Richard Green at Frieze Masters

RICHARD GREEN AT FRIEZE MASTERS

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33 New Bond Street London W1S 2RS Telephone: +44 (0)20 7499 4738 Fax: +44 (0)20 7495 3318

147 New Bond Street London W1S 2TS Telephone: +44 (0)20 7493 3939 Fax: +44 (0)20 7499 3278

At the time of publication the art works in this brochure are for sale. Please contact us for full details.

Email: paintings@richardgreen.com

www.richardgreen.com

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RICHARD GREEN AT FRIEZE MASTERS Stand F4 Gloucester Green, Regent’s Park, London Stand Telephone: 0845 873 7987 Thursday 17th – Sunday 20th October 2013 Following the fair these art works will be on view at the galleries from Monday 21st October.

Please see the final page of the brochure for gallery details.

Jonathan Green Tel: +44 (0)7768 818 182 jonathangreen@richardgreen.com Matthew Green Tel: +44 (0)7770 957 326 matthewgreen@richardgreen.com www.richardgreen.com

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1.

JACOB VAN WALSCAPELLE (1644–1727) A still life of fruit and nuts, with a glass à la façon de Vénise and a rummer on a stone ledge before a niche Signed lower right: Jacob: Walscappelle /Fecit.

Oil on panel: 17 3/8 × 13 3/8 in / 44 × 34 cm Framed size: 24 ¼ × 20 ¼ in / 61.6 × 51.4 cm Painted circa 1675 2.

AMEDEE OZENFANT (1886–1966) Le pichet blanc Signed lower left: ozenfant Oil on canvas: 19 3/4 × 24 in / 50 × 61 cm Framed size: 29 ½ × 33 ¾ in / 74.9 × 85.7 cm Painted circa 1926

Walscapelle’s meticulously rendered, strongly lit and sharply defined still life seduces the eye through balance and geometry: the spheres of the peach and grapes, the oval rims of the rummer and the flute, the serpentine lines of the corn stalk and vine tendril. Long before the experiments of Impressionism, Walscapelle builds his composition round a complementary range of blue and orange hues. The theatrical darkness, ledge and overhanging leaves encourage admiration of the artist’s skill with trompe l’oeil.

While remaining faithful to the traditional principles of still life painting, using everyday objects carefully positioned in relation to one another, Ozenfant developed a highly controlled, analytical approach to line and form. This painting is an elegant representation of the theories of Purism, a movement founded by Ozenfant and Le Corbusier in 1918.

They wished to move beyond Cubism, considering it to have become far too decorative and ornamental. Replacing spontaneity with a carefully controlled, immaculately balanced style, Ozenfant creates a serene work of great simplicity which is almost architectural in form.

1.

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2.

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3.

RACHEL RUYSCH (1664–1750) Bouquet of flowers in a glass vase with a hedge sparrow’s nest beside it on a marble ledge Signed and dated upper left: Rachel Ruysch1739 / AEt. 76 Oil on canvas: 20 × 16 in / 51 × 41 cm Framed size: 24 ⅝ × 28 ⅜ in / 62.5 × 72 cm

Ruysch’s intense naturalism is achieved through an astonishing mastery of colour and texture and a tightly-packed composition bursting with life. The rich array of flowers reflects Dutch preeminence in horticulture and botany. Rachel Ruysch, the daughter of the famous surgeon and botanist Dr Frederik Ruysch, had rigorous scientific as well as artistic training.

Renoir, 170 years later, is not interested in botanical accuracy but in evoking the essence of roses, which he likened to the curves of the female form. He commented that ‘Painting flowers lets my brain rest. It does not cause the same tension of spirit as when I face a model.

When I paint flowers, I put down tones, I boldly try values, without having to worry about losing a canvas’.

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4.

PIERRE-AUGUSTE RENOIR (1841–1919) Vases de roses Signed lower right: Renoir Oil on canvas: 12 3/8 × 11 1/8 in / 31.4 × 28.3 cm Framed size: 18 ¾ × 17 ½ in / 47.6 × 44.4 cm Painted circa 1910

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5.

LOUYSE MOILLON (1610–1696) Still life of peaches in a blue and white Ming porcelain bowl on a wooden table Signed and dated lower right: Louyse Moillon / 1629 Oil on panel: 20 × 28 in / 51 × 71 cm Framed size: 27 × 35 in / 68.6 × 88.9 cm

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This haunting and mysterious still life, almost abstract in its purity, reflects Louyse Moillon’s Protestant faith, with its emphasis on honouring God’s Creation. A pioneering painter of still life in France, she was most unusual in being a professional female painter celebrated in her own lifetime.

