The Gallery Collection by Stern Pissarro Gallery

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THE GALLERY COLLECTION I M P R E S S I O N I S T / M O D E R N / C O N T E M P O R A R Y

St e r n Pissa r ro G a l l e r y

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Email: stern@pissarro.com WWW.PISSARRO.NET

St e r n Pissa r ro G a l l e r y

6 6 S T . J A M E S ’ S S T R E E T , L O N D O N S W1A 1 N E , U K

THE GALLERY COLLECTION IMPRESSIONIST / MODERN / CONTEMPORARY St e r n Pissa r ro G a l l e r y

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CAM ILL E P I SS A R R O

(1830 – 1903)

Le Ru de Montbuisson, Louveciennes

Juin, Temps Pluvieux, Eragny

Oil on canvas 46 x 55.5 cm (181 ⁄ 8 x 217 ⁄ 8 inches) Signed lower right, C. Pissarro Painted circa 1869

Oil on canvas 66.7 x 82.7 cm (26 1 ⁄ 4 x 32 1 ⁄ 2 inches) Signed and dated lower right, C. Pissarro 98

Provenance

R. and C. Gérard Frères, Paris (circa 1930); sale, Crédit municipal, Paris, 20 March 1933 Otto Zieseniss, Paris (by 1934) Louise Zieseniss, Paris (by descent from the above, 1938) Private collection, Paris (by descent from the above, until 1962) Wildenstein & Co., Ltd., London (acquired from the above) Clive Runnells, Chicago (acquired from the above) Bequest from the above to the Art Institute of Chicago, 1963 Sold by the Art Institute of Chicago

Alfred Daber, Paris The Lefevre Gallery (Alex Reid & Lefevre), London (acquired from the above in 1950) Robert Morley, London (acquired from the above in 1951) Annabel Morley, London Dr. W. Eisenbeiss, Zurich Private Collection, USA

Exhibited London, The Lefevre Gallery (Alex Reid & Lefevre), Géricault to Renoir, 1951, no. 23 London, The Lefevre Gallery (Alex Reid & Lefevre), XIXth and XXth Century French Paintings and Drawings, 1960, no. 29

Literature Christopher Lloyd, Pissarro, London, 1992, no. 8 Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. II, Paris, 2005, no. 136, illustrated p. 127

CAMI LLE PI SSA RRO

(1830 –1903)

Provenance Louveciennes was merely seventeen kilometers outside Paris yet, with its idyllic landscape and unobstructed views, it was a favourite destination for Pissarro and several of his contemporaries, including Renoir, Monet and Degas. Indeed, Pissarro’s early paintings from Louveciennes are not only among the most important works of his career, they are also among the very first truly Impressionist compositions ever painted. It was in the wake of this period in the artist’s career that critic Armand Silvestre referred to him as “basically the inventor of this painting,” while Paul Cézanne proclaimed more than thirty years later that Pissarro was in fact “the first Impressionist” (as quoted in Ralph E. Shikes & Paula Harper, Pissarro, His Life and Works, 1980, p. 78). Le Ru de Montbuisson, Louveciennes offers superb evidence of the artist’s early Impressionist approach and, in its virtuosic adaptation of subtle tonal relationships, it reveals Pissarro’s profound understanding of the effects of light on color. Meanwhile its painterly surface exemplifies the artist’s characteristic brushstroke, which during this period was precise and tightly clipped; even in the dim and atmospheric backdrop of a clouded sky one can observe the premeditated significance of each stroke.

