Modern Masters, E&R Cyzer by Cyzer

sixty works by

MODERN MASTERS

E & R Cyzer 20TH CENTURY ART

Introduction This catalogue contains a selection of paintings and sculptures acquired on behalf of clients or purchased by the gallery since our move to Bruton street in the spring of 2008. The inclusion of a select group of high quality Impressionist works represents a change in direction. Whilst we continue to trade in Contemporary markets we clearly see great opportunities, if limited supply, in Impressionist masters and will seek to expand this aspect of the business. The great artists of the late Nineteenth Century appear to represent wonderful value compared to their counterparts 100 years later. Since we opened our first gallery at the end of 2002, the art market in the broadest sense has expanded greatly both in volume and value. Whilst most commercial markets have suffered from global uncertainty, there is great demand for art of the highest quality. Sourcing excellent works, preferably without recent auction history, will always be our prime objective and we remain committed to our policy of buying the best available stock whenever and wherever we can. We will continue to exhibit selectively at art fairs, principally in London and New York, where we look forward to meeting existing and new clients.

Elayne and Richard Cyzer London, September 2011

E & R Cyzer 20TH CENTURY ART

Contents 6

Contents Camille Pissarro, Hameau aux Environs de Pontoise, 1872

Alfred Sisley, Bord de Seine près de Saint Cloud, 1879

Alfred Sisley, Entre Moret et Saint-Mammès, 1883

Camille Pissarro, La Servante Assise dans le Jardin d’Eragny, 1884

Alfred Sisley, Le Loing à Moret, 1885

Alfred Sisley, Le Village de Champagne au Coucher du Soleil, 1885

Alfred Sisley, L’Inondation à Moret-sur-Loing, 1888

Camille Pissarro, Le Pré avec Cheval Gris, Eragny, 1893

Pablo Picasso, Leaving the Universal Exhibition, Paris, 1900

Maurice de Vlaminck, Remorqueurs sur la Seine, 1906

Maurice de Vlaminck, Le Pont de Conflans, circa 1907

Natalia Goncharova, L’Espagnole, circa 1916-18

Alexej von Jawlensky, Variation: Sonnenaufgang (Variation: Sunrise), 1918

Chaïm Soutine, Les Gorges du Loup (La Maison Hantée) IV, circa 1921

Hermann Max Pechstein, Rauchende, 1921

Albert Gleizes, Composition, 1922

Kees van Dongen, Cannes, Le Port, 1923

Georges Valmier, La Fête Foraine au Village, 1925

Fernand Léger, Les Deux Soeurs, 1929

Joan Miró, Painting (Tête d’Homme), 1931

Chaïm Soutine, Old House near Chartres, circa 1934

Fernand Léger, Les Plongeurs aux Perroquets, 1934

Arshile Gorky, Abstraction, 1936

Raoul Dufy, La Relève de la Garde au Palais de Saint James, 1937

Georges Rouault, Pierrot, 1935-39

Henri Le Sidaner, Les Hortensias, Gerberoy, 1938

Joan Miró, Femmes, Oiseaux, Etoile, 1942

L.S. Lowry, Church in a Hollow, 1944

Fernand Léger, La Belle Equipe, (Les Cyclistes), 1944

Fernand Léger, Les Trois Soeurs, 1948

Pablo Picasso, Nature Morte au Poron, 1948

Joan Miró, Composition Subrealiste, 1949

Fernand Léger, Deux Bouteilles Jaunes sur Fond Rouge, 1950

Fernand Léger, L’Anniversaire, 1950

Fernand Léger, Les Acrobates, 1952

Marino Marini, Cavallo e Cavaliere, 1952

Henry Moore, Seated Figure, 1952

Fernand Léger, La Partie de Campagne, 1953-54

George Grosz, Posh Couple, 1954

George Grosz, Nightclub V, 1954

Jean-Paul Riopelle, Sans Titre, circa 1956

Joan Miró, Etude pour 'Derrière le Miroir', Zephyr Bird, 1956

Jean Dubuffet, Le Béret Rose, 1956

Pablo Picasso, Le Déjeuner sur l’Herbe, 1959

Serge Poliakoff, Composition Rouge, Bleue Fonds Jaune, 1959-60

Henry Moore, Working Model for Standing Figure: Knife Edge, 1961

Marc Chagall, Amants et Oiseaux, 1961

100

Jean Dubuffet, Personnage, 1963

102

Jean Dubuffet, Arbres, Boeuf et Paysan, 1965

104

Serge Poliakoff, Composition, 1966

106

Roy Lichtenstein, Modern Tapestry Cartoon/Collage for Modern Painting with Classic Head, 1967 108 Joan Miró, Personnage, 1967

110

Marc Chagall, Ballerine Rouge et Village en Fête, 1969

112

Joan Miró, Deux Femmes dans la Nuit, 1970

114

Elisabeth Frink, Large Rolling Over Horse, 1975

116

Joan Miró, Per a Qué els Ocells Cantin, 1976

118

Marc Chagall, Sans Titre, circa 1980

120

Bryan Ingham, Large Oval Still Life, 1992

122

Julian Opie, Ed, Foot Hold, 2008

124

Zeng Chuanxing, Paperbride-Trepidation, 2008

126

Camille Pissarro

Camille Pissarro French, 1830 - 1903

Hameau aux Environs de Pontoise, 1872 Oil on canvas 21¼ x 28¾ inches / 54 x 73 cm Signed and dated lower left: C. Pissarro 1872

Camille Pissarro is recognised as one of the forefathers of the Impressionist movement. This painting, with its resplendent array of greens and tans, reveals the artist’s immense debt to the style of Barbizon landscape painter Camille Corot, under whose tutelage Pissarro had learnt the value of tonal breadth. A freshness of execution, discernible through visible brushstrokes and a loosely-worked feel, testifies to the powerful senses of realism and immediacy conferred by plein-air painting. Pissarro’s evocative series of views portraying Pontoise and its surroundings is well-represented in public collections around the world, with examples housed in the Solomon R. Guggenheim Collection (New York), the Metropolitan Museum of Art (New York), the State Hermitage Museum (St. Petersburg) and the National Gallery (London).

Provenance

Durand-Ruel, Paris, 21 October 1872 (purchased from the artist) Erwin Davis, New York, 2 May 1888 Durand-Ruel, Paris, 14 April 1899 (repurchased from the above) Josef Stransky, New York, 30 October 1920 Mrs Robert C. Swayze, New York, Torrington (Conn.), circa 1945 French Institute, New York Wildenstein, 1951 (purchased from the above) Private collection, Athens, 1956 (purchased from the above) Thence by descent

Exhibited

New York, Durand-Ruel Galleries, Paintings by Pissarro, 3-17 February 1917 New York, Wildenstein, Camille Pissarro: His Place in Art, 24 October-24 November 1945, no. 5, illustrated p. 19 Paris, Musée de L’Orangerie, Van Gogh et les Peintres d’Auvers-sur-Oise 26 November 1954-28 February 1955, no. 89, illustrated pl. XI Palm Beach, Florida, Society of the Four Arts, Paintings by Camille Pissarro, French Impressionist, 9-31 January 1960 New York, The Metropolitan Museum of Art, Paintings from Private Collections, summer 1962

Literature

Douglas Cooper, The Painters of Auvers-sur-Oise, The Burlington Magazine, April 1955, pp. 104, 106 Ludovico Rodo Pissarro & Lionello Venturi, Camille Pissarro. Son ArtSon Oeuvre, Paris, 1939, no. 165 Richard Brettell, Pissarro and Pontoise: The Painter in a Landscape, London, 1990, p. 158 Joachim Pissarro, Camille Pissarro, London, 1993, p. 115, col. fig. 128 p. 127

Joachim Pissarro and Claire Durand-Ruel Snollaerts,Pissarro, Critical Catalogue of Paintings, Paris, Wildenstein Institute, 2005, vol II, no. 252, p.206

Alfred Sisley

Alfred Sisley French, 1839 - 1899

Bord de Seine près de Saint Cloud, 1879 Oil on canvas 15 x 18⅛ inches / 38 x 46 cm Signed and dated lower left: Sisley.79

Alfred Sisley was a talented Impressionist landscape painter. Although born to English parents, he spent most of his life in France. Like many of his artistic contemporaries, including Renoir and Monet, Sisley painted en plein-air; the artists often met up to paint together or to discuss the effects of light on their subject matter at different times of day. Bord de Seine Près de Saint Cloud is a fine example of the sombre palette which characterises Sisley’s early works. The artist’s preoccupation with effects of the light is eloquently expressed in the gentle hues and tones of the sky.

Provenance

Durand-Ruel, Paris, 1927 George Moos, Geneva Anon. sale, Sotheby's London, 4 December 1968, lot 23 Miss Fergusson, London Anon. sale, Sotheby Parke-Bernet, New York, 25 February 1970, lot 26 Anon. sale, Christie's New York, 6 May 1998, lot 113

Exhibited

Brecia, Italy, Museo di Santa Giulia, Monet. La Senna. Le ninfee. Il grande fiume e il nuovo secolo, 2004-2005, no. 29, illustrated

Literature

François Daulte, Alfred Sisley, Catalogue raisonné de l'œuvre peint, Lausanne, 1959, no. 316, illustrated

"Every picture shows a spot with which the artist has fallen in love." 10

Alfred Sisley

"The animation of the canvas is one of the hardest problems of painting."

Alfred Sisley French, 1839 - 1899

Entre Moret et Saint-Mammès, 1883 Oil on canvas laid down on panel 19¾ x 25⅝ inches / 50.2 x 65.1 cm Signed lower left: Sisley

In 1883, the renowned French dealer Paul Durand-Ruel showed seventy works by Sisley in a one-man show at his gallery in Paris, including the present work. Sisley drew inspiration from the Ile-de-France countryside for many of his compositions. Saint-Mammès, where the River Loing flows into the Seine near Paris, was one of the artist’s favourite locations and one which he frequently revisited in paint, chiefly because of his marked interest in the effects produced by light on water.

Provenance

Galerie Durand-Ruel et Cie., Paris, November 1883 (acquired directly from the artist) Henri Vevier, Paris, January 1893 (acquired from the above) Galerie Georges Petit, Paris, 1897 Anon. sale, Hôtel Drouot, Paris, 21 January 1928, lot 80 Charles Sessler, New York Durand-Ruel Galleries, New York, April 1937 (acquired from the above) A. Boissier, New York Jasmin S. Trembly, Lausanne, January 1947 (acquired from the above) Private collection, thence by descent

Exhibited

New York, Durand-Ruel Galleries, Alfred Sisley Centennial, 1840-1940, October 1939, no. 19

Literature

François Daulte, Alfred Sisley, Catalogue raisonné de l’oeuvre peint, Lausanne, 1959, no. 497, illustrated

Camille Pissarro

"Cover the canvas at the first go, then work at it until you see nothing more to add."

Camille Pissarro French, 1830 - 1903

La Servante Assise dans le Jardin d’Eragny, 1884 Oil on canvas

23½ x 29 inches / 60 x 73.5 cm Signed, dedicated and dated lower right: à l’ami Nunes C. Pissarro. 84

Women featured among Pissarro’s most personal subjects. The focus of this vividly-coloured outdoor scene is a servant girl, who keeps a watchful eye on two playing children. Pissarro and his family moved northwest of Paris to Eragny the same year that this work was painted, and the figures seen in the background are those of his son Ludovic Rodo and daughter Jeanne-Marguerite, or ‘Cocotte’. The arrangement of the children in the composition draws the eye backwards and serves to create a sense of pictorial depth, while the artist’s characteristic impasto reminds us of the surface of the canvas and of his spontaneous technique.

Provenance

Alfred Nunes, Paris, (a gift from the artist) René Gimpel, Paris Vicomte du Lude, Paris Anon. sale, Christie’s London, 25 June 1990, lot 19 Private collection, London

Literature

Ludovic Rodo Pissarro & Lionello Venturi, Camille Pissarro. Son ArtSon Oeuvre, vol. 1, Paris, 1939, no. 655, vol. II, no. 655, illustrated pl. 135 Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Critical Catalogue of Paintings, Paris, Wildenstein Institute, 2005, no. 770, p. 510

Photograph of the River Loing

Alfred Sisley

Alfred Sisley French, 1839 - 1899

Le Loing à Moret, 1885 Oil on canvas 18⅛ x 21⅞ inches / 46 x 55.5 cm Signed and dated lower right: Sisley 85

This exquisitely-painted scene is a fine example of one of Sisley’s favourite subjects: the brilliant visual vibrancy of riverside views, particularly in the area around Moret and the River Loing near Fontainebleau, where the artist settled in 1878. The River Loing is depicted here under a beautifully dappled sky, whose vivid shades of blue are typical of France in the summer. The subtle nuances of Pissarro’s palette in the present work enable him to capture the fleeting atmospheric effects of a sunlit day.

