Stoppenbach & Delestre Catalogue 2014

FRENCH 19th and 20th CENTURY PAINTINGS AND WORKS ON PAPER

STOPPENBACH & DELESTRE

STOPPENBACH & DELESTRE

All works are for sale Prices on request

Front cover detail from PAUL SIGNAC Vase de fleurs

FRENCH 19th and 20th CENTURY PAINTINGS and WORKS ON PAPER 2014

Stoppenbach & Delestre Ltd. 17 Ryder Street, St James's, London SW1Y 6PY Tel: 020 7930 9304 Email: contact@artfrancais.com Web-site: www.artfrancais.com

Robert Stoppenbach and François Delestre founded the gallery in London in 1982.

It specialises in leading French artists from the 19th and early 20th century.

We continue to exhibit at the leading art fairs including TEFAF, Maastricht and the Biennale des Antiquaires, Paris.

Located at 25 Cork Street in the West End for over thirty years, we have now moved to 17 Ryder Street, St James’s, London. We look forward to seeing you in the new gallery.

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1 LOUIS ABEL-TRUCHET (1857-1918) Un après-midi aux courses Oil on canvas 26.3 x 35.8 cm 10 3⁄8 x 14 1⁄8 inches Signed lower left Abel Truchet Provenance Private collection, Paris Bibliography Au temps de Marcel Proust, La Collection François-Gérard Seligmann au musée Carnavalet, Paris-Musées, Les musées de la ville de Paris, 2001, p 130 -137.

Abel-Truchet studied under Julian Lefebvre and Benjamin Constant. He exhibited from 1891 in various salons. He was a founding member of the Salon d’Automne and the Societe des Humoristes. He also exhibited at the Salon des Artistes Français and the Société Nationale des Beaux-Arts, becoming a member in 1910.

This painting is typical of Belle Epoque scenes and represents a race day at Longchamps on the outskirts of Paris. Abel Truchet was famous for these Belle Epoque scenes along with fellow artists Degas and Toulouse Lautrec.

3 ADOLPHE FELIX CALS (1810-1880) Le tailleur de vigne or Le palisseur de vigne, 1877 Oil on canvas 43 x 59 cm 17 x 23 1⁄4 inches Signed, located and dated lower left Cals Honfleur 1877 Provenance Collection Armand Doria Sale of his collection, Paris Galerie Georges Petit, 4th-5th May 1899, n° 21 sold for 4600 F Collection Bernheim Jeune, Paris Private collection, Paris Bibliography Arsène Alexandre A-F Cals ou le bonheur de peindre Paris 1900 Georges Petit reproduced p. 163 and listed p.211 Arsène Alexandre wrote (p. 192) : ‘One of Cals most delicious and lively paintings imbued with a sensitive and light palette is, without doubt, this landscape of trelissing vines. It merits particular attention in his oeuvre, even though Cals himself did not write about it.

From the path between the walls and trees to the man on the top of his ladder covering his house with stray vines, this is a quintessentially French painting which also possesses the intensity of emotion and richness of paint seen in the best Dutch paintings.’

This work was in Armand Doria’s collection, a great collector and patron to many of the Impressionist painters.

He followed and supported Cals’ career from the beginning and was obviously attached to this particular work as it did not change hands until his death.

2 EUGENE BOUDIN (1824-1898) Venise et le Grand Canal, prise de la Douane, 1895 Oil on canvas 36.5 by 55.3 cm 14 3⁄8 by 21 3⁄4 inches Signed lower left E. Boudin, Venise, 1895 and dated lower right 19 juin Provenance Private collection, Massachusetts, Private collection Santa Monica (acquired in 2011) To be included in the third supplement of the Catalogue Raisonné being prepared by Manuel Schmit

2 EUGENE BOUDIN (1824-1898) Venise et le Grand Canal, prise de la Douane, 1895 Oil on canvas 36.5 by 55.3 cm 14 3⁄8 by 21 3⁄4 inches Signed lower left E. Boudin, Venise, 1895 and dated lower right 19 juin Provenance Private collection, Massachusetts, Private collection Santa Monica (acquired in 2011) To be included in the third supplement of the Catalogue Raisonné being prepared by Manuel Schmit

3 ADOLPHE FELIX CALS (1810-1880) Le tailleur de vigne or Le palisseur de vigne, 1877 Oil on canvas 43 x 59 cm 17 x 23 1⁄4 inches Signed, located and dated lower left Cals Honfleur 1877 Provenance Collection Armand Doria Sale of his collection, Paris Galerie Georges Petit, 4th-5th May 1899, n° 21 sold for 4600 F Collection Bernheim Jeune, Paris Private collection, Paris Bibliography Arsène Alexandre A-F Cals ou le bonheur de peindre Paris 1900 Georges Petit reproduced p. 163 and listed p.211 Arsène Alexandre wrote (p. 192) : ‘One of Cals most delicious and lively paintings imbued with a sensitive and light palette is, without doubt, this landscape of trelissing vines. It merits particular attention in his oeuvre, even though Cals himself did not write about it.

From the path between the walls and trees to the man on the top of his ladder covering his house with stray vines, this is a quintessentially French painting which also possesses the intensity of emotion and richness of paint seen in the best Dutch paintings.’

This work was in Armand Doria’s collection, a great collector and patron to many of the Impressionist painters.

He followed and supported Cals’ career from the beginning and was obviously attached to this particular work as it did not change hands until his death.