Exhibited Paris, Musée de l’Orangerie, Centenaire de la naissance de Camille Pissarro, FebruaryMarch 1930, no. 95 New York, Wildenstein & Co. Inc., Olympia’s Progeny, October-November 1965, no. 71 Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June-August 1980, no. 26 Tokyo, Isetan Museum of Art; Fukuoka Art Museum and Kyoto Municipal Museum of Art, Rétrospective Camille Pissarro, March-July 1984, no. 59 Tokyo, The Seibu Museum of Art and Fukuoka Art Museum, The Impressionist Tradition:

Masterpieces from the Art Institute of Chicago, October 1985-April 1986, no. 58 Nagaoka, Niigata Prefectural Museum and Nagoya, Aichi Prefectural Museum of Art, Masterpieces of Modern Art from the Art Institute of Chicago, June-September 1994, no. 18

Literature F. Neugass, “Camille Pissarro” in Deutsche Kunst und Dekoration, December 1930, p. 161 (illustrated) L.R. Pissarro and L.Venturi, Camille Pissarro, son art-son oeuvre, Paris, 1939, vol. I, p. 228, no.1055 (illustrated, vol. II, pl. 212) C. Kunstler, Pissarro, villes et campagnes, Lausanne, 1967, p. 49 (illustrated in colour, pl. 23) C. Lloyd, Camille Pissarro: Towards a Reassessment in Art International, 1985, p. 65 (illustrated) R. Brettell, French Impressionists, New York, 1987, pp. 112 and 118 (illustrated in colour, p. 115) Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Paris, 2005, vol. III, p. 759, no. 1214 (illustrated in colour)

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C A M I L L E P IS S A R R O

(1830–1903)

CA MI LLE PI SSA RRO

(1830–1903)

Vachère dans une Clairière

Entrée du Village d’Eragny

Gouache on card 25 x 21 cm (9 7 ⁄8 x 8 1 ⁄ 4 inches) Signed and dated lower left, C. Pissarro 1890

Oil on canvas 46.5 x 38 cm (18 1 ⁄ 4 x 15 inches) Stamped lower right, C. P. Circa 1884

Provenance Private Collection, France

Provenance

The work will be included in the forthcoming Catalogue critique des pastels et gouaches de Camille Pissarro being prepared by Joachim Pissarro and Claire Durand-Ruel Snollaerts under the sponsorship of the Institute Wildenstein.

Frankhauser Galerie Rousso, Paris (c.1948) Acquired in the 1950s by a Private Collection, France Galerie Pierre Levy, Paris Private Collection, France

Exhibited London, Marlborough Fine Art, French Masters of the XIX & XX century, June 1950, no. 52

Literature Joachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro, Critical Catalogue of Paintings, 2005, no. 753, Vol. III, p. 501 Ludovic-Rodo Pissarro knew of this painting and it is mentioned in the documents for the supplement to his 1939 catalogue raisonne of his father’s works.

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CAM ILL E P I SS A R R O

(1830 –1903)

CAMI LLE PI SSA RRO

(1830 –1903)

Lisière du Bois

Le Chemin, Paysage Hivernal

Oil on canvas 25.5 x 37 cm (10 x 14 9 ⁄ 16 inches) Signed and dated lower left, C. Pissarro 67

Oil on canvas 37.5 x 28.5 cm (14 3 ⁄ 4 x 111 ⁄ 4 inches) Signed and dated lower right, C. Pissarro 1862

Provenance

Galerie Romanet, Paris Private Collection, Switzerland

Mme Feyeux, Paris Bénézit Collection, Paris E.J. van Wisselingh, Amsterdam (bought 1952) Private Collection, New York (bought from E.J. Wisselingh 1955) Private Collection, Paris

Literature Joachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro, Critical Catalogue of Paintings, 2005, no. 113, Vol. II, p. 105

Exhibited Amsterdam, E.J. van Wisselingh & Co., Maîtres Français des XIX et XX Siècles, June-July 1952, Cat. no. 25

Literature Joachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro, Critical Catalogue of Paintings, 2005, no. 63, vol.II, page 74

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detail

ALBERT LEBOURG (1849–1928)

Bord de Seine à la Bouille

Village et Promeneurs en Bord de Seine

Oil on canvas 46 x 85 cm (18 1 ⁄ 8 x 33 1 ⁄ 2 inches) Signed and inscribed lower left, a. Lebourg la Bouille

Oil on canvas 39.5 x 72.5 cm (151 ⁄ 2 x 281 ⁄ 2 inches) Signed lower left, a. Lebourg

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ARMAND GUILLAUMIN

(1856 –1913)