Provenance

Wildenstein & Co, New York Mr and Mrs Bernard Combemale, New York Anon. sale, Christie’s London, 27 November 1964, lot 39 Private collection, London Richard Nathanson, London, December 1993 Lord & Lady Harris of Peckham, UK Private collection, London

Literature

François Daulte, Alfred Sisley, Catalogue raisonné de l'œuvre peint, Lausanne, 1959, no. 559, illustrated Durand-Ruel, Paris Julius Schmitz, Elberfeld

"What is more beautiful indeed than a summer sky with its wispy clouds idly floating across the blue? What movement and grace . . . They are like the waves at sea, one is uplifted and carried away." V. Coudrey, Alfred Sisley: The English Impressionist, Newton Abbot, UK, 1992

Alfred Sisley

"Though the artist must remain master of his craft, the surface, at times raised to the highest pitch of loveliness, should transmit to the beholder the sensation which possessed the artist." Alfred Sisley French, 1839 - 1899

Le Village de Champagne au Coucher du Soleil, 1885 Oil on canvas 19¾ x 28⅞ inches / 50 x 73 cm Signed lower left: Sisley 85

This painting reflects a view of the village of Champagne captured at sunset.

Provenance

Gustave Geffroy, a friend of the artist said of Sisley:

Durand-Ruel, New York, 7 January 1899 (acquired from the above)

Durand-Ruel, Paris & New York Erwin Davis, New York (acquired from the above)

Frank Hadley Ginn & Cornelia Root Ginn, Cleveland, "I have never forgotten 8 March 1926 (acquired from the above) the splendour of the The Frank Hadley Ginn & Cornelia Root Ginn Charitable trees, the glades and rock Trust (by descent from the above) Anon. sale, Christie's New York, 8 May 2000, lot 6 Purchased of which [Sisley] spoke so poetically; nor indeed at the above sale by the previous owner his account of the lives Literature and troubles of the river François Daulte, Alfred Sisley, Catalogue raisonné de l'oeuvre peint, Lausanne, 1959, no. 565, illustrated folk whom he knew so well through his studious This painting will be included in the new edition of the Catalogue raisonné of Alfred Sisley by François Daulte, now and reflective existence being prepared at Galerie Brame & Lorenceau by the Comité spent by the river banks Alfred Sisley and beneath the poplar trees."

Alfred Sisley

"I like all those painters who loved and had a strong feeling for nature." Alfred Sisley French, 1839 - 1899

L’Inondation à Moret-sur-Loing, 1888 Oil on canvas 20⅞ x 28½ inches / 53.1 x 73 cm Signed lower right: Sisley

After settling permanently at Moretsur-Loing near Fontainebleau in 1878, Sisley produced a series of captivating views in which his new rural surroundings reflect changing light, seasons and weather conditions. The present work depicts a wintry scene in which the river appears to have burst its banks. Such a theme was not uncommon in Sisley’s oeuvre; several of his pictures showing floods are housed in the permanent collection of the Musée d’Orsay, Paris.

Provenance H. Vever, Paris

Anon. sale, Galerie Georges Petit, Paris, 1 & 2 February, 1897, lot 101 George Viau, Paris Anon. sale, Galeries Durand-Ruel, Paris, Vente George Viau, 4 March 1907, lot 71 Salomon, Copenhagen Huguette Berès, Paris Thence by descent

Exhibited

Paris, Galerie Georges Petit, Tableaux par P.A. Bernard, J.C. Cazin, C. Monet, A. Sisley et F. Thaulow, 1899, no. 76 Copenhagen, Château de Charlottenborg, Peinture française, 1918

Literature

François Daulte, Alfred Sisley, Catalogue raisonné de l'œuvre peint, Paris, 1959, no. 694, illustrated

Camille Pissarro

Camille Pissarro French, 1830 - 1903

Le Pré avec Cheval Gris, Eragny, 1893 Oil on canvas 21¼ x 25½ inches / 54 x 65 cm Signed and dated lower right: C. Pissarro 93

"Blessed are they who see beautiful things in humble places where other people see nothing."

An exceptional example of Pissarro’s later work, this painting demonstrates the sophisticated techniques which characterise the working methods of the Impressionists. Pissarro here exploits the oil paint medium, through his use of a thick impasto in the foreground, to portray a carpet of flowers. His visible brushstrokes ripple towards the background of the picture to evoke the movement of windblown grasses in a meadow.

Provenance

Durand-Ruel, Paris 16 December 1893 (acquired from the artist) Cronier, 2 January 1924 (acquired from the above) Anon. sale, Drouot, Collection de Monsieur Cronier, Paris, 30 June 1937, no. 90 Abraham Vechsler, New York, circa 1958 Galerie Odermatt-Cazeau, Paris, circa 1987 Sold by Galerie Odermatt-Cazeau in Japan, circa 1987 Private collection, New York

Exhibited

Paris, Galerie Durand-Ruel, Camille Pissarro-Tableaux, Aquarelles, Pastels, Gouaches, 3-21 March 1894 New York, University House, Art is Forever: Sixth Annual Art sale and London Collectors’ Exhibition, 3-14 May 1959 Paris, Galerie H. Odermatt-Cazeau, Maîtres des XIX and XX Siècles, 29 April-30 June 1987

Literature

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son art-Son Oeuvre, Paris, 1939, Vol. I, no. 849, p. 199, illustrated vol. II, pl. 173 Janine Bailly-Herzberg, Correspondance de Camille Pissarro, vol. III, Paris, 2003, no. 971, p. 410, no. 7

Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro, Critical Catalogue of Paintings, Paris, Wildenstein Institute, 2005, no. 1001, vol. III, p. 649, illustrated plate 1001

Pablo Picasso

Pablo Picasso Spanish, 1881 - 1973

Leaving the Universal Exhibition, Paris, 1900 Charcoal and coloured pencils on paper 18¾ x 24⅜ inches / 47.6 x 62 cm Signed on the lower right side: P Ruiz Picasso

"It took me four years to paint like Raphael, but a lifetime to paint like a child." Pablo Picasso was born in Málaga in October 1881. Here we see the artist, aged 19, showing all the flair and originality which culminated in his early reputation as an avant-garde artist. This spontaneous and evocative study shows the figures of Picasso and his contemporaries Odette, Ramon Pichot, Miguel Utrillo, Carlos Casagemas and Germaine Gargallo, leaving Paris’s Universal Exhibition in 1900. Casagemas, a constant companion of Picasso during the latter’s formative years, would shoot himself a year after this work was completed following a failed romance with Gargallo. The event greatly affected Picasso, whose work subsequently evolved into the melancholy Blue Period.

Provenance

Galerie Käte Pearls, Paris, 1938 Thomas Laughlin, New York, circa 1938 (acquired from the above) Michael Laughlin, Aiken, South Caroline, 1966 (inherited from the above) Acquavella Galleries, New York, 1976 (acquired from the above in 1976) Private collection, Japan

Exhibited

Paris, Galerie Käte, Picasso, 1900 à 1910. Exposition de tableaux, aquarelles et dessins, 1937, no. 1 Valencia, Institut Valencià d’Art Modern, De Gaudí a Picasso : El Modernismo Catalán, March-April 2010

Literature

Ira Moskowitz, Great Drawings of All Time – The Twentieth Century, New York, Talisman Books, vol. I, 1979, illustrated p. 2 John Richardson, Life of Picasso, New York, Random House, 1991, illustrated p. 172 Exhibition Catalogue, Museu Picasso, Picasso i els 4 Gats. La clau de la modernitat, Barcelona, 1995, no. 21, p. 154 Alan Wofsy, The Picasso Project, Picasso’s Paintings, Watercolours, Drawings and Sculpture, Turn of the Century 1900-1901, San Francisco 2010, no. 1900-267, illustrated p. 74 Enrique Mallen (ed.), Online Picasso Project, Sam Houston State University, 1900-05, no. 00202, (accessed 2011)

This drawing is accompanied by a certificate of authentication kindly issued by Maya Widmaier-Picasso

Maurice de Vlaminck

"I had no wish for a change of scene. All these places that I knew so well, the Seine with its strings of barges, the tugs with their plumes of smoke, the taverns in the suburbs, the colours of the atmosphere, the sky with its great clouds and its patches of sun, these were what I wanted to paint."

Maurice de Vlaminck French, 1876 - 1958

Remorqueurs sur la Seine, 1906 Oil on canvas 20⅛ x 25⅝ inches / 51 x 65 cm Signed lower right: Vlaminck

Provenance Perls Galleries, New York Mr & Mrs Paul Wurzburger, Cleveland, 1960-1968 Stanley N. Barbee (possibly) Acquavella Galleries, New York Daniel Malingue, Paris Private collection, Japan, circa 1995 Private collection Anon. sale, Christie’s New York, 8 May 2002, lot 249 Private collection, Europe (purchased at the above sale) Acquired from the above by the previous owner, 2005

Exhibited

New York, Perls Galleries, The Perls Galleries Collection of Modern French Painting, 1953, no. 219 (titled: Paysage fauve à la péniche) Cleveland, The Cleveland Museum of Art, Paths of Abstract Art, 1960, no. 13, illustrated (titled: Paysage à la barque) Bordeaux, Galerie des Beaux-Arts, La peinture française. Collections américaines, 1966, no. 125 (titled: La Barque) Maurice de Vlaminck was born in the centre of Paris near Les Halles. Early in his career he befriended the painter André Derain, with whom he shared an inclination towards bright colour and bold brushstrokes in painting. The pair took a studio on the Ile de Chatou in the Seine from 1901, where Vlaminck began to make his very first studies of the river. They became leaders of the Fauve movement between 1904 and 1908. The present work was painted as Vlaminck reached the height of his expressive powers as a Fauvist. It reveals his enjoyment in painting quickly, in exploiting colours for their intensity, and in applying paint using dynamic, forceful brushstrokes. The artist’s relentless concern was to capture a scene exactly as he first perceived it, before the initial effect disappeared.

New York, Perls Galleries, Vlaminck: His Fauve Period (1903-1907), 1968, no. 22, illustrated in colour, (titled: Paysage à la barque) Fukushima, Musée Préfectoral d’Art, Maurice de Vlaminck, 1996-1997, no. 3, illustrated in colour (titled: Paysage des bords de Seine); this exhibition later travelled to Shimane, Musée Préfectoral; Osaka, Musée Daimaru d’Umeda and Tokyo, Musée des Beaux-Arts Bunkamura

Literature

Maïthé Vallès-Bled, Vlaminck. Catalogue critique des peintures et céramiques de la période fauve, Paris, 2008, no. 148, illustrated in colour p. 335

Maurice de Vlaminick

"Good painting is like good cooking; it can be tasted, but not explained."

Maurice de Vlaminck French, 1876 - 1958

Le Pont de Conflans, circa 1907 Oil on canvas 23⅝ x 28¾ inches / 60 x 73 cm Signed lower right: Vlaminck

From 1907, Vlaminck’s use of colour became increasingly muted as he continued to absorb the influence of Cézanne’s work. The 1907 Cézanne Retrospective, held at the Salon d’Automne in Paris, had proved seminal in the subsequent shaping of the artist’s palette and technique. The present work is a good example of the manner in which Vlaminck had consciously begun to develop his compositions using controlled patches of subdued colour rather than the irregular and brightlycoloured brushstrokes so typical of his purely Fauvist style.

Provenance

Galerie Bernheim-Jeune, Paris Galerie Alex Maguy, Paris Private collection, Paris

Literature

Andrew Mantaigne, Maurice de Vlaminck, Paris, 1929, p. 141, no.1, illustrated This painting is accompanied by a certificate of authentication kindly issued by the Wildenstein Institute, Paris

Natalia Goncharova

Natalia Goncharova Russian, 1881 - 1962

L’Espagnole, circa 1916-1918 Oil on canvas 17⅛ x 13⅞ inches / 43.5 x 34.5 cm Signed lower right: N. Gontcharova

Provenance

Private collection, Paris Private collection, Spain This painting is accompanied by a certificate of authentication and is to be included in the forthcoming catalogue raisonné of paintings by Natalia Goncharova currently in preparation by Mme Denise Bazetoux.

"The West has shown me one thing: everything it has is from the East."

