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Joseph Lamberton – Young Nude Woman Seated On A White Sheet – Oil On Panel – Signed

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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-2
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-3
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-4
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-1
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-2
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-3
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-4
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-5
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-6
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Joseph Lamberton – Young Nude Woman Seated On A White Sheet  – Oil On Panel – Signed-photo-7
More pictures
Joseph Louis Lamberton (1867–1943)
Nude Young Woman Seated on a White Sheet
Oil on panel
Signed upper left
30 x 21 cm – 44.5 x 35.5 cm with frame
Very good condition
Carved wooden frame, recently regilded and patinated

What is she holding in her right hand—that small, dark object dangling down to the edge of the sheet? A piece of cloth, perhaps a stocking. The painter does not specify, and it is this detail that brings the scene to life: one gets the impression of having caught the model between two movements, just as she is barely looking up, a faint smile on her lips.

Her brown hair is pulled back into a bun. Her other arm rests on the white sheet, set back slightly, and behind her we can make out a dark backrest, a piece of furniture to the left, and a wall draped with fabric featuring green and gold patterns.

Lamberton paints quickly and boldly. We can follow every brushstroke in the thick paint. The sense of volume arises from the contrast of colors: the deep pink of the body stands out clearly against a more muted background of grays, pale greens, and beiges. The white sheet, enlivened by bluish highlights, reflects light back onto the bust.

The wooden frame is carved with foliage motifs at the corners and in the center of each side. It was recently regilded, then blackened in places to give it an antique patina. This interplay of light and shadow highlights the sculpture’s relief and complements the painting’s free-flowing brushwork. A gilded inner molding with a hammered surface surrounds the panel.

The artist
Joseph Louis Lamberton was a sculptor and painter from Saint-Étienne, active from the late 19th century through the 1930s. He pursued his career in Saint-Étienne alongside his wife, Adrienne Lamberton (1867–1955), herself a painter and art teacher. He is notably credited with the war memorial at the Notre-Dame de Montbrison Collegiate Church.

As a painter and sculptor, he took a keen interest in the human figure, and the nude plays an important role in his paintings. His career remains relatively undocumented, but it was the subject of a study in the journal *Saint-Étienne, histoire & mémoire* (No. 224, 2006).

Work on view at the gallery (07240)
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The Banks Of The Seine, Paris, Gaby Bruneau 1967
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