5 CHARLES FRANCOIS DAUBIGNY (1817-1878) Bord de rivière, 1875 Oil on panel 34.6 x 57 cm 13 5⁄8 x 22 1⁄2 inches Signed and dated lower right Daubigny 1875 Provenance Collection Goupil and Cie, Paris Collection Tédesco, Paris Private collection, Japan To be included in the second supplement to the Catalogue Raisonné in preparation by François Delestre

4 CHARLES FRANCOIS DAUBIGNY (1817-1878) Les Marais d’Optevoz, 1857 Oil on canvas 63 x 100 cm 24 13⁄16 x 39 5⁄16 inches Signed and dated lower right Daubigny 1857 Provenance Collection Coquelin, sale Galerie Georges Petit, Paris, 27th May 1893 Collection Sarlin, sale Galerie Georges Petit, Paris, 2nd March 1918, no 21 Private collection, France Exhibited Exposition Centennale de l’Art Français, Paris 1900 Vingt peintres du XIXème siècle, Galerie Georges Petit, Paris, 1910. An etching was executed by V. Focillon to be included in the exhibition catalogue Bibliography Fidel-Beaufort/Bailly-Herzberg Daubigny sa vie son oeuvre, Paris, 1975, n°52 reproduced, p. 131 Robert Hellebranth Catalogue Raisonné Charles François Daubigny Morges, 1976, n° 521 reproduced Charles François Daubigny was born in Paris on the 15th of February 1817. He came from a family of painters. When he first exhibited at the Salon of 1852 two of his works were purchased by the French State - La Moisson and Vue prise des bords de Seine.

In 1853 Daubigny met Corot in Optevoz and together they travelled around Isère at the invitation of the painter Ravier, a journey that was to prove formative in their work.

Daubigny’s fascination with water from this time remained throughout his life. Inspired by this visit and in order to grasp and understand the changing nature of the river, in 1857 he acquired a modest river boat le Botin on which he built a studio. Equipped with a cabin it allowed him to fully integrate rivers and water into his work. He was one of the best and most talented observers and later inspired Monet who would wave to him on his studio boat from the river bank.

Les Marais d’Optevoz comes from a private collection in France and has not been seen since the Sarlin sale in 1918. Although known in print and photographs, it is exhibited for the first time in almost a century.

The bright and brilliant colours captured in the trees and the understanding shown through marvellous reflections in the water set against a bright blue sky make this an important Pre-Impressionist work, prefiguring works by Monet, Sisley and Caillebotte.

4 CHARLES FRANCOIS DAUBIGNY (1817-1878) Les Marais d’Optevoz, 1857 Oil on canvas 63 x 100 cm 24 13⁄16 x 39 5⁄16 inches Signed and dated lower right Daubigny 1857 Provenance Collection Coquelin, sale Galerie Georges Petit, Paris, 27th May 1893 Collection Sarlin, sale Galerie Georges Petit, Paris, 2nd March 1918, no 21 Private collection, France Exhibited Exposition Centennale de l’Art Français, Paris 1900 Vingt peintres du XIXème siècle, Galerie Georges Petit, Paris, 1910. An etching was executed by V. Focillon to be included in the exhibition catalogue Bibliography Fidel-Beaufort/Bailly-Herzberg Daubigny sa vie son oeuvre, Paris, 1975, n°52 reproduced, p. 131 Robert Hellebranth Catalogue Raisonné Charles François Daubigny Morges, 1976, n° 521 reproduced Charles François Daubigny was born in Paris on the 15th of February 1817. He came from a family of painters. When he first exhibited at the Salon of 1852 two of his works were purchased by the French State - La Moisson and Vue prise des bords de Seine.

In 1853 Daubigny met Corot in Optevoz and together they travelled around Isère at the invitation of the painter Ravier, a journey that was to prove formative in their work.

Daubigny’s fascination with water from this time remained throughout his life. Inspired by this visit and in order to grasp and understand the changing nature of the river, in 1857 he acquired a modest river boat le Botin on which he built a studio. Equipped with a cabin it allowed him to fully integrate rivers and water into his work. He was one of the best and most talented observers and later inspired Monet who would wave to him on his studio boat from the river bank.

Les Marais d’Optevoz comes from a private collection in France and has not been seen since the Sarlin sale in 1918. Although known in print and photographs, it is exhibited for the first time in almost a century.

The bright and brilliant colours captured in the trees and the understanding shown through marvellous reflections in the water set against a bright blue sky make this an important Pre-Impressionist work, prefiguring works by Monet, Sisley and Caillebotte.

5 CHARLES FRANCOIS DAUBIGNY (1817-1878) Bord de rivière, 1875 Oil on panel 34.6 x 57 cm 13 5⁄8 x 22 1⁄2 inches Signed and dated lower right Daubigny 1875 Provenance Collection Goupil and Cie, Paris Collection Tédesco, Paris Private collection, Japan To be included in the second supplement to the Catalogue Raisonné in preparation by François Delestre

6 RAOUL DUFY (1877-1953) Nature morte au melon et aux poivrons, 1934 Gouache and watercolour 49 x 65 cm 19 1⁄4 x 25 5⁄8 inches Signed and dated lower right Raoul Dufy 1934 Provenance J.K. Tannhauser, New York Perls Galleries, New York Exhibited Artistic Forum, Czech society of artists, 3rd November - 5th December 1934, Prague, no 35 from the catalogue United Nations, San Francisco Museum of Art, May 1955 Bibliography Raoul Dufy, catalogue raisonné des aquarelles, gouaches et pastels

by Fanny Guillon – Laffaille, Editions Louis Carré & Cie, Paris, 1982, described and reproduced, tome II, p. 135, no 1429

7 RAOUL DUFY (1877-1953) La Marne à Nogent - Le Perreux, 1939 Gouache and watercolour 50 x 65.6 cm 19 3⁄4 x 25 3⁄4 inches Signed lower right Raoul Dufy Provenance James Vigeveno Galleries, Los Angeles Private collection, New York Exhibited San Francisco Museum of Art and Los Angeles County Museum, Raoul Dufy, May-September 1954, p. 41, no. 128 (titled Bridge on the Marne and dated c.1934) Bibliography F. Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, Paris, 1982, vol. II, p. 64, no. 1231, repr.

8 NORBERT GOENEUTTE (1854-1894) Nature morte aux fruits, 1893 Oil on canvas 54.5 x 81.3 cm 21 1â „2 x 32 inches Signed and dated upper left Norbert Goeneutte 1893 Provenance Private collection, France In 1871, Norbert Goeneutte entered the studio of Isidore Pils at the Ecole des Beaux-Arts. He moved to Montmartre in1875 where he met Auguste Renoir, for whom he often modeled.