Russian avant-garde artist Natalia Goncharova began her career with works strongly inspired by Russian folklore and tradition, as reflected in her colourful and exceedingly ornamental early compositions. Between 1916 and 1918, when the present work was painted, Goncharova began to explore the avant-garde aesthetic and to experiment with Cubism. At around the same time, she and her lifelong

partner Mikhail Larionov joined Sergei Diaghilev’s Ballets Russes in San Sebastian, Spain. L’Espagnole is one of a series of figures of Spanish women painted by the artist during this sojourn, in which Cubist geometrics are beautifully tempered by feminine curves and floral motifs.

Alexej von Jawlensky

"Every day I painted these variations of colour, inspired all the time by Nature’s mood at any given moment in relation to my own spirit."

Alexej von Jawlensky Russian, 1864 - 1941

Variation: Sonnenaufgang (Variation: Sunrise), 1918 Oil on linen-finish paper laid down on board 14⅛ x 10¾ inches / 35.8 x 27.3 cm Signed and dated lower right: AJ 18

Alexej von Jawlensky began his extended series of landscape Variations following the outbreak of the First World War. The series was based on a scene through the artist’s window at St-Prex, near Lake Geneva. In these compositions, Jawlensky paints in clear, luminous colours applied to the canvas in thin layers of wash. The series influenced and overlapped the earliest examples of the artist’s Meditative Heads. Two years before his death, Jawlensky said of his approach to painting: ‘Every artist works in a tradition… I am Russian-born. As such my heart and soul have always felt close to Old Russian art, to Russian icons… and the art of the Romanesque period. All these arts would set up a holy vibration in my soul for they spoke to me in a language of deep spirituality. It was this art that gave me my tradition.’

Provenance

Estate of the artist Jacques Fricker, France Frankfurter Kunstkabinett, Frankfurt, by 1959 The Redfern Gallery, London, 1960 Christopher Bibby, London, 1960 (acquired from the above) Rutland Gallery, London The Redfern Gallery, London, 2004 Acquired from the above by the previous owner, September 2004

Exhibited

Frankfurt, Frankfurter Kunstkabinett & Munich, Kunstkabinett Klihm, Alexej von Jawlensky, 1954, no. 28

Literature

Clemens Weiler, Alexej Jawlensky, Cologne, 1959, no. 630, illustrated p. 271 Maria Jawlensky, Lucia Pieroni-Jawlensky & Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, 1914-1933, London, 1992, vol. II, no. 1033, illustrated in colour p. 278

Chaïm Soutine

Chaïm Soutine Russian/French, 1893 - 1943

Les Gorges du Loup (La Maison Hantée) IV, circa 1921 Oil on canvas 28½ x 23⅜ inches / 72.4 x 59.4 cm Signed lower right: Soutine Signed again lower left: Soutine

Russian-born Jewish painter Chaïm Soutine is best known for his contribution to the Expressionist and Fauvist movements in Paris during the early Twentieth Century. Painted in about 1921 the present work sums up Soutine’s characteristic intensity through a swirling impasto, which distorts the perspective of the Gorges and allows the viewer to experience the artist’s subjectivity. An acknowledged master of twentiethcentury painting, Soutine’s influence can be felt in the work of artists such as Lucian Freud, Frank Auerbach and Francis Bacon.

Provenance

The Barnes Foundation, Merion Station, Pennsylvania (acquired by Dr Barnes in 1923) Carstairs Gallery, New York E&R Cyzer, London Private collection, UK

Exhibited

Tokyo, Galerie Yoshii, Chaïm Soutine, 1973, no. 10, illustrated in colour Tokyo, Galerie Yoshii, Chaïm Soutine, 1974, no. 7 New York, Helly Nahmad Gallery, Soutine/Bacon, May-June 2011

Literature

P. Courthion, Soutine, Peintre du déchirant, Lausanne, 1972, p.224, fig. D, illustrated, p.225 Maurice Tuchman and Esti Dunow will include this painting in the forthcoming supplement to their Soutine Catalogue Raisonné New York, Helly Nahmad Gallery, Soutine/Bacon, May-June 2011, p.88, illustrated in colour p. 89

"I never touched Cubism myself, you know, although I was attracted to it at one time. When I was painting at Céret and at Cagnes I yielded to its influence in spite of myself, and the results were not entirely banal. But Céret itself is anything but banal. There is so much foreshortening in the landscape that, for that very reason, a picture may seem to have been painted in some specific style." 34

Hermann Max Pechstein

"Art is not a pastime, it is a duty with respect to the people, a public affair."

Hermann Max Pechstein German, 1881 - 1985

Rauchende, 1921 Oil on canvas 31¾ x 39½ inches / 80 x 100 cm Signed lower left: HMPechstein Signed again, inscribed indistinctly and dated on the reverse: HMPechstein 1921

Pechstein had become one of the most prominent artists in Germany when he painted the present work. During the summer of 1921 he visited the small fishing village of Leba in Eastern Pomerania (now Poland), where he met Marta Moeller and her sister Liese. In this work Pechstein depicts Liese reclining and smoking a cigarette, using a bold application of vibrant colour that recalls his earlier de Brücke period (1905-1915) and his association with the German artists Kirchner, Heckel and Schmit-Rottluff.

Provenance

Dr. Karl Lilienfeld, Leipzig, Berlin & New York, 1932 Jacob Goldschmidt, Paris, circa 1950 (acquired from the above) Anon. sale, Stuttgarter Kunstkabinett Roman Norbert Ketterer, Stuttgart, 26 May 1955, lot 1834 Galerie Wilhelm Grosshennig, Düsseldorf, 1959 (acquired from the above) Gallerie Kurt Meissner, Zürich, 1959 (acquired from the above) Private collection, Germany Anon. sale, Karl & Faber, Munich, 30 November 1979, lot 1908 Acquired at the above sale by the previous owner

Exhibited

Selm, Schloss Cappenberg, Max Pechstein, 1989, illustrated in colour in the catalogue

Literature Kindlers Malerei Lexicon, Zurich, 1967, vol.IV illustrated in colour, p. 75

Albert Gleizes

Albert Gleizes French, 1881 - 1953

Composition, circa 1922 Oil on canvas 32 x 25½ inches / 81.2 x 64.8 cm

Albert Gleizes grew up in Courbevoie, a suburb of Paris, and at the age of 19 began work in the family fabric and interior design business. He found this to be an invaluable experience, later claiming that the necessary accuracy demanded by design proved imperative to his artistic training. Gleizes was preoccupied with restructuring and synthesizing the real world according to his own perceptions. This painting is a typical example of the artist’s work from the 1920s, recalling the aesthetics of fabric design in which geometric, flat patches of colour are juxtaposed to construct an abstract image.

Provenance

Juliette Roche-Gleizes, Paris (the artist’s wife) Galerie Lucien Blanc, Aix-en-Provence, by 1960 Galerie Françoise Tournié, Paris, by 1974 Private collection, Germany Thence by descent to the previous owner

Exhibited

Aix-en-Provence, Galerie Lucien Blanc, Exposition Albert Gleizes, 1881-1953, 1960, no. 38, illustrated Avignon, Musée Calvet, Exposition Albert Gleizes, 1881-1953, 1962 Anvers, International Cultural Centre, Albert Gleizes, 1881-1953, 1973, no. 11, illustrated Montauban, Musée Ingres, Rencontres d’art, Hommage à Albert Gleizes, 1973, no. 9 Paris, Galerie Françoise Tournié, Albert Gleizes et ses amis, retrospective de l’exposition réalisée par Albert Gleizes au Salon des Tuileries de 1938, 1974, no. 7, illustrated

Literature

Anne Varichon, Albert Gleizes, Catalogue raisonné, Paris, 1998, vol. 1, no. 1089, illustrated p. 360

Kees van Dongen

"Painting is the most beautiful of lies."

Kees van Dongen Dutch, 1877 - 1968

Cannes, Le Port, 1923 Oil on canvas 39½ x 32¼ inches / 100.5 x 82 cm Signed lower centre: Van Dongen Inscribed and dated on the stretcher: Cannes 23

Dutch Fauvist and Expressionist painter Kees van Dongen is perhaps most widely known for his portraits of contemporary high society, and famously described the female body as ‘the most beautiful landscape’. In this unique example, however, van Dongen turns his attention to the French Riviera, the sunlit atmosphere of which he evokes with a soft, shimmering palette. The artist’s characteristically visible brushstrokes and flat patches of colour demonstrate the expressionistic flavour of his work. Van Dongen spent a great deal of time in the South of France throughout his career, and moved to the region in his later years.

Provenance

Anon. sale, Palais Galliera, Paris, 12 December 1973 (titled: Le vieux port à Cannes and illustrated on the cover of the catalogue) Kunsthandel ML de Boer, Amsterdam (purchased at the above sale) Acquired from the above by the family of the previous owner, 1973

Exhibited Laren, Holland, Singer Museum, 1976

Literature

Edouard des Courières, Van Dongen, Paris, 1925, illustrated pl. 65 (titled: Le port de Cannes) This painting is accompanied by a certificate of authentication kindly issued by the Wildenstein Institute, Paris.

Georges Valmier

"Colour is the substance which is destined to express the intellect."

Georges Valmier French, 1885 - 1937

La Fête Foraine au Village, 1925 Oil on canvas 35 x 48⅛ inches / 89 x 117 cm Signed and dated lower right: G. Valmier 1925

Though he produced works that were strongly reminiscent of the style pioneered and perfected by Picasso, Braque and Léger, Georges Valmier succeeded in developing a very individual Cubist aesthetic. He introduced bright colour to the movement, and tackled a wide range of subject matter that included landscape, still life and figure studies. The present work is a fine example of Valmier’s ability to convincingly introduce self-contained and recognisable figures and objects to an abstract composition.

Provenance Private collection, New York This painting is accompanied by a certificate of authentication kindly issued by Denise Bazetoux

Fernand Léger

Fernand Léger French, 1881 - 1955

Les Deux Sœurs, 1929 Oil on canvas 36¼ x 25⅝ inches / 92 x 65 cm Signed lower right: F. Léger

Throughout his career, Léger sought to paint the human figure, and particularly the female form, in a manner unlike that of any other great modern master. The present work, realised in the late 1920s, sees the artist move away from his early examples of abstraction towards his trademark style of tubular representation. The monumentality and classical flavour of Léger’s figures in Les Deux Sœurs resonates with Jean Cocteau’s plea, following the social and political upheavals of the First World War, for artists to embrace a ‘rappel à l’ordre’ (a ‘return to order’) in their work.

Provenance

Mme Bourdon, Paris Anon. sale, Hôtel Drouot, Paris, 25 March 1990, lot 46 Acquired at the above sale by the previous owner

Literature

Georges Bauquier, Fernand Léger: Catalogue raisonné de l'oeuvre peint 1929-1931, vol IV, Paris, 1995, no. 669, p. 114, illustrated p. 115

"Man needs colour to live; it’s just as necessary an element as fire and water."

Joan Miró

Joan Miró Spanish, 1893 - 1983

Painting (Tête d’Homme), 1931 Oil and watercolour on Ingres paper 19 x 25¼ inches / 48.6 x 65.6 cm Signed, titled indistinctly and dated on the reverse: Joan Miró, ‘Tête d’homme ..’ 8. 31

Joan Miró was fascinated by the versatility of materials, and experimented with many different combinations of media throughout his career. In the summer of 1931, he embarked on a series of thirtytwo colourful works in which he employed oil paint, diluted with turpentine, on high-quality Ingres paper. This method enabled Miró to apply the oils in washes, so as to endow the colours with a striking luminosity that could not be achieved on canvas. The present work is an outstanding example from the series, and was formerly in the collection of Dada poet Tristan Tzara.

Provenance

Tristan Tzara, Paris, by 1962 Anon. sale, Sotheby’s London, 2 July 1980, lot 342 Acquired at the above sale by the previous owner

Exhibited

Paris, Musée National d’Art Moderne, Joan Miró, June-November 1962, no. 114

Literature

Jacques Dupin, Miró, Paris, 1961, no. 297, illustrated p. 508 Jacques Dupin, Joan Miró, Life and Work, London, 1962, no. 297, illustrated p. 524 Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné of Paintings, vol. II, 1931-1941, Paris, 2000, no. 382, illustrated p. 50

"The works must be conceived with fire in the soul but executed with clinical coolness." 46

Chaïm Soutine

Chaïm Soutine Russian/French, 1893 - 1943

Old House near Chartres, circa 1934 Oil on canvas 18½ x 24⅝ inches / 47 x 62.5 cm Signed lower right: C. Soutine

Old House near Chartres is an expressive and vibrant interpretation of the manor house belonging to Madeleine Castaing, one of Soutine’s principal benefactors. The artist first encountered Castaing in Montparnasse following the death of their mutual friend, the painter Amadeo Modigliani; Madeleine and her husband Marcellin proceeded to support Soutine between 1930 and 1935. Along with Jean Cocteau and the author Drieu la Rochelle, he worked and painted extensively at their summer home. Following the death of Soutine’s dealer Léopold Zborowski in 1932, the Castaings became Soutine’s most important collectors and it was through their valuable patronage that the artist was able to hold his first solo exhibition, at the Arts Club of Chicago in 1935.