La Roche de l’Echo, Creuse, 1895

Le Faucheur

Oil on canvas 73 x 92 cm (28 3 ⁄4 x 36 1 ⁄8 inches) Signed lower right, Guillaumin

Oil on canvas 60.7 x 73.2 cm (23 7 ⁄ 8 x 28 7 ⁄ 8 inches) Signed lower left, Henry Moret

Provenance

Literature

Provenance

Private Collection Arthur Tooth & Sons Ltd, London Private Collection, Sydney

Edouard des Couneres, Armand Guillaumin, Paris 1924, p. 61 Georges Senet et Dominique Fabiani, Armand Guillaumin: Catalogue Raisonné de l’œuvre Peint, 1971, no. 346

Private Collection, France (acquired circa 1930s) By descent to the present owner

Exhibited

This work will be included in the second volume of the catalogue raisonné currently in preparation by the Comité Guillaumin.

Australian Historical and Contemporary Paintings, Drawings and Sculpture

HENRY MORET

(1841– 1927)

This work will be included in the forthcoming Henry Moret catalogue raisonné currently in preparation by Jean-Yves Rolland and is accompanied by a certificate of authenticity from him dated 18th June 2012

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HENRI MANGUIN

(1874 – 1949)

HENRI MANGUIN

(1874 – 1949)

Toulon, Les Avisos

Le Barrage de Suresnes

Oil on canvas 46 x 61 cm (18 1 ⁄8 x 24 inches) Signed lower left, Manguin Painted circa 1926

Oil on canvas 60 x 73 cm (23 5 ⁄ 8 x 28 3 ⁄ 4 inches) Signed lower left, Manquin Provenance

Provenance

Acquired from the Artist in 1939 by Léon Madlyn and has remained in the family since then

Acquired from the artist by Marcel Bernheim, Paris in February 1927

Literature

Lucile et Claude Manguin, Marie-Caroline Sainsaulieu, Henri Manguin, Catalogue Raisonné de l’Œuvre Peint, éd. Ides et Calendes, Neuchâtel 1980, no. 1102, illustrated. p. 346

Lucile et Claude Manguin, Marie-Caroline Sainsaulieu, Henri Manguin, Catalogue Raisonné de l’Œuvre Peint, éd. Ides et Calendes, Neuchâtel 1980, no. 851, illustrated. p. 282

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G EO R G ES D ’ESPA GNAT

(1870 –1950)

MAURICE DE VLAMINCK

Bouquet dans un Pot Rouge

Vase de Fleurs

Oil on canvas 41 x 33 cm (161 ⁄ 8 x 13 inches) Signed with initials, upper left

Oil on canvas 56.2 x 38.4 cm (213 ⁄ 4 x 15 1 ⁄ 8 inches) Signed lower left, Vlaminck

(1876–1958)

This work will be included in the forthcoming catalogue critique of Maurice de Vlaminck’s paintings, drawings and ceramics being prepared by Maïthé Vallès-Bled and Godeliève de Vlaminck under the sponsorship of the Wildenstein Institute and is accompanied by a letter from the Wildenstein Institute dated 21st March 2005.

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PIERRE MONTÉZIN

(1874 –1946)

MAXIMILIEN LUCE (1858 –1941)

Paysage aux Vaches

Printemps Saint-Ay de la Loire, circa 1910

Oil on board 41 x 54 cm (161 ⁄ 8 x 211 ⁄ 4 inches) Signed lower right, P Montezin

Oil on canvas 64.8 x 50.5 cm (251 ⁄ 2 x 197 ⁄ 8 inches) Signed lower right, Luce Inscribed as titled on the stretcher

This work is accompanied by a certificate from Cyril Klein-Montézin, the artist’s grandson, issued on 14th June 2006, certificate no. 485.

