Under the High Patronage of His Serene Highness Prince Albert II of Monaco
FROM
IMPRESSIONISM
TO
POP ART
Under the High Patronage of His Serene Highness Prince Albert II of Monaco
FROM
IMPRESSIONISM
TO
POP ART
Après l’immense succès de l’exposition “Picasso” en 2011, Opera Gallery Monaco présente cet été “de l’Impressionnisme au Pop Art”. Une exposition prestigieuse qui, à travers plus de 50 tableaux et dessins de grands Maîtres, nous permet de suivre la période de l’Histoire de l’Art qui va de la Révolution impressionniste au choc du Pop Art. Les tubes d’étain ont été inventés vers 1840, ils ont permis aux peintres impressionnistes de sortir de leur atelier pour aller peindre des paysages “sur le motif”, c’est-à-dire dans la nature. De la même manière, la peinture acrylique diluable à l’eau est créée en 1963, elle est immédiatement adoptée par les peintres Pop Art. Andy Warhol, est le premier utilisateur de cette peinture industrielle qui accompagne de manière pertinente son discours sur la société de consommation. Entre ces deux écoles illustrées par des tableaux de Claude Monet, Pierre-Auguste Renoir d’un coté et Andy Warhol de l’autre, nous découvrons des œuvres de Fernand Léger, Marc Chagall mais aussi Joan Miró avec le splendide tableau Untitled, 1960 ou encore Fernando Botero. Enfin, nous n’avons pas résisté au plaisir de mettre en page de couverture du catalogue la gouache et aquarelle Les Grâces naturelles de René Magritte, un hommage au Maître du Surréalisme dans sa période influencée par Renoir, tout un symbole pour cette exposition qui retrace la période de l’Histoire de l’Art aujourd’hui la plus prisée par les collectionneurs avertis et la plus recherchée par les amateurs de “valeurs refuges”. Nous remercions Son Altesse Sérénissime le Prince Albert II de Monaco d’avoir bien voulu nous faire l’immense honneur d’être le parrain de l’exposition. Nous sommes également très heureux du partenariat avec l’association monégasque Mission Enfance, qui s’occupe de l’enfance en difficulté dans le monde. À cette occasion, Opera Gallery Monaco reversera un pourcentage du chiffre d’affaires des ventes pour cette cause. Didier Viltart Manager, Opera Gallery Monaco
Gilles Dyan Fondateur et Président, Opera Gallery Group
Following the tremendous success of last year’s “Picasso” exhibition, Opera Gallery Monaco is proud to present this summer’s artistic sensation: “From Impressionism to Pop Art”. With more than 50 masterpieces on display, this thrilling exhibition takes us on a guided tour of the History of Art from the Impressionist revolution up to the undisputed success of Pop Art. Tin tubes for storing paint were invented in 1840; this innovation allowed impressionist painters to escape from their studios to paint breathtaking landscapes “sur le motif” (in the open air). Similarly, diluted acrylic paint hit the art scene in 1963 and was immediately adopted by Pop Artists. Andy Warhol was the first to use this industrial paint that so perfectly and pertinently reflected the artist’s take on the consumer society. As an artistic bridge between these two schools - with the Impressionists represented by Claude Monet and Pierre-Auguste Renoir and Pop Art by “King Andy” - visitors will revel in the works of Fernand Léger, Marc Chagall, Joan Miró (with his splendid Untitled, 1960) and Fernando Botero. Finally…we couldn’t resist the temptation and supreme pleasure of choosing one of René Magritte’s masterpieces for the catalogue’s cover. Les Grâces naturelles is such an eloquent tribute to the Master of Surrealism during his Renoir period and is an obvious and ultimate symbol for an exhibition that retraces one of Art History’s most popular periods - indeed, the one most cherished by informed art collectors as well as the preferred choice when it comes to art as a “safe haven”. We would like to express our deepest gratitude to His Serene Highness Prince Albert II of Monaco for having accepted to sponsor our exhibit, an immense honour for Opera Gallery. We are also proud to announce our partnership with Mission Enfance, a Monaco-based organization that comes to the aid of children in need around the world. As a result, a portion of the sales generated from the exhibit will be donated to this international charity. Didier Viltart Manager, Opera Gallery Monaco
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Price on request
Gilles Dyan Founder and Chairman, Opera Gallery Group
Croiser les chemins entre l’art et l’humanitaire résulte du postulat que l’expression artistique et l’acte de générosité touchent l’une et l’autre à l’essence même de l’Homme, par des voies néanmoins divergentes...
Crossing paths between art and humanitarian follows from the assumption that artistic expression and the act of generosity both concern the essence of Man itself, by however divergent pathways...
L’acte humanitaire posé par notre organisation, Mission Enfance, repose sur trois piliers fondateurs : le don de soi, la dignité et la liberté.
The humanitarian act posed by our organization, Mission Enfance, is based on three founding pillars: the gift of one self, dignity and freedom.
Pour nous, humanitaires, le don de soi émane des abysses de la “conscience de soi”. Dans notre quête de vérité intérieure - et bataille contre l’omniprésence du doute devant des situations souvent anachroniques nous voyons émerger dans l’art, une force, inconnue en nous, dont la perception découle de l’inconscient - de notre vécu. Nous n’agitons pas les mêmes ressorts…
For us, humanitarians, self-giving comes from the abyss of “self-awareness”. In our quest for inner truth and battle against the ubiquity of doubt facing many often anachronistic situations -, we see emerging in the art, a force, unknown to us, whose perception springs out of the unconscious of our life experience. We do not activate the same springs...
La protection de l’être à secourir - l’enfant, ses parents - ne peut s’accomplir qu’à l’aide d’une profonde conscience de soi, condition sine qua non pour rendre à la victime, sa dignité perdue.
The protecting of the being to be rescued - the child, his parents - can be achieved only with a deep selfawareness, sine qua non condition for giving the victim’s lost dignity back.
En revanche, c’est dans la suggestion que l’art illustrera la dignité de l’humain - les “trois paires de souliers” de Van Gogh témoignent combien ces objets, pourtant abandonnés, usés, vieillis, symbolisent, dans leur expression artistique, “l’homme ajouté à la nature”, porteur d’altérité. L’idée d’art devient, dans ce cas, inséparable de l’humanisme, car il exprime l’humain dans sa représentation la plus nue.
However, it is in suggestion that art will illustrate the dignity of human being - Van Gogh’s “three pairs of shoes” shows how these objects, however, abandoned, worn, aged, symbolize, in their artistic expression, “the man added to nature,” bearing otherness. The idea of art becomes, in this case, inseparable from humanism, because it expresses the human being in its most naked representation.
En créant des écoles d’art pour la jeunesse oubliée d’Arménie, des centres d’animation de jeux traditionnels pour les descendants des esclaves chocoanos de Colombie ou des ateliers de fabrication de tapis pour les femmes réfugiées du Kurdistan irakien, Mission Enfance permet la réappropriation de cultures ancestrales, occultées par les aléas de la guerre, de la politique ou de catastrophe naturelle. C’est de l’appartenance à une culture que procède aussi la dignité humaine.
By creating art schools for the forgotten youth of Armenia, activity centres of traditional games for the descendants of Chocoanos slaves of Colombia or workshops of carpet fabrication for refugee women of Iraqi Kurdistan, Mission Enfance enables the reappropriation of ancestral cultures, obscured by the vagaries of war, politics or natural disaster. Human dignity also emerges from the belonging to a culture.
