The Paintings, Watercolors and Drawings of Paul Cezanne
An Online Catalogue Raisonné under the Direction of Société Paul Cezanne
(Formerly directed by Walter Feilchenfeldt, Jayne Warman and David Nash)
FWN 708
La Pendule noire
1867–69
Alternate titles: Die schwarze Uhr; Die Stutzuhr; La Pendule; La pendule de marbre noir; La pendule or Nature morte (coquillage et pendule); Nature morte à la pendule; Nature morte à la pendule de marbre; Still Life; Still Life with Black Clock; Stilleben mit der Muschel; Stilleben mit schwarzer Uhr; Stilleben mit Uhr; The Black Clock
Rewald (136): 1867–69; Venturi revised: c.1870; Venturi (69): 1869–71; Rivière: c.1870; Cooper: c.1871–72; Gowing: 1870 (Burlington) and c.1870 (London); Machotka et al: 1869–70
Oil on canvas
21 1/4 x 29 1/8 in. (54 x 74 cm)
Vollard archives: photo no. 327, Annotated by Cezanne's son: 1865–70
Private collection
Provenance
Private collection
Exhibition History
Salon d'Automne, Grand Palais, Paris, Rétrospective d'oeuvres de Cézanne, October 1–22, 1907, no. 8, as La Pendule, lent by Pellerin.
Munich, Frühjahr-Ausstellung der Münchener Sezession, Spring 1909, no. 21, as Stilleben mit der Muschel, lent by Vollard.
Paul Cassirer, Berlin, XII. Jahrgang, III. Ausstellung, November 17–December 12, 1909, no. 21, as Stilleben mit Uhr, lent by Vollard.
Galerie Miethke, Dorotheergasse 11, Vienna, Kollektiv-Ausstellung Max Kurzweil und Carl Moll, March 4–30, 1911, as Nature morte (pendule et coquille), 20,000 Fr net.
Ernst Museum, Budapest, Hungary, [The Great French Masters of the XIXth Century], Autumn 1913, no. 76, as Still Life, lent by Kohner.
Mucsarnok, Budapest, Hungary, First Exhibition of Socialized Art Treasures, 1919, no. 21, lent by Kohner.
Royal Academy of Arts, London, French Art, January 4–March 12, 1932, no. 441, ill. p. 70 in An Illustrated Souvenir ..., as La pendule de marbre noir, lent by Wildenstein & Co, NY; Commemorative Catalogue: no. 278, pl. 138.
The Art Institute of Chicago, Chicago, A Century of Progress, June 1–November 1, 1933, no. 320, (dated c. 1870), lent by Wildenstein & Co, New York.
Musée de l'Orangerie, Paris, Cézanne, May 20–October 11, 1936, no. 11, pl. XXXII, as La pendule de marbre noir, lent by Georges Wildenstein.
The Museum of Modern Art, New York, Art in Our Time: 10th Anniversary Exhibition, May 10–September 10, 1939, no. 55, ill.
Phillips Collection, Washington, D.C., Functions of Colors in Painting, February 16–March 23, 1941, no. 5.
Philadelphia Museum of Arts, Philadelphia, Diamond Jubilee Exhibition, Masterpieces of Painting, November 4, 1950–February 11, 1951, no. 84, ill., as The Black Clock, lent by E.G. Robinson.
Wildenstein Galleries, New York, Wildenstein Jubilee Loan Exhibition, 1901–1951: Masterpieces from Museums and Private Collections, November 8–December 15, 1951, no. 48, ill.
The Art Institute of Chicago, Chicago, Cézanne: Paintings, Watercolors & Drawings, A Loan Exhibition, February 7–March 16, 1952, no. 11, ill. lent by E.G. Robinson. Traveled to: The Metropolitan Museum of Art, New York, April 1–May 16, 1952.
The Museum of Modern Art, New York, Paintings from the Edward G. Robinson Collection, March 3–April 12, 1953, no. 5.
Los Angeles County Museum of Art, Los Angeles, The Gladys Lloyd and Edward G. Robinson Collection, September 11–November 11, 1956, no. 7, ill., as The Black Clock, 1869-71. Traveled to: California Palace of the Legion of Honor, San Francisco, November 30, 1956–January 13, 1957.
Knoedler Galleries, New York, The Niarchos Collection, December 3, 1957–January 18, 1958, no. 5. Traveled to: National Gallery of Canada, Ottawa, Canada, February 5–March 2, 1958; Museum of Fine Arts, Boston, March 15–April 20, 1958.