Provenance

Mr. and Mrs. Justin K. Thannhauser, New York Private collection, Palm Beach, Florida Philippe Reichenbach, Geneva, Switzerland Private collection, Geneva, Switzerland

Exhibited

Paris, Galerie Charpentier, Cent Tableaux de Soutine, 1959, no. 24, illustrated Los Angeles County Museum of Art, Chaïm Soutine (1893-1943), 1968, no. 82, illustrated Jerusalem, Israel Museum, Soutine, summer 1968, no. 43 New York, Marlborough Gallery, Soutine, October-November 1973, no. 63, illustrated

Literature

Gabriel Talphir, Gazith, August–September 1959, illustrated pl. 6 Exhibition Catalogue, London, Tate Gallery & Edinburgh Arts Festival, 1963, p. 25 Pierre Courthion, Soutine. Peintre du déchirant, 1972, p. 279A, illustrated Exhibition Catalogue, Gallery Bellman, Soutine (1893-1943), New York, 1983–1984, p. 8 Maurice Tuchman, Esti Dunow, Klaus Perls, Chaïm Soutine (1893-1943) Catalogue raisonné vol. 1, Cologne, 1993, no. 156, illustrated in colour p. 292

Fernand Léger

Fernand Léger French, 1881 - 1955

Les Plongeurs aux Perroquets, 1934 Gouache on board 51⅛ x 36¼ inches / 130 x 92 cm Signed with the artist’s monogram and dated lower right: F.L. 34 Signed again, inscribed and dated on the reverse: Etude pour la composition aux perroquets F Leger 34 N10B

Les Plongeurs aux Perroquets is a fine example from a group of works known as ‘Les Cycles’, painted by Léger in the 1930s. In the series, Léger set out to depict the human figure in motion, using themes such as country outings, constructors, cyclists and divers to animate his compositions. Intertwined forms and a free use of colour define these works against the rest of the artist’s oeuvre. The present picture is a rare example, for both its large size and its unusual combination of gouache with India ink instead of oil paint.

Provenance

Galerie Félix Vercel, Paris Private Collection

Exhibited

Baden-Baden, Staatlische Kunsthalle, Fernand Léger, peintures, gouaches, dessins, 19 June-10 September 1967, no.58, illustrated Berlin, Staatliche Kunsthalle, Fernand Léger, 26 October 1980-January 1981; this exhibition later travelled to Detroit, Institute of Arts, 28 June-24 August 1980 London, Whitechapel Art Gallery, Fernand Léger, The Late Years, 27 November 1987-21 February 1988, no. 64, illustrated in colour pl. 21 Stuttgart, Staatsgalerie Stuttgart, Fernand Léger, Zeichnungen, Bilder, Zyklen 1930-1955, March-June 1988, no. 27, illustrated in colour, unpaged 100th anniversaire de la CGT Montreuil, 2-10 December 1995 Basel, Fondation Beyeler, Fernand Léger Paris-New York, June-September 2008, no. 62, illustrated in colour, p. 79

Literature

Pierre Descargues, Fernand Léger, Paris, 1955 Claude Laugier et Michèle Richet, Léger, oeuvres de Fernand Léger (1881-1955), Paris, Dépôt légal 2e trimestre 1981, no. d'éditeur 235, p. 83, illustrated p. 82, pl. e. Laurence Saphire, Fernand Léger, Graphic Works, Blue Moon Press, New York, 1985, p. 272

"What does that represent? There was never any question in plastic art, in poetry, in music, of representing anything. It is a matter of making something beautiful, moving, or dramatic - this is by no means the same thing."

Arshile Gorky

Arshile Gorky Armenian/American, 1904 - 1948

Abstraction, 1936 Oil on canvas 38 x 26 inches / 96.5 x 66 cm

Gorky made a significant contribution to the Abstract Expressionist movement through the spontaneity of his artistic language, which he developed in New York during the 1940s. Willem de Kooning described him as an artist with ‘fantastic instinct’, and his influence is palpable in the development of techniques such as Jackson Pollock’s spontaneous drip painting. The present composition is a rare and fine example of Gorky’s experiment with Cubism, which sees him focus primarily on form and colour. The style of this work represents a step towards the artist’s later and more dramatic aesthetic, for which he became renowned.

Provenance

Mr and Mrs Hans Burkhardt, New York Anon. sale, Sotheby Parke-Bernet, New York, 13 December 1972, lot 68 Allan Stone Gallery, New York Associated American Artists, New York Acquired from the above by the previous owner

Exhibited

Pasadena Museum of Art, Paintings by Arshile Gorky, January-February 1958 La Jolla Museum of Art, Arshile Gorky Paintings and Drawings 1927-1937: The Collection of Mr and Mrs Hans Burkhardt, February-March 1963, catalogue no. 4, illustrated as no. 3 New York, Associated American Artists, The Artists of Union Square, October 1987, no. 22

Literature

J.L. Bordeaux, Arshile Gorky: His Formative Period (1925-1937), in American Art Review, vol. 1, no. 4, May-June 1974, pp. 105 and 107, illustrated in colour R. Goldwater, The Paintings of Arshile Gorky: A Critical Catalogue, New York, 1982, p. 311-312, no. 168, illustrated

Raoul Dufy

Raoul Dufy French, 1877 - 1953

La Relève de la Garde au Palais de Saint James, 1937 Gouache and watercolour on paper 19¾ x 25½ inches / 50 x 65 cm Signed and inscribed lower centre: St James Raoul Dufy

Raoul Dufy was a keen observer of public ceremony and entertainment, painting occasions such as regattas, horse races and orchestral recitals. In the present work, we see the Changing of the Guard at St James’s Palace conveyed using the artist’s characteristic methods, which involved dividing the canvas or page into flat patches of colour and then adding outlines to indicate detail such as human figures, costume or architectural features.

Provenance

Dr Roudinesco, Paris Acquired from the above by the family of the previous owner

Exhibited

Paris, Musée National d’Art Moderne, Raoul Dufy, 1877-1953, no. 118, illustrated Brussels, Palais des Beaux-Arts, De Toulouse-Lautrec à Chagall, 1956, no. 45 Paris, Galerie Bernheim-Jeune-Dauberville, Chefs-d’oeuvre de Raoul Dufy, 1959, no. 102, illustrated on the poster for the exhibition Cologne, Dom Galleri, Gemälde aus Pariser Privatbesitz (Bonnard bis de Staël), May 1962

Literature

L’Amour de l’Art, Paris, 1953, p. 46 Marcel Brion, Raoul Dufy, Paintings and Watercolours, London, 1959, illustrated pl. 60 Fanny Guillon-Laiffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, vol. I, Paris, 1981, no. 752, illustrated pl. 275

"What I wish to show when I paint is the way I see things with my eyes and in my heart." 54

Georges Rouault

"The artist discards all theories, both his own and those of others. He forgets everything when he is in front of his canvas."

Georges Rouault French, 1871 - 1958

Pierrot, 1935-1939

Oil on paper laid down on canvas 24¾ x 18⅛ inches / 64 x 47 cm

Georges Rouault began an apprenticeship as a stained glass painter and restorer in 1885 at the age of fourteen. The influence of this experience on the artist’s work, particularly on his more mature style, became evident in heavy black contouring and bright, flat colours which seem to echo the appearance of panels of leaded glass. The present picture is a fine example from a subject matter dedicated to courts, clowns and prostitutes that Rouault began to explore in around 1907. His highly psychological portraits from this time can be said to highlight the marginal social status of the masquerading and performing

figures they depict. The recurring figure of the Pierrot in Rouault’s oeuvre carries special weight, having been interpreted as a self-portrait: “...the old clown seated on the side of his trailer mending his glittering and colourful costume, the contrast of brilliant, scintillating things, made to amuse us and this life of infinite sadness...I clearly saw that the ‘clown’ was me, it was us...” – Georges Rouault

Provenance

Estate of the Artist Private collection This painting is accompanied by a certificate of authentication kindly issued by the Fondation Rouault

Henri Le Sidaner

Henri Le Sidaner French, 1862 - 1939

Les Hortensias, Gerberoy, 1938 Oil on canvas 23⅝ x 35⅜ inches / 60 x 90 cm Signed lower left: Le Sidaner

Henri Le Sidaner was a foremost exponent of ‘Intimist’ painting, a branch of Post-Impressionism concentrating on sun-dappled, tranquil and familiar domestic settings that functioned as windows of escapism. Le Sidaner began his art studies in 1877, soon breaking away from the academic school of painting prevailing at the Ecole des BeauxArts in Paris to develop a relaxed, pointillist brushstroke. As the present work suggests, his particular talents lay in capturing complex effects of the light and in producing wellbalanced compositions. Abundant foliage frames this scene, and a table and chair in the foreground seem to invite the viewer into the silence of a beautifully sunlit evening.

Provenance

Galerie Charpentier, Paris, circa 1939 Private collection, France

Exhibited Paris, Galerie Charpentier, Exposition Le Sidaner, February 1939, no. 7

Literature

Yann Farinaux-Le Sidaner, Le Sidaner, l’oeuvre peint et gravé, Paris 1989, no. 788, illustrated p. 286

"When you learn how to read, you do not necessarily learn how to see." 58

Joan Miró

Joan Miró Spanish, 1893 - 1983

Femmes, Oiseaux, Etoile, 1942 Watercolour, charcoal and pastel on paper 25¼ x 19⅛ inches / 64 x 48.5 cm Signed in the lower right quadrant: Miró Signed again, titled, inscribed and dated on the reverse: Joan Miró Femmes, oiseaux, étoile Palma Majorque 9.1.1942

Femmes, Oiseaux, Etoile was completed in 1942, the year in which Miró returned to Barcelona from Palma de Mallorca after his most important retrospective had been held at the Museum of Modern Art in New York. Whilst in Barcelona, and as Spain was immersed in civil war and the Nazis occupied much of mainland Europe, Miró began working mainly on paper. The present work reflects a style typical of Miró’s celebrated Barcelona series, made up of a group of fifty lithographs on which he embarked in 1939. These works were finally published in 1944, and evoke the climate of concern and desperation prevailing in Europe at the time.

Provenance

Galerie René Drouot, Paris Caroline & Erwin Swann, Bucks County, PA The Gallery of Modern Art, New York, 1964-1969 William Zierler, Inc, New York, 1970 Mr & Mrs Gross, Greenwich, CT Richard Gray Gallery, New York Private collection, UK

Exhibited

New York, William Zierler Gallery, New Acquisitions, fall 1970, no. 37, illustrated in colour on the cover of the catalogue

Literature

Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné of Drawings, vol II, 1938-1959, Paris, 2010, no. 905, illustrated in colour p. 64 This painting is accompanied by a certificate of authentication kindly issued by Jacques Dupin

L S Lowry

"This art is a terrible business."

L. S. Lowry British, 1887 - 1976

Church in a Hollow, 1944 Oil on board 16⅛ x 20⅛ inches / 41 x 51 cm Signed and dated lower right: LS LOWRY 1944

L. S. Lowry is best known for his urban landscapes of the North of England, in which themes of industrialism and the workforce feature strongly. The present picture is a charming example of Lowry’s work dating from the Second World War years, while he lived in Pendlebury on the outskirts of Manchester. The church tower’s bold silhouette seems anachronistic in a skyline peppered with factory chimneys and plumes of smoke; a twentieth-century tension between tradition and modernity appears to be as much the subject of this painting as the poetic figures of workers carrying on their daily lives.

Provenance

The Lefevre Gallery, October 1945 (purchased from the artist) Private Collection, 1946 (purchased from the above) Mr and Mrs. Whiteley Private collection Richard Green, London Private collection

Exhibited

London, Richard Green, L. S. Lowry: A Collector's Choice, 2004, no. 4

Fernand Léger

Fernand Léger French, 1881 - 1955

La Belle Equipe, (Les Cyclistes), 1944 Gouache on paper 12⅛ x 18½ inches / 30.8 x 47 cm Signed and dated lower right: F.L. 44

La Belle Equipe is an outstanding example from Léger’s series depicting figures at leisure, in which images of amateur cyclists frequently feature. The most celebrated work of the series, Les Loisirs (Hommage à David), (Paris, Musée National d’Art Moderne: Centre Georges Pompidou), represents the final version of a composition for which the present work is an accomplished and resolved study. Like many of Léger’s pieces from this period, the present example powerfully conjures the dynamism of an emerging modern society.

