Condition: Lined. Inpaint along the edges, and scattered in the sky, most notable at upper right, and in the lower right, not into the signature. Two areas of restoration in the trees at left center, each roughly 1 x 1 inch. Touches of inpaint on the brim of the fedora hat and scattered in the costume. None in the faces. Treatment Performed Summer 2017 1. Consolidate areas of flaking paint with BEVA 371. 2. Remove grime layer and discolored varnish from painting. 3. Flatten distortions in paint and canvas with slight moisture and heat on a vacuum hot table. 4. Line painting onto linen and mylar with BEVA 371. 5. Restretch painting and place into tension. 5. Fill areas of paint loss with Modostuc filler 6. Apply new varnish of BEVA varnish (Regalrez resin with U V stabilizer). 7. Retouch as necessary with resin colors (Maimeri).
Signature: Signed Guy Pene du Bois and dated indistinctly (lr); titled Les Proprietaires and numbered cat 116 on a label affixed to the stretcher
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.”