Stern Pissarro Gallery E-catalogue

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THE GALLERY COLLECTION IMPRESSIONIST / MODERN / CONTEMPORARY

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

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THE GALLERY COLLECTION IMPRESSIONIST / MODERN / CONTEMPORARY

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 Te l : + 4 4 ( 0 ) 2 0 7 6 2 9 6 6 6 2

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

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JOAN MIRÓ

(1893 – 1983)

Sans Titre Crayon on paper 32.1 x 26.4 cm (12 5 ⁄ 8 x 10 3 ⁄ 8 inches) Dedicated and signed lower right Executed in 1958 Provenance Estate of Elizabeth (née Allen) Straus, New York and Maine This work is accompanied by a certificate of authenticity by A.D.O.M,. dated 11 March 2014.

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PA UL JENKINS

(1923 – 2012)

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

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DAMIEN HIRST

(b. 1965)

Spin Mixed media on paper Diameter: 45.8 cm (18 inches) Signed with the Artist’s Stamp and dated 2001 on the reverse Executed 2008

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ZADOK BEN-DAVID

(b. 1949)

Broken Expectation (from the series 'Innerscape') Lacquered aluminium 29.5 x 29.5 cm (115 ⁄ 8 x 115 ⁄ 8 inches) Executed 1998 Provenance Galerie Albrecht, Munich Collection Piet and Ida Sanders

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MARINO MARINI

(1901 – 1980)

Cavallo e cavaliere Gouache, pen and Indian ink, brush and grey wash on paper 62.2 x 43 cm (24 1 â „ 2 x 17 inches) Signed and dated 1951 This work is accompanied by a certificate of authenticity from the Committee of the Fondazione Marino Marini.

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AUGUSTE HERBIN

(1882 – 1960)

Composition Oil on canvas 146 x 97 cm (571 ⁄ 2 x 381 ⁄ 4 inches) Signed and dated lower right, herbin 37 Titled, dated and inscribed on the reverse, Composition 1937 A. Herbin, 32 bis rue Falguière, Paris XV Painted in 1937 Provenance Private collection, Switzerland

Exhibited Brussels, Palais des Beaux-Arts, Herbin, 1956, no. 20

Literature G. Claisse, Herbin: Catalogue raisonné de l’œuvre peint, Paris, 1993, p. 409, no. 732 (illustrated)

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SERGE POLIAKOFF

(1900 – 1969)

Composition Oil on canvas 100 x 81 cm (39 3 ⁄ 8 x 317 ⁄ 8 inches) Signed and dated lower right, Serge Poliakoff 68 Painted in 1968 Provenance Private collection, Paris This work is registered in the archives Serge Poliakoff, under registration Number 968024 and will be included in the 5th volume of the Catalogue raisonné being prepared by Mr. Alexis Poliakoff.

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JEAN DUBUFFET

(1901–1985)

Fruits de Feu du Sol 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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JEAN MICHEL ATLAN

(1913 – 1960)

Sans Titre Oil on canvas 81 x 54 cm (45 5 ⁄ 8 x 28 3 ⁄ 4 inches) Signed lower right, Atlan Provenance Private Collection, Lille

Literature Jacques Polieri, Atlan, Catalogue raisonné de l’œuvre complet, Paris, 1996, no. 599, p. 332

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PA UL JENKINS

(1923 – 2012)

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

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GEORGES BRAQUE

(1882– 1963)

Pomme et Pichet Oil on paper laid down on canvas 16.9 x 25.8 cm (65 ⁄ 8 x 10 1 ⁄ 8 inches) Signed lower right, G. Braque Painted in 1955 Provenance Alexander Iolas, New York Pierre Schlumberger (acquired from the above) Acquired from the estate of the above in 1988

Literature Maeght Éditeur, ed., Catalogue de l’œuvre de Georges Braque : Peintures 1948-1957, Paris, 1959, illustrated pl. 100 (with incorrect medium)

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ZHANG DALI (b. 1963)

ZHANG DALI (b. 1963)

AK-47

AK-47

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

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

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A.R. PENCK

(1923 – 2012)

The Right Point Mixed media on canvas 96 x 78.2 cm (37 3 ⁄ 8 x 30 3 ⁄ 4 inches) Signed lower left, A.R. Penck Titled and dated on the upper overlay, 1993 The Right Point a.r. penck 15

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ARMAN

(1920

– 2005)

Untitled Acrylic and sliced guitar on canvas laid on board 102 x 102 cm (40 3 ⁄ 16 x 40 3 ⁄ 16 inches) Signed on the turnover edge Executed in 2003 Provenance Private Collection, USA This work is recorded in the Arman Studio Archives, New York under number APA# 8021.03.074. It is accompanied by a certificate of authenticity from Arman Studio Archives.