Although Goeneutte was associated with Manet, Degas and Renoir, and they influenced his work, for instance in the informality of his compositions, he never exhibited with the Impressionist group, preferring instead the official Salon.

Every year from 1876, he exhibited several works in the Salon. He visited London in 1880, Rotterdam in 1887 and Venice in 1890 and these journeys inspired his work.

From 1891 Goeneutte lived in Auvers-sur-Oise, where Dr. Paul Gachet gave him a studio in his home. In 1892, he exhibited a portrait of Dr. Gachet. Goeneutte painted many portraits, scenes depicting the everyday lives of working class and fashionable Parisians and still lifes. His subjects are depicted simply but with careful attention to detail, and his work emanates a remarkable tranquility.

10 HENRI-JOSEPH HARPIGNIES (1819-1916) Falaises aux alentours de Crémieu, près de Lyon, 1848 Oil on canvas 63.5 x 83.2 cm 25 x 32 3⁄4 inches Signed and dated lower left h. harpignies 1848 Provenance Private collection, France Bibliography Exhibition Catalogue Lighting up the landscape, National Gallery of Scotland, 1st August -19th October 1986 This work is the finished accompaniment to the sketch he painted, dated both 1847 and 1893, now in the National Gallery of Scotland, Edinburgh. The double date on this latter work suggests that Harpignies sold the above finished painting to his client in 1848 and made a present of the 1847 sketch to him in 1893.

Harpignies painted a number of works in this area whilst studying under Jean Achard, another of which is in the Fitzwilliam museum, Cambridge (England). Achard had visited the Barbizon school in 1846 influencing the group which also included Corot, Rousseau, Daubigny. In 1847 Harpignies travelled with Achard to Optevoz and Cremieu where they also sketched with Paul Flandrin. Harpignies described the landscape as ‘a magnificent region. It has an amazing savagery, reminiscent of Gaspard, Poussin and Salvator’ (Moreau-Nelaton, 1925, pp. 54-5).

The rocky landscape shows the influence of both his tutor Achard and of fellow painter Courbet, who was painting similar landscapes at this time. Whilst the light and trees are quite classical in style, the rocky scenery has a looser brushwork influenced by Courbet. The subject matter was lowly in the hierarchy of genres of the French academy of the period, who considered landscapes to be of least importance - after history, genre, portraiture and still life paintings. Despite this, these very fine earlier landscape paintings were much sought after in the oeuvre of Harpignies and continue to be so today.

9 ARMAND GUILLAUMIN (1841-1927) Paysage aux environs de Paris, c.1874 Oil on canvas 73.1 x 99.7 cm 28 3⁄4 x 39 1⁄4 inches Signed lower left Guillaumin Provenance Galerie Bellier, Paris Private collection, Switzerland Exhibited Galerie Durand-Ruel, Paris, Exposition d’oeuvres par Guillaumin, April 1933, no.4 Bibliography G. Serret, D. Fabiani, Armand Guillaumin, 1841-1927, Catalogue raisonné de l’oeuvre peint, Paris, 1971, no.30 (illustrated in colour p. 19)

9 ARMAND GUILLAUMIN (1841-1927) Paysage aux environs de Paris, c.1874 Oil on canvas 73.1 x 99.7 cm 28 3⁄4 x 39 1⁄4 inches Signed lower left Guillaumin Provenance Galerie Bellier, Paris Private collection, Switzerland Exhibited Galerie Durand-Ruel, Paris, Exposition d’oeuvres par Guillaumin, April 1933, no.4 Bibliography G. Serret, D. Fabiani, Armand Guillaumin, 1841-1927, Catalogue raisonné de l’oeuvre peint, Paris, 1971, no.30 (illustrated in colour p. 19)

10 HENRI-JOSEPH HARPIGNIES (1819-1916) Falaises aux alentours de Crémieu, près de Lyon, 1848 Oil on canvas 63.5 x 83.2 cm 25 x 32 3⁄4 inches Signed and dated lower left h. harpignies 1848 Provenance Private collection, France Bibliography Exhibition Catalogue Lighting up the landscape, National Gallery of Scotland, 1st August -19th October 1986 This work is the finished accompaniment to the sketch he painted, dated both 1847 and 1893, now in the National Gallery of Scotland, Edinburgh. The double date on this latter work suggests that Harpignies sold the above finished painting to his client in 1848 and made a present of the 1847 sketch to him in 1893.

Harpignies painted a number of works in this area whilst studying under Jean Achard, another of which is in the Fitzwilliam museum, Cambridge (England). Achard had visited the Barbizon school in 1846 influencing the group which also included Corot, Rousseau, Daubigny. In 1847 Harpignies travelled with Achard to Optevoz and Cremieu where they also sketched with Paul Flandrin. Harpignies described the landscape as ‘a magnificent region. It has an amazing savagery, reminiscent of Gaspard, Poussin and Salvator’ (Moreau-Nelaton, 1925, pp. 54-5).

The rocky landscape shows the influence of both his tutor Achard and of fellow painter Courbet, who was painting similar landscapes at this time. Whilst the light and trees are quite classical in style, the rocky scenery has a looser brushwork influenced by Courbet. The subject matter was lowly in the hierarchy of genres of the French academy of the period, who considered landscapes to be of least importance - after history, genre, portraiture and still life paintings. Despite this, these very fine earlier landscape paintings were much sought after in the oeuvre of Harpignies and continue to be so today.

