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PAUL SIGNAC (1863-1935)

$3,750,000

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
<div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div> <div>Paul Signac’s "Pilote de la Meuse" (1924) is a refined late masterpiece that unites his devotion to color theory with his lifelong love of sailing. The composition is rigorously constructed around a highly structured framework of verticals and horizontals—the horizon line, the river’s surface, and the upright masts establish a sense of order and clarity. This geometry is gently softened by subtle diagonals: the angled masts, the slanted smokestack of a distant tugboat, and the wind-filled sails introduce movement and visual counterpoint without disrupting the overall balance.</div><br><br><div> </div><br><br><div>Executed in predominantly blue and green tones, the painting exemplifies Signac’s evolved Neo-Impressionist technique. While he and Georges Seurat pioneered pointillism as a scientific, color-theory-driven alternative to Impressionism, Signac’s later works from the 1910s and 1920s mark a decisive shift. Here, the earlier tight dots give way to broader, rectangular “mosaic strokes,” allowing color to carry greater physical presence and expressive freedom. The water in the foreground becomes a vibrant checkerboard of shifting hues, conveying turbulent weather, moving light, and wind-driven currents.</div><br><br><div> </div><br><br><div>A single prominent sailboat dominates the scene, accompanied by a few smaller vessels and the tugboat in the distance, whose swirling smoke animates the sky. This restrained yet dynamic marine subject reflects Signac’s deep personal connection to sailing—he owned 32 boats and traveled extensively by water.</div><br><br><div> </div><br><br><div>Similar maritime scenes from this mature period are held in major institutional collections, including the Minneapolis Institute of Art, The Metropolitan Museum of Art, and the Musée d’Orsay, underscoring the significance of this composition within Signac’s final artistic phase.</div><br><br><div> </div><br><br><div>The painting is accompanied by exceptional archival material: nine typed onion skins by Edmond Sussfeld; three autograph letters signed by Paul Signac; two autograph letters and the original invoice from the merchant Léon Marseille; and a certificate of authenticity from Mrs. Marina Ferretti-Bocquillon, providing outstanding historical context and provenance.</div>
Pilote de la Meuse192419 3/4 x 25 1/2 in.(50,17 x 64,77 cm) Öl auf Leinwand
Provenienz
Galerie Léon Marseille, Paris
Sammlung Edmond Sussfeld
Privatsammlung, aus dem Nachlass des Vorgenannten
Privatsammlung, Europa
Drouot Estimations, Paris, 18. November 2022, Los 00003 (Sammlung Edmond Sussfeld)
Privatsammlung, London, erworben bei der oben genannten Auktion
Ausstellung
Paris, Bernheim-Jeune, Paul Signac, 19. Mai bis 30. Mai 1930, Nr. 40
Paris, Petit Palais, Paul Signac, 1934, Nr. 35
Viroflay, Salon du Souvenir de Corot, 13. Ausstellung, 1965
Literaturhinweise
Bernheim-Jeune, Ausstellung Paul Signac vom Montag, 19. Mai bis...Mehr..... Vendredi 30 mai 1930, Paris, 1930, Nr. 40 (abgebildet)
Françoise Cachin, Signac: Catalogue Raisonné of the Painted Work, Paris, 2000, Nr. 565, S. 323 (abgebildet)
...WENIGER.....
Paul Signacs „Pilote de la Meuse“ (1924) ist ein raffiniertes Spätwerk, das seine Hingabe zur Farbtheorie mit seiner lebenslangen Liebe zum Segeln vereint. Die Komposition ist streng um einen stark strukturierten Rahmen aus Vertikalen und Horizontalen aufgebaut – die Horizontlinie, die Oberfläche des Flusses und die aufrecht stehenden Masten schaffen ein Gefühl von Ordnung und Klarheit. Diese Geometrie wird durch subtile Diagonalen sanft aufgelockert: Die schrägen Masten, der schräge Schornstein eines entfernten Schleppers und die vom Wind gefüllten Segel bringen Bewegung und visuellen Kontrapunkt ins Bild, ohne die Gesamtbalance zu stören.


 


Das überwiegend in Blau- und Grüntönen gehaltene Gemälde ist ein Beispiel für Signacs weiterentwickelte neoimpressionistische Technik. Während er und Georges Seurat den Pointillismus als wissenschaftliche, von der Farbtheorie geprägte Alternative zum Impressionismus begründeten, markieren Signacs spätere Werke aus den 1910er und 1920er Jahren eine entscheidende Wende. Hier weichen die früheren dichten Punkte breiteren, rechteckigen „Mosaikstrichen“, wodurch die Farben eine größere physische Präsenz und Ausdrucksfreiheit erhalten. Das Wasser im Vordergrund wird zu einem lebendigen Schachbrettmuster aus wechselnden Farbtönen, das turbulentes Wetter, bewegtes Licht und windgetriebene Strömungen vermittelt.





Ein einzelnes markantes Segelboot dominiert die Szene, begleitet von einigen kleineren Booten und dem Schlepper in der Ferne, dessen wirbelnder Rauch den Himmel belebt. Dieses zurückhaltende und doch dynamische Meeresmotiv spiegelt Signacs tiefe persönliche Verbindung zum Segeln wider – er besaß 32 Boote und unternahm ausgiebige Reisen auf dem Wasser.





Ähnliche Meereslandschaften aus dieser reifen Schaffensphase befinden sich in bedeutenden institutionellen Sammlungen, darunter das Minneapolis Institute of Art, das Metropolitan Museum of Art und das Musée d'Orsay, was die Bedeutung dieser Komposition innerhalb von Signacs letzter künstlerischer Phase unterstreicht.


 


Das Gemälde wird von außergewöhnlichem Archivmaterial begleitet: neun getippten Zwiebelhautblättern von Edmond Sussfeld, drei von Paul Signac signierten Autographen, zwei Autographen und der Originalrechnung des Händlers Léon Marseille sowie einem Echtheitszertifikat von Frau Marina Ferretti-Bocquillon, die einen hervorragenden historischen Kontext und die Provenienz belegen.
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