Tate Gallery, London, The Niarchos Collection: collection of paintings and sculpture, May 23–June 29, 1958, as The Black Clock.
Phillips Collection, Washington, D.C., Cézanne: An Exhibition in Honor of the Fiftieth Anniversary of the Phillips Collection, February 27–March 28, 1971, no. 2. Traveled to: The Art Institute of Chicago, Chicago, April 17–May 16, 1971; Museum of Fine Arts, Boston, June 1–July 3, 1971.
Grand Palais, Paris, Centenaire de l'impressionnisme, September 24–November 24, 1974, no. 5, ill., as Nature morte à la pendule de marbre, lent by Stavros S. Niarchos. Traveled to: The Metropolitan Museum of Art, Impressionism: A Centenary Exhibition, New York, December 12, 1974–February 10, 1975.
Royal Academy of Arts, London, Cézanne: The Early Years 1859–1872, April 22–August 21, 1988, no. 49, ill. Traveled to: Musée d'Orsay, Cézanne: les années de jeunesse 1859-1872, Paris, September 19, 1988–January 1, 1989; National Gallery of Art, Washington, D.C., January 29–April 30, 1989.
Grand Palais, Paris, Impressionnisme: Les origines, 1859–1869, April 19–August 8, 1994, no. 31, p. 350, fig. 190. Traveled to: The Metropolitan Museum of Art, New York, Origins of Impressionism, September 19, 1994–January 8, 1995.
Musée du Luxembourg, Paris, Cézanne et Paris, October 12, 2011–February 26, 2012, no. 54, ill., p. 113, as La Pendule noire, 1869-70, lent by Private collection.
Published References
Haberfeld, Hugo. "Die französische Bilder der Sammlung Köhner." Der Cicerone 3, no. 15 (August 1911), p. 588, fig.7 p. 586.
Meller, Simon. "Kohner Adolf muvészeti gyujtemény." Vasárnapi Ujság, April 30, 1911, p. 354.
Burger, Fritz. Cézanne und Hodler. Munich: Delphin Verlag, 1913, pl. 118, as Die Stutzuhr.
Denis, Maurice. "Cézanne: I [and] II." Kunst und Künstler 12, no. 4 and no. 5 (1914), ill. p. 208.
Meier-Graefe, Julius. Cézanne und sein Kreis: ein Beitrag zur Entwicklungsgeschichte: mit 127 Tonätzungen und fünfzehn Heliogravüren. Munich: R. Piper, 1918, ill. opposite p. 88.
Bye, Arthur Edwin. Pots and Pans or Studies in Still Life Painting. Princeton: Princeton University Press, 1921, pp. 137–38.
Meier-Graefe, Julius. Cézanne und sein Kreis: ein Beitrag zur Entwicklungsgeschichte: mit 171 Tonätzungen und einem Lichtdruck. Munich: R. Piper, 1922, ill. p. 117, as Stilleben mit schwarzer Uhr, c. 1870.
Rivière, Georges. Le Maître Paul Cézanne. Paris: Librairie Floury, 1923, p. 199, listed.
Meier-Graefe, Julius. "Cézanne." In Entwicklungsgeschichte der modernen Kunst vol. 3. Munich: R. Piper & Co., [1924] (copyright 1915), pl. 491, as Stilleben mit schwarzer Uhr, c. 1870.
Pfister, Kurt. Cézanne: Gestalt, Werk, Mythos. Potsdam: Gustav Kiepenheuer Verlag, 1927, fig. 25, as Stilleben mit Uhr.
Meier-Graefe, Julius. Cézanne. translated by J. Holroyd-Reece. London: Ernest Benn, 1927, pl. V.
Chroniquer. "The Art Collector: The Collection of Baron Adolf Kohner." Kepzomuvészet 3, no. 16 (January 1929), p. 16.
"Enquête sur l'art français." Formes: revue internationale des arts plastiques, no. 20 (December 1931), ill. between 186-187, as Nature morte à la pendule.
Borenius, Tancred. "Die Ausstellung französischer Kunst in London." Pantheon 9 (March 1932), p. 90, ill.
Espezel, Pierre de. "L'Exposition de l'art français à Londres: L'art français du temps présent." Gazette des beaux-arts, vol. 7, periode 6 (January 1932), p. 98, fig. 1.
Phillips, Duncan. "Personality in Art: II: Reflections on Its Suppression and the Present Need for Its Fulfillment." The American Magazine of Art 28, no.3 (March 1935), ill. p. 152.