11 HENRI-JOSEPH HARPIGNIES (1819-1916) Les berges de la Seine à Paris, 1869 Watercolour 33.5 x 25 cm 13 1⁄8 x 9 7⁄8 inches Signed and dated lower left Harpignies 1869 Inscribed lower right Paris Provenance Private collection, Paris

12 PAUL-CÉSAR HELLEU (1859-1927) Elégante au chapeau Red, black and white chalk on paper 64 x 45 cm 25 1⁄4 x 17 3⁄4 inches Signed and dedicated lower left a Walter. Helleu Provenance Private collection, France To be included in the forthcoming Catalogue Raisonné being prepared by l’Association des Amis de Paul-César Helleu

13 PAUL-CÉSAR HELLEU (1859-1927) Portrait d’Alice Helleu au chapeau Red, black and white chalk on paper 58.8 x 37.5 cm 23 1⁄8 x 14 3⁄4 inches Signed lower right Helleu Provenance Private collection, France To be included in the forthcoming Catalogue Raisonné being prepared by l’Association des Amis de Paul-César Helleu This is a study of Helleu’s fashionable wife Alice.

Though the artist made many studies of Alice, this portrait of her in a fine hat and silk dress has a particular intimacy. It appears in the photograph, taken in the living room of the artist along with Paul-César Helleu.

"Helleu dans son salon" photo de Jules Dornac © Les Amis de Paul-César Helleu

14 JOHAN-BARTHOLD JONGKIND (1819-1891) Sortie de port en Hollande, 1861 Oil on panel 22.5 x 28.2 cm 8 7⁄8 x 11 inches Signed and dated lower left Jongkind 1861 Provenance M.I. Montaignac collection Galerie Georges Petit, Paris, Sale 3rd and 4th December 1917, n° 48 Miss C.J.Adam collection Sale Christies London, Sale 6th July 1971, no. 12, repr.

Sale Christies London, 29th March 1977, n° 4 repr.

Sale Ader Picard Tajan, 13th December 1978, Palais d’Orsay, Paris (repr. catalogue and supplement) Gallery Findlay, New York Private collection, Paris Exhibited La joie de peindre, Galerie Daber Paris, June - July 1974 no. 16 Maîtres Français du XIXe et XXe siècle, E. J. van Wisselingh & Co, Amsterdam, 1975 , n° 21C. Bibliography V. Hefting, Jongkind, sa vie, son œuvre, son époque, Paris, 1975, p. 120, n° 209 Adolphe Stein, Sylvie Brame, François Lorenceau, Janine Sinizergues, Jongkind, Peintures I, 2003, no.238 To be reproduced in the Jongkind Catalogue Critique being prepared by the Comité Jongkind, Paris and The Hague, no. H0179

18 HENRI LE SIDANER (1862-1939) La neige, Chartres, 1918 Oil on panel 27 x 35 cm 10 5⁄8 x 13 3⁄4 inches Provenance Collection Frédéric Manaut Galerie Jean Tiroche, New York-Miami Sale, Paris, Galliéra, 18th June 1969, lot 101 Sale, Versailles, Palais des Congrès, 6th June 1971, lot 103 Sale, Versailles, Palais des Congrès, 3rd December 1972, lot 69 Private Collection, Paris Bibliography Yann Farinaux-Le Sidaner, Le Sidaner, l’oeuvre peint et gravé, 1989, n° 1093, reproduced p. 353 This work is a study for the oil painting reproduced in the Catalogue Raisonné n° 394.

15 JOHAN-BARTHOLD JONGKIND (1819-1891) Le Quai des Célestins, 1869 Oil on canvas 41 x 66 cm 16 1⁄8 x 26 inches Signed and dated lower left Jongkind 1869 Provenance Mme Esnault-Pelterie Collection, 1906 Galerie Georges Petit, Paris Private Collection Exhibited Vingt peintres et cent chefs-d’oeuvre Galerie Georges Petit, Paris, 2nd – 31st May, 1910.

Vingt peintres du XIXeme siècle, chefs-d’œuvre de l’école française, Galerie Georges Petit, Paris, 1911 Bibliography Société iconographique parisienne 1910-1911. (3rd year, p. 28) L. Dimier, Histoire de la peinture française au XIX° siècle (17931903), Éditions Delagrave, Paris, 1926 p. 167 V. Hefting, Jongkind, sa vie, son œuvre, son époque, 1975 n° 509, repr. (incorrect size) V. Hefting, JB Jongkind, Voorloper van het impressionisme, 1992, p. 103, repr.

Adolphe Stein, Sylvie Brame, Francois Lorenceau & Janine Sinizergues Jongkind, Catalogue critique de l’oeuvre: Peintures, Paris, 2003, vol I., no 584.

To be included in the forthcoming critical catalogue being prepared by the Comité Jongkind, Paris and the Hague, ref.

H0397.

15 JOHAN-BARTHOLD JONGKIND (1819-1891) Le Quai des Célestins, 1869 Oil on canvas 41 x 66 cm 16 1⁄8 x 26 inches Signed and dated lower left Jongkind 1869 Provenance Mme Esnault-Pelterie Collection, 1906 Galerie Georges Petit, Paris Private Collection Exhibited Vingt peintres et cent chefs-d’oeuvre Galerie Georges Petit, Paris, 2nd – 31st May, 1910.

Vingt peintres du XIXeme siècle, chefs-d’œuvre de l’école française, Galerie Georges Petit, Paris, 1911 Bibliography Société iconographique parisienne 1910-1911. (3rd year, p. 28) L. Dimier, Histoire de la peinture française au XIX° siècle (17931903), Éditions Delagrave, Paris, 1926 p. 167 V. Hefting, Jongkind, sa vie, son œuvre, son époque, 1975 n° 509, repr. (incorrect size) V. Hefting, JB Jongkind, Voorloper van het impressionisme, 1992, p. 103, repr.

Adolphe Stein, Sylvie Brame, Francois Lorenceau & Janine Sinizergues Jongkind, Catalogue critique de l’oeuvre: Peintures, Paris, 2003, vol I., no 584.

To be included in the forthcoming critical catalogue being prepared by the Comité Jongkind, Paris and the Hague, ref.

H0397.