Provenance The Artist

Harold Diamond, New York Private collection, Paris Jeffrey H. Loria collection, New York This painting is accompanied by a certificate of authentication kindly issued by Irus Hansma

"The realistic value of a work is completely independent of its properties in terms of content." 64

Fernand Léger

Fernand Léger French, 1881 - 1955

Les Trois Sœurs, 1948

Oil on canvas 35¼ x 28¾ inches / 92 x 73 cm Signed and dated lower right: F.Leger 48 Signed again, titled and dated on the reverse: Composition aux trois soeurs F LEGER 48

During the 1930s, Léger made the acquaintance of Douglas Cooper, a renowned British art historian, critic and collector. As a partner at the Mayor Gallery in London, Cooper organised exhibitions that championed the work of Picasso, Miró, Klee and Léger in collaboration with dealers in Paris such as DanielHenry Kahnweiler. He often received pictures from these artists as tokens of appreciation. The present work was one such gift, and was once a focal point of the Douglas Cooper Collection at Castille. It is an excellent example of Léger’s later work, which carries a distinctly figurative flavour compared with his earlier abstractions and which typically evokes the human figure on a monumental scale.

Provenance

Douglas Cooper, London Anon. sale, Sotheby's, London, 1 July 1980, lot 74 Gallery Gertrude Stein, New York Private collection, Florida

Exhibited

Paris, Musée National d’Art Moderne, Fernand Léger, Exposition retrospective 1905-1949, October-November 1949, no. 86 London, The Tate Gallery, Fernand Léger, February-March 1950, no. 42, illustrated pl. 12; this exhibition later travelled to Leeds, Leeds City Art Gallery, no. 35, illustrated pl. 8 Marseille, Musée Cantini, Fernand Léger, June-August 1966, no. 70, illustrated Berlin, Staatliche Kunsthalle, Fernand Léger 1881-1955, 1980-81, no. 115, illustrated p. 457

Literature

Douglas Cooper, Fernand Léger et le nouvel espace, Editions des Trois Collines, Geneva, 1949, illustrated on the frontispiece John Richardson, The Sorcerer’s Apprentice: Picasso, Provenance and Douglas Cooper, New York, 1999, illustrated p.189. Georges Bauquier, Fernand Léger: Catalogue raisonné de l'oeuvre peint 1944-1948, vol. VII, Paris, 2000, no. 1289, illustrated p. 204

Pablo Picasso

"I paint objects as I think them, not as I see them." Pablo Picasso Spanish, 1881 - 1973

Nature morte au Poron, 1948 Oil on canvas 19¾ x 24 inches / 50 x 61 cm Signed lower right: Picasso Dated on the reverse: 26.12.48.II

The still life is an important component of Picasso’s oeuvre, being particularly well-represented in his work from the Cubist and Second World War periods. Throughout the early 1940s in occupied Paris, when Picasso was banned from exhibiting pictures in public, his still life scenes took on an austere, almost monochromatic quality. Yet during his post-war years, the artist began to produce exuberant and vibrant still lives, of which the present work is a superb example. Vigorous brushstrokes summarise the colours and shapes of his subject matter in a naive manner, and serve to remind that Picasso considered the act of painting to present an ‘escape route’ from the trials of real life. Nature Morte au Poron is one of three pictures of a lobster that Picasso completed the day after Christmas in 1948 (C. Zervos, op. cit., nos. 113 & 114). It originates from the period during which he lived in Vallauris with Françoise Gilot, his portraits of the latter enjoying a similarly linear and graphic style.

Provenance

Galerie Louise Leiris, Paris Svensk-Franska Konstgalleriet, Stockholm Gerard Bonnier, Stockholm, acquired by 1953 and until circa 1959 Galerie Beyeler, Basel Private collection, New York James Goodman Gallery, New York Private collection, Europe, 1981 (acquired from the above) Christensen collection, Norway

Exhibited

Stockholm, Svenska-Franska Konstgalleriet, 1918-1953, 1953, no. 115 (titled: Le Homard et le poron) Stockholm, Liljevalchs Konsthall, Cézanne till Picasso, 1954, no. 285 (titled: Le Homard et le poron) Oslo, Kunstnernes Hus, Picasso, 1956, no. 278, illustrated (titled: Le Homard et le poron) Stockholm, Svensk-Franska Konstgalleriet, Picasso, 1959, no. 16 Basel, Galerie Beyeler, Das Stilleben im 20. Jahrhundert, 1978-79, no. 92, illustrated in colour Madrid, Fundación Juan March, Maestros del siglo XX-Naturaleza muerta, 1979, no. 68 Rotterdam, Kunsthal, Picasso, kunstenaar van de eeuw, 1999, no. 28, illustrated in colour Schiedam, Stedelijk Museum, Picasso, Klee, Miró en de moderne kunst in Nederland, 1946-1958, 2006

Literature

Maurice Raynal et al., Picasso, in Le Point, vol. XLII, Paris, October 1952, illustrated p. 7 Christian Zervos, Pablo Picasso. Œuvres de 1946 à 1953, Paris, 1965, vol. XV, no. 116, illustrated pl. 68 Alan Wofsy, The Picasso Project, Picasso's Paintings, Watercolors, Drawings and Sculpture. Liberation and Post-War Years, 1944-1949, San Francisco, 2000, no. 48-045, illustrated p. 211 (titled: Nature morte aux crustacés) Enrique Mallen (ed.), Online Picasso Project, Sam Houston State University, 1945-50, no. 48-142, (accessed 2011)

Joan Miró

Joan Miró Spanish, 1893 - 1983

Composition Subrealiste, 1949 Pencil, wax crayon and India ink wash on paper 12 x 11¾ inches / 30.5 x 28.5 cm Signed and dated on the reverse: Miró 1949

Towards the end of the 1940s, the influence of the New York Abstract Expressionists was being felt by Miró. He first saw their work in 1947, and described the experience as ‘a blow to the solar plexus’, subsequently attempting to recreate the spontaneity of their art in his own works. The present picture, realised in 1949, contains a preliminary nod towards the Abstract Expressionist movement, with a wash in India ink in the background recalling the bold, impulsive brushstrokes of the American painters. Miró never fully embraced pure abstraction in his pictures, however, and the type of surrealist and symbolic imagery we see in the foreground here was to remain a constant in his oeuvre.

Provenance

Galerie Melki, Paris Hayakawa Gallery, Osaka Private Collection

Exhibited

Saint-Paul de Vence, Maeght Foundation, Barcelone 1947-2007, July-November 2007, no. 6, illustrated p. 231

Literature

Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné Drawings, vol. II, 1938-1959, Paris, 2010, no. 1192, illustrated in colour p. 188 This painting is accompanied by a certificate of authentication kindly issued by Jacques Dupin

"You can look at a painting for a whole week and then never think about it again. You can also look at a painting for a second and think about it for the rest of your life." 70

Fernand Léger

Fernand Léger French, 1881 - 1955

Deux Bouteilles Jaunes sur Fond Rouge, 1950 Oil on canvas 25⅝ x 21¼ inches / 65 x 53.5 cm Signed and dated lower right: F. LEGER 50 Signed, titled and dated on the reverse: 2 bouteilles jaunes sûr un fond rouge F. Léger 50

This important late work by Léger is exemplary of the artist’s transition, during the late 1940s and early 1950s, away from abstraction towards a more figurative style that harked back to his aesthetic concerns of the 1920s. Deux Bouteilles Jaunes sur Fond Rouge sees the artist revisiting his concentration on geometric composition, order, clarity and harmony, whilst tackling a simple subject matter that would appeal to all social groups. The present work also recalls flavours of the abstractions by Dutch painter Piet Mondrian, whom Léger would have met in either Paris or New York, where both artists were working during the 1930s and 1940s.

Provenance Collection Sam Jaffé, Los Angeles Waddington Galleries, London Marlborough Fine Art, London (no. 4255) Dr. Sherman Kay Waddington Galleries, London (no. BWB 1070) John McConnell, London Anon. sale, Champin, Lombrail, Gautier, & Enghien, Paris, June 21, 1989, lot 20 Private collection Anon. sale, Christie’s, London, February 5, 2002, lot 20 Acquired by the previous owner from the above sale

Exhibited

London, Marlborough Galleries, Aspects of Twentieth Century Art, 1963, no. 38, illustrated

Literature

Georges Bauquier, Fernand Leger: Catalogue raisonné de l’oeuvre peint 1949-1951, vol. VIII, Paris, 2003, no. 1385, illustrated in colour p. 115

Fernand Léger

"I organise the opposition between colours, lines and curves. I set curves against straight lines, patches of colour against plastic forms, pure colours against subtly nuanced shades of grey."

Fernand Léger French, 1881 - 1955

L'Anniversaire, 1950 Gouache and India ink over pencil on paper Sheet size: 29½ x 21⅝ inches / 74.8 x 55 cm Image size: 18⅞ x 16½ inches / 48 x 42 cm Signed with initials lower right: FL Authenticated on the reverse by Nadia Léger and Georges Bauquier (no G581-20B) Stamped on the reverse: Musée National Fernand Léger

Léger visited New York several times before settling there during the Second World War. Between 1940 and 1945 he influenced many New York School painters, and oversaw a lecture series at Yale on ‘Colour in Architecture.’ A number of major works were commissioned from the artist during his time there, by patrons such as Nelson Rockefeller and the architect Wallace K. Harrison. The present example, completed five years after Léger left the USA, testifies to his enduring passion for New York’s modernist buildings, and for the technological spirit and dynamic society that he felt characterised the metropolis.

As distinct from some of Léger’s earlier works which depict humans as machine-like, L’Anniversaire employs carefully-placed plant imagery to emphasise the natural and organic contours of the human figure.

Provenance

Galerie Duchaudon, Paris John Carter Galleries, Austin Anon. sale, Christie’s New York, 12 May, 1988, lot 187 Jeffrey H. Loria collection, New York This painting is no. G581-20B in the archives of the Musée National Fernand Léger, Biot and is accompanied by a certificate of authentication kindly issued by Irus Hansma

Fernand Léger

Fernand Léger French, 1881 - 1955

Les Acrobates, 1952 Gouache on paper 15 x 15½ inches / 38.1 x 39.4 cm Signed and dated lower right: F.L. 52

The themes of acrobats and the circus frequently recur in Léger’s oeuvre. He considered it of the utmost importance that ordinary citizens should have the opportunity to enjoy life, and the circus represented a leisure activity that perfectly addressed this concern. As a genuine art of the people, it could both be performed and attended by the common man, and Léger’s extended series of paintings and scrapbook drawings of acrobats and circus scenes testify to the strong symbolic value of these subjects. The artist once implored people

to ‘go to the circus’ for it is ‘an enormous bowl in which circular forms unroll. Nothing stops, everything is connected. The ring dominates, commands, absorbs. The circus is a rotation of masses, people, animals, and objects.’ The present work serves as one of Léger’s enduring visual celebrations of the circus spectacle.

Provenance Private Collection, Paris Jeffrey H. Loria Collection, New York This painting is accompanied by a certificate of authentication kindly issued by Irus Hansma

"As long as the human body is considered a sentimental or expressive value in painting, no evolution in picture of people will be possible. Its development has been hindered by the domination of the subject over the ages." 76

Marino Marini

Marino Marini Italian, 1901 - 1980

Cavallo e Cavaliere, 1952 Gouache, watercolour and pen and ink on paper 24⅜ x 16⅞ inches / 62 x 43 cm Signed and dated lower right: Marino 1952

Throughout his career, Italian painter and sculptor Marino Marini focused on the horse and rider theme, which he endowed with both timeless and modern flavours. The monumental spirit of Marini’s horse and rider subjects pays homage to a form of traditional public sculpture dating from classical antiquity, yet his imagery is formulated using techniques that drive it towards abstraction. The present work is a particularly expressive example of Marini’s theme, in which vibrant pigments

are very loosely applied. A lack of figurative detail serves to emphasise the symbolic power of the figures, whose triumphant or fragile poses in Marini’s wider oeuvre came to represent the artist’s feelings about the future of the modern world.

Provenance Anon. sale, Paris, Pierre Bergé & Associés, 10 December 2002, lot 49 Purchased at the above sale by the previous owner This painting is accompanied by a certificate of authentication kindly issued by la Fondazione Marino Marini

"The relationship between my painting and my sculpture is intimately connected. I would never begin a sculpture without first experiencing colour."

