The present work was photographed by Peter A. Juley & Son; the original nitrate negative is part of the Peter A. Juley & Son Collection, Photograph Archives, Smithsonian American Art Museum, Washington, DC We extend our most sincere thanks to Dr. Betsy Fahlman, Professor of Art History, Arizona State University for her generous assistance in cataloguing this lot.
—Courtesy of Doyle
Condition: Relined, stretchers not original. Treatment Performed (summer 2017) 1. Remove grime layer, thick, discolored varnish and old retouchings from painting. 2. Apply new varnish of BEVA varnish (Regalrez resin with U V stabilizer). 3. Retouch as necessary with resin colors (Maimeri).
Signature: Signed Guy Pene du Bois (lr)
New York, Kraushaar Galleries, Exhibition of Paintings by Guy Pene du Bois, Dec. 6 - 28, 1927, no. 8 Pittsburgh, PA, Carnegie Institute, 17th Annual International Exhibition of Paintings, Oct. 18 - Dec. 9, 1928, no. 77 Philadelphia, PA, Pennsylvania Academy of the Fine Arts, 127th Annual Exhibition of Painting and Sculpture, Jan. 24 - Mar. 13, 1932, no. 269 New York, Kraushaar Galleries, "Paintings by Guy Pene du Bois from 1908-1938," Nov. 15 - Dec. 10, 1938, no. 18 Pittsburgh, PA, Carnegie Institute, An Exhibition of Paintings by Guy Pene du Bois from 1908 to 1938, Jan. 4 - 22, 1939, no. 29 New York, Portraits Inc., American Portraits by American Painters, 1730-1944, 1921-1944 group, Apr. 24 - May, 13, 1944, Knoedler Galleries, no. 44
Helen Appleton Read, "News and Views of Current Art: Guy Pene du Bois," Brooklyn Daily Eagle, Dec. 11, 1927 Helen Appleton Read, "Portraits of Children," Vogue, Apr. 15, 1931, p. 90, illus.
By descent to William Pene du Bois, his son
By descent to Willa Kim, his wife
About Guy Pène du Bois
Named for his father’s friend, author Guy de Maupassant, Guy Pène du Bois was raised among the cultural elite, who would become a frequent subject of his work. In 1899, he entered the New York School of Art; there, he learned his loose, gestural handling of paint from William Merritt Chase, while Robert Henri inspired him to work from contemporary life. A keen social observer, he deftly captured the pretensions and preoccupations of the day with gentle irony in his simplified, stylized figures. Active in the New York art scene in the early 20th century, he was a member of the Society of Independent Artists and the Whitney Studio Club, as well as a teacher at the Art Students League and critic. On du Bois’ death, Edward Hopper wrote, “He certainly was the best friend I had in art.”