L’écrasement de certaines familles sous des problèmes économiques étouffants jusqu’au paroxysme, ne peut et ne doit pas altérer le sentiment de liberté de l’individu. Une notion que nous partageons avec l’art, provenant lui-même de ce “quelque chose de typiquement humain” qu’est la liberté. Avec les artistes, nous poursuivons cette recherche d’affranchissement, luttant, lors de la réalisation de nos programmes humanitaires, contre l’emprisonnement mental provoqué par la pauvreté ou la peur. Mais la véritable communion entre nous - initiée par Opera Gallery dont nous louons la généreuse opération d’aujourd’hui -, cette communion donc, entre gens de l’art et de l’humanitaire, réside dans cette expression inaltérable de l’amour. L’art rejoint ici l’Homme révolté de Camus. Celui qui, s’il ne prétend pas tout résoudre, se résout à faire face. Son domaine est l’immanence, dans son identification à un autre être. Son moteur, l’amour du monde. Son éthique, un altruisme actif à l’égard du vivant. La sensibilité à l’art et le jugement esthétique sont des actes d’amour. Que les œuvres prestigieuses qui suivent procurent autant de joie à leurs bienveillants amateurs qu’aux enfants qui bénéficieront d’une école, d’une dignité retrouvée et jouiront de la plus belle des libertés, la connaissance !
The crushing of some families under stifling economic problems until climax, cannot and must not alter the sense of freedom of the individual. A notion that we share with art, itself born of this “typically human something” that is freedom. With artists, we pursue this search for emancipation, struggling during the realization of our humanitarian programmes, against the mental imprisonment caused by poverty or fear. But the real communion between us - initiated by the Opera Gallery, which we praise the generous event today - that communion between people of art and humanitarians, lies in the expression of unalterable love. Art here joins The Outraged of Camus.The one who, if not claiming to solve everything, accepts to face. Its domain is immanence, in its identification with another being. Its driving force, love of the world. His ethics, active altruism towards the living. Sensitivity to art and aesthetic judgment are acts of love. May the following prestigious works provide as much joy to their kind amateurs, than to the children who will benefit from a school, a restored dignity and who will enjoy the finest of freedoms, knowledge! Domitille Lagourgue Mission Enfance Director
Domitille Lagourgue Directrice de Mission Enfance
En 21 ans, ce sont 550.000 enfants qui ont été secourus par Mission Enfance dans le monde !
In 21 years, 550.000 children have been supported by Mission Enfance around the world!
Mission Enfance est une Organisation de Solidarité Internationale placée sous la Présidence d’Honneur de S.A.S le Prince Albert II de Monaco, et présidée par Madame Anne-Marie Fissore. Cette association humanitaire a été fondée en 1991 pour “porter secours aux enfants en détresse dans le monde”.
Mission Enfance is an Organization of International Solidarity, placed under the Honorary Presidency of H.S.H Prince Albert II of Monaco, and chaired by Mrs Anne-Marie Fissore. This humanitarian association, based in Monaco, was founded in 1991 to “rescue the children in distress throughout the world”.
Son principal axe d’intervention est l’éducation. Mission Enfance opère directement sur le terrain, avec ses équipes locales, afin de réaliser les programmes suivants : réhabilitation et construction d’infrastructures de formations scolaires et professionnelles, adduction d’eau dans les villages et construction de routes, formation d’élèves et d’enseignants, distribution de kits éducatifs et de médicaments, création et soutien à des centres d’accueil ou des ludothèques et parrainage scolaire.
Its main intervention is education. Mission Enfance operates directly on the field, with its local teams to establish the following programmes: rehabilitation and construction of scholar and professional training infrastructures, equipment of drinking water conveyance and tracks, teachers’ training and school supports, distribution of educative kits or medicine, rehabilitation of greeting centres for underprivileged children,agricultural programme, school sponsoring of children.
Mission Enfance adapte son aide humanitaire selon les besoins des pays rencontrés (Liban, Ethiopie, Arménie, Burkina Faso, Kurdistan irakien, Vietnam, Laos, Colombie, Afghanistan), dans des régions isolées, sans considération raciale, ethnique ou religieuse. Grâce au soutien de ses mécènes privés et publics l’association envoie 98 % de ses fonds sur le terrain.
Mission Enfance adapts its humanitarian help to each country (Lebanon, Ethiopia, Armenia, Burkina Faso, Iraqi Kurdistan, Vietnam, Laos, Colombia, Afghanistan). It is working only for the wellbeing of the child, without racial, ethnic or religious considerations, trying to bring its help in isolated regions. Thanks to its donors, Mission Enfance sends 98 % of its donations on the field.
T. +377 92 05 32 03 - info@mission.enfance.org - www.mission.enfance.org 4
Price on request
Claude MONET (1840 - 1926) L a R ivière Signed “Claude Monet” (lower right corner) Oil on canvas - 54 x 73 cm - 21.3 x 28.7 in.
Provenance Michel Monet, Giverny André Barbier, Paris Sale: Drouot, Paris, March 17, 1981, No. 56 Sale: Nouveau Drouot, Paris, Nov. 25, 1982, No. 85 Aska International, Tokyo
L iterature Daniel Wildenstein, Claude Monet. Biographie et Catalogue raisonné, La Bibliothèque des Arts, Lausanne - Paris, 1974, vol. I, pp. 416 - 417, No. 703, ill. Daniel Wildenstein, Monet : Vie et oeuvre, La Bibliothèque des Arts, Lausanne, 1991, vol. V, p.39
C ertificate This work is registered at the Wildenstein Foundation under the reference No. 89.06.16/563/W703
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Price on request
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Pierre-Auguste RENOIR (1841 - 1919) P ortrait
of
P ierre R enoir
à la capeline ,
circa 1888
Signed “Renoir” (upper left corner) Oil on canvas - 39,4 x 30,5 cm - 15.5 x 12 in.
Provenance Claude Theuveny (grandson of Georges Viau) Galerie Hopkins -Thomas, Paris Hammer Galleries, New York Private collection, Palm Beach
L iterature This work will be included in the supplement to the first book of the Catalogue raisonné
C ertificate François Daulte has confirmed the authenticity of this work
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Price on request
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Henri MATISSE (1869 - 1954) B uste
de femme ,
O ct . 1941
Signed and dated “Henri Matisse 10/41” (lower right corner) Pen and ink on paper - 56,6 x 38,2 cm - 22.3 x 15 in.
Provenance Galerie d’Anjou, Paris Private collection, France (acquired from the above, 6 Nov. 1942) Acquired from the above by the present owner
C ertificate Wanda de Guébriant has confirmed the authenticity of this work
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Price on request
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Raoul DUFY (1877 - 1953) M aisons
à
F alaise , circa 1905
Signed “Raoul Dufy” (lower left corner) Oil on canvas - 55 x 46 cm - 21.6 x 18.1 in.
Provenance Mme Raoul Dufy Mr & Mrs J. Josey, Huston Maurice Sternberg Galleries, Chicago Kathryn W. Hartzog (June 1975)
L iterature Maurice Laffaille, Raoul Dufy : Catalogue raisonné de L’Œuvre Peint de 1895 à 1915, Editions Motte, Geneva, 1972, vol. 1 No. 174, ill. p.154
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Raoul DUFY (1877 - 1953) L es T urfistes , circa 1938 Signed “Raoul Dufy” (lower right corner) Gouache on paper - 50 x 65,5 cm - 19.7 x 25.8 in.
Provenance Dr. Nicolau, Paris Sale: Palais Galliera, Paris, Dec. 3, 1969, No. 79, ill. Private collection (acquired at the above sale)
L iterature Fanny Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, Louis Carré & Cie., Paris, 1981, vol. I, p. 307, No. 842
C ertificate Fanny Guillon-Laffaille has confirmed the authenticity of this work This work is registered under the reference No. A10-1812
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Price on request
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Raoul DUFY (1877 - 1953) L e Q uintette , circa 1948 Signed “Raoul Dufy” (lower left) Oil on canvas - 33 x 41 cm - 13 x 16.1 in.