A British painter of international repute, William Scott was similarly devoted to a stark and dramatic representation of still life. While studiously aware of the subject’s European tradition, Scott’s painting of the early 1950s also reveals an awareness of American Abstract Expressionism, contrasting an austerity of design with a sumptuous surface, rich in colour and texture.

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WILLIAM SCOTT RA CBE (1913–1989) Still life with fruit Signed lower right: W Scott, inscribed No. 16 Still life with fruit on the stretcher Oil on canvas: 25 3/4 × 32 in / 65.4 × 81.3 cm Framed size: 28 ½ × 35 in / 72.4 × 88.9 cm Painted circa 1952–3

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7.

EUGENE BOUDIN (1824–1898) Trouville, scène de plage Signed lower left: E. Boudin; dated lower right: Trouville 80; inscribed lower centre: à Madame Vinton Souvenir 1890 Trouville.

Oil on panel: 8 3/4 × 16 3/4 in / 22.2 × 42.5 cm Framed size: 15 ½ × 23 ½ in / 39.4 × 59.7 cm

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Boudin’s Trouville beach scenes tackle a novel subject – the Parisian bourgeoisie enjoying the seaside – with the new freedom of Impressionism. Without narrative or readable faces, Boudin conveys the rustle of silks and the chatter of the fashionable crowd. Each family group is defined by a brightly-coloured beach umbrella, which is meant to protect them from the sea breezes and the sun’s rays. Instead, the radiant coastal light splinters the frieze of figures into alternating pulses of black, white and colour. The painting is inscribed to the wife of the artist Frederic Porter Vinton, an American admirer of Boudin.

One of the founding fathers of British Modernism, Ben Nicholson’s oblique view of St Ives harbour documents not only his move from War stricken London, but also the seaside town’s importance during the mid-twentieth century as an artists’ colony which he co-founded. Framed by his studio window, Nicholson fragments the lower section of rooftops in this Post-Cubist composition, interspersing silhouettes of a sill-top still life, above which the undulating curves of the harbour appear. The dazzling blues representing water and sky alongside areas of lush green, blush and terracotta are unmistakably inspired by the brilliant Cornish light and landscape.

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BEN NICHOLSON (1894–1982) St Ives harbour (summer) Aug 31 – 51 Signed, dated and inscribed St Ives harbour (summer) aug 31 – 51/ Ben Nicholson on the reverse. Signed again and inscribed with the artist’s address Nicholson/Chy an Kerris/Carbis Bay/Cornwall Oil and pencil on board: 14 1/2 × 18 1/8 in / 36.8 × 46 cm Framed size: 21 × 23 ½ in / 53.3 × 59.7 cm

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9.

JAN BRUEGHEL THE ELDER (1568–1625) Hunters with hounds by a stream in a forest Oil on copper: 9 7/8 × 13 5/8 in / 25.1 × 34.6 cm Framed size: 15 × 19 in / 38.1 × 48.3 cm Painted circa 1593

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10.

GUSTAVE CAILLEBOTTE (1848–1894) Petit bras de la Seine, effet d’automne Signed and dated lower right: G. Caillebotte Oil on canvas: 25 3/4 × 21 1/4 in / 65.4 × 54 cm Framed size: 33 ⅝ × 29 ½ in / 85.4 × 74.9 cm Painted in 1890

Three hundred years separate these two magical paintings: one made circa 1593, a few decades after landscape had emerged as a genre in its own right; the other in 1890, two decades before Abstraction. Jan Brueghel painted this landscape in Rome, evoking on a few square inches of copper plate an infinitely complex, numinous natural world which dwarfs the hunting party.

The artist, still in his twenties, seems to have invented the forestscape genre. It finds an echo in Shakespeare’s Midsummer Night’s Dream (1594), which likewise explores the transformative power of the forest.

Gustave Caillebotte evokes the rapt stillness of a warm autumn afternoon on a backwater of the Seine in intense, pulsating colours. He condenses nature into its simplest elements: horizontal and vertical bands of foliage, a river of blue rising up to meet a matching sky. Caillebotte, a friend and patron of Monet and Renoir, was independently wealthy. Freed from the pressure to sell his paintings, he often outstrips his friends in the boldness of his compositions, an enjoyment of geometry, colour and the picture surface that points towards landscape painting of the twentieth century.

