BLANCHARD Maria

BLANCHARD Maria

María BLANCHARD (1881–1932) (Attributed to)

Cubist Composition with Guitar
Circa 1918–1920
Gouache on paper
19"1/8 × 14"9/16 (48.5 × 37 cm):Artwork
26"3/4 x 22"1/4 (68 x 56.5 cm): with frame
Signed lower left “M. BLANCHARD”

An exceptional Cubist composition attributed to María Blanchard (1881–1932), executed in gouache on paper and signed M. BLANCHARD at the lower left.

The composition is constructed around the recognizable form of a guitar, whose luminous ochre body provides the visual center of an intricate arrangement of overlapping geometric planes. Bottles, vessels and architectural forms appear to emerge and dissolve within the composition, creating a sophisticated interplay between recognizable objects and abstraction. Deep blues, greens, violets and burgundy tones are juxtaposed with areas of ochre, cream and luminous blue, producing the rich chromatic harmony characteristic of Blanchard’s highly personal interpretation of Cubism.

The fragmentation of space, compression of perspective and rhythmic superimposition of forms place the work within the vocabulary of Blanchard’s important Cubist period in Paris. Despite the complexity of the composition, the work retains a remarkable sense of balance: strong diagonals lead the eye through the picture, while the guitar anchors the entire construction. The matte quality and density of the gouache further enhance the almost architectural character of the composition.

Expertise and Authentication History:

The work benefits from a particularly significant and documented history concerning its attribution.

The gouache was examined by Mme Liliane Caffin-Madaule, then recognized as one of the foremost authorities on the work of María Blanchard and author of the artist’s catalogue raisonné. Correspondence from 2005 specifically identifies the work as a “gouache sur papier signée M. BLANCHARD” and records its exact dimensions of 48.5 × 37 cm.

Following her examination of the work and a subsequent telephone discussion with Philippe Morateur, Mme Caffin-Madaule expressed the opinion that the composition had most probably been executed around 1918 or somewhat later. At her request, photographs of the work were subsequently forwarded to her in London for the purpose of preparing an attestation or certificate. This exchange and the proposed dating are documented in correspondence dated December 16, 2005.

More recently, Caroline Caffin, daughter of Liliane Caffin-Madaule, was contacted concerning the work and provided with the available documentation and photographs showing the gouache in its condition prior to restoration. Although Caroline Caffin does not act as an expert on María Blanchard and is therefore not in a position to issue a certificate of authenticity, she was closely familiar with her mother’s work and archives during the years in which Liliane Caffin-Madaule was the recognized specialist on the artist.

Caroline Caffin subsequently consulted her mother’s surviving archives specifically in relation to this gouache. No record identifying the work as rejected, doubtful, disputed, or problematic was located in those archives. After reviewing the documentation and photographs of the work in its unrestored condition, she furthermore recommended that the gouache be professionally restored in order to improve its presentation and enhance its value.

These circumstances do not constitute a formal certificate of authenticity and are not presented as such. They nevertheless form an important and favorable part of the work’s history. The 2005 correspondence provides a contemporaneous record of the discussions with Liliane Caffin-Madaule, including her proposed dating of circa 1918 or later and her request for photographs toward the preparation of an attestation or certificate. The subsequent examination of her surviving archives by Caroline Caffin revealed no record classifying the work as rejected, doubtful, disputed, or problematic; following her review of the documentation and pre-restoration photographs, she also recommended that the work be restored.

Together, these elements provide a coherent and favorable documented history for the attribution of the present gouache to María Blanchard, while respecting the distinction between this historical documentation and a formal certificate of authenticity.

The gouache has since been professionally restored and framed, allowing the strength of its Cubist construction and the richness of its palette to be fully appreciated.

Accompanied by correspondence with Liliane Caffin-Madaule dated February 8 and December 16, 2005, documenting the history of the work and its submission for expertise, together with later correspondence with Caroline Caffin concerning her review of the archives and the restoration of the work.

Price : Upon Request

Materials / Techniques: Gouache on paper