Provenance Sale: Paris, June 27, 1951, No. 46 Private collection (acquired from the above sale)
E xhibited Bondues, Château de la Vigne, Collections privées du Nord, Sept. 23 - Nov. 5, 1967, No. 76 Marcq-en-Baroeul, Fondation Anne et Albert Prouvost, March 13 - May 23, 1976, No. 31
L iterature Maurice Laffaille, Raoul Dufy, Catalogue raisonné de l’Œuvre Peint, Editions Motte, Geneva,1977, vol. IV, No. 1462, ill. p. 59
C ertificate Fanny Guillon-Laffaille has confirmed the authenticity of this work This work is registered under the reference No. P10-577
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Price on request
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Georges BRAQUE (1882 - 1963) N ature
morte
Signed “G Braque� (lower right) Oil, gouache and sand on paper laid down on canvas - 24,4 x 35,2 cm - 9.6 x 13.9 in.
Provenance Roger Hauert, Paris (gift from the artist)
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Price on request
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Pablo PICASSO (1881 - 1973) B uste d ’ homme
à la pipe ,
27 F eb . 1969
Signed and dated “27.2.69. I Picasso” (upper left corner) Oil on corrugated cardboard laid down on cradled panel - 97 x 65,7 cm - 38.2 x 25.9 in.
Provenance Galerie Louise Leiris, Paris (acquired from the artist) Galerie Cahiers d’Art (Christian Zervos), Paris (acquired from the above) Private collection, France (acquired from the above, 23 July 1969)
E xhibited Høvikodden, Norway, Sonja Henies og Niels Onstads Kunstsentret, Picasso visits Norway, 1992, No. 21 Salzburg, Salis and Vertes Gallery, Festspielausstellung 2004, June - July 2004, No. 30, ill. in colour Istanbul, Portakal Culture House, Masters of the West, Dec. 10, 2004 - Jan. 12, 2005, ill. in colour p. 57 Salzburg, Salis and Vertes Gallery, Modern Masters, Aug. 1- 31 2007, ill. in colour plat. 35
L iterature Christian Zervos, Pablo Picasso, vol. 31 : œuvres de 1969, Editions Cahiers d’Art, Paris, 1976, No. 85, ill. p. 27 Patrick-Gilles Persin, Daniel-Henri Kahnweiler, Paris, 1990, ill. p. 235 Weltkunst magazine, Sept. 2004, No. 9, ill. on the cover of the magazine and on p. 8, as illustration for the series of articles “Alte und Neue Kunst im Dialog” (Ancient and modern art in dialog)
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notes
Picasso looked to the work of the Old Masters throughout his career, translating classic paintings into a new visual language. The influence of Rembrandt is best represented by Picasso’s famous depiction of the Dutch artist with his wife Saskia, dating from 1963 (Zervos, vol. 23, No. 171). Rembrandt’s subject matter also informed Picasso’s series of musketeer paintings, in which he reinterpreted artistic standards while investigating his own identity. As noted by Carsten-Peter Warncke, “Picasso rarely expressed the role of modern artist, under constant observation by the omnipresent mass media, with such illuminating force. The painter under public scrutiny (i.e. Picasso himself) is obliged constantly to play new roles. He is the knight and the sailor, the circus artiste and the nobleman, but above all he is the “new Rembrandt”. In the work of his old age, Picasso took the 17th Century Dutch painter as the artist par excellence with whom it was possible to identify. “Rembrandt and Saskia” heralded a lengthy series of paintings which to a greater or lesser extent constituted masked self-portraits of Picasso. He was returning to the outmoded idea of the productive, creative person as genius” (Carsten-Peter Warncke and Ingo F. Walther, ed., Picasso 18811973, vol. II, Cologne, 1994, p. 653). Buste d’homme à la pipe is one of two musketeer paintings Picasso completed on February 27, 1969. Toward the end of his life, the image of the musketeer also evoked Picasso’s Spanish heritage and his nostalgia for the youthful vigour of his early years. As Marie-Laure Bernadac has observed, “If woman was depicted in all her aspects in Picasso’s art, man always appeared in disguise or in a specific role, the painter at work or the musketeer-matador holding the implements of his virility - the long pipe, the dagger, or the sword. In 1966, a new and final character emerged in Picasso’s iconography and dominated his last period to the point of becoming its emblem. This was the Golden Age gentleman, a half-Spanish, halfDutch musketeer dressed in richly adorned clothing complete with ruffs, a cape, boots, and a big plumed hat... All of these musketeers are men in disguise, romantic gentlemen, virile and arrogant soldiers, vainglorious and ridiculous despite their haughtiness. Dressed, armed, and helmeted, this man is always seen in action; sometimes the musketeer even takes up a brush and becomes the painter” (Brigitte Léal, Christine Piot and Marie-Laure Bernadac, The Ultimate Picasso, New York, 2000, p. 455). The bold colours and assertive brushstrokes in the present work reflect the vitality Picasso sought to capture in his musketeer series. The abstracted features of the musketeer’s face stress the modernity of his treatment of a classic subject, and endow him with a commanding presence. Crowned with a purple plume, the regal costume is rendered in highly saturated red and yellow which, set against an orange background, suggest the blood red of the bullfighting ring and the sun-drenched landscape of Spain.
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Pablo PICASSO (1881 - 1973) T ête d ’ homme
barbu ,
5 J une 1965
Signed “Picasso” (centre right) and dated “5.6.65.III” (on the reverse) Oil on canvas - 46 x 38 cm - 18.1 x 15 in.
Provenance Galerie Louise Leiris, Paris Galerie Cazeau-Béraudière, Paris Acquired from the above by the present owner (2006)
L iterature Christian Zervos, Pablo Picasso, vol. 25 : œuvres de 1965 et 1967, Editions Cahiers d’Art, Paris, No. 155, ill. p. 85 The Picasso Project, Picasso’s Paintings, Watercolours, Drawings and Sculpture: The Sixties II, 1964-1967, San Francisco, 2002, No. 65 -162, ill. p. 214
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Tête d’homme barbu belongs to a group of male heads and busts that Picasso painted in May and June 1965. Executed in quick succession and with an extraordinary sense of energy, these works bear witness to the vitality and creative urge that characterised Picasso’s late years. Having gone through many phases of stylistic and technical experimentation, by this time Picasso had acquired a confidence of expression and freedom of execution that enabled him to paint works in quick, spontaneous brushstrokes. Rather than ponder over the details of human anatomy and physiognomy, the artist was able to isolate those elements of his subject that fascinated and preoccupied him, and to depict them with a contemporary style and a sense of wit entirely his own. Whilst any male portrait in Picasso’s art certainly contains some degree of introspection, in the present work the figure is shown wearing the striped shirt that identifies him as Picasso himself. In his discussion of the various guises and metamorphoses of the male figure in Picasso’s late paintings, Kirk Varnedoe commented: “Amid all these camouflages, however, the one avatar Picasso embraced most consistently in his final decades was the one with the least disguised self reference: the figure of the artist [...] The focus was not on his own circumstances. Neither live models nor traditional palettes, which are constant attributes of these late studio scenes, had anything to do with his practice, and the artists in question almost never display his features in more than allusive fashion; they tend to be stock types, typically bearded, which Picasso never was” (K. Varnedoe, “Picasso’s Self-Portraits”, in Picasso and Portraiture: Representation and Transformation (exhibition catalogue), The Museum of Modern Art, New York, 1996, p. 162).
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Price on request
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Pablo PICASSO (1881 - 1973) F aune
et danseur ,
3 J an . 1964
Signed “Picasso” (lower right corner) and dated “3.1.64” (on the reverse) Gouache and brush in ink over a proof of a linocut - 61,8 x 74,7 cm - 24.3 x 29.4 in.
