Marguerite SERUSIER (1879-1950)

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Lot n° 10
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5000 - 7000 EUR
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Result : 6 500EUR
Marguerite SERUSIER (1879-1950)
La plantation de sapins Pastel and charcoal on paper Traces of the stamp of the initials "PS." lower left and lower right Stamp of the initials "PS." on the reverse Pastel and black chalk on paper, indistinctly stamped with the "PS." initials lower left and lower right, stamped with the "PS." initials on the reverse 31 x 23,7 cm - 12 1/4 x 9 3/8 in. PROVENANCE Family of the artist Sale, Modern paintings, drawings, watercolours, sculptures, prints from the estate of P[aul] Sérusier and the estate of Mlle Boutaric, Ader-Picard- Tajan, Paris, Nouveau Drouot, 19 and 20 June 1984, lot 260 (described as Paul Sérusier) Paris, Galerie Le Bateau-Lavoir (from Sotheby's and Massol catalogues) Private collection (acquired from the former in 1959 from Sotheby's catalogue) Sale, Briest, Paris, Hôtel Drouot, 6 July 1999, lot 129 (described as Paul Sérusier) Sale, Impressionist & Modern Art including Ceramics by Pablo Picasso, Sotheby's, London, 29 March 2000, lot 162 (described as Paul Sérusier) Sale, Massol, Deauville, Centre International de Deauville, 11 May 2002, lot 339 (described as Paul Sérusier) Private collection, France (acquired during the previous sale) NOTE Its composition, in which vegetation and hills occupy almost the entire field, and the simplification of the forms of nature, borrowed from Japanese artists, make this pastel a typical work of Marguerite Sérusier, which finds its full expression in the screen Paysage vallonné of 1910 kept at Musée d'Orsay (RF MO P 2015 39) and presented in the exhibition Les Nabis et le décor (Paris, Musée du Luxembourg, 13 March-30 June 2019). Its composition, in which vegetation and hills occupy almost the entire field, and the simplification of the forms of nature, borrowed from Japanese artists, make this pastel a typical work of the artist, which finds its full expression in the screen Paysage vallonné of 1910 kept at the Musée d'Orsay (RF MO P 2015 39) and presented in the exhibition Les Nabis et le décor (Paris, Musée du Luxembourg, 13 March-30 June 2019). "She was a citizen of Châteauneuf [-du-Faou] from 1912 until her death in 1950, and while it is undeniable that her great painter husband, Paul Sérusier, overshadowed her, Marguerite Sérusier was also endowed with a great talent. Daughter of an army officer, Marguerite Gabriel- Claude was born in Lons-le-Saunier on March 12, 1879 and was a drawing teacher at the Écoles de la Ville de Paris and one of the first to enroll at the famous Académie Ranson. She directed the Atelier Martine and then Paul Poiret's sewing workshop for young girls. The art world recognized her influence on the arts of ornamentation before the First World War, particularly on the art applied to carpets and textiles. It was at the academy founded by Paul Ranson (the Nabi known as "the most Japanese") and his wife France that Marguerite Gabriel-Claude became a pupil of the already respected master Paul Sérusier, who was already a Châteauneuf-du-Pape resident, but who spent long periods in the capital. [...] It is well known that Marguerite Sérusier, under the influence of her husband, produced paintings of great quality, to the point that Châteauneuvians who owned unsigned paintings wondered for a long time who had held the brush. But it is certain that the wife, enamoured of the art of tapestry, encouraged her husband to persevere in mural art. Thus, around 1913, the plasterwork in the hallway, the corridor and the staircase were decorated with astonishing works on religious, pagan or esoteric themes. And it was Marguerite who encouraged him to resume his project of decorating the baptistery of the parish church Saint-Julien, which was carried out from 1914 to 1917. Marguerite Sérusier suffered a long period of poor health and, on 6 October 1927, while her husband was visiting her in hospital in Morlaix, he was struck down in the street by a lightning illness. He was buried in the cemetery of that town. His widow survived him until September 25, 1950. Having regained her health, she did not remain inactive, painting and working obstinately to obtain the consecration of her eminent husband, while facing a worrying material situation. Absent, she wrote in 1947 to the local painter Marcel Visonneau, who was authorized to work in Duchenn Glaz's studio: "I am in Paris for some time, working on the Master's paintings. I will soon put back on the stretchers the canvases that have been rolled up since 39...". In Châteauneuf, she was no longer alone. She was accompanied by three former postmistresses: her two unmarried sisters Anne and Marie, as well as Miss Henriette Boutaric, of Cantaloupe origin, their friend, who bought the house and was Sérusier's universal legatee. The Sunday walkers looked on with deference.
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