gouache, paper, 29.5 × 41.5 cm
Signed l. d.: "Hayden"
other titles: Nature morte ocre, Nature morte à la clarinette
On the back a paper sticker of Galerie Zlotowski in Paris, two paper exhibition stickers of Modernism Gallery in San Francisco and a sticker of the framing studio
Provenance:
- Sotheby's, London, November 1988
- private collection, Europe
- Galerie Zlotowski, Paris (after 1998)
- private collection, Europe (?)
- Millon & Associés auction house, Paris, May 2020
- private collection, Poland
"More than a year after the outbreak of the war, Hayden's painting evolved in a remarkably logical way towards pure Cubism. When he became one of the movement's members, which was in 1916, Cubism was already an established direction with an analytical phase behind it. The period of Hayden's painterly explorations from 1912-1914 produced paintings that can hardly be described as merely inspired by Cæzanne. The artist was already operating with formal means corresponding to the parallel work of the Cubists. Joining this narrow group became possible for him thanks to his acquaintance with the sculptor Jacques Lipchitz, who then introduced him to Juan Gris. The latter, in turn, introduced the Warsaw-born artist to the Cubist marshal Leonce Rosenberg, who at the time ran a gallery at 19, rue de La Bau me (named L'Effort Vloderne after the war). The acquaintance with Rosenberg resulted in the signing of a contract, which placed Hayden in the close circle of Cubist artists, which included: Picasso, Braque, Leger, Gris, Metzinger, Severini."
(Artur Winiarski "Henri Hayden, Masters of the Ecole de Paris", exhibition catalog, Villa la Fleur, Warsaw 2013, p. 49.)
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