16 JOHAN-BARTHOLD JONGKIND (1819-1891) Entrée du Port, Rotterdam, 1871 Oil on canvas 22 x 27 cm 8 5⁄8 x 10 5⁄8 inches Signed, dated and located lower right Rotterdam Jongkind 1871 Provenance Galerie Georges Petit Sale Hôtel Drouot, Paris 12th February 1932, lot 69 Galerie Bernheim-Jeune, Paris Galerie Max Kaganovitch, Paris Acquired by the family of the present owner in Paris c. 1950 Madelon Foundation, Sydney Sale Sotheby’s, 20th June, 2007, lot 307 Stoppenbach & Delestre Ltd, London Private Collection Exhibited Galerie Max Kaganovitch, Paris, Oeuvres choisie du XIXème siècle, 1950 Galerie Max Kaganovitch, Paris, ‘Pour les 30 ans de la galerie’ 1966, no. 49 reproduced Art Gallery of New South Wales, Sydney, on loan from Madelon Foundation, Sydney, 1982 Bibliography Adolphe Stein, Sylvie Brame, Francois Lorenceau & Janine Sinizergues ‘Jongkind, Catalogue critique de l’oeuvre: Peintures’ Paris, 2003, vol I, no. 629 ill. p248 To be included in the forthcoming critical catalogue being prepared by the Comité Jongkind, Paris and the Hague, ref.

H0780.

16 JOHAN-BARTHOLD JONGKIND (1819-1891) Entrée du Port, Rotterdam, 1871 Oil on canvas 22 x 27 cm 8 5⁄8 x 10 5⁄8 inches Signed, dated and located lower right Rotterdam Jongkind 1871 Provenance Galerie Georges Petit Sale Hôtel Drouot, Paris 12th February 1932, lot 69 Galerie Bernheim-Jeune, Paris Galerie Max Kaganovitch, Paris Acquired by the family of the present owner in Paris c. 1950 Madelon Foundation, Sydney Sale Sotheby’s, 20th June, 2007, lot 307 Stoppenbach & Delestre Ltd, London Private Collection Exhibited Galerie Max Kaganovitch, Paris, Oeuvres choisie du XIXème siècle, 1950 Galerie Max Kaganovitch, Paris, ‘Pour les 30 ans de la galerie’ 1966, no. 49 reproduced Art Gallery of New South Wales, Sydney, on loan from Madelon Foundation, Sydney, 1982 Bibliography Adolphe Stein, Sylvie Brame, Francois Lorenceau & Janine Sinizergues ‘Jongkind, Catalogue critique de l’oeuvre: Peintures’ Paris, 2003, vol I, no. 629 ill. p248 To be included in the forthcoming critical catalogue being prepared by the Comité Jongkind, Paris and the Hague, ref.

H0780.

17 JOHAN-BARTHOLD JONGKIND (1819-1891) Canal près de Rotterdam, Printemps, 1867 Oil on canvas 33 x 56 cm 13 x 22 inches Signed and dated lower right Jongkind 1867 Provenance 1st Jongkind Atelier sale, 7th – 8th December 1891, Hotel Drouot, Paris, no.12 repr.

Paul Detrimont Collection, Paris Alexandre Blanc Collection Galerie Georges Petit, Paris, Sale Monday 3rd and Tuesday 4th December 1906 M. Paul Paulin Collection Madame J. Thôme- Patenotre Collection, Paris, 1970 Couturier Nicolay sale Wednesday 13th December 1995, Drouot Bibliography Moreau-Nélaton, ‘Jongkind raconté par lui-même’, Henri Laurens, repr. fig. 82, 1918 CL Roger-Marx, repr. n° 11, 1932 A.Stein, S. Brame, F. Lorenceau, J. Sinizergues; Jongkind, catalogue critique de l'oeuvre, peintures, tome 1, Paris, 2003, n° 451 , repr. p.198 To be reproduced in the Jongkind Catalogue Critique being prepared by the Comité Jongkind, Paris and The Hague, no.

H0540

17 JOHAN-BARTHOLD JONGKIND (1819-1891) Canal près de Rotterdam, Printemps, 1867 Oil on canvas 33 x 56 cm 13 x 22 inches Signed and dated lower right Jongkind 1867 Provenance 1st Jongkind Atelier sale, 7th – 8th December 1891, Hotel Drouot, Paris, no.12 repr.

Paul Detrimont Collection, Paris Alexandre Blanc Collection Galerie Georges Petit, Paris, Sale Monday 3rd and Tuesday 4th December 1906 M. Paul Paulin Collection Madame J. Thôme- Patenotre Collection, Paris, 1970 Couturier Nicolay sale Wednesday 13th December 1995, Drouot Bibliography Moreau-Nélaton, ‘Jongkind raconté par lui-même’, Henri Laurens, repr. fig. 82, 1918 CL Roger-Marx, repr. n° 11, 1932 A.Stein, S. Brame, F. Lorenceau, J. Sinizergues; Jongkind, catalogue critique de l'oeuvre, peintures, tome 1, Paris, 2003, n° 451 , repr. p.198 To be reproduced in the Jongkind Catalogue Critique being prepared by the Comité Jongkind, Paris and The Hague, no.

H0540

18 HENRI LE SIDANER (1862-1939) La neige, Chartres, 1918 Oil on panel 27 x 35 cm 10 5⁄8 x 13 3⁄4 inches Provenance Collection Frédéric Manaut Galerie Jean Tiroche, New York-Miami Sale, Paris, Galliéra, 18th June 1969, lot 101 Sale, Versailles, Palais des Congrès, 6th June 1971, lot 103 Sale, Versailles, Palais des Congrès, 3rd December 1972, lot 69 Private Collection, Paris Bibliography Yann Farinaux-Le Sidaner, Le Sidaner, l’oeuvre peint et gravé, 1989, n° 1093, reproduced p. 353 This work is a study for the oil painting reproduced in the Catalogue Raisonné n° 394.