Besson, George (introduction). "Paul Cézanne: 1839–1906." Estampes. Paris: Braun & Cie, August 1936 (no. 4), fig. 6 p. 4.
Flament, Albert. "Tableaux de Paris: Peinture." La Revue de Paris (Paris) (September 1936), p. 949, as La pendule de marbre noir.
Gillet, Louis. "Autour de l'exposition de l'Orangerie: la légende de saint Paul Cézanne." Paris-soir (Paris), May 25, 1936, p. 4, as La Pendule.
Guenne, Jacques. "Paul Cézanne et le drame de la peinture." L'Art vivant (Paris), no. 204 (1936), ill. p. [155].
Laprade, Jacques de. "L'exposition Cézanne à l'Orangerie." Beaux-arts: Chronique des arts et de la curiosité, no. 177 (May 22, 1936), ill. p. 1, as Nature morte à la pendule.
Rydbeck, Ingrid. "Apropå Cézanne." Konstrevy (Stockholm) XII, no. 5 (1936), ill. p. 137, as Nature morte à la pendule.
Tourrette, Gilles de la. "Paul Cézanne." Art et les Artistes 32 (July 1936), p. 336, ill., as La pendule de marbre noir, dated circa 1870.
Ors, Eugenio d.' "Crise de Cézanne." Gazette des beaux-arts, vol. 15, periode 6 (June 1936), p. 369, fig. 6, as Nature morte à la pendule.
Huyghe, René. "Cézanne et son oeuvre." L'Amour de l'art 17, no. 5 (May 1936), fig. 40 p. 167, as Nature morte à la pendule, c. 1870.
Venturi, Lionello. Cézanne: Son Art, Son Oeuvre. Paris: Editions Paul Rosenberg, 1936, no. 69, ill. vol. II, as La Pendule noire.
Huyghe, René. "L'Exposition Cézanne à l'Orangerie." Bulletin des musées de France 8, no. 6 (June 1936), p. 94, ill.
Laver, James. French Painting and the Nineteenth Century. London: B.T. Batsford, 1937, fig. 111.
Vollard, Ambroise. Souvenirs d'un marchand de tableaux. Paris: Albin Michel, 1937, pl. 4.
Rewald, John. "A propos du catalogue raisonné de l'œuvre de Paul Cézanne et de la chronologie de cette œuvre." La Renaissance (Paris), vol. 20, nos. 3-4 (March–April 1937), p. 56, as La Pendule noire.
Goldwater, Robert J. "Cézanne in America: The Master's Paintings in American Collections." Art News Annual 36, no. 26 (March 26, 1938), p. 140, ill. JW: ? (in notebooks).
Zervos, Christian. Histoire de l'art contemporain. Paris: Éditions Cahiers d'art, 1938, p. 26, ill.
Barnes, Albert C., and Violette de Mazia. The Art of Cézanne. New York: Harcourt Brace, 1939, no. 14, ill. p. 162.
Denis, Maurice. "L'aventure posthume de Cézanne." Prométhée: L'Amour de l'art 20, no. 6 (July 1939), p. 194, as La Pendule noire.
"L'art de notre temps: la grande exposition du Musée d'art moderne de New-York." Beaux-arts: Chronique des arts et de la curiosité, no. 336 (June 9, 1939), ill. p. 1, as La Pendule noire.
Rewald, John. Cézanne, sa vie, son œuvre, son amitié pour Zola. Paris: Albin Michel, 1939, fig. 20.
Millier, Arthur. "Edward G. Robinson on Art." Magazine of Art 35 (November 1942), p. 259, ill.
Millier, Arthur. "Edward G. Robinson's Collection: An Interview." Art in America 32 (October 1944), p. 224, ill.
MacColl, Dugald Sutherland. Life, Work and Setting of Philip Wilson Steer. London: Faber and Faber, 1945, p. 87.
Rewald, John. The History of Impressionism. New York: The Museum of Modern Art, 1946, p. 210, ill.
Novotny, Fritz. Cézanne. London: Phaidon Press, 1947, pl. 11, as La Pendule noire, 1869-70.
Vaudoyer, Jean-Louis. Les Peintres provençaux de Nicolas Froment à Paul Cezanné. Paris: La Jeune Parque, 1947, p. 88, ill.
Guerry, Liliane. Cézanne et l'expression de l'espace. Paris: Flammarion, 1950, pl. 9, fig. 4.
Venturi, Lionello. Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cézanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec. New York: Scribner, 1950, fig. 121.