Henry Moore

Henry Moore British, 1898 - 1986

Seated Figure, 1952 Bronze with green patina on marble base H: 8⅞ x 5 x 6 inches / 22.5 x 12.7 x 15.2 cm Cast: Gaskin According to the Henry Moore Foundation, this sculpture is one of an edition of 9 (none were numbered), with one artist's proof

Henry Moore’s Seated Figure is a fine exploration of the angles, curves and volume of the human form. Realised in 1952 – a year after the sculptor’s trip to Greece where he admired Hellenic bronzes – its organic line and sparing detail reflect the early stages of his move towards classicism. This work anticipates Moore’s monumental King and Queen of 1952-1953, one cast of which is housed in the Tate Collection.

Provenance Vera List

Estate of Vera List Glaser Art Collection, California

Literature

Alan Bowness, ed., Henry Moore: Complete Sculpture, vol. 2, London: Lund Humphries, 1988, pp. 48, 119; plate 345 The authenticity of this work has kindly been confirmed by The Henry Moore Foundation

"Painting and sculpture help other people to see what a wonderful world we live in." 80

Fernand Léger

"The object in modern painting must become the main character and overthrow the subject. If, in turn, the human form becomes an object, it can considerably liberate possibilities for the modern artist."

Fernand Léger French, 1881 - 1955

La Partie de Campagne, 1953-54 Oil on canvas 23⅝ x 36⅜ inches / 60 x 92.1 cm Signed and dated lower right: F. LEGER 53-54 Signed again, titled and dated on the reverse: F LEGER 53-54 ESQUISSE POUR LA PARTIE DE CAMPAGNE

La Partie de Campagne was a title given by Léger to a series of about a dozen works, completed towards the end of his life, depicting figures in the outdoors enjoying picnics and weekend excursions. As with many of Léger’s preferred subjects, and in keeping with the artist’s left-wing political sympathies, the Partie de Campagne series was concerned with representing the leisure activities of ordinary working citizens.

The present work evokes an established visual tradition dealing with the intertwined themes of joie de vivre and the fête champêtre, which had been revived in painting by earlier artists such as Manet, Renoir and Cézanne.

Provenance

Galerie Theo, Madrid Private collection This painting is accompanied by a certificate of authentication kindly issued by Irus Hansma. The painting is listed in the Fernand Léger Archive, no. 348, and is to be included in the forthcoming supplement to the catalogue raisonné, Fernand Léger, volume IX

George Grosz

George Grosz German/American, 1893 - 1959

Posh Couple, 1954 Watercolour, gouache, pen, India ink and pencil on paper 19½ x 15¼ inches / 49.5 x 38.8 cm Signed lower right: Grosz

The present work is one of three watercolours, including Nightclub V (overleaf) that Grosz presented to Henry Cornelius, a film director with whom he worked on the 1955 film adaptation of John van Druten’s Broadway play, I Am a Camera. Inspired by Christopher Isherwood’s novel Goodbye to Berlin, the events of the play are based on the author’s real-life experiences living in the corrosive environment of Berlin in the 1930s.The staunchly anti-Nazi Grosz had himself emigrated from Germany to America in 1933 as Hitler rose to power.

Posh Couple was completed the year in which the artist was elected to the American Academy of Arts and Letters and was gaining international recognition for his work.

Provenance

Acquired directly from the artist by the family of the previous owner Thence by descent This painting is accompanied by a certificate of authentication kindly issued by Ralph Jentsch and will be included in the forthcoming catalogue raisonné of the artist's work which is currently in preparation

"The bourgeoisie and the petty bourgeoisie have armed themselves against the rising proletariat with, among other things, 'culture'." 84

George Grosz

"I thought the war would never end. And perhaps it never did, either."

George Grosz German/American, 1893 - 1959

Nightclub V, 1954 Watercolour, gouache, pen, India ink and pencil on paper 14⅛ x 13¼ inches / 36 x 33.7 cm Signed lower right: grosz

After arriving on US soil, Grosz largely discarded the summary style of caricature that had defined his earlier work, instead turning towards conventional nudes and landscape watercolours. The present piece, however, is a prime late example of the artist’s satirical subject matter, reflecting the suspicion with which he viewed the bourgeois classes.

Provenance

Jean-Paul Riopelle

Jean-Paul Riopelle Canadian, 1923 - 2002

Sans Titre, circa 1956 Oil on canvas 15 x 18⅛ inches / 38 x 46 cm

Jean-Paul Riopelle began his artistic career in the 1940s as one of a group of Quebecois artists known as Les Automatistes. Their works were largely based on the theory of Surrealist automatism that was most famously taken up by the Dadaists, and which advocated following the power of the subconscious in the production of writing, art and music. Riopelle’s impulsive approach to painting in his early years remained a part of his practice, and on moving to Paris in 1949 the artist furthered his career by cultivating for himself the image of a ‘wild Canadian.’ The

present work, completed around 1956, is an excellent example of Riopelle’s signature expressionist style, in which he applies soft squares of colour to the canvas in flat planes with a palette knife, creating abstract compositions with deep impasto.

Provenance

Acquired directly from the artist by the father of the previous owner Thence by descent This painting is accompanied by a certificate of authentication kindly issued by Madame Yseult Riopelle and will be included in the next addendum to the Catalogue raisonné de L’oeuvre de Jean-Paul Riopelle

"When I hesitate, I do not paint. When I paint, I do not hesitate." 88

Joan Miró

"I try to apply colours like words that shape poems, like notes that shape music."

Joan Miró Spanish, 1893 - 1983

Etude pour ‘Derrière le Miroir’, Zephyr Bird, 1956 Watercolour, wax crayon and pencil on paper 19⅞ x 25⅜ inches / 50.6 x 64.5 cm Signed lower right: Miró Signed again, inscribed and dated in the margin, lower left: fraternellement Miró. Juin 1956

This lyrical watercolour forms a basis for Miró’s celebrated series of Derrière le Miroir lithographs, printed in an edition of 100 signed and numbered impressions, as well as an edition of 1500 unsigned editions. The series shared its title with a review published between 1946 and 1982 by Aimé Maeght, a French art collector, editor and founder of the Gallery Maeght in Paris. Miró began his long association with Maeght in 1948 following the opening of Maeght's gallery, and the present composition relates to a print entitled Zephyr Bird (Mourlot 227) that was reproduced in his review (June – July – August 1956, nos. 87, 88, 89, pp. 14-15).

Provenance

Petimento, San Francisco Galerie de l’Ile de France, Paris Anon. sale, Christie’s, New York, 16 November 1983, lot 231 Private collection, Japan, by 1990 Thence by descent Acquired from the above by the previous owner This painting is accompanied by a certificate of authentication kindly issued by Jacques Dupin

Jean Dubuffet

Jean Dubuffet French, 1901 - 1985

Le Béret Rose, 1956 Oil on canvas collage 34⅝ x 24 inches / 88 x 61 cm Signed and dated upper right: J Dubuffet 56 Signed, titled and dated on the reverse: J Dubuffet Le Béret Rose août 56

Jean Dubuffet is celebrated for his innovative use of materials in painting, his love of a highlytextured paint surface encouraging the practice of mixing oil paint with sand, tar or straw. The present work sees Dubuffet experimenting with pre-painted canvas collage, a method he developed in 1955 in an extended exploration of different mediums. The artist named the results of this method his Tableaux d’Assemblages. Le Béret Rose is exemplary of Dubuffet’s Art Brut style, a term which he coined to describe works made outside the tradition of fine art that expressed raw visions or emotions, without being constrained by convention. Its jagged outlines, earthy colours and over-simplified forms, combining to produce a primitive and child-like effect, locate the work at the high point of Dubuffet’s Art Brut production.

Provenance

Pierre Matisse Gallery, New York Dr Philip Sandblom Collection, Lund Private collection

Exhibited

Stockholm, National Museum, The Grace and Philip Sandblom Collection, 1981, p. 84, illustrated in colour

Literature

Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule XII: Tableaux d’Assemblages, Lausanne 1969, no. 62, illustrated p. 61

"Personally, I believe very much in values of savagery. I mean: instinct, passion, mood, violence, madness." 92

Edouard Manet, Le Déjeuner sûr l'herbe, oil on canvas, 1862-63

Pablo Picasso

"Bad artists copy. Good artists steal." Pablo Picasso Spanish, 1881 - 1973

Le Déjeuner sur l’Herbe, 1959 Coloured wax crayons, brush and black ink on panel 14 x 18 inches / 35.5 x 45.7 cm Dedicated and dated across the upper edge: 11.8.59 Pour mon ami Norman Granz, Picasso, 19.10.69

Picasso was deeply moved by Edouard Manet’s original version of the Déjeuner sur l’Herbe at the Musée de l’Orangerie in Paris in 1932. He wrote that ‘when I see [the painting] I tell myself there is pain ahead.’ The ‘pain’ he foresaw was to manifest itself in a vast series of interpretations of Manet’s subject, executed between 1959 and 1962, in which Picasso set out to unravel and understand the techniques, composition and symbolism employed by his predecessor. It is also possible that the artist repeated Manet’s subject to highlight his sympathies with the 1960s youth culture of sexual liberation in the West. The present work is a vivid and highly-resolved example from the series. Its wax crayon medium, enlivened by bold dashes of ink, has allowed a freedom of execution that evokes Manet’s painterly brushstrokes.

Provenance

Norman Granz, Geneva, October 19, 1969 (a gift from the artist) Private collection, New York

Literature

Douglas Cooper, Pablo Picasso, Les Déjeuners, Paris, 1962, pl. 10, illustrated (photographed prior to the dedication) Christian Zervos, Pablo Picasso, oeuvres de 1959 à 1961, vol. XIX, Paris, 1968, no. 39, illustrated p. 9 Alan Wofsy, The Picasso Project, Picasso’s Paintings, Watercolours, Drawings and Sculpture. The Fifties II, 1956-1959, San Francisco, 2000, no. 59-269, illustrated p. 354 Enrique Mallen (ed.), Online Picasso Project, Sam Houston State University, 1955-60, no. 59-357, (accessed 2011)

Serge Poliakoff

Serge Poliakoff Russian, 1906 - 1969

Composition Rouge, Bleue Fonds Jaune, 1959-60 Oil on canvas 35¼ x 45⅝ inches / 89.5 x 116 cm Signed lower right: Serge Poliakoff

Serge Poliakoff’s distinctive form of abstraction drew its inspiration from diverse visual sources. Born in Moscow, the memories of his mother’s attachment to the Russian Orthodox Church and of the religious icons he saw made a lasting mark on his career. Poliakoff’s paintings after the late 1930s take on the influence of the colourful Egyptian sarcophagi he viewed in London between 1935 and 1937. The present work is a striking late example of the artist’s Taschist style, which he developed in France alongside Jean Dubuffet, Pierre Soulages and Nicholas de Staël, among others. Known as the European ‘branch’ of American

Abstract Expressionism, Taschism favoured an intuitive form of painting and rejected any ‘studied’ conception; this highly-coloured and meditative Composition seems to draw subconscious reference both from Russian and Egyptian visual traditions.

Provenance

Knoedler Gallery, New York Galleria Gissi, Turin

Literature

Editions Bolaffi Arte, Hommage à Serge Poliakoff, Turin, 1970, illustrated This painting is accompanied by a certificate of authentication kindly issued by Alexis Poliakoff

Henry Moore

Henry Moore British, 1898 - 1986

Working Model for Standing Figure: Knife Edge, 1961 Bronze with green patina H: 64 inches / 162.5 cm Conceived and cast in 1961 Inscribed at the base of the figure: Moore 3/7 This work is number 3 of an edition of 7+ 1 cast by Fiorini, London, including: Opera House, Frankfurt am Main Hirshhorn Museum, Washington, DC

Moore’s maquette for the present work combines a bird’s bone with modelling clay to form the head and face of the sculpture. The original materials involved in the conception of the final piece remained central to its appearance, with Moore commenting that ‘there are many structural and sculptural principles to be learnt from bones [...] Some bones, such as the breast bones of birds, have the lightweight fineness of a knife-blade.’ It has been suggested that Moore developed Working Model for Standing Figure in response to Edward Sackville-West’s epic poem, The Rescue, in which the protagonist is described as displaying ‘something of a mysterious timelessness, the knife edge balance between being and not being, which only the poetic imagination seems able to achieve.’

This work was acquired by Peter Barker-Mill in 1962, and remained in his family’s collection for almost fifty years.

Provenance

Hanover Gallery, London Acquired by Peter Barker-Mill, June 1962 Thence by descent

Exhibited

London, Royal Academy of Arts, Henry Moore, September-December 1988, no. 179, illustrated in colour p.109; illustrated again p. 260 (another cast)

Literature

Alan Bowness, Henry Moore: Sculpture 1953–1964, Volume III, London Lund Humphries, 1965, No 481, illustrated page 30 (illustrated page 48 in the 1986 edition) This sculpture is accompanied by a letter of authenticity & other observations kindly issued by the Henry Moore Foundation

"Art is not to do with the practical side of making a living. It's to live a fuller human life."