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JEAN-PAUL RIOPELLE

(1923 – 2002)

Antibes Oil on canvas 119.3 x 91.4 cm (47 x 36 inches) Signed and dated lower right, Riopelle 66 Also signed and dated on the reverse Provenance Galerie Maeght, Paris Private Collection, France Private Collection This work will be included in the forthcoming Jean-Paul Riopelle Catalogue raisonnĂŠ being prepared by Yseult Riopelle.

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FERNAND LÉGER

(1881 – 1955)

Étude pour Gaz de France Mixed media and gouache on paper Sight size: 38.5 x 49 cm (15 1⁄ 2 x 19 1⁄ 8 inches) Sheet size: 52 x 76 cm (20 1⁄ 2 x 29 3 ⁄ 8 inches) Signed with the estate monogram stamp, F.L. This work is accompanied by a photo certificate from Iris Hansma, Paris, October 4th 2012.

1. A photo certificate from Iris Hansma, Paris, October 4, 2012 2. Written on the verso of the work is an authenticity statement by the artist's widow, Nadia Léger 3. On the reverse of the backing is a third authentication statement from the Fondazione Pagora di Legnano, 1 October 1972

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ANDRÉ MASSON (1896 –1987) Chute du Rêveur (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 21 Novembre 2012.

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AUGUSTE HERBIN

(1882 – 1960)

Composition Oil on canvas 130 x 60 cm (511 ⁄ 4 x 231 ⁄ 2 inches) Signed lower right, Herbin Dated on the stretcher, Février 1930 Provenance Galerie de l’Effort Moderne (Léonce Roseberg), Paris Karl Ströher, Darmstadt Sotheby's, London, December 8, 1999 Acquired at the above sale by a private USA collector

Exhibited Hanover, Kestner Gesellschaft, Auguste Herbin, 1967, no. 66 Dusseldorf, Kunsthalle, Auguste Herbin, Rétrospective, 1967-68, no. 63

Literature Geneviève Claisse, Herbin, Catalogue raisonné de l’œuvre peint, Paris, 1993, no. 667, illustrated p. 397

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AUGUSTE HERBIN

(1882 – 1960)

Composition, Abstraction Oil on canvas 89.1 x 116.1 cm (35 x 453 ⁄ 4 inches) Signed lower right Painted in 1925 Provenance Galerie L’Effort Moderne (Léonce Rosenberg), Paris Galerie Zlotowski, Paris Private Collection, Europe

Literature Anatole Jakovski, Auguste Herbin, Paris, 1933, illustrated p. 48 René Massat, Auguste Herbin, Paris, 1953, illustrated p. 17 Geneviève Claisse, Catalogue raisonné de l’œuvre peint d’Herbin, Lausanne, 1993, no. 570, illustrated p. 379

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MARC CHAGALL

(1887 – 1985)

Le cirque dans le ciel bleu de Paris Oil on canvas 100 x 73 cm (393 ⁄ 8 x 283 ⁄ 4 inches) Signed lower left, Chagall Inscribed on the reverse Painted circa 1978-1981 Provenance Purchased from David McNeil, son of the artist Private collection, Japan This work is accompanied by a photo-certificate of authenticity from the Comité Chagall, dated 21 July 2014.

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MARC CHAGALL

(1887– 1985)

Étude pour la Nuit de Vence Oil and India ink on canvas-board on plywood 28.4 x 34.8 cm (113⁄16 x 13 11⁄16 inches) Stamped signature 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 photo-certificate of authenticity from the Comité Chagall.

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MAURICE DE VLAMINCK

(1856 – 1958)

Marine Oil on canvas 73.5 x 92 cm (251 ⁄ 2 x 317 ⁄ 8 inches) Signed This work is accompanied by a letter of authenticity from the Wildenstein Institute, dated 6 October 2000.