19 LEON AUGUSTIN LHERMITTE (1844-1925) Lavandières au Pont d’Avignon, 1923 Pastel on canvas 40.4 x 51.2 cm 15 7⁄8 x 20 3⁄16 inches Signed and dated lower right Lhermitte, Avignon 1923 Provenance Knoedler Gallery, New York Private collection Canada

20 LUIGI LOIR (1845-1916) Sur le boulevard Berthier, Paris Oil on panel 22 x 40.4 cm 8 5⁄8 x 15 7⁄8 inches Signed lower right Loir Luigi Provenance Maurice Chevalier, Paris Private collection Luigi Loir was born in Austria and studied in 1853 at the Ecole des Beaux-Arts in Parma. Around 1863 he settled in Paris and the city was to provide inspiration for most of his future work. He initially supported himself through illustration, scenery design (for the Châteaux du Diable in 1866) and large murals for public buildings, including the Hôtel de Ville in Paris.

Loir worked extensively in gouache and watercolour, and found these fluid media well suited to his interest in light and weather conditions. He specialized in scenes of Paris that he painted in a personal way but with a lot of precision.

The streets, the boulevards or the squares are animated, nostalgic and full of poetic charm - these scenes earned him a great reputation at his time.

21 LUIGI LOIR (1845-1916) Un après-midi au bord de la Marne Gouache 27 x 36 cm 10 5⁄8 x 14 3⁄16 inches Signed lower right Loir Luigi 137 Provenance Private collection, Philadelphia, Pennsylvania

22 GUSTAVE LOISEAU (1865-1935) Paysage à Mortain, 1908 Oil on canvas 50.5 x 65 cm 19 7⁄8 x 25 5⁄8 inches Signed and dated lower left Loiseau 1908 Located on the stretcher Provenance Galerie Durand-Ruel, Paris, no. 8868 Private collection, France Bibliography To be included in the forthcoming Catalogue Raisonné being prepared by Didier Imbert

23 MAXIMILIEN LUCE (1858-1941) Pêcheurs sur la Seine à Herblay, 1890 Oil on paper laid down on board 32.7 x 43.5 cm 12 7⁄8 x 17 1⁄8 inches Signed, dated and located lower right Luce Herblay ’90 Provenance Collection Galerie Jacques Rodrigues-Henriques, 1939 Sold to Mr. Jacques Deville, Paris 7th December 1946 Thence by descent To be included in the second supplement of the Catalogue Raisonné of Maximilien Luce being prepared by Madame Denise Bazetoux The provenance of this picture is particularly clear. It was first sold to Luce’s dealer and friend Jacques RodriguezHenriquez and then sold directly to the uncle of the present owner in 1946.

In this important work from 1890, Maximilien Luce assimilated the theories of his pointillist masters Seurat and Signac. The prism of light and the contrasting complementary colours create a particularly vivid and accurate depiction of an afternoon summer on the banks of the Seine.

24 MAXIMILIEN LUCE (1858-1941) Moulineux, jeune femme ôtant sa sandale, 1904 Oil on canvas 55 x 46 cm 25 5⁄8 x 18 1⁄8 inches Signed and dated lower right Luce 1904 Provenance Collection Jean Bouin-Luce Sale Sothebys Parke Bernet, New York, 15th May 1984, no. 364 Private collection U.S.A. Bibliography Jean Bouin-Luce et Denise Bazetoux, Catalogue de l’oeuvre peint, Editions JBL 1986, tome II, no. 1284, p. 319, repr.

25 PIERRE EUGENE MONTEZIN (1874-1946) Maison près de la mare Oil on canvas 54.5 x 73.4 cm 21 1⁄2 x 28 7⁄8 inches Signed lower left Montezin Inscribed on reverse 1302 Provenance Private collection, France To be included in the forthcoming Catalogue Raisonné being prepared by Jean-Pierre Klein-Montezin Inspired by the theories of Impressionism, Pierre Eugène Montezin developed his own style through his personal interpretation of these. He concentrated on painting landscapes, applying the ideals of the plein-air painters and was most strongly influenced by the work of Claude Monet.

After serving during World War One, Montezin returned to painting the countryside, living, like Sisley, in Moret-surLoing. He continued to work en plein-air until his death.

26 HENRY MORET (1856-1913) Brume d’été à Porspoder, Finistère 1899 Oil on canvas 54.7 x 73.5 21 1⁄2 x 28 7⁄8 inches Signed and dated lower left Henry Moret 99 Inscribed on the back of the stretcher Porspoder Finistère Provenance Galerie Durand-Ruel, Paris, no. 5565 Private collection, Brittany To be included in the forthcoming Henry Moret Catalogue Raisonné by Jean-Yves Rolland

27 HIPPOLYTE PETITJEAN (1854-1929) Personnages dans un parc Watercolour 24.6 x 18.9 cm 9 5⁄8 x 7 1⁄2 inches Stamped lower left Atelier Hipp. Petitjean (Lugt 2022c) Provenance Galerie Abels, Cologne Private Collection, Paris Exhibited Galerie Abels, 1959, no 12 Galerie Abels, Französische Maler des Nachimpressionnismus, 1962, no 39 Hippolyte Petitjean was born in Macon in 1854, where he studied at the local art school, before moving to Paris in 1872 to study at the Ecole des Beaux Arts. He worked in the studios of Cabanel and Puvis de Chavannes, the latter leaving a lasting impression on the young painter.

Petitjean first showed at the Salon in 1880. He was friends with Seurat from 1884, but it was only two years later that he began to show an interest in pointillism. He first exhibited with the Salon des Indépendants in 1891, and remained faithful to them thereon. He also participated in several international Pointillist exhibitions between 1893 and 1921.