Provenance Galerie Louise Leiris (Daniel-Henry Kahnweiler), Paris
E xhibited Bern, Kunstmuseum, Picasso and Switzerland, 2001, No. 171, ill. in colour
L iterature Christian Zervos, Pablo Picasso, vol. 24 : œuvres de 1964, Editions Cahiers d’Art, Paris, No. 20, ill.
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Price on request
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Pablo PICASSO (1881 - 1973) L e C heval
renversé ,
18 D ec . 1959
Signed and dated “18.12.59. Picasso” (upper right corner) Brush and ink on joined card - 26,2 x 31,5 cm - 10.3 x 12.4 in.
Provenance Galerie Louise Leiris, Paris (No. 60721) Ernst Beyeler (acquired from the above, 1961)
E xhibited Basel, Galerie Beyeler, Picasso, Werke von 1932 -1965, Feb.- April 1967, No. 39 Frankfurt, Kunstverein, Picasso, 150 Handzeichnungen aus 7 Jahrzehnten, May - July 1965, No. 127
L iterature Christian Zervos, Pablo Picasso, vol. 19 : œuvres de 1959 à 1961, Editions Cahiers d’Art, Paris, 1968, No. 81, ill. pl. 19 The Picasso Project, Picasso’s Paintings, Watercolours, Drawings and Sculpture: The Fifties II, 1956 - 1959, San Francisco, 2000, No. 59 - 329, ill. p. 369
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Price on request
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Pablo PICASSO (1881 - 1973) L es M énines
et la vie ,
6 J une 1960
Signed and dated “Picasso le 6.6.60.” (upper right) and inscribed “pour A. Richter” (upper centre) Coloured crayon on paper bound in a volume of Picasso, Les Ménines et la vie by Jaime Sabartes 32,1 x 24,8 cm - 12.6 x 9.8 in.
Provenance Albert Richter (acquired from the artist, 1960) Private collection
C ertificate Claude Picasso has confirmed the authenticity of this work Maya Widmaier-Picasso has confirmed the authenticity of this work
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Pablo PICASSO (1881 - 1973) B uste
de jeune garçon ,
15 D ec . 1964
Signed “Picasso” (upper left corner) and dated “15.12.64.III” (on the reverse) Oil on canvas - 73 x 54 cm - 28.7 x 21.3 in.
Provenance Galerie Louise Leiris, Paris (acquired from the artist) Galleria Internazionale, Milan (acquired from the above, 1971) Marisa del Re Gallery, New York Harry & Brigitte Spiro, New York
L iterature Christian Zervos, Pablo Picasso, vol. 24 : oeuvres de 1964, Editions Cahiers d’Art, Paris, 1983, No. 326, ill. pl. 127 The Picasso Project, Picasso’s Paintings, Watercolours, Drawings and Sculpture. The Sixties II, 1964 -1967, San Francisco, 2002, No. 64-327, ill. p. 112
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This painting belongs to a series of works that Picasso embarked upon towards the end of 1964 based upon the visage of a young boy (Zervos, vol. 24, No. 313 -328). It is amongst the most resolved and successful of the group and demonstrates Picasso’s use of highly simplified, even calligraphic forms to describe human features. In many respects the virtuosity evident in such works recalls the fact that Picasso had by this stage in his career become one of the most prolific ceramicists in Modern Art. Decorating large quantities of ceramics through the rapid creation of powerful, emblematic images pared down to their most essential ingredients had a reciprocal influence on his painting. In the late paintings the viewer is carried away by the sheer vitality of his paint application and the fresh, youthful appeal of the resulting works, often, as here, rendered with the use of bright and primary colours. Furthermore his use of black pigment applied here in the main features and hair of the head, describes light as much as it does shadow. In this respect the lesson of Matisse is also apparent, as Matisse had always advocated the use of black to create the illusion of light. If Matisse’s late works appeared to be concerned with the regaining of youth and innocence in old age, this is no less true of Picasso. In the present work this is enacted not just in the expressive, impetuous technique, but also in the youth of the subject itself, who wears the striped sailor’s tee shirt that Picasso himself often sported. Indeed one of the best known anecdotes of Picasso’s late period is that when viewing an exhibition of children’s drawings he had commented that as a child he could draw like Raphaël, and it had been his life’s work to learn to draw like a child.
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Fernand LÉGER (1881 - 1955) N ature
morte ,
1946
Signed and dated “46 F. LEGER” (lower right corner); signed, titled and dated “F. LEGER Nature morte 46” (on the reverse) Oil on canvas - 24,1 x 41,2 cm - 9.5 x 16.2 in.
Provenance Svensk-Franska Konstgalleriet, Stockholm (1946) Galerie Louis Carré et Cie., Paris Galerie Blanche, Stockholm Collection Sven and Gunnel Bergqvist, Djursholm, Sweden Sale: London, Christie’s, 30 Nov. 1993, No. 221, ill. p. 171
L iterature Georges Bauquier, Fernand Léger, Catalogue raisonné de l’œuvre peint 1944 -1948, Adrien Maeght Edition, 2000, pp. 120 -121
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Marc CHAGALL (1887 - 1985) A près
la naissance ,
circa 1975
Signed “Marc Chagall” (lower right corner) Tempera on board - 41,3 x 33 cm - 16.3 x 13 in.
Provenance Private collection, Europe
C ertificate The Comité Marc Chagall has confirmed the authenticity of this work
P ublic
notes
Après la Naissance prominently displays several themes that are characteristic to Chagall’s oeuvre and radiates with biographical significance. Returning to his hometown of Vitebsk in 1973 for the first time in over fifty years no doubt stirred strong emotions in Chagall, who spoke of the unusual circumstances surrounding his birth: “just at the moment of my birth in a little cottage near the road on the outskirts of Vitebsk, a great fire broke out behind a prison. The town was in flames” (Charles Sorlier, ed., Chagall by Chagall, New York, 1979, p.28). The energetic colour in Après la Naissance reveals the strong emotion the artist felt for his homeland. As Werner Haftmann of the Nationalgalerie in Berlin writes, “Chagall does not analyse objects, he analyses memories. [Chagall] has said: “my pictures are painted collections of inner images which possess me”” (Werner Haftmann, Marc Chagall, New York, 1972, p. 18). In the present work, Chagall’s collections of memories are articulated through some of his most cherished visual motifs. Chagall unites his trope of two lovers, the calf, the rooster, and the distant village in a single, vibrant composition. Pairs of lovers are featured throughout Chagall’s oeuvre and are among the most important and symbolic cast of characters that appear in his paintings. The calf and the rooster, placed against the backdrop of a small town, recall the Russian countryside and Chagall’s hometown of Vitebsk. The piece speaks to Chagall’s nostalgia for his hometown and provides a lively example of Chagall’s most well-known and beloved themes.
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Marc CHAGALL (1887 - 1985) L e R oi D avid , 1948- 49 Signed “Chagall Marc” (lower left) Watercolour, brush, gray wash and India ink over charcoal on paper - 51 x 35,6 cm - 20.1 x 14 in.
Provenance Fairweather Hardin Gallery, Chicago Private collection (acquired from the above, circa 1955)
C ertificate The Comité Marc Chagall has confirmed the authenticity of this work
P ublic
notes
There is a pencil study on the reverse of the present work depicting a village procession
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Marc CHAGALL (1887 - 1985) L e C lown
violoniste et l ’ âne rouge ,
1971
Signed “Marc Chagall” (lower right corner) Oil on canvas - 55,5 x 38,5 cm - 21.8 x 15.2 in.