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JULES PASCIN

(1885 – 1930)

Nu, le Bras Levé Oil and pencil on canvas 72.4 x 59.1 cm (281 ⁄ 2 x 231 ⁄ 4 inches) Signed Literature Jules Pascin: Catalogue raisonné by Krohg, Hemin, Perls and Rambert, Éditions Abel Rambert, volume I, illustration No. 236, page 133

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KEES VAN DONGEN

(1877 – 1968)

Portrait de Madame Van Der Velde Oil on canvas 126 x 96.5 cm (49 5 ⁄ 8 x 38 inches) Signed centre left, van Dongen Painted circa 1920-23 Provenance Private Collection Private Collection (acquired from the above in 2001)

Literature Edmond des Courières, Van Dongen, Paris, 1925, illustrated p. 24 Kees van Dongen (exhibition catalogue), Fondation Pierre Gianadda, Martigny, 2002, no. 72, illustrated in color p. 122 This work will be included in the forthcoming Catalogue raisonné being prepared by Jacques Chalom des Cordes under the sponsorship of the Wildenstein Institute.

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GUSTAVE LOISEAU

(1865 – 1935)

Rue de Village Oil on canvas 46.4 x 55.2 cm (18 1 ⁄ 4 x 213 ⁄ 4 inches) Signed and dated lower left, G. Loiseau 1909 This work is accompanied by a certificate of authenticity by Didier Imbert and will be included in the forthcoming Catalogue raisonné.

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ALFRED SISLEY

(1839 –1899)

Les Moulins du Pont de Moret Oil on canvas 55 x 67 cm (215 ⁄ 8 x 26 3 ⁄ 8 inches) Signed and dated lower left, Sisley 89 Provenance Private Collection, France This work is accompanied by a letter of authenticity from the Comité Sisley, dated 26 April 2013. It will be included in the new edition of the Catalogue raisonné of Alfred Sisley by François Daulte now being prepared by the Comité Sisley at the Galerie Brame et Lorenceau.

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PA UL GAUGUIN

(1848 –1903)

Rouen, L’Église Saint-Ouen Oil on canvas 91.5 x 72.8 cm (36 x 28 5 ⁄ 8 inches) Signed and dated lower right, P Gauguin 84 Provenance (possibly) Daniel de Monfreid, Paris (1893) French Art Gallery, New York (by 1944) Hugo Moser, New York Pedro Vallenilla Echeverria, Caracas (by 1957) Wildenstein & Co., Inc., New York (by 1968) Acquired by the family of the present owner in the 1970s

Exhibited (possibly) Paris, Catalogue de la 8ème exposition de peinture, May-June 1886, no. 51 Amsterdam, E.J. van Wisselingh & Co., Peintures françaises, 1940, no. 14 Milwaukee Art Institute, Masters of Impressionism, October-November 1948, no. 13 Caracas, Fundación Eugenio Mendoza, Cien años de pintura moderna, 1840-1940, May 1957, p. 13, no. 19 (illustrated) Caracas, Museo de Bellas Artes, 20 Obras de la colección Pedro Vallenilla Echeverria, 1959, p. 9, no. 7 London, Wildenstein & Co., Ltd., The French Impressionists and some of their Contemporaries, April-May 1963, pp. 23-24, no. 64 (illustrated) Corpus Christi, Art Museum of South Texas, Ideas for the Collector, February-March 1968

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Baltimore Museum of Art, From El Greco to Pollock, Early and Late Works by European and American Artists, October-December 1968, pp. 86-87, no. 65 (illustrated, p. 86) Cincinnati Art Museum, The Early Work of Paul Gauguin, Genesis of An Artist, MarchApril 1971, pp. 7 and 11, no. 6 (illustrated, p. 17, fig. 6)

Literature J. Rewald, ed., Camille Pissarro, Letters to His Son Lucien, New York, 1943, p. 48 (illustrated, fig. 8) J. Rewald, The History of Impressionism, New York, 1946, p. 376 (illustrated) G. Diehl, El arte moderno francés en Caracas, Instituto Cultural Venezolano-Francés, 1959, p. 19, no. 18 (illustrated) “Notiziario,” Arte antica e moderna, no. 22, April-June 1963, p.XVI (illustrated, fig. 40) A. Bury, “In the Galleries, Lautrec and Gauguin,” Connoisseur, December 1963, p. 258 G. Wildenstein, Gauguin, Paris, 1964, vol. I, pp. 41-42, no. 103 (illustrated, p. 41) J. Rewald, The History of Impressionism, New York, 1973, p. 494 (illustrated) D. Wildenstein, Gauguin, Premier itinéraire d'un sauvage, Catalogue de l'œuvre peint (1873-1888), Paris, 2002, vol. I, p. 144, no. 124 (illustrated)

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CAMILLE PISSARRO

(1830 – 1903)

Route de Neaufles Watercolour and pencil on paper 12.7 x 17.8 cm (5 x 7 inches) Signed, inscribed and dated Oct ‘88 This work is accompanied by a certificate of authenticity from Dr. Joachim Pissarro, dated 30 October 2014.