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11.

ABEL GRIMMER (1570–1618/19) The Tower of Babel Dated lower left: 1604 Oil on panel: 20 1/8 × 26 1/8 in / 51.1 × 66.3 cm Framed size: 27 ½ × 33 ½ in / 69.8 × 85.1 cm Grimmer took the Biblical story of the Tower of Babel as the starting point for a work that combines miniaturist precision of execution with a surreal inventiveness and sense of breadth.

Babel’s builders, trying to reach Heaven, are punished by God for their presumptuousness and find that they cannot understand one another’s speech. Grimmer, living in Antwerp in the Spanish Netherlands, comments on contemporary struggles between Catholic and Protestant but above all creates a masterpiece of convincing detail which brings the Bible story – and deep truths about human nature – brilliantly to life.

Bridget Riley’s spectacular Danaë also bears a literary title, evoking the classical myth of King Acrisius’ daughter seduced by Zeus disguised as a shower of gold. It was prophesied that Danaë’s son would kill the King of Argos, who then imprisoned his daughter in a bronze tower.

Here Zeus descended on Danaë in the form of golden rain, following which she bore him a son, Perseus. The fragmented diagonal structure of Danaë, upon which Riley orchestrates the arrangement of elongated parallelograms, is brilliantly suggestive of the glimmering descent of precious materials. The dramatic tonal range and complex colour construction may also have been inspired by the oblique correspondences, contrasts, echoes and modulations she observed in the works of the great European, in particular Venetian, colourists. The year before this work was painted, Riley curated an exhibition of paintings chosen from the National Gallery, London, which included compositions

by Titan, Veronese, El Greco, Rubens, Poussin and Cézanne.

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BRIDGET RILEY (b. 1931) Danaë Signed and dated lower right side: Riley ’90. Signed, dated and inscribed with the title Danaë Riley 1990 on the overlap and again on the stretcher Oil on linen: 65 1/4 × 89 3/8 in / 165.7 × 227 cm

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13.

CORNEILLE DE LA HAYE called CORNEILLE DE LYON (c.1500/1510–1575) Portrait d’homme Inscribed on the reverse: F.D.L.1.6.3.8.

Oil on panel: 7 1/8 × 6 in / 18 × 15.1 cm Framed size: 14 × 10 ¼ in / 35.6 × 26 cm Painted circa 1550

Corneille’s intense, subtle portraits combine a miniaturist fineness of execution with superb freedom. The young man’s gentle gaze and soft hair are conveyed entirely with the brush tip, without any underdrawing. A native of The Hague, Corneille was in Lyon by 1533, where he served the courts of François I and Henry II. He painted the Royal Family, aristocracy and wealthy merchants and lawyers.

Corneille adopted a standard format for his portraits, which are small (about 8 × 6 in), bust length, with the sitter often turned to the left against a green, blue or black background. He lavishes attention on the face, with the fine clothing more broadly painted. The young man lacks a feather in his cap, an ornament reserved for the nobility, but is richly dressed in slashed and embroidered black and red. He may be a royal servant, perhaps a valet. This Portrait d’homme, like all Corneille’s works, has an extraordinary immediacy and humanity, very different from the hierarchical stiffness of traditional French courtly portraiture. Corneille was a Protestant in the era of the French Wars of Religion; his philosophical outlook may account for his sympathetic, ‘modern’ approach to his sitters.

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14.

PABLO PICASSO (1881–1973) Le peintre Signed lower left: Picasso; dated and numbered 18.3.67./19…/26.II 27. on the reverse Oil on canvas: 39 3/8 × 31 3/4 in / 100 × 80.6 cm Frame size: 52 × 44 1/4 in / 132.1 × 112.4 cm Painted in 1967

Picasso’s fascination and engagement with literary as well as artistic Old Masters continued into his great late phase of the 1960s. With extravagant facial hair, lace ruff and long ringlets, Picasso’s seventeenth century artist / cavalier was informed by his love of Rembrandt and Velázquez, the greatest portrait painters of the Dutch and Spanish Golden Age. While the painter poses with the staid trappings of artistry, poised pompously still, Picasso’s fertile imagination orchestrates a vital, fluctuating painting fluent in movement, adaptation and invention. The absence of a model and easel, as well as the painter’s pose, suggest that he is both the subject and creator of the picture which he paints on the canvas he inhabits; a self-portrait of the artist masquerading as a musketeer. In contrast to the flat, static palette steadied, along with three short brushes by the thumb of the musketeer’s left hand, the upright paintbrush in his right is held at a slight angle, the tip almost flickering with energy and indecision. The surface of the painting and the interplay of defining lines and animated curls articulate the energy of execution and creative thought, the tightly coiled spirals of the artist’s hair vigorously working their way from crown to shoulder and into the surrounding atmosphere.

