By 1920, in addition to painting still lifes, Van Dongen also accepted portrait commissions. Soon, his reputation as a pre-eminent portraitist among the elite society of Paris, garnered him extraordinarily high wages for his works. This granted him financial security, but it also allowed him the freedom to devote significant time to his unending quest for originality and to return to to his passion, the genre of still life, where he continued to play with color and form. A good example is the present still life. Works like this were painted during the peak of Van Dongen’s career and are among the most desirable works
by the artist available today.
Gertrude Stein, Paris;
Robert Elkon Gallery, New York;
Maxwell Galleries, San Francisco (by 1971);
Pascal de Sarthes Gallery, San Francisco;
aquired from the above in 1986.
Tuscon, University of Arizona Museum of Art, Kansas City, Missouri and Williarn-Rockhill Nelson Gallery of Art, Mary Atkins Museum of Fine Arts: ‘Cornelis Thedodorus Marie van Dongen’, January-March 1971, p. 186, no. 83, with ill. p. 105.
Jacques Chalom des Cordes, Paris,
dd.27 September 2016; to be included in his forthcoming van Dongen catalogue critique being prepared under the sponsorship of the Wildenstein Institute.