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CAMILLE PISSARRO

(1830–1903)

Vachère dans une Clairière Gouache on card 25 x 21 cm (9 7 ⁄8 x 8 1 ⁄ 4 inches) Signed and dated lower left, C. Pissarro 1890 Provenance Private Collection, France This 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 (confirmation dated 29th June, 2007).

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PIERRE-AUGUSTE RENOIR

(1841 – 1919)

Femme Nue Assise Oil on canvas 36.5 x 29.8 cm (14 3 ⁄ 8 x 111 ⁄ 4 inches) Signed with Estate stamp upper right Painted in 1919 Provenance Private Collection Private Collection (acquired from the above by the present owner in 1993)

Literature Bernheim-Jeune (ed.), L’Atelier de Pierre-Auguste Renoir, Paris, 1931, vol. II, no. 656, illustrated pl. 205 (with incorrect dimensions) This work is accompanied by a letter from the Wildenstein Institute, dated 5 December 2013. It is to be included in the Renoir Catalogue critique being prepared by the Wildenstein Institute from the François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein archives.

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CAMILLE PISSARRO

(1830–1903)

Entrée du Village d’Eragny Oil on canvas 46.5 x 38 cm (18 1 ⁄ 4 x 15 inches) Signed with Estate stamp lower right, C. P. Painted circa 1884 Provenance

Literature

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

Joachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro, Critical Catalogue of Paintings, 2005, no.753, Vol. III, p.501

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

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Ludovic-Rodo Pissarro knew of this painting and it is mentioned in the documents for the supplement to his 1939 Catalogue raisonné of his father’s works.

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CAMILLE PISSARRO

(1830 –1903)

Le Ru de Montbuisson, Louveciennes Oil on canvas 46 x 55.5 cm (181 ⁄ 8 x 217 ⁄ 8 inches) Signed lower right, C. Pissarro Painted circa 1869 Provenance 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. 12

Louveciennes was merely seventeen kilometres 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 colour. 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.

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CAMILLE PISSARRO

(1830 – 1903)

Le Chou à Pontoise Oil on canvas 73 x 92 cm (28 3 ⁄ 4 x 36 1 ⁄ 4 inches) Signed and dated lower right, C. Pissarro 1882 Provenance Isadore Montaignac, Paris (sold: Galerie Georges Petit, Paris, December 3-4, 1917, lot 69) Winkel & Magnussen, Copenhagen (acquired at the above sale and sold: American Arts Association, New York, April 6, 1922, lot 52) Durand-Ruel, New York (acquired at the above sale) (possibly) Georges Lecomte, Paris (acquired from the above) Sam Salz, New York Paul Shields, New York (acquired from the above in June 1958) Barbara Shields Crowley Estate of Barbara Shields Crowley (Sotheby’s, New York, May 17, 1990, lot 14) Connaught Brown, London Acquired from the above in 2009

Exhibited Geneva, Musée d'Art et d’Histoire, 1918, Tableaux anciens et modernes: collections de M. le Conseiller d’État Hansen à Copenhague, no. 116 Neuchâtel, Société des Amis des Arts, 1919, Tableaux provenant des collections de M. le Conseiller d’État Hansen à Copenhague, no. 64 Copenhagen, V. Winkel & Magussen, 1919, French Painting, no. 675 Paris, Galerie Durand-Ruel, 1928, Tableaux par Camille Pissarro, no. 39

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Paris, Musée de l'Orangerie, 1930, Centenaire de la Naissance de Camille Pissarro, no. 56 bis Paris, Galerie Durand-Ruel, Pissarro (1830-1903), 1956, no. 46, illustrated in the catalogue

Literature Ludovic-Rodo Pissarro & Lionello Venturi, Camille Pissarro, Son Art - Son Œuvre, vol. 1, Paris, 1939, no. 562, catalogued p. 161; vol. 2, illustrated pl. 116 Françoise Cachin, Studies on Camille Pissarro, 1987, p. 96 Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Vol. II, Geneva, 2005, no. 675, illustrated in colour p. 452

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CAMILLE PISSARRO

(1830 – 1903)