Provenance Ida Chagall estate
C ertificate The Comité Marc Chagall has confirmed the authenticity of this work
P ublic
notes
“These clowns, bareback riders and acrobats have made themselves at home in my visions. Why? Why am I so touched by their make-up and their grimaces? With them I can move toward new horizons. Lured by their colours and make-up, I dream of painting new psychic distortions.” Marc Chagall in “Chagall - Le Cirque,” 1981
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Marc CHAGALL (1887 - 1985) Le
grand cirque ,
1968
Signed “Marc Chagall” (lower right) and signed “Marc Chagall” (on the reverse) Oil on canvas - 160 x 170,2 cm - 63 x 67 in.
Provenance Pierre Matisse Gallery, New York (acquired from the artist) Private collection Sale: Sotheby’s, New York, May 13, 1998, lot 51 Private collection, USA (acquired from the above sale) Estate of Leonard Green, USA
E xhibited New York, Pierre Matisse Gallery, Marc Chagall, Recent Paintings, 1966-1968, No. 23 New York, The Solomon R. Guggenheim Museum, 1975 New York, Pierre Matisse Gallery, Marc Chagall, A Celebration, 1977, No. 11 Sarasota, John and Mable Ringling Museum of Art, The Circus in Art, 1977 Milwaukee Museum of Art; Columbus Museum of Art; Albany, New York State Museum; Washington D.C., Corcoran Gallery of Art, Center Ring: The Artist. Two Centuries of Circus Art, 1981-82, No. 29 London, Royal Academy of Arts: Philadelphia Museum of Art, Chagall, 1985, No. 110
L iterature Werner Haftmann, Marc Chagall, New York, 1972, No. 43, ill. p. 151 François Le Targat, Marc Chagall, Edition Albin Michel, S.A., 1985, No. 116 Ingo F. Walther and Rainer Metzger, Marc Chagall, 1887-1985, Painting as Poetry, Taschen, Cologne, 1993, ill. p. 87
C ertificate The Comité Marc Chagall has confirmed the authenticity of this work
Public
notes
Chagall’s monumental oil, Le grand cirque, is a spectacular meditation on a theme that fascinated him throughout his life. The artist devoted numerous canvases to depicting the larger than life atmosphere of the circus and the captivating power of its imagery. Chagall’s focus here is on the ring or the centre stage as a mythical winged figure looks down upon the spectacle from on high. This picture, which was the largest easel painting he completed in 1968, is considered to be his most grand exploration of this subject. “For me a circus is a magic show,” Chagall wrote the year before he completed the present picture, “that appears and disappears like a world. A circus is disturbing. It is profound.” On the occasion of the artist’s 85th birthday, Werner Haftmann wrote a monograph on Chagall and included the present picture among his greatest life achievements. Writing extensively of this work, he states in no uncertain terms that it is Chagall’s most accomplished rendition of his circus pictures: “It is the most extraordinary of all the circus pictures. The basic colour tone is determined by black and white. The effect is impressively dramatic and deeply serious. The rhythmic pattern of the arcs and the surrounding composition had a strangely solemn - one might say Byzantine - quality, such as we find in Chagall’s sacred windows. Bordering the blackand-white zone on either side are abstractly located colour planes of cool green, and on the upper right hand side the strip of terrestrial green is set off by a panel of nocturnal blue. Like curtains, these colour zones screen off the spiritual realm of the vision. But the suggestions of these varied colours, occurring in abstractly placed panels without regard to objective colouring, in the colouristic method used by Chagall at this period, have the effect of transforming the black and white into colour - into glistening light and darkness. In terms of colour, the drama is already staged” (Werner Haftmann, Marc Chagall, 1972, p. 150). Chagall first exhibited this picture with his dealer Pierre Matisse in New York in December 1968, shortly after he completed it. Matisse kept it in the gallery’s collection for several years, exhibiting it at some of the most important retrospectives of the artist’s work, including the definitive exhibition at the Royal Academy of Arts in 1985. In the catalogue for that exhibition, Susan Compton wrote the following about the provocative symbolism in Le grand cirque and its visual impact on the viewer: “Despite the fact that the circus theme might be expected to evoke comedy of life, the underlying tragedy of this parody of human condition is overpowering. Gone are the tumblers of the big top, all simple gaiety in the sawdust ring: here, instead, Chagall depicts some more profound drama in which man is engaged, poised between Heaven and Hell, even torn apart by the twin desires of hatred and love, and ever seeking a way of reconciliation” (Susan Compton, Chagall (exhibition catalogue), Royal Academy of Arts, London, p. 236).
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Alexander CALDER (1898 - 1976) R ouge
et bleu ,
1975
Signed and dated “75 Calder� (lower right corner) Gouache on paper - 74,9 x 109,8 cm - 29.5 x 43.2 in.
Provenance Galerie Maeght, Paris Martin Lawrence Galleries, Los Angeles Mr. Bernie Abrams, Forest Hills, New York Tamara Bane Gallery, West Hollywood Private collection
C ertificate This work is registered in the archives of the Calder Foundation, New York, under the application No. A11657
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René MAGRITTE (1898 - 1967) L es G râces
naturelles ,
circa 1945
Signed “Magritte” (lower right corner) Gouache and watercolour on paper - 28,3 x 23,3 cm - 11.1 x 9.2 in.
Provenance A gift from the artist to the grandfather of the present owner (1947) Thence by descent
E xhibited Lausanne, Fondation de l’Hermitage, René Magritte, June - Oct. 1987, No. 58, ill., incorrectly titled “L’Île au Trésor” and incorrectly measured Munich, Kunsthalle der Hypo-Kulturstiftung, René Magritte, Nov.1987 - Feb.1988, No. 57 ill., incorrectly titled “L’Île au Trésor” Ostende, Provinciaal Museum voor Moderne Kunst, René Magritte, June - Aug. 1990, p. 165, incorrectly titled “L’île au Trésor”
L iterature David Sylvester (ed.), René Magritte, Catalogue raisonné, vol. IV, Gouaches, Temperas, Watercolours and Papiers Collés 1918-1967, Antwerp, 1994, No. 1193, ill. p. 62
P ublic
notes
Executed circa 1945, Les Grâces naturelles is a bold and colourful example of what René Magritte termed “Surréalisme en plein soleil”, or Surrealism in full sunlight. This picture combines one of his most favoured motifs, the leaf-bird, with the feathered brushstrokes reminiscent of the Impressionists. This creates a tension that shows the Belgian Surrealist turning expectations on their heads. For, by the early 1940s, Surrealism was still considered a rebellion, especially during the censorship of the Occupation period. Impressionism was considered bourgeois, and so for Magritte to select this new style was considered a step backwards, an insult, by many of his former followers and admirers. By contrast, Magritte was hugely pleased with these works, to the extent that he took great risks to show them in an underground exhibition as early as 1943. Magritte’s satisfaction with the “Surréalisme en plein soleil” that fills Les Grâces naturelles was in part due to the outrage that he had managed to cause amongst his most ardent advocates. After all, Surrealism should shock, and he felt that his following had grown complacent, too used to knowing what to expect, to variations upon a theme. He was also glad to bring some light into a world that was racked with the turmoil of the Second World War. The sunlit Surrealism of Les Grâces naturelles was humorous, wry and at the same time bright and therefore jolly, a contrast with the state of the world at the time. However, for Magritte, the greatest success in these pictures was created in the tension between the realism implied by Impressionism, an aesthetic that speaks of “pleinairisme”, of capturing a moment and the motif itself, an impossible surreal device that was the product of Magritte’s own ever-fertile imagination. Combining Impressionist landscape and Impressionist still life, Magritte has in fact painted a picture of his leaf-birds, strange chimerae that combine the implied flight and lightness of birds with the contradictory rootedness and stability of plants.