As radical and free from constraint as his earliest work, Picasso’s playful appropriation and variation of the subject of art itself reaffirms his place in its history.

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15.

AERT VAN DER NEER (1603/4–1677) Wide river landscape by moonlight, in the foreground cows on a strip of land Signed lower left with double monogram AV DN Oil on panel: 13 × 20 in / 33 × 50.8 cm Framed size: 20 ¼ × 27 in / 51.4 × 68.6 cm Painted in the 1650s

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The Amsterdam painter Aert van der Neer made moonlit landscapes his speciality in the 1650s, superbly capturing the subtleties of cold light and a countryside leached of colour. A carefully calibrated composition leads the eye deep into the painting, while the moon’s light gives the clouds an eerie solidity against the midnight blue of the heavens. The apparent naturalism of the scene is achieved through a highly sophisticated understanding of tonal qualities and the possibilities inherent in oil paint. Contemporary observers would have enjoyed van der Neer’s depiction of natural phenomena and the jewellike precision of his technique.

One of the most important artists working today, Dresden born Gerhard Richter first began painting vibrant Abstract pictures in 1976 and is still fascinated by their creation, which he likens to ‘a force of nature’. Grün- Blau- Rot was created in 1993 in collaboration with the Swiss art journal, Parkett, as a series of 112 individual oil paintings on canvas applied in smooth, wet layers with a squeegee. The importance of chance is central to this regimented three-colour sequence, which documents a skilful interplay of opposing colours, action and erasure, chance and intention. A further contradiction can be found in the optical impression or illusion of space and depth which confounds the actual order of application, such as the light, lime green ground projecting above the subsequent layers of midnight blue and luminous red.

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16.

GERHARD RICHTER (b. Dresden 1932) Grün- Blau- Rot Signed, inscribed and dated 789-100 / Richter, 93 on the reverse Oil on canvas: 11 7/8 × 15 3/4 in / 30.2 × 40 cm Framed size: 13 ¾ × 17 ¾ in / 34.9 × 45.1 cm Painted in 1993

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Dutch-born Gaspar van Wittel visited Venice in 1695 and pioneered the development of Venetian vedute. He combined a north European precision of execution with sparkling light and a sense of the bustling, modern life of the city.

This panorama spans from the Zitelle church on Giudecca to the public granaries at far right.

Its focus is the stupendous baroque curves of Santa Maria della Salute, less than twenty years old when this painting was made circa 1705. The Bacino is crowded with craft, from the Doge’s galley, to aristocrats’ gondolas, to a vessel crewed by a Franciscan friar.

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Eugène Boudin was fascinated by the vedutisti which he copied in the Louvre. Visiting Venice in the 1890s, he revelled in the soft, changeable quality of the Lagoon light. Boudin was less interested in precise depiction of the famous monuments than in evoking atmosphere, using a shorthand of flickering brushstrokes to describe the Salute and Dogana and the façades of the palazzi that line the Grand Canal. The son of an Honfleur sailor, he responded to the vibrant maritime life of Venice. As in van Wittel’s view, trading vessels line the Giudecca canal and the inhabitants go about their business by gondola.

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GASPAR VAN WITTEL called GASPARE VANVITELLI (c.1652/4–1736) A view of the Bacino di San Marco, Venice, looking west towards the mouth of the Grand Canal Oil on canvas: 20 3/4 × 42 1/8 in / 52.7 × 107 cm Framed size: 30 × 51 1/2 in / 76.2 × 130.8 cm Painted circa 1705

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18.

EUGENE BOUDIN (1824–1898) Venise, L’entrée du Grand Canal, la Salute et la Douane Signed and dated lower left: E. Boudin / Venise 95. /15 juin Oil on canvas: 19 7/8 × 29 1/4 in / 50.5 × 74.3 cm Framed size: 27 ½ × 37 in / 69.8 × 94 cm

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19.

