Paul Signac
Die Hutmacherinnen
1885/86
Les Modistes
Öl auf Leinwand
116 x 89 cm
Unten rechts signiert & datiert: P. Signac 85
Cachin 111
Françoise Cachin, Marina Ferretti Bocquillon, Paul Signac, Catalogue raisonné, Paris, 2000.
Provenienz
1The estate of the artist Paris • from 1935 Cachin no. 111.
2Ginette Cachin-Signac Paris • until 1954 Daughter of the artist, AStEGB, Letter from F. K. Lloyd, Marlborough Fine Art Ltd., London, to Emil Bührle, 9 March 1954, offering the painting which was then still in the possession of the artist's family, and asserting that he has the right to sell the painting only when to a museum.
3Marlborough Fine Art Ltd. London • 1954 Acquired from the above, Letter as above, (n. 2), and confirmed by Marlborough International Fine Art, 24 August 2012; AStEGB, Invoice from Trafo, Anstalt für Handel und Finanz, Vaduz [Marlborough Fine Art Ltd., London], made out to Emil Bührle, 22 March 1954.
4Emil Bührle Zurich • 22 March 1954 until [d.] 28 November 1956) Acquired from the above for CHF 110.000, Invoice as above, n. (3), with stamp «Gut zur Zahlung», initialled by Emil Bührle.
5Given by the heirs of Emil Bührle to the Foundation E.G. Bührle Collection Zurich • 1960 Inv. 96.
AStEGB = Archive of the Foundation E.G. Bührle Collection, Zurich
Françoise Cachin, Marina Ferretti Bocquillon, Paul Signac, Catalogue raisonné, Paris, 2000.
Ausstellungen
18868e Exposition de peinture 1, rue Laffitte • Paris • 1886 no. 184.
1886Salon de la Société des artistes indépendants Bâtiment B, rue des Tuileries • Paris • 1886 no. 363.
1953Seurat and His Friends Wildenstein Galleries • New York • 1953 no. 39.
1954Paul Signac 1863–1935, Retrospective Exhibition Marlborough Fine Art Ltd. • London • 1954 no. 6.
1958La création de l'œuvre chez Paul Signac Marlborough Fine Art Ltd. • London • 1958 no. 212.
1958Sammlung Emil G. Bührle, Festschrift zu Ehren von Emil G. Bührle zur Eröffnung des Kunsthaus-Neubaus und Katalog der Sammlung Emil G. Bührle Kunsthaus Zurich • 1958 no. 213.
1958Französische Malerei von Manet bis Matisse aus der Sammlung Emil G. Bührle/Zürich Nationalgalerie der ehemals Staatlichen Museen, Schloss Charlottenburg • Berlin • 1958 no. 37.
1958Hauptwerke der Sammlung Emil Georg Bührle–Zürich Haus der Kunst • Munich • 1958–59 no. 148.
1961Masterpieces of French Painting from the Bührle Collection Royal Scottish Academy, Edinburgh • National Gallery, London • 1961 no. 62.
2010Van Gogh, Cézanne, Monet, Die Sammlung Bührle zu Gast im Kunsthaus Zürich Kunsthaus Zurich • 2010 no. 96.
Literatur
1956John Rewald Post-Impressionism, From Van Gogh to Gauguin New York • 1956 • pp. 90, 93 (ill.; 2London 1978, p. 84 [ill.], & various translations and editions).
1966Annamaria Mura I Maestri del colore, Signac Milan • 1966 • fig. 2–3.
1967Alberto Martini • Renata Negri Cézanne e il post-impressionismo Milan • 1967 • fig. 20 (German edition: Cézanne und der Nachimpressionismus, Milan 1968).
1967Alberto Martini • Renata Negri «Seurat e il Divisionismo» in L'Arte Moderna (5) • 1967 • pp. 183 (ill.)–184.
1970Jean Sutter Les Néo-impressionnistes Lausanne & Neuchâtel • 1970 • p. 48 (German edition: Die Neo-Impressionisten).
1971Françoise Cachin Paul Signac Paris & Milan • 1971 • p. 22, fig. 13 (English edition: New York & Greenwich [Connecticut] 1971).
1973Leopold Reidemeister etc. Stiftung Sammlung Emil G. Bührle • Fondation Collection Emil G. Bührle • Foundation Emil G. Bührle Collection Zurich & Munich • 1973 • no.92 (ill.; 21986).
1978Yasuko Watanabe • Takeshi Kashiwa Signac Tokyo • 1978 • no. 4 (ill.).
1979Sophie Monneret L'Impressionnisme et son époque, Dictionnaire international illustré vol. 2 • Paris • 1979 • p. 255 (entry for Signac), vol. 3, Paris 1980, p. 202.
1979Richard Shone The Post-Impressionists London • 1979 • fig. 42.
1980Janine Bailly-Herzberg Correspondances de Camille Pissarro vol. 1 1865–85 Paris • 1980 • p. 45.
1983Claire Frèches-Thory «Musée d'Orsay, Paul Signac, Acquisitions récentes» in La Revue du Louvre et des musées de France (33/1) • 1983 • pp. 38, 41, 46 (nn. 44, 62).
1986Guy Cogeval Les années post- impressionnistes Paris • 1986 • p. 44.
