29. Three young girls [1930]
Estimate
EUR 20.000 - 35.000
Sold
EUR 55.000
Session
Thu, 26 March 2026 18:00
Dimensions
width 73 cm, height 60 cm, custom 60 × 73 cm
Description
oil and pencil on cardboard, signed bottom right, in ink, "pascin"
Research information
The work was exhibited in “Les Écoles opposées,” Paris, Alex Maguy – Galerie de l’Elysée, May 1961. The work was exhibited in “Pascin,” Berkeley, University of California, University Art Museum; Los Angeles, University of California, UCLA Art Galleries; Chapel Hill, University of North Carolina, Ackland Art Center; Waltham, Brandeis University, Rose Art Museum; and New York, Whitney Museum of American Art, November 1966 – June 1967, pp. 94 and 115, and illustrated on p. 95. The work was exhibited in “Pascin,” Munich, Haus der Kunst; Vienna, Wiener Secession, June 1969 – November 1969, and is illustrated in the exhibition catalogue, no. 61, dated “1929–30.” The work was exhibited in “Rétrospective Pascin,” Bordeaux, Galerie des Beaux-Arts; Nice, Palais de la Méditerranée; and Geneva, Musée d’Art et d’Histoire, December 1969 – June 1970, and is illustrated in the exhibition catalogue, no. 60. The work was exhibited in “Pascin, Prince des 1001 nuits,” Tokyo, Grande Galerie Odakyu; Sapporo, Hokkaido Museum of Modern Art; Nagasaki, Nagasaki Museum of Art; Yamaguchi, Yamaguchi Museum of Art; and Osaka, Daimaru Museum, April – September 1984, p. 135, and illustrated in the exhibition catalogue, no. 78, p. 67. Long-term loan to the Art Gallery of Ontario, Toronto, from 1974 to 2019. The work is reproduced in P. Morand, “Pascin,” Paris, 1931, p. 44, under the title “Dernier Tableau.” The work is reproduced in L. Seoane, “Jules Pascin,” Buenos Aires, 1944, p. 64, no. 26, illustrated on p. 51 under the title “Ultimo cuadro pintado por Pascin.” The work is reproduced in H. Brodzky, “Pascin,” London, 1946, p. 55, no. 632. The work is reproduced in J. Canaday, “Pascin and a Fact of Life,” in The New York Times, 28 May 1967, p. 19. The work is reproduced in “Münchner Kunstsommer,” in Neue Zürcher Zeitung, 9 July 1969, p. 11. The work is reproduced in Y. Hémain, G. Krohg, K. Perls and A. Rambert, “Pascin, Catalogue raisonné: Peintures, aquarelles, pastels, dessins,” Paris, 1984, vol. I, p. 334, no. 682. The work is reproduced in T. Krohg and R. Napolitano, “Pascin, Les années nacrées, 1920–1930,” Paris, 2017, vol. II, p. 1147, no. 3837.
Dating
1930
PROVENANCE
931 - 1944, collection of Rolf de Mare (1888 - 1964), Swedish ballet impresario and collector; 1944 - 1966, collection of Samuel Josefowitz. Samuel Josefowitz (1921-2015) was an American entrepreneur, founder of the Concert Hall Society, and one of the most prominent art collectors of the 20th century. Trained as a chemical engineer, he built an exceptional collection of old master engravings and late 19th-century French painting, especially works from Pont-Aven, supporting institutions such as the British Museum and major exhibitions with both his collection and his philanthropy; since 1966, bequeathed to the current owners.
ADDITIONAL INFORMATION
For clarifications regarding the bidding procedure, hammer price costs, guarantee, payment, and collection terms for the winning lot, we recommend carefully reading/re-reading the Bidding Regulations.
For additional information regarding the lot and the auction, please contact the Art Consultants Department.
ADDITIONAL INFORMATION
For clarifications regarding the bidding procedure, hammer price costs, guarantee, payment, and collection terms for the winning lot, we recommend carefully reading/re-reading the Bidding Regulations.
For additional information regarding the lot and the auction, please contact the Art Consultants Department.
Dimensions
width 73 cm, height 60 cm, custom 60 × 73 cm
Description
oil and pencil on cardboard, signed bottom right, in ink, "pascin"
Research information
The work was exhibited in “Les Écoles opposées,” Paris, Alex Maguy – Galerie de l’Elysée, May 1961. The work was exhibited in “Pascin,” Berkeley, University of California, University Art Museum; Los Angeles, University of California, UCLA Art Galleries; Chapel Hill, University of North Carolina, Ackland Art Center; Waltham, Brandeis University, Rose Art Museum; and New York, Whitney Museum of American Art, November 1966 – June 1967, pp. 94 and 115, and illustrated on p. 95. The work was exhibited in “Pascin,” Munich, Haus der Kunst; Vienna, Wiener Secession, June 1969 – November 1969, and is illustrated in the exhibition catalogue, no. 61, dated “1929–30.” The work was exhibited in “Rétrospective Pascin,” Bordeaux, Galerie des Beaux-Arts; Nice, Palais de la Méditerranée; and Geneva, Musée d’Art et d’Histoire, December 1969 – June 1970, and is illustrated in the exhibition catalogue, no. 60. The work was exhibited in “Pascin, Prince des 1001 nuits,” Tokyo, Grande Galerie Odakyu; Sapporo, Hokkaido Museum of Modern Art; Nagasaki, Nagasaki Museum of Art; Yamaguchi, Yamaguchi Museum of Art; and Osaka, Daimaru Museum, April – September 1984, p. 135, and illustrated in the exhibition catalogue, no. 78, p. 67. Long-term loan to the Art Gallery of Ontario, Toronto, from 1974 to 2019. The work is reproduced in P. Morand, “Pascin,” Paris, 1931, p. 44, under the title “Dernier Tableau.” The work is reproduced in L. Seoane, “Jules Pascin,” Buenos Aires, 1944, p. 64, no. 26, illustrated on p. 51 under the title “Ultimo cuadro pintado por Pascin.” The work is reproduced in H. Brodzky, “Pascin,” London, 1946, p. 55, no. 632. The work is reproduced in J. Canaday, “Pascin and a Fact of Life,” in The New York Times, 28 May 1967, p. 19. The work is reproduced in “Münchner Kunstsommer,” in Neue Zürcher Zeitung, 9 July 1969, p. 11. The work is reproduced in Y. Hémain, G. Krohg, K. Perls and A. Rambert, “Pascin, Catalogue raisonné: Peintures, aquarelles, pastels, dessins,” Paris, 1984, vol. I, p. 334, no. 682. The work is reproduced in T. Krohg and R. Napolitano, “Pascin, Les années nacrées, 1920–1930,” Paris, 2017, vol. II, p. 1147, no. 3837.
Dating
1930
PROVENANCE
931 - 1944, collection of Rolf de Mare (1888 - 1964), Swedish ballet impresario and collector; 1944 - 1966, collection of Samuel Josefowitz. Samuel Josefowitz (1921-2015) was an American entrepreneur, founder of the Concert Hall Society, and one of the most prominent art collectors of the 20th century. Trained as a chemical engineer, he built an exceptional collection of old master engravings and late 19th-century French painting, especially works from Pont-Aven, supporting institutions such as the British Museum and major exhibitions with both his collection and his philanthropy; since 1966, bequeathed to the current owners.