28 LUDOVIC PIETTE (1826-1877) Marché, Place Notre-Dame à Pontoise Gouache on paper 19.5 x 34 cm 7 5⁄8 x 13 3⁄8 inches Signed and located lower right Pontoise L Piette 1870 Provenance Private collection, France Ludovic Piette was a landscape painter and contemporary of the Impressionists. He studied in the studio of Couture and later attended the Académie Suisse where he was friends with Manet and met Chintreuil. He participated regularly at the Salon from 1857 until 1876. Apart from his friendship with Pissarro, he did not have contact with any of the Impressionists. He nevertheless participated in their exhibition in 1877 and posthumously in the one of 1879. He spent his time between his studio in Montmartre and his property in Montfoucault in the Mayenne, which inspired him most of his subject matters. Pissarro stayed there in 1870 before going to England, and again in 1874.

29 CAMILLE PISSARRO (1830-1903) Paysanne mangeant sa soupe Watercolour, charcoal and pencil on paper 31 x 15 cm 12 1⁄4 x 6 inches Stamped lower right CP (Lugt 613c) Inscribed on a label on the back of the frame: Don Beunaiche – succession Pissarro 22/12/55 Provenance Estate of the artist Paul-Emile Pissarro, Paris (by descent) Don Beunaiche Private collection, France To be included in the forthcoming Catalogue Raisonné of Drawings by Camille Pissarro by the Camille Pissarro Project We would like to thank Joachim Pissarro for his help This delightful study of a woman eating soup is demonstrative of Pissarro’s interest in everyday life and the crucial break he made from the canon of Academic painting that dominated art and the Salon in the early nineteenth century (historical, classical, historical landscape). These sketches were preparatory work for his finished paintings depicting modern life. This drawing would most likely have been made when Pissarro was gathering material in Pontoise.

30 PAUL SIGNAC (1863-1935) Vase de fleurs, 1929 Oil on canvas 46.5 x 38.5 cm 18 1⁄4 x 15 1⁄8 inches Signed and dated lower left Signac 1929 Provenance Gaston Lévy Collection Private collection, Paris (bought by the owner in the 1950s) Thence by descent Exhibited Bernheim Jeune Gallery, Paris, 1930, no.49 Bibliography Signac, Catalogue raisonné de l’œuvre peint Françoise Cachin, Gallimard 2000 repr. p 331, no.585 (dated 1928)

31 PAUL DESIRE TROUILLEBERT (1829-1900) Vue du village de la Flèche Oil on canvas 54 x 81.5 cm 21 1⁄4 x 32 1⁄16 inches Signed lower right Trouillebert Provenance Private collection, France The Parisian Paul Désiré Trouillebert was a disciple of Corot’s and a precursor of Impressionism. Though famous for his landscapes, his early career focussed on portraiture and nudes. He made his Salon debut in 1865 with two portraits and was commissioned by many important personalities of the time.

The influence of Corot is very much evident in his works Trouillebert first came into the limelight when one of his paintings was sold to Alexandre Dumas’s son as a work by Corot. Trouillebert clearly understood the balance of attractive setting, magical coloring and assured craftsmanship that made Corot’s work internationally appealing.

Trouillebert also incorporated the lessons of the Impressionists in his work, with brushstrokes that are light and transparent and a noteworthy palette. Typical of his technique is the use of red as a base colour, giving a distinctive tonality to his works and heightening his masterful ability to portray the surrounding landscape.

32 VICTOR VIGNON (1847-1909) Paysage de campagne Oil on canvas 39 x 55 cm 15 3⁄8 x 21 5⁄8 inches Signed lower right V Vignon Provenance David Findlay Gallery, New York, USA Collection of Dr. Laurence and Dorothy Grossman, Nashville, Tennessee Victor Vignon was a pupil of Corot’s who also received guidance from Cals. Both influences can be seen in his early work, though he was also greatly influenced by the Dutch masters in the Louvre. At first Vignon worked in Clamart, Chatou and Bougival, later working in La Celle-SaintCloud and the area surrounding Pontoise and Auvers-sur-Oise. He exhibited with the Impressionists several times and can be seen as providing a link between this movement, Corot, and the painters of the Barbizon School. Vignon held a one man exhibition in 1894 which brought him great success. Vignon often chose to portray the entrances of towns or villages, using the perspective in roads to invite the viewer into the work.

34 ANTOINE VOLLON (1833 – 1900) Nature morte aux prunes et poire Oil on panel 12.6 x 17.8 cm.

5 x 7 inches Signed lower left A. Vollon Provenance Galerie Alfred Daber, Paris Exhibited Natures mortes françaises du XVIIème au XXème siècle, 9th April – 6th March 1959, Galerie Alfred Daber, Paris, no 29 Petits chefs-d’oeuvre imprévus, 9th – 31st May 1968, Galerie Alfred Daber, Paris, no 37 Antoine Vollon was a French realist artist, best known as a painter of still lifes, landscapes and figures. During his lifetime, Vollon was a successful celebrity and enjoyed an excellent reputation as a painter’s painter.

In 1859 he moved to Paris. There he became a student of Théodule Ribot and was influenced by Dutch still life painters of the 17th century. Friends with Alexandre Dumas, François Bonvin, Honoré Daumier and Charles-François Daubigny, Vollon once described himself as a young artist “madly in love with painting”.

He was elected to the Académie des Beaux-Arts in 1897. In 1900 he was awarded the Grand Prix at the Paris World Fair.

33 JACQUES VILLON (1875-1963) Potager à la Brunié, 1941 Oil on canvas 66 x 92 cm 26 x 36 1⁄4 inches Signed and dated lower right Jacques Villon 41 Provenance Louis Carré Gallery, New York Enid Haupt, New York Private collection, France Exhibited Museum of Fine Arts, Houston, “Duchamp Duchamp-Villon Villon” March 8th - April 8th 1957 (the exhibition opening was postponed until March 22nd 1957) Galerie Schmit, Paris, “Jacques Villon Peintre Dessinateur” May – June, 2004, repr. p 65 A label on the back from the Norton Gallery of Art, USA, suggests that the work was loaned to the museum, probably

by Enid Haupt.