HENRY MOORE OM, CH (1898–1986) Maquette for Figure on Steps Bronze with a brown patina: 6 1/2 in / 16.5 cm On the original wooden base Cast from an unnumbered edition of 10 plus one artist’s copy Conceived in plaster and cast in 1956 LH 426

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During the mid-1950s a series of public commissions (including a monumental sculpture for the UNESCO headquarters in Paris) inspired Henry Moore to explore the integration of figurative sculpture within an architectural setting. As a result he created a group of drawings and maquettes which feature draped figures seated on or against geometric architectural elements such as benches and steps. While the setting of the seated figure was a departure for Moore, the draped figure recalled an interest apparent in his earlier shelter drawings. Moore’s interest was revitalised by his visit to Greece in 1951, inspiring a return to the study of drapery and its importance in the revelation of form.

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Provenance & exhibition information 1 JACOB VAN WALSCAPELLE A still life of fruit and nuts, with a glass à la façon de Vénise and a rummer on a stone ledge before a niche Provenance: TRC Blofeld, Hoveton House, Wroxham, Norfolk, by 1955 Johnny van Haeften, London, 1987 Private collection, Europe Exhibited: Norwich, Castle Museum, Still-life, Bird and Flower Paintings, 1955, no.37 2 AMEDEE OZENFANT Le pichet blanc Provenance: Private collection, Europe, possibly acquired directly from the artist Private collection, Europe, acquired from the above Exhibited: Ferrara, Palazzo dei Diamanti, Modigliani to Dalí: Paris in the Twenties, 2010-11, exh. cat. by Simonetta Fraquelli 3 RACHEL RUYSCH Bouquet of flowers in a glass vase with a hedge sparrow’s nest beside it on a marble ledge

Lucretia Johanna van Winter (1785–1845), by the 1820s; Six van Hillegom-van Winter Collection; Sale Six, Frederik Muller and Co., Amsterdam, 29th November 1939, lot 979; Gebr. Douwes, Amsterdam, 1939; from whom acquired by R Dreesmann, Zeist; by descent to Mrs E Vinke-Dreesman; Christie’s Amsterdam, 13th November 1990, lot 160 Richard Green, London, 1990 Private collection, France

Exhibited: Amsterdam, Gallery Douwes, Jubileumtentoonstelling/Jubilee Exhibition (150th), Summer 1955 Amsterdam, Museum Willet Holthuyzen, Boeket in Willet—Nederlandse Bloemstillevens in de achttiendeendeeerste Helft van de negentiende Eeuw, 1970, cat. no.32, illus.

The Hague, Mauritshuis, Boekettenuit de Gouden Eeuw: The Mauritshuis in Bloom, 1992, p.92, no.22, illus. in colour

5 LOUYSE MOILLON Still life of peaches in a blue and white Ming porcelain bowl on a wooden table

4 PIERRE-AUGUSTE RENOIR Vase de roses

6 WILLIAM SCOTT RA CBE Still life with fruit

Provenance: Ambroise Vollard (1866–1939), Paris; acquired from his estate by the Carstairs Gallery, New York; from whom bought on 4th February 1952 by Alexander Lewyt (1908–1988) and Elizabeth Lewyt

Provenance: Private collection New Art Centre, London Mr John K Trew Waddington Galleries, London Private collection Sotheby’s London, 14th March 1979, lot 177 The Cyril Taylor Collection

Provenance: Mme Heim Galerie JO Leegenhoek, Paris, 1943 Salavin Collection, Paris, by 1944; by descent Exhibited: Paris, Galerie de l’Elysée, Natures mortes du XVIIe siècle des écoles espagnole, française, flamande, hollandaise, November–December 1950, no.42 Paris, Galerie Charpentier, Le pain et le vin du XVIe siècle à nos jours, 1954, no.163 Rotterdam, Musée Boymans, Vier Eeuwen Stilleven in Frankrijk, 10th July–20th September 1954, p.41, no.13, fig. 9 Paris, A Weil, La nature morte et son inspiration, 19th April–15th May 1960, no.42

Provenance: (Probably) sale Herman ten Kate, Amsterdam, 10th June 1801, lot 142

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Provenance & exhibition information continued 7 EUGENE BOUDIN Trouville, scène de plage

