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    Jules Pascin (Bulgarian/French, 1885-1930)
    Fille à la mandoline, 1912
    Oil on canvas
    26 x 20 inches (66.0 x 50.8 cm)
    Signed lower right: Pascin

    Galerie de l'Elysée, Paris;
    Charles E. Slatkin Galleries, New York;
    Samuel Sair (1905-1973), Winnipeg, Manitoba, Canada, acquired circa 1945-1958:
    Sotheby Parke-Bernet, New York (sale #3376), May 31, 1972, lot 112, property of the above;
    Dr. and Mrs. Robert Schermer, Shaker Heights, Ohio, acquired from the above;
    Thence by descent through the family to the present owner.

    Y. Hemin, G. Krohg, K. Perls, and A. Rambert, Pascin: catalogue raisonné, I, Paris, 1984, no. 64, p. 59, illus.

    Born Julius Pincas in Bulgaria to a Jewish family in the grain-merchandising business, Jules Pascin showed a precocious and fervent interest in drawing. The female figure was Pascin's favorite subject, one encouraged by the fact that as a sixteen-year old he had become the lover of a woman who ran a brothel, and was permitted by her to draw the women working there. In many ways, this experience set the tenor for his artistic direction, for he focused his attention as a painter and draftsman for most of his career on the demimonde and other aspects of urban life.

    After receiving formal training in Munich, Pascin sent some of his drawings to the famous satirical journals, Lustige Blätter and Simplicissimus, which earned him a good living. At the request of his family, who disapproved of his bohemian lifestyle, he changed his name to Pascin in 1905. That same year he moved to Paris, where he continued to produce tragically satiric drawings of the demimonde, and was embraced by members of the Parisian art world. Between 1906 and 1912, the period of the present work, Pascin lived in Montmartre, near Pigalle, and began painting in a colorful style influenced by Cezanne and the Fauves. His drawings and paintings are characterized by an incredible immediacy, and notable for the fluent, expressive line that is on full display in the present painting of a wistful young woman with a mandolin.

    This work was formerly in the celebrated collection of French Impressionist and Post-Impressionist painting formed by Canadian Samuel Sair following World War II.

    Condition Report*: Original unlined canvas. Canvas bears marks marks drops and smudges of paint around the figure, left by the artist in the painting process and not cleaned off or covered with another paint layer as the work was painted very directly on primed canvas. There is a tiny pinprick of a hole just left of the woman's head near the edge of her hat. Slight surface grime. Under UV examination there appears to be no evidence of any restoration. The pink pigment in the sitter's cheeks and on the top of the lute fluoresces a bright orange but seems to be the pigment itself and not restoration.  Framed Dimensions 31.25 X 25.25 X 3 Inches
    *Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Some condition issues may not be noted in the condition report but are apparent in the provided photos which are considered part of the condition report. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and shall not be liable for any damage/scratches to frames, glass/acrylic coverings, original boxes, display accessories, or art that has slipped in frames. All lots are sold "AS IS" under the Terms & Conditions of Auction.

    Auction Info

    Auction Dates
    December, 2018
    7th Friday
    Bids + Registered Phone Bidders: 2
    Lot Tracking Activity: N/A
    Page Views: 2,014

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