understanding of colour and light. Leaving behind the still lifes and portraiture which had previously occupied him, landscape would now dominate his oeuvre until the mid-1920s as he drew great inspiration from his new and stimulating environment. Once removed from Paris, Soutine was able to escape not only the chaos and claustrophobia of the city, but also the powerful sway of the European avant-garde. When Soutine first arrived in France in 1913, Cubism and Futurism were still the ground-breaking movements of the day. He would admit, however, 'I never touched Cubism myself, you know, although I was attracted by it at one time. When I was painting at Céret and at Cagnes I yielded to its influence in spite of myself, and the results were not entirely banal' (Soutine quoted in M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943): catalogue raisonné , Vol. I, Cologne, 1993, p. 19). There is a certain ordered geometry to the present work, created by the strong verticality of the trees whose thick trunks create intersecting lines and layered forms as they cut across the canvas. Nevertheless, Soutine's constricted composition and agitated manipulation of the paint in Paysage veers closer to Expressionism than Cubism in its projection of a psychological distress bordering on paranoia which is unique to the artist; it is through this frenetic filter that the viewer is able to comprehend the dismantling force of Soutine's gaze upon the world. The painting seems to perfectly exemplify Emile Zola's definition of art as 'a bit of nature seen through temperament' (E. Zola quoted in N. Kleeblatt, Chaïm Soutine: An Expressionist in Paris , New York, 1998, p. 21).
Chaïm Soutine - L'enfant De Choeur

Chaïm Soutine - L'enfant De Choeur

Original 1927
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Lot number: 349
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Chaim Soutine (1893-1943) L'enfant de choeur signed 'Soutine' (lower left) oil on cradled panel 16 7/8 x 10 5/8 in. (43 x 26.6 cm.) Painted circa 1927 Mr. and Mrs. James Warburg, Washington, D.C. (by 1944). Mr. and Mrs. Michael Bennahum, New York (by 1968). Stanley Moss and Co., Inc., New York. Acquired by the present owner, circa 1980. Buffalo, The Albright Art Gallery; Cincinnati Art Museum and St. Louis Art Museum, French Paintings of the Twentieth Century, 1900-1939, December 1944-March 1945, p. 62, no. 66 (with incorrect medium and dimensions). Los Angeles County Museum of Art, Chaïm Soutine, February-April 1968, p. 101, no. 50 (illustrated in color; with incorrect medium).
Chaïm Soutine - Nature Morte Aux Poissons, Oeufs Et Citrons