1986Martha Ward «The Rhetoric of Independence and Innovation» in The New Painting, Impressionism 1874–1886 (exh. cat.) • National Gallery of Art, Washington, D.C. (etc.) • 1986 • p. 425, fig. 2, & p. 446, no. 184.
1986Diane Kelder The Great Book of Post-Impressionism New York • 1986 • (French edition: L'Heritage de l'Impressionnisme, Les sources du XXe siècle, Paris 1986, p. 90, fig. 82).
1987Herbert Wotte Paul Signac Dresden • 1987 • fig. 1.
1989Richard Thomson «The Grande-Jatte, Notes on Drawing and Meaning» in The Art Institute of Chicago Museum Studies (14) • 1989 • p. 191, fig. 20.
1991Michael F. Zimmermann Les mondes de Seurat Antwerp & Paris • 1991 • p. 200, fig. 366.
1991Georges Seurat 1859–1891 (exh. cat.) • Metropolitan Museum of Art, New York etc. • 1991–92 • p. 174 (ill.; French edition: Seurat, [exh. cat.] Grand Palais, Paris 1991, p. 211, fig. 40).
1992Signac & Saint-Tropez (exh. cat.) • Musée de l'Annonciade, Saint-Tropez etc. • 1992 • pp. 18 (ill.), 48.
1994Emil Maurer Stiftung Sammlung E.G. Bührle, Zürich Bern • 1994 • pp. 47–48 (ill.; English edition: Foundation E.G. Bührle Collection, Zurich, Bern 1995).
1996Michael Fried Manet's Modernism, or the Face of Painting Chicago & London • 1996 • p. 172.
1996Martha Ward Pissarro, Neo-Impressionism and the Spaces of the Avant Garde Chicago & London • 1996 • pp. 61, 66–70.
1997Paul Smith Seurat and the Avant-Garde New Haven & London • 1997 • p. 91, fig. 109.
1999Richard Brettell Modern Art, 1851–1929, Capitalism and Representation Oxford • 1999 • p. 25, fig. 17.
2000Françoise Cachin Signac, Catalogue raisonné de l'œuvre peint Paris • 2000 • no. 111 (ill.).
2001John Leighton «Out of Seurat's shadow: Signac, 1863–1935, An introduction» in Signac 1863–1935 (exh. cat.) • Metropolitan Museum of Art, New York 2001 etc. • pp. 7–8, fig. 4 (French edition: Paul Signac, [exh. cat.] Grand Palais, Paris 2001).
2001Robert L. Herbert Seurat, Drawings and Paintings New Haven & London • 2001 • p. 88, fig. 68.
2003Anne Dymond «A Politicized Pastoral, Signac and the Cultural Geography of Mediterranean France» in Art Bulletin (85) • 2003 • pp. 358, 362, fig. 5.
2004Lukas Gloor • Marco Goldin (ed.)Foundation E.G. Bührle Collection, Zurich, Catalogue vol. 3 • Conegliano & Zurich • 2004 • no. 148 (ill.; German edition: Stiftung Sammlung E.G. Bührle, Katalog • Italian edition: Fondazione Collezione E.G. Bührle, Catalogo).
2005Isabelle Cahn L'impressionnisme ou l'œil naturel Paris • 2005 • p. 205 (ill.).
2006Robyn Roslak «Artisans, Consumers and Corporeality in Signac's Parisian Interiors» in Art History(29) • 2006 • pp. 861–873, fig. 4.1.
2007Ruth E. Iskin Modern Women and Parisian Consumer Culture in Impressionist Painting Cambridge etc. • 2007 • p. 77, fig. 31.
2007Felix Krämer Das unheimliche Heim, Zur Interieurmalerei um 1900 Cologne etc. • 2007 • p. 37, fig. 12.
2007Anne Dymond «A Politicized Pastoral, Signac and the Cultural Geography of France» in Modern Art and the Idea of the Mediterranean Vojtěch Jirat-Wasiutiński (ed.), • Toronto etc. • 2007 • pp. 117–145, fig. 5.5.
2011Richard R. Brettell Pissarro's People (exh. cat.) • Sterling and Francine Clark Art Institute, Williamstown (Massachusetts) etc., • Munich etc. • 2011 • p. 202, fig. 156.
2012Marina Ferretti Bocquillon «Seurat, Signac and Neo-Impressionism» in Radiance, The Neo-Impressionists (exh. cat.) • National Gallery of Victoria, Melbourne (Victoria) • 2012–13 • p. 10 (ill.).
2014Øystein Sjåstad A Theory of the Tache in Nineteenth-Century Painting Farnham (Surrey) • 2014 • p. 108, fig. 6-2.
2014Neo-Impressionism, From Light to Color (exh. cat.) • Abeno Harukas Art Museum, Osaka etc. • 2014 • p. 11, fig. 3 (in Japanese).
2016Marina Ferretti Bocquillon «Paul Signac, une vie au fil de l'eau» in Signac, Une vie au fil de l'eau (exh. cat.) • Fondation de l'Hermitage, Lausanne • 2016 etc. • p. 13, fig. 2.
2016Heinz Widauer «Der 'Pointillismus', Rezeption und Folgen» in Seurat, Signac, van Gogh, Wege des Pointillismus (exh. cat.) • Albertina, Vienna • 2016–17 • p. 16, fig. 2.
2017Simon Kelly • Esther Bell Degas, Impressionism, and the Paris Millinery Trade Munich etc. • 2017 • p. 25, fig. 7.