LOT DETAILS

Materials:

oil on canvas

Size Notes:

31 7?8 x 25 3?8 in. (80.7 x 64.6 cm.)

Description:

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Exhibited:

New York, M. Knoedler & Co., Inc. and Detroit, The Arts and Crafts Club, Paintings from the Ambroise Vollard Collection, November 1933-January 1934, no. 11 (titled La carrière du Tholonet and dated 1897). London, The Lefevre Gallery (Alex. Reid & Lefevre), Cézanne, July 1935, no. 14 (titled La carrière du Tholonet and dated circa 1897). New York, Bignou Gallery, Paul Cézanne, November-December 1936, no. 21 (titled La carrière du Tholonet and dated circa 1897). Detroit Institute of Arts, Cézanne, January 1937. Musée d'art moderne de la ville de Paris, Passions privées: Collections particulières d'art moderne et contemporain en France, December 1995-March 1996, p. 134, no. 2 (illustrated in color, p. 133; dated 1898-1900). Paris, Musée national d'art moderne, Centre Georges Pompidou, Préhistoire: Une énigme moderne, May-September 2019, p. 288 (illustrated in color, p. 25). Princeton University Art Museum and London, Royal Academy of Arts, Cézanne, The Rock and Quarry Paintings, March-October 2020, p. 59, no. 13 (illustrated, p. 114; detail illustrated, p. 59, fig. 40; dated 1900-1904).

Literature:

L. Venturi, "Sur les dernières années de Cézanne" in Minotaure, 1936, p. 36, no. 9 (illustrated, fig. 7). L. Venturi, Cézanne–Son art, son oeuvre, Paris, 1936, vol. I, p. 231, no. 772 (illustrated, vol. II, pl. 255; dated 1898-1900). J. Rewald, "A propos du catalogue raisonné de l'œuvre de Paul Cézanne et de la chronologie de cette œuvre" in La Renaissance, March-April 1937, vol. 20, nos. 3-4, p. 55. F. Novotny, Cézanne und das Ende der wissenschaftlichen Perspektive, Vienna, 1938, p. 198, no. 35 (titled Felspartie mit Staffagefigur and dated circa 1900). A.C. Barnes and V. de Mazia, The Art of Cézanne, New York, 1939, p. 388, no. 168 (illustrated, p. 260; titled Quarry at Le Tholonet). J. de Beucken, Un portrait de Cézanne, Paris, 1955, pp. 260-261. R.W. Ratcliffe, Cézanne's Working Methods and Their Theoretical Background, Ph.D. Diss., Courtauld Institute of Art, University of London, 1961 (dated 1895-1899). W. Rubin, ed., Cézanne: The Late Work, exh. cat., The Museum of Modern Art, New York, 1977, p. 240 (illustrated, pl. 32). J. Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné, New York, 1996, vol. I, p. 479, no. 798 (illustrated, vol. II, p. 275). K.A. Tuma, "Cézanne and Lucretius at the Red Rock" in Representations, spring 2002, vol. 78, no. 1, p. 76 (illustrated, fig. 3). N.M. Athanassoglou-Kallmyer, Cézanne and Provence: The Painter in His Culture, Chicago, 2003, p. 170 (illustrated, fig. 4.26). A. Byrd, "The Brush Stroke as Catastrophe: Gasquet's 'Cézanne' and the Paintings of Bibémus Quarry" in RACAR, 2009, vol. 34, no. 1, p. 50 (illustrated, fig. 7). J. Colrat, Cézanne: Joindre les mains errantes de la nature, Paris, 2013, p. 127 (illustrated, p. 129, fig. 37). G.-P. and F. Dauberville, Paul Cézanne chez Bernheim-Jeune, Paris, 2020, p. 454, no. 115bis (illustrated, p. 455). W. Feilchenfeldt, J. Warman and D. Nash, The Paintings, Watercolors and Drawings of Paul Cézanne: An Online Catalogue Raisonné (www.cezannecatalogue.com), no. FWN 307 (illustrated in color).

Provenance:

Ambroise Vollard, Paris. Madeleine de Galéa, Paris (by descent from the above, 1939). Robert de Galéa, Paris (by descent from the above). By descent from the above to the present owner.