Chaïm Soutine - Nature Morte Aux Poissons, Oeufs Et Citrons

Original 1924
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Lot number: 39
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Chaim Soutine (1893-1943) Nature morte aux poissons, oeufs et citrons signed 'Soutine' (lower left) oil on canvas 25 ¾ x 32 in. (65.4 x 81.3 cm.) Painted circa 1924 Paul Guillaume, Paris. Dr. Jacques Soubiès, Paris. Dikran Khan Kelekian, New York (by November 1938). Walter P. Chrysler, Jr., New York (by 1941); sale, Parke-Bernet Galleries, Inc., New York, 11 April 1946, lot 33. Valentine Gallery, New York (acquired at the above sale). Jacques Sarlie, New York. Perls Galleries, New York (acquired from the above, November 1950). William March Campbell, Mobile, Alabama (by 1952). Perls Galleries, New York (acquired from the above, 1954). Armand Amante (Galerie de l'Art Moderne), Paris (acquired from the above, February 1956). Galerie Rosengart, Lucerne (1956). Mr. and Mrs. Leigh B. Block, Chicago (1956). Victor Kiam, New York. Marlborough-Gerson Gallery, Inc., New York (acquired from the above, December 1961). Acquired from the above by the family of the present owner, June 1974. PROPERTY FROM A PRIVATE COLLECTION A. Forge, Soutine, London, 1965, pp. 16 and 40 (illustrated in color, pl. 22; dated circa 1923). P. Courthion, Soutine, peintre du déchirant, Lausanne, 1972, p. 86 (illustrated in color, p. 87; illustrated again, p. 252, no. C; titled Nature morte aux poissons et aux oeufs, dated 1926-1927 and with incorrect provenance). M. Tuchman, Art International, 20 January 1974, p. 32 (illustrated in color). A. Werner, Chaim Soutine, New York, 1977, p. 102, no. 19 (illustrated, p. 55, fig. 66; illustrated again in color, p. 103; titled Still Life With Fish and dated 1926-1927). E.-G. Güse, ed., C. Soutine, exh. cat., Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster, 1981, pp. 79-82 and 251 (illustrated, p. 79; dated 1923). M. Tuchman, E. Dunow and K. Perls, Chaim Soutine, Catalogue Raisonné, Cologne, 2001, vol. I, pp. 410 and 412, no. 54 (illustrated in color, p. 413). New York, Anderson Galleries, A Selected Group of Modern Paintings belonging to Dikran Khan Kelekian, November 1938, no. 53. Richmond, The Virginia Museum of Fine Arts and The Philadelphia Museum of Art, Collection of Walter P. Chrysler, Jr., January-May 1941, p. 134, no. 247 (titled Still Life). Palm Beach, Florida, Society of the 4 Arts, Paintings by Chaim Soutine, February-March 1952, no. 16 (titled Still Life with Fish and dated circa 1923). New York, Perls Galleries, Chaim Soutine, November-December 1953, no. 12 (titled Nature morte aux poissons). New York, Perls Galleries, The William March Collection of Modern French Masterpieces, October-November 1954, no. 20 (illustrated). New York, Perls Galleries, The Perls Galleries Collection of Modern French Paintings, March-April 1955, no. 218 (titled Nature morte aux poissons). New York, Perls Galleries, The Perls Galleries Collection of Modern French Paintings, January-February 1956, no. 227 (titled Nature morte aux poissons). London, Marlborough Fine Art, Ltd., Aspects of Twentieth Century Art, July-August 1962, no. 39 (illustrated in color). London, Tate Gallery and Edinburgh Arts Festival, Chaim Soutine, August-November 1963, pp. 17 and 21, no. 25. Los Angeles County Museum of Art, Chaim Soutine, February-April 1968, p. 115, no. 61 (illustrated). Jerusalem, Israel Museum, Soutine, May-August 1968, no. 24. New York, Malborough-Gerson Gallery, Inc., International Expressionism, April-May 1968, no. 62 (illustrated). London, Marlborough Fine Art, Ltd., European Masters, 1969, no. 67 (illustrated in color). Tokyo, Fuji Television Gallery Co., Ltd., Masters of Twentieth Century, October 1972, no. 31 (illustrated in color). New York, Marlborough Gallery, Inc., Chaim Soutine, October-November 1973, p. 14, no. 34 (illustrated in color, p. 50). Tokyo, Odakyu Museum; Nara Sogo Museum; Ibaraki, Kasama Nichido Museum and Hokkaido Museum of Modern Art, Chaïm Soutine Centenary Exhibition, November 1992-May 1993, p. 144, no. 46 (illustrated in color, p. 78).
Chaïm Soutine - Paysage

Chaïm Soutine - Paysage

Original
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Lot number: 21
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Lot Description Chaïm Soutine (1893-1943) Paysage signed 'Soutine' (lower left) oil on canvas 25 3/4 x 30 5/8 in. (65 x 77.9 cm.) Painted circa 1923-1924 Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance Christiana Drummond Coolidge Morgan, Cambridge, Massachusetts, by whom acquired circa 1925, and thence by descent; sale, Christie's, New York, 6 November 2007, lot 69. Acquired at the above sale by the present owner. Pre-Lot Text PROPERTY FROM A PRIVATE COLLECTOR Literature M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943), Catalogue raisonné, vol. I, Cologne, 1993, no. 124, p. 251(illustrated). Exhibited Cambridge, Massachusetts, Fogg Art Musuem, Harvard University, on extended loan, 2003-2007. View Lot Notes >
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