Provenance Hammer Galleries, New York Private collection, New York

Exhibited Paris, Galerie Dru, M. Luce, Apr. 11-30, 1921, no. 36 (as La Loire a Saint-Ay), possibly

Literature Jean Bouin-Luce, Denise Bazetoux, Maximilien Luce: Catalogue Raisonne de l’œuvre Peint, Paris, 1995, vol. 3, p. 177, no. 745, illus

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JEAN DUFY

(1888 –1964)

GUSTAVE LOISEAU

(1885–1935)

Paris, La Tour Saint-Jacques

Le Pont Henri IV – Paris

Watercolour 44 x 55 cm (17 3 ⁄ 8 x 215 ⁄ 8 inch) Signed and dated 1922

Oil on Canvas 54.2 x 65 cm (213 ⁄ 8 x 25 5 ⁄ 8 inches) Signed lower right, G. Loiseau Painted in 1918

This work is accompanied by a copy certificate from Jacques Bailly dated 10th March 2010 and will be included in Vol. III of the catalogue raisonné currently in preparation.

Provenance Galerie Art-Mel, Paris

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THE GALLERY COLLECTION SCHOOL OF PARIS CUBISM CONTEMPORARY

MARC CHAG ALL

(1887– 1985)

Etude pour la Nuit de Vence Indian ink, oil and on canvasboard on plywood 28.4 x 34.8 cm (113⁄16 x 13 11⁄16 inches) Stamped lower left, Marc Chagall Executed circa 1952-56 Provenance Collection of the artist. Timothy Yarger Fine Art, Beverly Hills, California This work is accompanied by a replacement photo-certificate of authenticity from the Comité Chagall.

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M A R C C HA G A L L

(1887– 1985)

MARC CHAG ALL

(1887– 1985)

Les Amoureux aux Fruits ou Deux Têtes

La Cruche aux Fleurs et Fruits, 1929

Ink wash, gouache, pastel, India ink and black crayon on paper 65.7 x 51 cm (25 7 ⁄ 8 x 20 1 ⁄ 8 inches) Signed and dated lower right, Marc Chagall 1950

Gouache and ink on paper 67.1 x 51.8 cm (263⁄8 x 20 3⁄8 inches) Signed lower right, Marc Chagall Painted circa 1980

This work is accompanied by a photo-certificate of authenticity from the Comite Chagall, dated 5th April 2013.

Provenance Perls Galleries, New York Galerie de l’Elysée, Paris (Alex Maguy) Thence by descent to the present owner This work is accompanied by a photo-certificate of authenticity from the Comité Chagall, dated 21st April 2013.

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MOISE KISLING (1891–1953)

LOUIS MARCOUSSIS

Paysage de Provence

La Seine et la Tour Eiffel, Vue d’un Balcon

Oil on canvas 46 x 55 cm (181⁄8 x 215⁄8 inches) Signed lower left, Kisling Painted in 1919

Oil on canvas 33 x 66 cm (131 ⁄ 2 x 261 ⁄ 4 inches) Signed lower left, Marcoussis Painted in 1925

This work is accompanied by a certificate of authenticity from Jean Kisling, the Artist's son, and will be included in the forthcoming catalogue raisonné currently being prepared by him and Marc Ottavi.

(1878 – 1941)

Provenance The Artist’s Studio Alice Halicka, Paris (Madame Louis Marcoussis, by descent) Blanche Fabry Tézé, New York

Exhibited

Paris, Galerie Pierre, Peintures, gouaches et fixés de Louis Marcoussis, April-May 1925, no. 20 This work is accompanied by a certificate of authenticity from Alice Marcoussis (née Halicka), the artist’s wife, dated July 3rd 1973.

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HENRI HAYDEN

(1883 – 1970)

HENRI HAYDEN

(1883– 1970)

Vue d’un Village

Nature Morte à la Bouteille de Bass et à l’as de Trèfle

Oil on canvas 65 x 92 cm (25 x 36 inches) Signed and dated lower left, Hayden 1921 Inscribed verso, Hayden V-1921

Oil on canvas 54 x 65 cm (21 1 ⁄ 4 x 25 5 ⁄ 8 inches) Signed lower right, Hayden Painted in 1919

Provenance

E.J. van Wisseling and Co., Amsterdam Lucienne Rosenberg, Paris Private Collection, Paris Private Collection, California

Hirschl & Adler, New York Roland, Browse & Delbanco, London (acquired from the above in 1962) Acquired from the above by the present owner in 1968 To be included in the forthcoming Hayden Catalogue Raisonné being prepared by Pierre Célice

This work is accompanied by a certificate of authenticity from Pierre Célice dated 29 July 2011. This work is accompanied by a certificate of authenticity from Pierre Célice dated 4th May 2011.