9 JAN BRUEGHEL THE ELDER Hunters with hounds by a stream in a forest

Provenance: Mrs Frederick Porter Vinton (1855–1929), Boston Kraushaar Galleries, New York Helen Greene Perry (1911–1996), Cleveland, OH Private collection, USA

Provenance: Private collection, Europe Sotheby’s London, 13th December 1978, lot 102 Brod Gallery, London; from whom acquired by the father of a European private collector

Exhibited: On loan to Cleveland Museum of Art 8 BEN NICHOLSON St Ives harbour (summer) Aug 31 – 51 Provenance: Durlacher Gallery, New York H Marc Moyens, Washington DC Sotheby’s London, 3rd April 1990, lot 56 Fujii Gallery, Tokyo, acquired from the above Sotheby’s New York, 3rd November 1993, lot 56 Branco Weiss, acquired from the above, then by descent Exhibited: London, The Lefevre Gallery, Ben Nicholson, 1952, no.10 New York, Durlacher Gallery, Ben Nicholson, 1952, no.3 Washington DC, The Corcoran Gallery of Art, The H Marc Moyens Collection, 1969–70, no.50, illus. in the catalogue

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Lausanne, Musée de l’Hermitage, Caillebotte. Au Coeur de l’Impressionisme, pp.146, 187, no.86; illus. in colour p.166 (lent by the Fondation Corboud) 11 ABEL GRIMMER The Tower of Babel

Exhibited: London, Brod Gallery, Jan Brueghel the Elder: a Loan Exhibition of Paintings, 1979, pp.42–43, no.2, illus.

Provenance: Acquired in the 1830s by Sir Edward Blackett, 6th Bt. (1803–1885), for Matfen Hall, Northumberland; by descent

10 GUSTAVE CAILLEBOTTE Petit bras de la Seine, effet d’automne

Exhibited: Newcastle, The Hatton Gallery, King’s College, Pictures from Collections in Northumberland, 8th May–15th June 1951, no.42

Provenance: Ambroise Vollard (1866–1939), Paris; Drouot, Paris, 27th November 1940, lot 40 Sotheby’s Parke Bernet, New York, 23rd October 1975, lot 266 Sotheby’s New York, 9th November 1995, lot 200; Fondation Corboud, Germany Private collection, Switzerland Exhibited: Tokyo, Tobu Museum of Art/Obihiro, Hokkaido Obihiro Museum of Art/Okayama, The Okayama Prefectural Museum/Nara, Nara Prefectural Museum of Art, Monet, Renoir et les Impressionistes, 11th July–23rd December 1998, no.33, illus. in colour Cologne, Wallraf-Richartz-Museum, Miracle de la Couleur, 8th September–9th December 2001, pp.406–7, illus. in colour (lent by the Sammlung Corboud)

12 BRIDGET RILEY Danaë Provenance: Galerie Beyeler, Basel Private collection, acquired from the above Exhibited: Basel, Galerie Beyeler, Bridget Riley, 24th May– 30th August 1993, no.11, illus. in colour

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13 CORNEILLE DE LA HAYE called CORNEILLE DE LYON Portrait d’homme Provenance: By descent in a Flemish private collection since the nineteenth century 14 PABLO PICASSO Le peintre Provenance: Galleria d’Arte Medea, Milan Private collection, Italy Private collection, acquired from the above c.1970 15 AERT VAN DER NEER Wide river landscape by moonlight, in the foreground cows on a strip of land Provenance: Servad, Amsterdam; his sale Amsterdam, 25th June 1778, lot 58 (75 florins to Ploos) Cornelis Ploos van Amstel, Amsterdam, 3rd March 1800, lot 24 (50 florins to Van der Schley) Karl Graf von Arco auf Valley, Munich; his sale Mensing-Müller, Amsterdam, 13th July 1926, lot 671, illus.