Rilke, Rainer Maria. Briefe über Cézanne. Wiesbaden: Insel, 1952, Letter to Clara Rilke, Paris, Oct. 24, 1904 (quoted above, author's translation).
Hofmann, Werner. Paul Cézanne (1839-1906). Munich, Vienna, Basel: Kurt Desch, 1953, pl. 10, as Die schwarze Uhr, c. 1870.
Rousseau, Théodore, Jr. Paul Cézanne, 1839–1906. New York: Harry N. Abrams, 1953, pl. 10.
Elles, Iris. Das Stilleben in der französischen Malerei des 19. Jahrhunderts. Zurich: Origo Verl, 1958, p. 100.
Adhémar, Jean. "Le cabinet de travail de Zola." Gazette des beaux-arts, vol. 56, periode 6 (November 1960), pp. 293 et 294 (no. 131).
Rewald, John. The History of Impressionism. New York: The Museum of Modern Art, 1961, p. 248, ill.
Feist, Peter Heinz. Paul Cézanne. Leipzig: E.A. Seemann, 1963, p. 24, pl. 15, referenced on p. 24.
"Stavros Niarchos." In Great Private Collections. New York: Macmillan, 1963, p. 195, ill.
McCoubrey, John. "The Revival of Chardin in French Still-Life Paintings, 1850–1870." The Art Bulletin 46, no. 1 (March 1964), p. 52, fig. 19.
Pool, Phoebe. Impressionism. New York: Praeger, 1967, pl. 141, as The Black Clock, dated 1870.
Murphy, Richard W. The World of Cézanne, 1839–1906. New York: Time-Life Books, 1968, p. 31.
Schapiro, Meyer. "The Apples of Cézanne: An Essay on the Meaning of Still-Life." Art News Annual 34 (1968), pp. 40–41.
Schapiro, Meyer. Paul Cézanne. Translated by Louis-Marie Ollivier. Paris: Nouvelles Editions Françaises, 1973, pl. 3, with comments.
Geist, Sidney. "What Makes 'The Black Clock' Run." Art International 22, no. 2 (February 1978), pp. 9–10, ill.
Müller, Joseph-Emile. Cézanne. Translated by Jane Brenton. Paris: Fernand Hazan, 1982, pl. 2.
Lévêque, Jean Jacques. La Vie et l'oeuvre de Paul Cézanne. Courbevoie: ACR, 1988, p. 127, ill. in color.
Plazy, Gilles. Cézanne ou la peinture absolue. Paris: Editions Liana Levi, 1988, p. 34, ill. in color.
Düchting, Hajo. Paul Cézanne: Natur wird Kunst. Cologne: Benedict Taschen Verlag, 1989, p. 56, ill.
Baron, Jean-Marie and Pascal Bonafoux. Cézanne: Les Natures Mortes. Paris: Editions Herscher, 1993, p. 17, ill.
Cachin, Françoise, and Joseph Rishel. Cézanne. Paris: Réunion des musées nationaux, 1995. Exhibition catalogue, p. 27, ill.
Dossier de l'art. no. 25, Cézanne. Dijon: Editions Faton, September - October 1995, ill. p. 79, 1869-71.
Kitschen, Friederike. Cézanne: Stilleben. Ostfildern-Ruit: Verlag Gerd Hatje, 1995, fig. 13.
Rewald, John. The Paintings of Paul Cézanne, A Catalogue Raisonné, 2 vols. In Collaboration with Walter Feilchenfeldt and Jayne Warman. New York: Harry N. Abrams, 1996, no. 136, ill. vol. 2, as La Pendule noire.
Klemm, Christian. "Paul Cézanne 'Paul Alexis liest Zolar vor.'" In Manet, Zola, Cézanne: Das Porträt des Modernen Literaten. Ostfildern-Ruit: Hatje, 1999. Exhibition catalogue, fig. 7.
Lewis, Mary Tompkins. "The Path to Les Lauves: A History of Cézanne's Studios." In Atelier Cézanne, 1902–2002: Le centenaire. Aix-en-Provence: Société Paul Cézanne, 2002, fig. 8, ill. in color.
Mori, Gioia. "'La letteratura si esprime con astrazioni mentre il pittore concretizza.' Gli scrittori di Cézanne: Zola, Balzac e Flaubert." In Cézanne: Il padre dei moderni. Milan: Mazzotta, 2002. Exhibition catalogue, ill. p. 83.
Athanassoglou-Kallmyer, Nina M. Cézanne and Provence: The Painter in His Culture. Chicago and London: The University of Chicago Press, 2003, p. 91, fig. 2.41, as La Pendule noire.