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CLAUDE VENARD

(1913 – 1999)

CLAUDE VENARD

(1913 – 1999)

Tour Eiffel

King and Queen

Oil on canvas 117 x 89 cm (461⁄ 8 x 35 inches) Signed lower right, C. VENARD

Oil on canvas 135 x 165 cm (531⁄ 8 x 65 inches) Signed lower left, C. VENARD Painted circa 1965 37

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MAURICE UTRILLO

(1883 – 1955)

MAURICE UTRILLO

(1883 – 1955)

Château de Nangis (Seine-et-Marne)

Rue de Banlieue

Gouache on paper 34 x 50 cm (133⁄8 x 19 5 ⁄8 inches) Signed lower right, Maurice, Utrillo, V, Inscribed lower left, Château de Nangis (Seine-et-Marne)

Oil on card, laid on panel 44.8 x 58.5 cm (17 3 ⁄8 x 23 inches) Signed lower right, Maurice Utrillo Painted circa 1914

Provenance

Galerie Moos, Genf 1935 Private Collection, Basel

Private Collection, France

Literature Jean Fabris & Cédric Paillier, L’Œuvre Complet de Maurice Utrillo, Association Maurice Utrillo éditeur, Paris, 2009, p. 379, no. 315 under the title Rue de Banlieue Authenticity of this work has been confirmed by Gilbert Pétridès and Jean Fabris.

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MOISE KISLING

(1891 – 1953)

Still Life Oil on canvas 40.5 x 33 cm (16 x 13 inches) Signed lower left, Kisling Provenance C. Guichardaz, Paris Private Collection, United Kingdom

Literature Jean Kisling, Kisling 1891-1953, Turin 1982, Vol. II, no. 28

OSSIP ZADKINE

(1890 – 1967)

The Three Graces Watercolour on paper 62 x 45 cm (24 1 ⁄2 x 13 3⁄4 inches) Signed and dated lower right, O. Zadkine 28

This work is accompanied by a certificate of authenticity from Jean Kisling dated 5th December, 1990.

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FERNANDO BOTERO

(b.1932)

FERNANDO BOTERO

(b.1932)

Woman with Red Bow and Dog

Venus, 2003

Mixed media on paper 41 x 30.5 cm (161⁄ 8 x 12 inches) Signed and dated lower right, Botero 08

Oil on canvas 100 x 75 cm (39 3 ⁄ 8 x 291⁄ 2 inches) Signed and dated lower right, Botero 08

This work is accompanied by a certificate of authenticity from the artist.

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LÉOPOLD SU RVAGE

(1879 – 1968)

FÉRNAND LEGER

(1881 – 1955)

Homme et Oiseau

Etude pour Gaz de France

Casein and pencil on panel 55 x 45.5 cm (215⁄ 8 x 177⁄8 inches) Signed and dated lower right, Survage 45

Mixed media and gouache on paper Sheet size: 39.5 x 48.5 cm (151⁄ 2 x 19 1 ⁄ 8 inches) Monogram stamp, F.L.

Provenance

This work is accompanied by a photo certificate from Iris Hansma, Paris, October 4th 2012.

Galerie Françoise Friedrich, Cologne. Acquired from the above by the present owner in 1980

On the verso of the work, certificate of authenticity from the artist’s widow, Nadia Léger, with another on verso of frame from the Fondazione Pagora di Legnano, 1st October 1972.

Eric Brosset has confirmed the authenticity of this work.

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DAMIEN HIR ST

(b.1965)

ALEXANDER CALDER

(1898 –1976)

Beautiful Cannibalistic Electofetish Fighting in the Lava Beds Who Got My Eyeball?

