Pierre Bonnard (French, 1867-1947) Portrait d'Alfred Edwards, sur sa péniche (inachevé), circa 1912 Oil on canvas 24 x 19-3/4 inches (61.0 x 50.2 cm) Property from the Estate of Richard M. Barancik PROVENANCE: Hôtel Drouot, Paris, June 17, 1981; Monsieur Edwards, the sitter's son, acquired from the above; Madame Levy Alcover, Paris; Galerie Bernheim-Jeune, Paris; Richard M. Barancik, Chicago, Illinois, by 2021. LITERATURE: G.P. Dauberville & F. Dauberville, eds., Bonnard: Catalogue raisonné de l'oeuvre peint, 2e Supplément, Paris, 2021, p. 66, no. 02182, illustrated in black and white. The Post-Impressionist Pierre Bonnard made his reputation painting works of art that often fused the figure with the environment through webs of loose, colorful brushwork, creating a lively and light-filled overall decorative pattern. Such is the case with this portrait of Alfred Charles Edwards (1856-1914), a millionaire businessman who, together with his third and very flamboyant Russian-born wife Misia (Maria Sophia Godebska, 1872-1950), was one of the artist's great patrons during the first two decades of the 20th century. Edwards was an English-born journalist-cum-newspaper magnate who owned Le Matin and several other newspapers, as well as the Théâtre de Paris and Casino de Paris. For the five years of their tumultuous marriage, he and Misia lived in grand style in their Parisian apartment on the fashionable rue de Rivoli overlooking the Tuileries, affording Misia the opportunity to host lavish parties for the glitterati, and champion artists, Diaghilev's Ballets Russes, and the literati—all of which won her the nickname "queen of Paris." She was much attached to Bonnard, and he to her, and she continued to patronize him long after her relationship with Edwards fell apart. Bonnard portrays Edwards here aboard his yacht, the Aimée, named after Misia's initials. He is shown every bit the well-fed millionaire. In the composition, notice how Bonnard's focus runs from Edwards in the foreground sharply into the distance along the length of the yacht to the pilot at the wheel, where others have congregated. Yet Edwards sits alone, his little dog perched aboard his master's obviously expansive belly, the kind of detail that points to Bonnard's legendary fun-loving side and good humor. Behind Edwards, Bonnard shows the river rolling past and the landscape just beyond that, quickly indicated with dots and dabs suggesting the breeze. Despite its lively brushwork and fresh effects, the portrait was painted back in the studio since, unlike the Impressionists, Bonnard did not paint from life. He jotted down rapid sketches in front of his subjects and took photographs as well, which in combination served as studies for the finished painting. Bonnard and his companion Marthe, whom he later married, made several trips aboard the Aimée as guests of Alfred and Misia Edwards beginning in 1904. These adventures brought him into contact with new locales to paint and also led him to explore the subject of boating in his art. HID12401132022 © 2024 Heritage Auctions | All Rights Reserved