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Salvador DALÍ (1904 - 1989) Q ueen
of cups
Signed “Dalí” (lower right) Gouache on paper - 29 x 19,7 cm - 11.4 x 7.8 in.
C ertificate Robert P. and Nicolas R. Descharnes have confirmed the authenticity of this work This work is registered in the Archives Descharnes under the reference No. d485
P ublic
notes
Project for the card game “Le Tarot Universel de Salvador Dalí”, 1971
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Salvador DALÍ (1904 - 1989) J udgement Signed “Dalí” (upper centre) Gouache and collage on paper - 30,9 x 23,8 cm - 12.2 x 9.4 in.
C ertificate Robert P. and Nicolas R. Descharnes have confirmed the authenticity of this work This work is registered in the Archives Descharnes under the reference No. d4829
P ublic
notes
Project for the card game “Le Tarot Universel de Salvador Dalí”, 1971
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Joan MIRÓ (1893 - 1983) U ntitled , 15 N ov . 1960 - circa 1980 Signed,with the monogram “J.M” (lower left corner); signed, dated and numbered “Miró 15.11.60. IV/V” (on the reverse) Oil on canvas - 81 x 65 cm - 31.9 x 25.6 in.
Provenance Estate of the artist Private collection (by descent from the above) Acquired from the above by the present owner
L iterature Jacques Dupin, Miró, Flammarion, Paris, 1961, No. 918, ill. in an earlier state p. 554 Jacques Dupin, Ariane Lelong-Mainaud, Miró, Paintings VI, 1976 -1981, Editions Daniel Lelong, Paris, 2004, No. 1917, ill. in colour p. 151
P ublic
notes
This painting belongs to the series of 5 paintings numbered I to V, dated 15.11.60 on the reverse, but later modified, most likely in 1980.
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Joan MIRÓ (1893 - 1983) D anseuse , S ept . 1931 Signed, titled and dated “Joan Miró ‘Danseuse’ 9.31” (on the reverse) Gouache and pastel on paper - 61,9 x 47 cm - 24.4 x 18.5 in.
Provenance Roger Dutilleul, Paris Private collection, France (by descent from the above) Acquired by the previous owner (circa 2005)
C ertificate Jacques Dupin has confirmed the authenticity of this work
P ublic
notes
Danseuse belongs to a group of paintings on Ingres paper that Miró made in the summer of 1931. Executed at the height of Miró’s prolonged attempts to destroy painting and free his art from the legacy of what he described as the “scum” that came before him, this series marks Miró’s return to the traditional tools of his craft and a new beginning in his work. The paintings on Ingres paper followed on the heels of the reliefs and sculptures made of refuse and other flotsam found around his farm in Montroig that Miró had been making in an attempt to free himself from all the conventional rules of painting. Consisting solely of a series of wire-like forms, simple objects, familiar symbols and smooth, unbounded single brushstrokes of colour, these paintings reflect the assemblages and found-object sculptures and reliefs that Miró had been making at that time. Many of these paintings were also based on a variety of found objects from the Montroig farm that served as spurs for the creation of the work. At the same time that he was working on these paintings however, Miró was also contemplating an important project for a ballet in collaboration with Georges Antheil. A number of the paintings consequently seem to reflect some of Miró’s ideas for this ballet and Danseuse is clearly one. The theme of dancing plays an important part in much of Miró’s work. He was himself a keen dancer and admirer of flamenco and the iconic figure of the “Spanish Dancer” recurs repeatedly in his work. In this work the wire-like lines that define the picture seem, like those of Picasso’s 1929 wire sculptures, to articulate both the movement of the dancing figure through space and the structure of its body. Curved and extended to create a fine graphic pattern on the paper, the painted semi-abstract forms of the figure also generate their own elegant but original visual dance within the picture plane. The present work was once in the celebrated collection of Roger Dutilleul (1873-1956), one of the most important collections of modern art, created over fifty years from 1905 to his death in 1956. The majority of Dutilleul’s collection forms the core of the 20th Century art collection of the Musée d’Art Moderne de Lille at Villeneuve d’Ascq.
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Joan MIRÓ (1893 - 1983) U ntitled , 1949 Signed and dated “Miró 1949” (on the reverse) Watercolour, brush, ink and wax crayon on paper - 62 x 46 cm - 24.4 x 18.1 in.
Provenance Pierre Matisse Gallery, New York Acquavella Galleries, New York Acquired by the present owner (2002)
L iterature Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró: Catalogue raisonné. Drawings 1938-1959, Paris, 2010, vol. II, No. 1139, ill. in colour p. 168
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Joan MIRÓ (1893 - 1983) T ête , 27 F eb . 1974 Signed, titled and dated “Miró. 27/II/74. Tête” (on the reverse) Oil on canvas - 73 x 92 cm - 28.7 x 36.2 in.
Provenance Galerie Maeght, Paris Sutton Manor Arts Centre, England Waddington-Custot Galleries Ltd., London (No. B11493) Galerie Urban, Paris Sale: Christie’s, New York, May 14, 1999, lot 613 Acquired by the present owner (2003)
E xhibited Paris, Galeries nationales du Grand Palais, Joan Miró, May - Oct. 1974, No. 202, ill. p. 145 London, Waddington Galleries Ltd., Groups IV, Feb. 1981, ill.
L iterature Jacques Dupin, Joan Miró: Catalogue raisonné. Paintings, vol. V, 1969-1975, Paris, 2003, No. 1583, ill. p. 192_1974
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André LANSKOY (1902 - 1976) L es J oies
des autres ,
1960
Signed “LANSKOY” (lower right corner); titled in French and Russian, inscribed and dated “Les joies des autres Roquereine 60” (on the reverse) Oil on canvas - 97 x 146,4 cm - 38.2 x 57.6 in.
Provenance Galerie Louis Carré et Cie., Paris Svensk-Franska Galleriet, Stockholm Acquired by the parents of the previous owner (in the 1960s) Sale: Christie’s London, 5 Feb. 2004, lot 114 Acquired at the above sale by the present owner
L iterature This work will be included in the forthcoming André Lanskoy Catalogue raisonné being prepared by André Schoeller, Paris
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Jean DUBUFFET (1901 - 1985) L e C ouvert , M ay 1944 Signed and dated “Dubuffet mai 44” (lower right corner) Oil on canvas - 72,5 x 91,5 cm - 28.5 x 36 in.
Provenance Galerie René Drouin, Paris H. Hoppenot, Paris Richard L. Feigen Gallery, New York Acquavella Galleries, Inc., New York Sale: Sotheby’s, London, Contemporary Art, 29 June 1989, Lot 522 Waddington-Custot Galleries, Ltd., London Private collection, Paris
E xhibited Paris, Galerie René Drouin, Exposition de tableaux et dessins de Jean Dubuffet, 1944, No. 18 Paris, Compagnie de L’Art Brut, Les Statues de Silex de Mr. Juva, 1948 New York, Acquavella Galleries, Inc., Masters of the 20th Century, 1974, No. 3
L iterature Max Loreau, Catalogue des travaux de Jean Dubuffet, Fasc. I : Marionnettes de la ville et de la campagne, (1917-1945), Editions Jean-Jacques Pauvert, Paris, 1966, p. 138, No. 244, ill. Republished by les Éditions de Minuit, Paris, 1993
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Lucio FONTANA (1899 - 1968) C oncetto
spaziale ,
1965
Signed “L. Fontana� (lower right corner) Mixed media on cardboard - 35 x 25 cm - 13.8 x 9.8 in.