Marc Chagall

Marc Chagall Russian/French, 1887 - 1985

Amants et Oiseaux, 1961 Watercolour, gouache, pastel, charcoal and India ink on Japan paper 23⅞ x 19¼ inches / 60.6 x 48.6 cm Signed lower left: Marc Chagall

Chagall's poetic symbolism is eloquently expressed in this rare example of watercolour, gouache and other media applied to handmade Japanese Washi paper. Completed two years before he received a commission to decorate Paris’s Palais Garnier, Amants et Oiseaux displays the heavy outlines and bold motifs that would later characterise his celebrated ceiling. In typical manner, Chagall makes use of explicit symbolism in this work. The dominating image of a dove in flight seems particularly important, traditionally standing for peace and recalling Picasso’s use of the same motif for the International Peace Congress in Paris in 1949. In the 1960s, when Amants et Oiseaux was completed, the symbol of the dove gained added significance due to the outbreak of war in Vietnam and the subsequent anti-war movement. Chagall’s additional depictions of a menorah and loving couple, alongside a gesture of escape through an open window, combine to evoke a utopian world of peace, freedom and enlightenment.

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Provenance

Galerie Paul Petridès, Paris Wally Findlay Gallery, New York Anon. sale, Christie’s, New York, 14 November 1984, lot 273 Private collection, Columbus, Ohio E&R Cyzer, London Private Collection, London

Literature

Exhibition catalogue, E&R Cyzer, Modern Masters, London 2006, illustrated in colour p. 49

This painting is accompanied by a certificate of authentication kindly issued by the Comité Marc Chagall

"Work isn't to make money; you work to justify life."

Jean Dubuffet

Jean Dubuffet French, 1901 - 1985

Personnage, 1963 Gouache, watercolour and layers of paper affixed to paper 26⅜ x 11¾ inches / 67 x 30 cm Signed with the artist’s initials and dated lower right: J.D. 63

The present work represents Dubuffet’s departure, in 1962, from his earlier signature Art Brut style to adopt a radical graphic aesthetic which he named Hourloupe. Inspired by a serendipitous doodle drawn in ballpoint pen by the artist as he spoke on the phone, this new style was generally linear and controlled. Although his palette was typically restricted to red, white, blue and black in the series, the present work is a particularly dynamic example, displaying loosely-applied patches of pastel colours around a central, more restrained motif. Dubuffet’s imagery in the Hourloupe series was intended to evoke the manner in which objects appear in the mind’s eye. The artist remarked that ‘these graphics with constantly ambiguous references have the virtue [...] to put into question the foundation of that which we have traditionally looked at as reality.’

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Provenance

Anon. sale, Christie’s, Paris, 25 May 1992, lot 87 Galleria d’Arte Maggiore, Bologna Acquired at the above sale by the previous owner

Exhibited

Venice, Palazzo Grassi, L’Hourloupe di Jean Dubuffet, June-September 1964, no. 23

Literature

Max Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule XX: L’Hourloupe I, Lausanne, 1966, no. 116 EG 55, illustrated p. 59

"For me, insanity is super sanity. The normal is psychotic. Normal means lack of imagination, lack of creativity."

Jean Dubuffet

Jean Dubuffet French, 1901 - 1985

Arbres, Boeuf et Paysan, 1965 Gouache on paper 20⅛ x 26⅜ inches / 51 x 67 cm Signed with the artist’s initials, inscribed and dated lower right: à Ursula J.D. 65

Arbres, Boeuf et Paysan provides an excellent example of the hard, unaccented style which defines Dubuffet’s Hourloupe series. The artist’s controlled range of pigments in the work is characteristic of his desire to make the function of colour non-expressionist. Sinuous black lines dividing distinct patches of design on the surface of the paper evoke the practice of graphic illustration. The apparent certainty of Dubuffet’s execution, however, is tempered by his desire for each picture in the Hourloupe series to capture the essence of ‘fleeting, ambiguous figures’, that have come into being through the ‘spontaneous and [...] uncontrolled impulses’ of his hand.

Provenance

A gift from the artist to the previous owner in 1965

Exhibited

Rome, Galleria Nazionale d’Arte Moderna, Jean Dubuffet: 1901-1985, December 1989-February 1990, no. 81, illustrated in colour, p. 43

Literature

M. Loreau, Catalogue des travaux de Jean Dubuffet: L’Hourloupe II, fascicule XXI, Paris 1968, no. 68, illustrated p. 43

"In all my work there are two different winds that blow, one carrying me to exaggerate the marks of intervention, and the other, the opposite, which leads me to eliminate all human presence... and to drink from the source of this absence." 104

Serge Poliakoff

Serge Poliakoff Russian, 1906 - 1969

Composition, 1966 Oil on canvas 28⅜ x 36¼ inches / 72.4 x 92 cm Signed and dated lower right: Serge Poliakoff 10-10-66

Poliakoff used painting as a means for his search for pure form in complete abstraction. The present work features two abstract forms of interlocking coloured shapes painted with an alluring, grainy impasto. The dialogue created between these forms is intended to seduce the viewer into reaching a higher level of consciousness, as did the tradition of Russian icon painting familiar to Poliakoff. The artist’s abstractions make up a body of work which is akin to the artist’s wider search for the sublime: ‘All the great masters developed only one unique theme. This theme, far from being superficial, comes from the depths and they were never exhausted by the number of works produced. If you do not have a defined theme to explore for years, it is better not to be a painter.’

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Provenance

Private collection, France Anon. sale, Christie's, London, 2 July 1998, lot 305 Private collection

This painting will be included in the forthcoming catalogue raisonné of paintings by the artist currently in preparation by Alexis Poliakoff

Roy Lichtenstein

Roy Lichtenstein American, 1923 - 1997

Modern Tapestry Cartoon/Collage for Modern Painting with Classic Head, 1967 Painted and printed paper collage, felt tip marker, coloured tape and ink on board 20⅞ x 26 inches / 53.1 x 66 cm Signed lower right: © rf Lichtenstein

The present work is the study for a painting in Lichtenstein’s Modern Painting series, which the artist began in the late 1960s. The series sees Lichtenstein embark on a new aesthetic experiment, in which he combines Art Deco-style imagery from the inter-war years with his trademark cartoon-inspired hard lines and Ben-Day dots. The densely-packed forms in this collage communicate the powerful concepts of modern idealism, progress and prosperity. Carefully arranged beneath the sliced image of a sunburst, fragments of ocean liner, smokestacks, a propeller plane and an ionic column converge to celebrate, in Lichtenstein’s words, the ‘golden era’ of modernity.

Provenance Charles E. Slatkin Galleries, New York Leo Castelli Gallery, New York James Goodman Gallery, New York Galerie Beyeler, Basel Acquired from the above by the previous owner

Exhibited New York, The School of Visual Arts, Visual Arts Museum, Roy Lichtenstein: Collages, October 1976 Valencia, California Institute of Arts, Roy Lichtenstein CalArts: Drawings and Collages from the Artist’s Collection, April-May 1977, no. 18, illustrated p. 61 Basel, Galerie Beyeler, Roy Lichtenstein, Frank Stella, March-May 1991, no. 1, illustrated in colour

"When I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it." 108

Joan Miró

Joan Miró Spanish, 1893 - 1983

Personnage, 1967 Painted bronze (lost wax casting) Fonderie T. Clementi, Meudon, Paris 62⅝ x 32¼ x 11¾ inches / 159.1 x 81.9 x 29.8 cm Inscribed and numbered: Miró, N˚1 Stamped with the foundry mark This work is number 1 from an edition of 4, plus 1 AP and 1 nominative cast

Miró created most of his sculpture after his seventieth birthday out of a wish to challenge the boundaries of painting, making the present example one of his first essays in three dimensions. His late sculptural works fall into two recognised groups: those cast from forms modelled by the artist and, as in this case, those cast from found objects. Miró’s juxtaposition of incongruent shapes in Personnage offers a prime example of his desire to evoke surprise, and to stimulate associations, in the mind of the viewer. The sculpture also exemplifies Miró’s fascination with richly imaginative imagery, which reflected his belief that ‘an object is something living.’

Provenance

Pierre Matisse Gallery, New York Private Collection, New York

Exhibited

Another cast: Barcelona, Antic Hospital de la Santa Creu, Miró, November 1968January 1969, no. 181, p. 72 Zurich, Kunsthaus Zurich, Joan Miró: Das Plastiche Werk, June-July 1972, no. 25, p. 48, illustrated Saint-Paul, Fondation Maeght, Sculptures de Miró, ceramiques de Miró et Llorens Artigas, April-June 1973, no. 58, p. 135 Barcelona, Fundació Joan Miró, no. 180, p. 128 Saint-Paul, Fondation Maeght, Joan Miró: Peintures, sculptures, dessins, ceramiques, 1956-1979, July-September 1979, no. 199, p. 183, illustrated in colour, p. 92 Milan, Palazzo Dugnani, p. 248, illustrated in colour, p. 92 Saint-Paul, Fondation Maeght, Hommage à Jean Miró, March-May 1984, no. 136, p. 35 Montreal, The Museum of Fine Arts, Miró in Montreal, June-October 1986, no. 40, illustrated in colour, p. 106 and 247 Madrid, Centro Reina Sofia, Miró escultor, October 1986–January 1987, no. 35, illustrated in colour, p. 84; this exhibition later travelled to: Barcelona, Fundació Joan Miró, January-March 1987 Cologne, Museum Ludwig, Miró: Der Bildhauer, April-June 1987, no. 35, illustrated in colour, p. 96 Munich, Kunsthalle der Hypo-Kulturstiftung, Joan Miró Skulpturen, April-June 1990, no. 39, illustrated in colour Malmo, Malmo Konsthall, Joan Miró: Skulpturer, November 1993February 1994, p. 86, illustrated in colour, p. 87 Hamburg, Deichtothallen, illustrated in colour, p. 87 Ludwigshafen, Wilhelm-Hack-Museeum, no. 60, p. 218, illustrated in colour, p. 106 Saint-Paul, Fondation Maeght, Joan Miró: Metamorphoses des formes, April-June 2001, no. 64, p. 224, illustrated in colour, p. 158 Washington D.C., The Corcoran Gallery of Art, The Shape of Colour: Joan Miró's Painted Sculpture, September 2002- January 2003, no. 9, illustrated in colour, p. 119; this exhibition later travelled to St. Petersburg, Florida, Salvador Dali Museum, February-May 2003; Portland, Portland Art Museum, June-September 2003

Literature

J.J. Sweeney, Joan Miró, Barcelona, 1970, p. 223, illustrated in colour p. 227 A. Jouffroy, J. Texidor, Miró Sculptures, Paris, 1980, no. 111, p. 89 Fundació Joan Miró, Obra de Joan Miró, Barcelona, 1988, no. 1484, p. 402 J. Brihuega, Miró y Dalí: los grandes surrealistas, Madrid, 1993, no. 2, illustrated in colour p. 47 P. Gimferrer, The Roots of Miró, Barcelona, 1993, no. 1194, p. 402 Emilio Fernández Miró and P. O. Chapel, Joan Miró Sculptures Catalogue Raisonné, 1928-1982, Paris, 2006, no. 99, another cast illustrated in colour p.110

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Marc Chagall

"Only love interests me, and I am only in contact with things that revolve around love." Marc Chagall Russian/French, 1887 - 1985

Ballerine Rouge et Village en Fête, 1969 Oil, gouache and China ink on canvas 25½ x 21⅛ inches / 64.8 x 53.5 cm Stamped lower right: Marc Chagall

With its floating figures and Provenance luminous tones of blue, Ballerine Estate of the Artist Rouge et Village en Fête captures the Private Collection, New York (purchased from the above) playful, utopian, and visually opulent essence of Chagall’s visual language. Morita collection, Japan Its array of performing figures echoes the artist’s love of whimsy work is accompanied by a certificate of and spectacle, his earlier designs for This authentication kindly issued by the Comité the sets and costumes of ballet and Marc Chagall opera productions having made a lasting impression on his mode of symbolism. Although Chagall did not officially align himself with any one artistic movement, the present work eloquently describes the manner in which he drew inspiration from diverse sources.