Jacques Villon (née Gaston Emile Duchamp), brother of Marcel Duchamp and Raymond Duchamp-Villon, gave up his legal career in order to paint. He was very involved with the Fauvist, Cubist and abstract Impressionist movements from his time living in Montmartre in 1903. Regular artistic salons were held at his house in Puteaux, outside Paris, with regulars such as Picabia, Robert Delaunay and Fernand Léger attending alongside his brothers. In 1913 he exhibited a series of Cubist prints at the Armory Show in New York, making a name for himself and Cubism across the Atlantic.

His success from then on was guaranteed. His work can be seen in the major collections.

This work painted in the throes of the second world war shows a joie de vivre that Jacques Villon had lost the previous years. He had been working as a camouflage artist in northern France during the war but made a journey to the South of France. In La Brunié he discovered inspiring light and a refreshed artistic outlook that enabled him to produce an important body of work.

A similar work from the time, the Kitchen Garden at La Brunié, can be seen in the Cleveland Museum of Art.

33 JACQUES VILLON (1875-1963) Potager à la Brunié, 1941 Oil on canvas 66 x 92 cm 26 x 36 1⁄4 inches Signed and dated lower right Jacques Villon 41 Provenance Louis Carré Gallery, New York Enid Haupt, New York Private collection, France Exhibited Museum of Fine Arts, Houston, “Duchamp Duchamp-Villon Villon” March 8th - April 8th 1957 (the exhibition opening was postponed until March 22nd 1957) Galerie Schmit, Paris, “Jacques Villon Peintre Dessinateur” May – June, 2004, repr. p 65 A label on the back from the Norton Gallery of Art, USA, suggests that the work was loaned to the museum, probably

by Enid Haupt.

Jacques Villon (née Gaston Emile Duchamp), brother of Marcel Duchamp and Raymond Duchamp-Villon, gave up his legal career in order to paint. He was very involved with the Fauvist, Cubist and abstract Impressionist movements from his time living in Montmartre in 1903. Regular artistic salons were held at his house in Puteaux, outside Paris, with regulars such as Picabia, Robert Delaunay and Fernand Léger attending alongside his brothers. In 1913 he exhibited a series of Cubist prints at the Armory Show in New York, making a name for himself and Cubism across the Atlantic.

His success from then on was guaranteed. His work can be seen in the major collections.

This work painted in the throes of the second world war shows a joie de vivre that Jacques Villon had lost the previous years. He had been working as a camouflage artist in northern France during the war but made a journey to the South of France. In La Brunié he discovered inspiring light and a refreshed artistic outlook that enabled him to produce an important body of work.

A similar work from the time, the Kitchen Garden at La Brunié, can be seen in the Cleveland Museum of Art.

34 ANTOINE VOLLON (1833 – 1900) Nature morte aux prunes et poire Oil on panel 12.6 x 17.8 cm.

5 x 7 inches Signed lower left A. Vollon Provenance Galerie Alfred Daber, Paris Exhibited Natures mortes françaises du XVIIème au XXème siècle, 9th April – 6th March 1959, Galerie Alfred Daber, Paris, no 29 Petits chefs-d’oeuvre imprévus, 9th – 31st May 1968, Galerie Alfred Daber, Paris, no 37 Antoine Vollon was a French realist artist, best known as a painter of still lifes, landscapes and figures. During his lifetime, Vollon was a successful celebrity and enjoyed an excellent reputation as a painter’s painter.

In 1859 he moved to Paris. There he became a student of Théodule Ribot and was influenced by Dutch still life painters of the 17th century. Friends with Alexandre Dumas, François Bonvin, Honoré Daumier and Charles-François Daubigny, Vollon once described himself as a young artist “madly in love with painting”.

He was elected to the Académie des Beaux-Arts in 1897. In 1900 he was awarded the Grand Prix at the Paris World Fair.

INDEX OF ARTISTS Artist

Title

ABEL-TRUCHET, Louis BOUDIN, Eugène CALS, Adolphe Felix DAUBIGNY, Charles François DAUBIGNY, Charles François DUFY, Raoul DUFY, Raoul GOENEUTTE, Norbert GUILLAUMIN, Armand HARPIGNIES, Henri-Joseph HARPIGNIES, Henri-Joseph HELLEU, Paul-César HELLEU, Paul-César JONGKIND, Johan Barthold JONGKIND, Johan Barthold JONGKIND, Johan Barthold JONGKIND, Johan Barthold LE SIDANER, Henri LHERMITTE, Léon Augustin LOIR, Luigi LOIR, Luigi LOISEAU, Gustave LUCE, Maximilien LUCE, Maximilien MONTEZIN, Pierre Eugène MORET, Henry PETITJEAN, Hippolyte PIETTE, Ludovic PISSARRO, Camille SIGNAC, Paul TROUILLEBERT, Paul Desiré VIGNON, Victor VILLON, Jacques VOLLON, Antoine

Un après-midi aux courses Venise, le Grand Canal Le tailleur de vigne Les Marais d’Optevoz Bord de rivière Nature morte au melon La Marne à Nogent – Le Perreux Nature morte aux fruits Paysage aux environs de Paris Falaises aux alentours de Crémieu Les berges de la Seine à Paris Elégante au chapeau Portrait d’Alice Helleu au chapeau Sortie de port en Hollande Quai des Célestins, Paris Entrée du port, Rotterdam Canal près de Rotterdam, Printemps La neige, Chartres Lavandières au pont d’Avignon Sur le boulevard Berthier, Paris Un après-midi au bord de la Marne Paysage à Mortain Pecheurs sur la Seine à Herblay Jeune femme ôtant sa sandale Maison près de la mare Brume d’été à Porspoder, Finistère Personnages dans un parc Marché, Place Notre-Dame à Pontoise Paysanne mangeant sa soupe Vase de fleurs Vue du village de la flêche Paysage de campagne Potager à la Brunié Nature morte aux prunes et poire

Catalogue text by Camille Rodskjaer Photography by Prudence Cuming Associates Ltd. London Designed and printed by Lamport Gilbert

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Front cover detail from PAUL SIGNAC Vase de fleurs

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