C ertificate This work is registered in the Archivio Lucio Fontana in Milan under the reference No. 2360/19
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63
Victor VASARELY (1906 - 1997) C itra , 1955 -1959 Signed “Vasarely” (lower centre); countersigned twice, titled and dated “Vasarely Citra 1955-1959” (on the reverse) Oil on panel mounted on canvas - 110 x 100 cm - 43.3 x 39.4 in.
P rovenance Galerie Denise René -Hans Mayer, Düsseldorf (1972)
E xhibited Stuttgart, Württ. Kunstverein, No. 344/1
L iterature Marcel Joray, Plastic Arts of the 20th Century, vol. I, Editions du Griffon, Neuchâtel, 1965, similar artwork No. 130, ill. p. 116
P ublic
notes
A work of art such as Citra is emblematic of the intricate and combinatorial dimensions of Vasarely’s lifework. The artist purposefully distorted his materials, creating optical illusions by simply playing with geometric shapes and the relationship between white and black. This, in turn, provokes interesting special effects with respect to mass and relief. This bi-dimensional work of art seems genuinely “profound”, a “perpetuum mobile and trompe l’oeil” as Vasarely liked to say. The result is an ambiguous, visual and destabilizing experience for the art-lover.
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Victor VASARELY (1906 - 1997) L attos , 1987 Signed “Vasarely” (lower centre); countersigned, titled and dated “Lattos, 61 x 61 1987 Vasarely” (on the reverse) Acrylic on panel - 61 x 61 cm - 24 x 24 in.
Provenance Giò Arte, Mestre
C ertificate This work is registered in the Fondation Vasarely, Aix-en-Provence, under the reference No. 3543
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Antoni CLAVÉ (1913 - 2005) R oi Signed “Clavé” (lower right) Gouache, watercolour and ink on paper - 62 x 50 cm - 24.4 x 19.7 in.
Provenance Musée de l’Athénée, Geneva
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Georges MATHIEU (1921 - ) V aires , 1965 Signed and dated “Mathieu 65” (lower right corner) Oil on canvas - 97 x 195 cm - 38.2 x 76.8 in.
Provenance Acquired from the artist by the previous owner (2006)
E xhibited Paris, Galerie Charpentier, Mathieu, Oct.-Dec. 1965, No. 118 of the exhibition catalogue Liege; Antwerp; Brussels; Ghent; Charleroi, Art Français Contemporain, Sept.1966-Jan. 1967, No. 66 of the exhibition catalogue Cologne, Kölnischer Kunstverein, Mathieu, Gemälde, Gouachen, Aquarelle, Collagen, July-Sept.1967, No. 37 of the exhibition catalogue
L iterature Georges Mathieu, Mathieu, Paris-Milan, 1969, No. 201 ill.
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Bernard BUFFET (1928 - 1999) F leurs
sur un guéridon chinois ,
1999
Signed “Bernard Buffet” (lower left corner) and dated “1999” (lower right corner) Oil on canvas - 92 x 65 cm - 36.2 x 25.6 in.
C ertificate Maurice Garnier has confirmed the authenticity of this work
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73
Bernard BUFFET (1928 - 1999) T ête
de femme sur fond jaune ,
1967
Signed and dated “Bernard Buffet 67” (upper right corner) Oil on canvas - 131 x 96 cm - 51.6 x 37.8 in.
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Sam FRANCIS (1923 - 1994) U ntitled , 1980 Signed and dated “Sam Francis 1980” (on the reverse) and numbered “SFP80-18” (on the overlap) Oil on canvas - 60,3 x 50,8 cm - 23.7 x 20 in.
P rovenance Private collection, USA
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77
Yves KLEIN (1928 - 1962) L’E sclave
mourant ,
1962
Pure pigment and synthetic resin on resin, edition of 300 + 50 marked I/L to L/L 60 x 22 x 15 cm - 23.6 x 8.7 x 5.9 in.
78
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79
ARMAN (1928 - 2005) H air
spray ,
1997
Signed “Arman” and numbered (on the base) Fusion in bronze and wax, edition of 8 + 4 EA 206 x 74 x 60 cm - 81.1 x 29.1 x 23.6 in.
80
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81
ARMAN (1928 - 2005) C antando
sotto la pioggia ,
2003
Signed “Arman� and numbered (on the base) Fusion in bronze and wax, edition of 8 + 4 EA 206 x 80 x 80 cm - 81.1 x 31.5 x 31.5 in.
82
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83
ARMAN (1928 - 2005) S tarry
night ,
1995
Signed “Arman� (underneath) Acrylic and brushes on canvas - 95 x 135 cm - 37.4 x 53.1 in.
P rovenance Private collection, Paris
C ertificate
84
Price on request
This work is registered in the Arman Archives under the reference No. APA #8027.95.004
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ARMAN (1928 - 2005) U ntitled , 2003 Wood, acrylic paint and casings on stretched canvas - colours: green, yellow, blue, orange, gold, unique piece 80 x 61 x 11,5 cm - 31.5 x 24 x 4.5 in.
C ertificate This work is registered in the Arman Archives under the reference No. APA #8110.03.055
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87
Niki DE SAINT PHALLE (1930 - 2002) L ady
with handbag ,
2000
Signed “Niki de Saint Phalle” (inside the vase) Painted polyester resin, edition of 150 - 63 x 36 cm - 24.8 x 14.2 in.
88
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89
Niki DE SAINT PHALLE (1930 - 2002) L’O iseau
amoureux ,
2000
Signed “Niki de Saint Phalle”, numbered and stamped “Haligon” (inside the vase) Painted polyester resin, edition of 150 - 60 x 48 x 23 cm - 23.6 x 18.9 x 9.1 in.
90
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91
André BRASILIER (1929 - ) S oir
à
G olfe -J uan , 2009
Signed “André Brasilier” (lower right) Oil on canvas - 54 x 81 cm - 21.3 x 31.9 in.
P rovenance Estate of the artist
92
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93
André BRASILIER (1929 - ) T ango
argentin ,
2009
Signed “André Brasilier” (lower right) Oil on canvas - 46 x 65 cm - 18.1 x 25.6 in.
P rovenance Estate of the artist
94
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95
Fernando BOTERO (1932 - ) T he F amily , 2010 Signed “Botero 10� (lower right corner) Oil on canvas - 146 x 176 cm - 57.5 x 69.3 in.
C ertificate Fernando Botero has confirmed the authenticity of this work
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97
Fernando BOTERO (1932 - ) H omme
à la guitare et cigarette ,
2003
Signed “Botero 03” (lower right corner) Oil on canvas - 92,5 x 75,5 cm - 36.4 x 29.7 in.
P rovenance Acquired directly from the artist’s studio Private collection, Paris
C ertificate Fernando Botero has confirmed the authenticity of this work
98
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99
Tom WESSELMANN (1931- 2004) S till
life with fruit and goldfish ,
1987
Signed, titled and dated “87� and inscribed (on the reverse) Enamel on laser-cut steel - 132,1 x 195,6 cm - 52 x 77 in.
P rovenance Sidney Janis Gallery, New York Knoedler Gallery, New York Private collection, Palm Beach Irving Galleries, Palm Beach Acquired by the present owner from the above (1992)
E xhibited New York, Sidney Janis Gallery, Cut-Out Metal Paintings by Tom Wesselmann, April - May 1987, ill. in colour
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101
Andy WARHOL (1928- 1987) G uns , 1981 Stamped and numbered “PA 15. 048� (on the reverse) Silkscreen inks and acrylic on canvas - 41 x 51 cm - 16.1 x 20.1 in.
P rovenance Estate of the Artist
C ertificate The Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts have confirmed the authenticity of this work This work is registered in the Andy Warhol Foundation for the Visual Arts under the reference No. PA15.048
102
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103
Andy WARHOL (1928- 1987) A eroplane , 1983 Silkscreen on canvas - 30 x 35,5 cm - 11.8 x 14 in.