Feilchenfeldt, Walter. "Cézannes Motive: Versuch einer neuen Ordnung." In "By Appointment Only": Schriften zu Kunst und Kunsthandel, Cézanne und Van Gogh. Wädenswil: Nimbus, 2005, p. 202, ill.
Lebensztejn, Jean-Claude. Études cézanniennes. Paris: Flammarion, 2006, p. 19, fig. 4, as La Pendule noire, dated c. 1870.
Machotka, Pavel. Cézanne: The Eye and the Mind, 2 vols. Marseille: Editions Crès, 2008, vol. 1, fig. 69; vol. 2, p. 63, as La Pendule noire.
Leca, Benedict. "Le Monde est une pomme: nature mortes et portraits parisiens de Cézanne." In Cézanne et Paris. Paris: Éditions de la Rmn-Grand Palais, 2011. Exhibition catalogue, p. 113, ill., as La Pendule noire, dated 1869–70.
Fraisset, Michel. "La vite silenziose di Cézanne." In Cézanne: les ateliers du midi. Milan: Skira, 2011. Exhibition catalogue, p. 62, fig. 36.
Coutagne, Denis. Cézanne abstraction faite. Paris: Les Editions du Cerf, 2011, p. 205, fig. 142.
Molnos, Péter. "The Works of Paul Cézanne in Hungarian Private Collections." In Cézanne and the Past: Tradition and Creativity. Budapest: Museum of Fine Arts, 2012. Exhibition catalogue, p. 207, fig. 115, as The Black Clock, Private collection.
Cézanne, Paul. The Letters of Paul Cézanne. Edited and translated by Alex Danchev. London and Los Angeles: Thames & Hudson; Getty Publications, 2013, p. 167, ill.
Dombrowski, André. Cézanne, Murder, and Modern Life. Berkeley: University of California Press, 2013, pl. 11.
Echte, Bernhard and Feilchenfeldt, Walter. "Kollektion Paul Cézanne: 17. November bis 12. Dezember 1909." Kunstsalon Cassirer: Die Ausstellungen 1908-1910. vol. 4, "Ganz eigenartige neue Werte". Wädenswil: Nimbus, 2013, p. 289, ill.
Leca, Benedict. "'The Painter of Apples': Cézanne, Still Life, and Self-Fashioning." In The World Is an Apple: The Still Lifes of Paul Cézanne. Hamilton, Ontario: Art Gallery of Hamilton, 2014. Exhibition catalogue, p. 34, fig. 3, as Still Life with Black Clock.
Mitterand, Henri. Paul Cézanne, Émile Zola, Lettres croisées, 1858–1887. Paris: Gallimard, 2016, fig. 17, dated 1869–70.
Armstrong, Carol. Cézanne's Gravity. New Haven and London: Yale University Press, 2018, fig. 16.
Dauberville, Guy-Patrice, and Floriane Dauberville. Paul Cezanne chez Bernheim-Jeune. Paris: Editions G-P.F. Dauberville & Archives Bernheim-Jeune, 2020, no. 54, ill., as La pendule or Nature morte (coquillage et pendule).
Bätschmann, Oskar. "The Analysis of Heinrich Wölfflin, Fritz Burger, Johannes Itten." In Cezanne to Malevich, Arcadia to Abstraction. Budapest: Museum of Fine Arts, 2021. Exhibition catalogue, fig. 4.
Elderfield, John. "Dr. Barnes's Cézanne." In Cézanne in the Barnes Foundation. New York: Rizzoli Electa, 2021, fig. 6, as The Black Clock.
Clark, T.J. If These Apples Should Fall, Cézanne and the Present. London and New York: Thames & Hudson, 2022, pl. 30.
Groom, Gloria. "'At Once Unknown and Famous' – Cezanne in Paris." In Cezanne. Chicago: Art Institute of Chicago, 2022, p. 26, fig. 4.
Nagaï, Takanori. Truth in Panting: The Meaning of Cezanne's Practices for Modernizing Society. Tokyo: Sangesha Publishers Inc., 2022, pl. 23.
Notes
This still life was painted in Zola's Paris apartment and given to the writer. The influence of Manet and PIssarro is suggested. The faience inkwell is shown on Zola's desk in his portrait by Manet (1868, Musée d'Orsay).
Record last updated March 30, 2021. Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Société Paul Cezanne. "La Pendule noire, 1867–69 (FWN 708)." In The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. www.cezannecatalogue.com/catalogue/entry.php?id=146 (accessed on December 13, 2024).