La Noce

Paper Spin Painting (with butterflies)

Gouache on paper 57 x 77 cm (221⁄ 2 x 30 3⁄8 inches) Signed and dated lower right, Calder 74

Butterflies and acrylic on paper Diameter: 71.1 cm (28 inches) Signed lower centre Executed in 2008 Provenance Private Collection, London

Provenance Galerie Adrien Maeght Private Collection, Paris This work is registered in the archives of the Calder Foundation, New York, under registration Number A25116.

This work has been authenticated by the Hirst Authentication Committee, London.

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JEAN MICHEL ATLAN

(1913 – 1960)

A.R. PENCK

(1923 – 2012)

Sans Titre

The Right Point

Oil on canvas 81 x 54 cm (45 5 ⁄ 8 x 28 3 ⁄ 4 inches) Signed lower right, Atlan

Mixed med on canvas 96 x 78.2 cm (37 3 ⁄ 8 x 30 3 ⁄ 4 inches) Signed lower left, A.R. Penck Titled and dated 1993 The Right Point a.r. penck on the upper overlay

Provenance Private Collection, Lille

Literature Jacques Polieri, Atlan, Catalogue Raisonné de l’Œuvre Complet, Paris, 1996, no. 599, p. 332

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PAUL JENKINS

(1923 – 2012)

PA UL JENKINS

(1923 – 2012)

Phenomena Winter Harth

Phenomena A Certain Function Held

Oil and sand on canvas 66 x 122 cm (26 x 317 ⁄ 8 inches) Signed, titled and dated on verso, Paul Jenkins “Phenomena Winter Harth” 1978

Acrylic on canvas 100 x 81 cm (39 3 ⁄ 8 x 317 ⁄ 8 inches) Signed lower left, Paul Jenkins S Signed, titled and dated on verso, Paul Jenkins 1989 “Phenomena A Certain Function Held” Painted in 1989 51

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JEAN DUBUFFET

(1901–1925)

Fruits de Feu du Sol ANDRÉ MASSON (1896 –1987) Chute du Reveur (Suite des Entrevisions) Oil on canvas 100 x 73 cm (39 3 ⁄ 8 x 28 3 ⁄ 4 inches) Signed lower right, Masson Signed, titled and dated 1973 on the reverse Exhibited Parma, Palazzetto Eucherio Sanvitale, André Masson Opere dal 1925 al 1974, no. 65 This work is accompanied by a certificate of authenticity from Diego Masson on behalf of le Comité André Masson dated 21st November 2012.

Oil and collage on paper, laid on canvas 61 x 76.2 cm (24 x 30 inches) Signed and dated lower left, J. Dubuffet 59 Provenance

Literature

Galerie de France, Paris Galerie Knoedler, Paris Collection of Docter et Madame Milton Ratner, Chicago The David and Alfred Smart Gallery, Chicago Private Collection, France

M. Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule XIV: Célébration du sol II, texturologies, topographies, Lausanne, 1970, no. 181 (illustré p. 112) M. Loreau, Jean Dubuffet, Délits, Déportements, lieux du haut jeu, Lausanne, 1971, p. 277

Exhibited Chicago, University of Chicago, Smart Gallery; Saint Louis, Missouri, Washington University Gallery, Jean Dubuffet, Forty Years of his Art, 1985 (illustrated in exhibition catalogue p. 70) Paris, Galerie de France - Galerie Baudoin-Lebon, Dubuffet, Sols et Terrain, 1956-1960, January-Mars 1988 (illustrated in exhibition catalogue p. 68) FRAC Auvergne, Jean Dubuffet, Alexandre Viallat: Les Années d’une Amitié, 1953-1971, June-September 1991, no. 5 (illustrated in exhibition catalogue)

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ZHANG D A L I (b. 1963)

Z H A N G DA L I (b. 1963)

AK-47

Acrylic on vinyl 100 x 80 cm (39 5 ⁄ 8 x 311 ⁄ 2 inches) Signed on the reverse 2011