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Joan Miró

Joan Miró Spanish, 1893 - 1983

Deux Femmes dans la Nuit, 1970 Ink, gouache and pastel on paper 14 x 13 inches / 35.5 x 33 cm Signed lower right: Miró

Miró was first introduced to the work Provenance of the Abstract Expressionists working Pierre Matisse Gallery, New York in America during a trip to New York Private Collection, US in 1947. The work of ‘action painter’ Jackson Pollock made a particular impression on Miró, whose intuitive This painting is accompanied by a certificate of techniques were not dissimilar to authentication kindly issued by Jacques Dupin and is to be included in the forthcoming the experimental manner in which Joan Miró, Catalogue raisonné, Drawings, Pollock spread paint over canvas. currently in preparation by Jacques Dupin & The present work uncovers Miró’s Ariane Lelong-Mainaud, ADOM debt to the American artist, a liberal application of splatters and drips jostling for attention with his more typical symbolist calligraphy.

"Poetry and painting are done in the same way you make love; it's an exchange of blood, a total embrace without caution, without any thought of protecting yourself." 114

Elizabeth Frink

Elisabeth Frink British, 1930 - 1993

Large Rolling Over Horse, 1975

Bronze 15 x 20½ x 12 inches / 38.1 x 52.1 x 30.5 cm Inscribed and numbered: 0/0 Frink Edition of 6 plus one artist's copy

Elisabeth Frink is probably best known for her dynamic bronze sculptures of horses. The artist’s fascination with the physicality and spirit of these animals stemmed from childhood, her father being a keen horseman. In 1967 she settled in the Carmargue area of France where her passion for horses was revived through close observation of the local wild herds. The present sculpture was completed after Frink returned to England. It perfectly demonstrates her ability to capture the essence of the subject’s movements, character and physical presence. The irregular surface of the bronze calls to mind the Frink’s working methods – which consisted of carving the wet plaster after rough preliminary modelling – thus enhancing the object’s sense of spontaneity and immediacy.

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Provenance

Private collection, 1976 (acquired directly from the artist) Catherine Hodgkinson, London

Literature

Bryan Robertson, Elisabeth Frink: Drawings & Sculptures 1950-1990, London, 1991, p. 218

"It's purely a physical thing which gives the feeling of strength, to make an exciting piece of sculpture, an exciting form."

Joan Miró

"I always feel the need to achieve the maximum of intensity with the minimum of means. This is what has led me to give my painting an ever sparer character."

Joan Miró Spanish, 1893 - 1983

Per a Qué els Ocells Cantin, 19 August 1976

Gouache on paper 25⅞ x 19⅝ inches / 65.8 x 49.9 cm Signed lower left: Miró Signed again, titled and inscribed on the reverse: Joan A Catalina Cristina Garau Obrador, Per a Qué els ocells Cantin 19 V III 76

Painted in gouache on textured Japanese paper, the present work is a late and particularly expressive example of Miró’s poetic and symbolist approach to the human form. It epitomises the artist’s love of flat colour and line, with patches of unmixed paint locked together by black forms to produce an arresting and idiosyncratic design. Per a Qué els Ocells Cantin was given as a gift to the previous owners of the painting on the occasion of their daughter’s birth.

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Provenance

A gift from the artist to the previous owner in 1976 This painting is accompanied by a certificate of authentication kindly issued by Jacques Dupin and is to be included in the forthcoming Joan Miró, Catalogue raisonné, Drawings, currently in preparation by Jacques Dupin & Ariane Lelong-Mainaud, ADOM

Marc Chagall

"All colours are the friends of their neighbours and the lovers of their opposites."

Marc Chagall Russian/French, 1887 - 1985

Sans Titre, circa 1980

Oil on canvas 45¾ x 29 inches / 116 x 73 cm Signed lower right: CHAGALL Marc Signed again on the reverse: Marc Chagall

For Chagall the subject of the circus held an enduring appeal. Its backdrops and performers spoke to his love of colourful, exaggerated pageantry. Of circus clowns and acrobats he once asked, ‘Why am I so touched by their makeup and grimaces? With them I can move toward new horizons.’ The present painting is typical of Chagall’s mature style, and includes many of the key themes that contribute to his poetic language. During the artist’s later years, he often returned to the subjects of his past, and included symbolism that recalled his time spent in Vitebsk

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as well as Paris. Here, we see images of the painter at his easel, fiddlers, the bride and groom, and of course the woman and bouquet. Chagall enlivens the surface of the canvas using an exuberant array of pigments and his signature summary brushstrokes.

Provenance

Estate of the Artist Private collection, Japan

This painting is accompanied by a certificate of authenticity kindly issued by the Comité Marc Chagall

Bryan Ingham

"As an artist I’m quite sure you’re better off living alone."

Bryan Ingham British, 1936 - 1997

Large Oval Still Life, 1992 Pencil and oil on wood relief 36 x 40½ inches / 91.5 x 103 cm Signed, titled, dated and numbered on the reverse: Bryan Ingham Large oval still life 1992 1/2

Bryan Ingham’s unique and dynamic form of Cubism builds on the foundations laid by earlier exponents of the movement such as Braque, Picasso and Gris. His experiments in polychrome cubic relief result in works that hover between the mediums of painting and sculpture, such as the present example. The meditative effect produced by Large Oval Still Life, as well as its feeling of monumentality and purity of form, is typical of the artist’s work and recalls the style of fellow twentieth-century British artist Ben Nicholson. The majority of Ingham’s career was spent in Cornwall where he became associated with the postwar Modern Movement in St Ives, and where he absorbed the influence of Nicholson’s work from the 1940s and 50s.

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Provenance

Francis Graham-Dixon Gallery, London The artist’s family

Julian Opie

"The process of reading things as simulations but knowing at the same time that they are real is quite central to my work."

Julian Opie British, born 1958

Ed, Foot Hold, 2008 Vinyl on a wooden stretcher 59⅜ x 73½ inches / 150.8 x 186.7 cm Signed on the stretcher: Julian Opie

Julian Opie lives and works in Provenance London. His artistic aesthetic Lisson Gallery, London concern is the means by which images are identified and Exhibited understood. Cultivating influences London, Lisson Gallery, Julian Opie, October-November 2008, such as billboard signs, classical illustrated in colour, unpaged portraiture and sculpture, Opie ‘paints’ using a variety of media and technologies which enable him to make two-dimensional explorations of his subjects. The reductive formal language that defines the artist’s oeuvre seeks to reflect the way in which the world is often represented. The present work is the result of a collaboration between Opie and the Royal Ballet’s resident choreographer, Wayne McGregor. It is a portrait of a dancer from a project they realised together in November 2008, entitled 'Infra'.

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Zeng Chuanxing

Zeng Chuanxing Chinese, born 1974

Paperbride-Trepidation, 2008

Oil on linen 58⅞ x 35⅝ inches / 150 x 90 cm Signed in English and Pinyin and dated lower left: 2008.10 Zeng Chuanxing Signed again and titled on the stretcher: Zeng Chuanxing Paperbride Trepidation

Zeng Chuanxing was born in Provenance Sichuan Province in China, and Olyvia Oriental, London his work has been exhibited internationally. He is best known Exhibited for his series of Paperbrides, which comments on the fragility of marriage London, Olyvia Oriental, Zeng Chuanxing, October 2008 and female identity within traditional Chinese culture. The present example is painted in Zeng’s typical classical realist style, and is composed of a stillness, serenity and melancholy that characterises the Paperbride series. The white wedding dress worn by the figure draws attention to the westernisation of marriage in the Far East, where brides are traditionally dressed in red.

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Acknowledgements

ADDITIONAL PHOTO CREDITS Page 14: Camille Pissarro and Paul Cézanne, c.1875, probably in Pontoise (near Paris). Photo by Apic/Getty Images Page 16: Photo: akg-images / Erich Lessing Page 24: Pablo Picasso with some of his paintings in the drawing room of his home, Notre-Dame-de-Vie; alone. Photo by Gjon Mili//Time Life Pictures/Getty Images Page 26: Maurice de Vlaminck, in his manor: La Tourilliere in Normandy. Photography 1957. Photo by Imagno/Getty Images Page 30: Painters Mikhail Larionov and Natalya Goncharova. 1956. Photo by Imagno/Getty Images Page 36: Albert Gleizes by French photographer, (20th Century). Private collection/ Roger-Viollet, Paris/ The Bridgeman Art Library Page 40: Kees van Dongen as a young man, c.1902. Photo by Apic/Getty Images Page 44: Fernand Léger looking down at hands and explaining small size of something. Photo by Time Life Pictures/Pix Inc./Time Life Pictures/ Getty Images Page 52: Arshile Gorky holding a cigarette. Photo by Gjon Mili//Time Life Pictures/Getty Images Page 54: Raoul Dufy painting reproduction of Tintoretto while holding spare brushes with free hand, during stay in US for arthritis treatment at Jewish Memorial Hospital. Photo by Nick De Morgoli/Pix Inc./Time Life Pictures/Getty Images Page 56: Georges Rouault, French painter and engraver. Paris, 1938. Photo by Lipnitzki/Roger Viollet/Getty Images Page 58: Self Portrait, 1896 by Le Sidaner, Henri Eugène Augustin. Private collection/ The Stapleton Collection/ The Bridgeman Art Library

Page 60: Portrait of Joan Miró March 22, 1979 in Mallorca, Spain. Photo by Arnold Newman/ Getty Images Page 62: L.S. Lowry, in Salford, Manchester, circa 1970. Photo by Bob Thomas/Getty Images Page 64: Fernand Léger kneeling down to work on nearly-completed canvas in his studio. Photo by Herrmann/Pix Inc./Time Life Pictures/ Getty Images Page 66: Fernand Léger in his studio. Photo by Roger Viollet/Getty Images Page 74: Fernand Léger holding brushes & oyster shell, which he uses as palette, & standing in front of window which looks out onto Times Square area in his studio. Photo by Herrmann/Pix Inc./Time Life Pictures/Getty Images Page 78: 2nd April 1958: French actress Brigitte Bardot astride a horse at a riding school in Paris with artist Marino Marini. Photo by Keystone/ Getty Images Page 80: Portrait of Henry Moore by English Photographer, (20th century). Private collection/ The Bridgeman Art Library Page 82: Fernand Léger in his studio, France, Around 1950. Photo by Imagno/Getty Images Page 86: George Grosz clowning with paintedon moustache & goatee while using brush on empty frame and holding clean palette, as Sunday painter that he used to spot in Berlin; at home. Photo by Time Life Pictures/Pix Inc./Time Life Pictures/Getty Images Page 88: Artist Jean-Paul Riopelle with his old Bugatti cars. Photo by Loomis Dean//Time Life Pictures/Getty Images Page 90: Portrait of Joan Miró, March 22, 1979 in Mallorca, Spain. Photo by Arnold Newman/ Getty Images Page 92: Jean Dubuffet poses for portrait in his studio September 10, 1956 in Vence, France. Photo by Arnold Newman/Getty Images

Elayne Cyzer Richard Cyzer Gallery Manager: Alison Hill Research and cataloguing: Brooke Perrin Additional research: Tess Cavendish Photography: A. C. Cooper, London Designer: Sharon Smart Printed by die Keure in Bruges, Belgium All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without prior permission from the publisher and copyright holders.

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Page 96: Serge Poliakoff. Photo by Loomis Dean//Time Life Pictures/Getty Images Page 96: Henry Moore, 1975, by Lewinski, Jorge (1921-2008). Private Collection/ (c) The Lewinski Archive at Chatsworth/ The Bridgeman Art Library Page 100: Henry Moore, 1975 by Lewinski, Jorge (1921-2008). Private collection/ (c) The Lewinski Archive at Chatsworth/ The Bridgeman Art Library Page 102: Portrait of Jean Dubuffet, September 10, 1956 in Vence, France. Photo by Arnold Newman/Getty Images Page 108: New York City 1996. Roy Lichtenstein's 1967 "Modern Painting with Classic Head" hangs in the hallway of art dealer Irving Blum's Park Avenue apartment. Photo by Elliott Erwitt/Magnum Photos. Roy Lichtenstein, in front of one of his works, Whaam! January 5, 1968. Photo by KeystoneFrance/Gamma-Keystone via Getty Images Page 112: Marc Chagall, attending dedication of stained glass window, of his design, at UN. Photo by Lee Lockwood//Time Life Pictures/ Getty Images Page 114: Joan Miró paints in his studio March 22, 1979, in Mallorca, Spain. Photo by Arnold Newman/Getty Images Page 116: Elisabeth Frink, 1963, by Lewinski, Jorge (1921-2008), Private collection/ (c) The Lewinski Archive at Chatsworth/ The Bridgeman Art Library Page 124: Julian Opie photographed at his Shoreditch studio in London, November 2006. Photo by Tom Stoddart/Getty Images