In this large pencil study Cézanne visually analysed the relationship of the tree’s various parts to create a harmonious composition rather than aiming at an illusionistic surface description of bark and leaves. His cautious drawing technique relates to his close observation: initial light pencil strokes which establish the tree’s form are overwritten with curved strokes and marks, shapes are accentuated and set in relief, spaces are excavated. Cézanne thus abandoned the continuous unbroken contour that clearly delineates forms and separates them from one another in an abstract manner.

? Tentative provenance, see further explanation below: Margarete Oppenheim, Berlin (1857-1935) - see her sale catalogue, Sammlung Frau Margarete Oppenheim, Julius Bohler, Munich, 18-20 and 22 May 1936, lot 1231 [identified as this lot by Chappuis 1973, but the identification remains tentative, as this catalogue lists the drawing as 475 x 305 mm, indicating a vertical format, and the paper is described as brownish, which The Courtauld's is not]; if so, purchased there by dealer Günther Franke, Munich (1900-1976) [according to annotated catalogue in the Wissenschaft archive, Munich]; Kenneth Clark, London (1903-1983), by July 1936 [when published as in his collection by Venturi]; first documented at The Courtauld 1981, source unknown, though plausibly donated by Clark, who was The Courtauld's former Director. Although Chappuis 1973 identifies this drawing as lot 1231 in Margarete Oppenheim's sale, there is a very small window between the end of this sale on 22 May 1936 and Venturi's catalogue, which went to the printer on 15 July 1936 and lists the drawing as by then in Kenneth Clark's collection (and in fact Venturi's preface is dated 1 May 1936, which is even before the Oppenheim sale). It seems more likely that this drawing was among the 50-odd Cézannes that Kenneth Clark acquired from Paul Guillaume for £250 in 1933, which came directly from Cézanne's son (see Clark's autobiography 'Another part of the wood', 1974, p. 240). At present however we do not have factual proof to confirm this, and thus this alternative provenance, contrary to that which is published in the literature, remains tentative, though very plausible: Alternative provenance: acquired from the artist's son by Paul Guillaume (Paris dealer); purchased from him by Kenneth Clark, London (1903-1983), 1933 (£250, along with some 50 other Cézanne drawings); likely donated by him to The Courtauld, date unknown

Cezanne: The Drawings, MoMA, New York, 06/06/2021-26/09/2021

Kenneth Clark : Finding Civilization, Tate Britain, London, 19/05/2014-10/08/2014

The Courtauld Cézannes, The Courtauld Gallery, London, 26/06/2008-05/10/2008 ...More

Cézanne Drawing, The Museum of Modern Art, New York, 6 June - 25 September 2021, 2021
p. 210
ill. on p. 112

The Courtauld Cézannes, The Courtauld Gallery, London, 2008
cat. no. 13
ill.
dated c. 1885-87

M.B., 'Exhibitions. Courtuald to show Cézanne it did not know it had. The drawing was "discovered" in 1981' in 'The Art Newspaper', Jun. 2008; no. 192
p.?
ill. ...More

Watermark: Watermark: Recto, running along lower centre, blindstamped in reverse and faded/pressed so that only "ANNONAY" is visible (preferred make of paper by the artist for watercolours and produced by Canson and Montgolfier of Vidalon, papermill near Annonay - see Zieske in 'The Broad Spectrum', 2002, pp. 95-97 and Ruppen in Luxembourg & Dayan 2019 catalogue, p. 32).

Inscription: Recto: upper right corner, graphite: "1"; lower right corner, written twice, once in blue crayon and again in graphite: "au 1/3".

Collector's mark: none.