P rovenance Andy Warhol Foundation (1998) Lary Powell Private collection, Miami
C ertificate This work is registered in the Andy Warhol Foundation for the Visual Arts under the reference No. PA20.170
104
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105
Andy WARHOL (1928- 1987) T he P rincess
of
W ales , 1982
Signed and dated “Andy Warhol 82� (on the overlap) Synthetic polymer and silkscreen ink on canvas - 127 x 107 cm - 50 x 42.1 in.
P rovenance Private collection
E xhibited London, Opera Gallery
L iterature Andy Warhol, The Bomb, Padova, Vecchiato New Art Galleries, Oct. 12, 2006 - Feb. 17, 2007 Andy Warhol, Viaggio in Italia, Napoli, Maschio Angioino, July 20, 1996 - Nov. 2, 1996
106
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107
Andy WARHOL (1928- 1987) T he P rince
of
W ales , 1982
Signed and dated “Andy Warhol 82� (on the overlap) Synthetic polymer and silkscreen ink on canvas - 127 x 107 cm - 50 x 42.1 in.
P rovenance Private collection
E xhibited London, Opera Gallery
L iterature Andy Warhol, The Bomb, Padova, Vecchiato New Art Galleries, Oct. 12, 2006 - Feb. 17, 2007 Andy Warhol, Viaggio in Italia, Napoli, Maschio Angioino, July 20, 1996 - Nov. 2, 1996
108
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109
Andy WARHOL (1928- 1987) T rain ,
from the
T oy
series ,
1983
Stamped twice by the Estate of Andy Warhol (on the overlap); stamped by the Andy Warhol Foundation for the Visual Arts (on the overlap and on the reverse); numbered VF PA20.161 (on the overlap and on the stretcher) Acrylic and silkscreen ink on canvas - 27,9 x 35,6 cm - 11 x 14 in.
P rovenance Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Private collection, USA Sale: Cornette de Saint-Cyr, Paris, July 2, 2003, lot 88 Acquired by the present owner from the above sale
C ertificate This work is registered in the Andy Warhol Foundation for the Visual Arts under the reference No. VF PA20.161
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111
Andy WARHOL (1928- 1987) P ortrait
of
M rs K. (F rau K rüll ), 1980
Signed “Andy Warhol” (on the reverse) Acrylic and silkscreen ink on canvas - 101 x 101 cm - 39.8 x 39.8 in.
P rovenance Galerie Hans Mayer, Düsseldorf
E xhibited Paris, Galeries nationales du Grand Palais, Le grand monde d’Andy Warhol, March 16 - July 13, 2009
L iterature Galeries nationales du Grand Palais, Le grand monde d’Andy Warhol, Editions de la Réunion des musées nationaux, Paris, 2009, reproduced No. 259, p. 226
112
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113
Andy WARHOL (1928- 1987) P arrot ,
from the
T oy
series ,
1983
Signed and dated “Andy Warhol 83� (on the overlap) Acrylic and silkscreen ink on canvas - 25,4 x 20,3 cm - 10 x 8 in.
P rovenance Galerie Bruno Bischofberger, Zurich Private collection, Switzerland
114
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115
Keith HARING (1958- 1990) U ntitled , 13 A pril 1984 Signed and dated “© K. Haring APRIL 13, 1984” (on the overlap) Acrylic on canvas - 151,8 x 151,8 cm - 59.8 x 59.8 in.
P rovenance Tony Shafrazi Gallery, New York Galerie Paul Maenz, Cologne Acquired from the above by the present owner
E xhibited Cologne, Galerie Paul Maenz, Keith Haring, May 3-30, 1984 Berlin, DaimlerChrysler Contemporary, Private / Corporate: Werke aus der Daimler Kunst Sammlung: Ein Dialog (Private / Corporate; Works from the Daimler Art Collection: A Dialogue), May 28-July 21, 2002, p. 34
L iterature Paul Maenz, Keith Haring at Paul Maenz, Cologne, 1984, p. 5 Galerie Paul Maenz, Ausstellungs-saison (Exhibition Season) 1983-84, Cologne, 1984, p. 13 Germano Celant and Ida Gianelli, Keith Haring, Milan, 1994, p. 37 Private / Corporate: Werke aus der Daimler Kunst: Ein Dialog (Private / Corporate: Works from the Daimler Art Collection: A Dialogue), DaimlerChrysler Contemporary, Berlin, 2002, p. 34
C ertificate The Keith Haring Studio LLC has confirmed the authenticity of this work
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Price on request
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Keith HARING (1958- 1990) U ntitled , 7 J une 1987 Signed and dated “JUNE 7 1987� (on the reverse) Ink on paper - 69,9 x 85,1 cm - 27.5 x 33.5 in.
P rovenance Acquired directly from the artist by the present owner
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Price on request
119
INDEX Claude MONET
L a R ivière
Pierre-Auguste RENOIR
P ortrait
Henri MATISSE
B uste
Raoul DUFY
M aisons
p 04
of
P ierre R enoir
p 06
C itra
p 62
L attos
p 64
p 08
Antoni CLAVÉ
R oi
p 66
p 10
Georges MATHIEU
V aires
p 68
L es T urfistes
p 12
Bernard BUFFET
F leurs
L e Q uintette
p 14
Georges BRAQUE
N ature
p 16
Sam FRANCIS
U ntitled , 1980
p 74
Pablo PICASSO
B uste d ’ homme
p 18
Yves KLEIN
L’E sclave
p 76
p 20
ARMAN
H air
de femme
F alaise
à
morte
T ête d ’ homme F aune
et la vie
de jeune garçon
Fernand LÉGER
N ature
Marc CHAGALL
A près
morte
la naissance
p 78
spray
S tarry
p 26
U ntitled , 2003
p 84
L ady
p 86
p 28
Niki DE SAINT PHALLE
p 32
André BRASILIER
S oir
à
p 38
p 80 p 82
with handbag
T ango Fernando BOTERO
sotto la pioggia
night
L’O iseau
p 30
p 36
amoureux
p 88
G olfe -J uan
p 90
argentin
p 92
T he F amily
p 94
H omme
p 96
à la guitare et cigarette
p 40
Tom WESSELMANN
S till
p 42
Andy WARHOL
G uns
p 100
p 44
A eroplane
p 102
J udgement
p 46
T he P rincess
U ntitled , 1960
p 48
T he P rince
D anseuse
p 50
T rain ,
U ntitled , 1949
p 52
P ortrait
T ête
p 54
P arrot ,
Alexander CALDER
R ouge
René MAGRITTE
L es G râces
Salvador DALÍ
Q ueen
et bleu naturelles
of cups
p 56
André LANSKOY
L es J oies
Jean DUBUFFET
L e C ouvert
p 58
Lucio FONTANA
C oncetto
p 60
Price on request
mourant
p 72
p 24
L e C lown
grand cirque
de femme sur fond jaune
p 70
C antando
p 34
violoniste et l ’ âne rouge
T ête
sur un guéridon chinois
p 22
L e R oi D avid
Le
Joan MIRÓ
barbu
renversé
L es M énines B uste
à la pipe
et danseur
L e C heval
120
à la capeline
Victor VASARELY
des autres
spaziale
Keith HARING
life with fruit and goldfish
of
of
p 104
W ales
p 106
T oy
p 108
from the of
W ales
p 98
series
M rs K. (F rau K rüll )
from the
T oy
series
p 110 p 112
U ntitled , 1984
p 114
U ntitled , 1987
p 116
1 avenue Henri Dunant, Palais de la Scala • 98000 Monaco T. + 377 9797 5424 • monaco@operagallery.com
122
Price on request