Esterhazy, Lausanne Mademoiselle Elisabeth Esterhazy, Lausanne Galerie J Kraus, Paris, 1970s Private collection, Europe

16 GERHARD RICHTER Grün- Blau- Rot

19 HENRY MOORE OM, CH Maquette for Figure on Steps

Provenance: Parkett, Zürich Private collection, acquired from the above

Provenance: Private collection, Canada Waddington Galleries, London Private collection, New York Private collection, USA, acquired from the above in 1996

17 GASPAR VAN WITTEL called GASPARE VANVITELLI A view of the Bacino di San Marco, Venice, looking west towards the mouth of the Grand Canal Provenance: Possibly the Dukes of Medinaceli, inv. no.202 Private collection, Yorkshire, since at least the nineteenth century Richard Green, London, 1979; from whom bought by a private collector, Argentina; by descent 18 EUGENE BOUDIN Venise, l’entrée du Grand Canal, la Salute et la Douane Provenance: Collection Gérard, Paris Me Chevalier, Paris, 5th May 1902, lot 9; where bought by a French private collector; by descent Exhibited: Paris, Ecole des Beaux-Arts, Exposition des oeuvres d’Eugène Boudin, January 1899, no.50

Exhibited: Chefs-d’oeuvre de la Renaissance, 1901, illus.

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Richard Green has assisted in the formation and development of numerous private and public collections, including the following:

UNITED KINGDOM Aberdeen: City Art Gallery Altrincham: Dunham Massey (NT) Barnard Castle: Bowes Museum Bedford: Cecil Higgins Museum Canterbury: Royal Museum and Art Gallery Cheltenham: Art Gallery and Museum Chester: The Grosvenor Museum Coventry: City Museum Dedham: Sir Alfred Munnings Art Museum Hampshire: County Museums Service Hull: Ferens Art Gallery Ipswich: Borough Council Museums and Galleries Leeds: Leeds City Art Gallery Lincoln: Usher Gallery Liskeard: Thorburn Museum London: Chiswick House (English Heritage) Department of the Environment The Iveagh Bequest, Kenwood The Museum of London National Maritime Museum National Portrait Gallery National Postal Museum Tate Britain The Wimbledon Lawn Tennis Museum Lydiard Tregoze: Lydiard House Norwich: Castle Museum Plymouth: City Museum and Art Gallery Richmond: London Borough of Richmond upon Thames and Orleans House Gallery St Helier: States of Jersey (Office) Southsea: Royal Marine Museum Stirling: Stirling Smith Art Gallery and Museum York: York City Art Gallery

CANADA Fredericton: Beaverbrook Art Gallery Ottawa: The National Gallery of Canada UNITED STATES OF AMERICA Boston, MA: Museum of Fine Arts Cincinnati, OH: Art Museum Gainesville, FL: Harn Museum of Art Houston, TX: Sarah Campbell Blaffer Foundation Los Angeles, CA: J Paul Getty Museum New Haven, CT: Yale Center for British Art New York, NY: Dahesh Museum Ocala, FL: The Appleton Museum of Art Omaha, NE: Joslyn Art Museum Pasadena, CA: Norton Simon Museum Rochester, NY: Genessee County Museum St Louis, MO: Missouri Historical Society Sharon, MA: Kendall Whaling Museum Toledo, OH: Toledo Museum of Art Ventura County, CA: Maritime Museum Washington, DC: The National Gallery The White House Williamstown, MA: Sterling and Francine Clark Art Institute Winona, MN: Minnesota Marine Art Museum Worcester, MA: Worcester Art Museum BELGIUM Antwerp: Maisons Rockox Courtrai: City Art Gallery DENMARK Tröense: Maritime Museum

IRELAND Dublin: National Gallery of Ireland FRANCE Compiègne: Musée National du Château GERMANY Berlin: Staatliche Kunsthalle Darmstadt: Hessisches Landesmuseum Hannover: Niedersachsisches Landesmuseum Karlsruhe: Staatliche Kunsthalle Speyer am Rhein: Historisches Museum der Pfalz HOLLAND Amsterdam: Joods Historisch Museum Rijksmuseum Utrecht: Centraal Museum SOUTH AFRICA Durban: Art Museum SPAIN Madrid: Real Academia de Bellas Artes de Sun Fernando Museo Thyssen-Bornemisza Museo Nacional del Prado SWITZERLAND Zurich: Schweizerisches Landesmuseum THAILAND Bangkok: Museum of Contemporary Art

Published by Richard Green. © 2013 All rights reserved. Catalogue by Susan Morris and Rachel Boyd. Photography by Sophie Drury and Beth Saunders. Graphic Design by Chris Rees. Printed in England by Hampton Printing (Bristol) Ltd. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated (without the publisher’s prior consent), in any form of binding or other cover than in which it is published, and without similar condition being imposed on another purchaser. All material contained in this catalogue is subject to the new laws of copyright, December 1989. All sales are subject to our standard terms and conditions of Sale (March 2006). Copies are available on request or can be viewed on our website.

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