Le Village à Travers les Arbres Oil on canvas 55.2 x 45.6 cm (213 ⁄ 4 x 18 inches) Signed lower left, C. Pissarro Painted circa 1869 Provenance Anon. sale, Paris, 4 May 1914, lot 72 Galerie Bernheim-Jeune, Paris (acquired at the above sale) owned in half-share with Durand-Ruel, Paris from 8 May 1914 – 24 April 1915 Dikran Khan Kélékian, Paris and New York; His sale [The Widely Known Antiquarian Dikran Khan Kélékian]; American Art Association, New York, 30-31 January 1922, lot 129 L. Orselli (purchased at the above sale) Gallery of Modern Art, New York Durand-Ruel Galleries, New York (purchased from the above, 11 January 1944) George J. Gould (purchased from the above, 3 March 1944); Sotheby's, London, 6 May 1959, lot 139 Paul Rosenberg Gallery, New York, inv. no. 5761 Lucy Smith Doheny Battson (1893-1993) (purchased from the above, June 1960), by descent to her son William H. Doheny, Sr. (1920-2003), and by descent to his wife Onnalee Olson Doheny (1919-2013)

Exhibited Brooklyn, The Brooklyn Museum of Art, Paintings by Modern French Masters representing the Post-Impressionists and their Predecessors, March 1921, no. 175

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Paris, Musée des Arts Décoratifs, Cinquante ans de peinture française (1875-1925), 28 May - 12 July 1925, no. 58 Amsterdam, Stedelijk Museum, Vincent Van Gogh en zijn tijdgenooten, 6 September2 November 1930, no. 244

Literature A. Alexandre, Collection Kélékian, Tableaux de l’école française moderne, Paris, 1920, pl. 51, p. 51 L. Koenig and L. Yaffe, Camille Pissarro, Paris, 1927, pl. II L-R Pissarro and L. Venturi, Camille Pissarro, Paris, 1939, no. 69 G. Jedlicka, Pissarro, Berne, 1950, pl. 3 T. Natanson, 'Pissarro', in Artistes d’aujourd’hui et jadis, Lausanne, 1950, pl. 3 J. Rewald, Pissarro, Paris, 1960, fig. 15 D. Pataky, Pissarro, Budapest, 1972, pl. 10 J. Isaacson, Constable, Duranty, Mallarmé, Impressionism, Plein air, and Forgetting in The Art Bulletin, September 1994, p. 438 J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. II, Paris, 2005, p. 126, no. 134

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CAMILLE PISSARRO

(1830 –1903)

Lisière du Bois Oil on canvas 25.5 x 37 cm (10 x 14 9 ⁄ 16 inches) Signed and dated lower left, C. Pissarro 67 Provenance Sale, Versailles, Hôtel Rameau, 9 June 1960, no. 100, ill. – Bought before 1960 by Simon Barbey, Geneva (Switzerland), who was still the owner in 1976

Exhibited Pavia, Italy, Visconti Castle’s Stables, Pissarro, February - June 2014, Cat. No.7

Literature Joachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro critical catalogue of paintings, 2005, No. 113, Vol. II, p.105

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ALFRED SISLEY

(1839 –1899)

Cabanes au Bord du Loing Oil on canvas 46 x 55 cm (18 1 ⁄8 x 21 5 ⁄8 inches) Signed and dated lower left, Sisley 96 Provenance Collection Georges Petit, Paris Anonymous sale, Paris, Hôtel Drouot Paris, March 9, 1935, Lot 56 A. Bergaud, Paris (acquired at the previous sale) Private Collection, Paris Anonymous sale, Paris, Hotel Drouot, December 15, 2010, lot 127 Private collection (acquired at the previous sale)

Exhibited 1897, February, Paris, Galerie Georges Petit, A. Sisley, No.126 2009, May, 18-20, Temps Forts de Drouot Montaigne

Literature François Daulte, Alfred Sisley, Catalogue raisonné de l’œuvre peint, Paris, 1959, no. 855, ill.

This work is accompanied by a letter of authenticity from the Comité Sisley, dated 8 March 2013. It will be included in the new edition of the Catalogue raisonné of Alfred Sisley by François Daulte now being prepared by the Comité Sisley at the Galerie Brame et Lorenceau.

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CAMILLE PISSARRO

(1830 –1903)

Femme Assise Charcoal on paper 22 x 27 cm (8 5 ⁄ 8 x 10 5 ⁄ 8 inches) Signed lower right, C. Pissarro Executed circa 1882 Provenance Notanda Gallery, Sydney Acquired by the family of the previous owner in Paris c.1950 Private Collection, France This work is accompanied by a letter of authenticity by Dr Joachim Pissarro and will be included in the upcoming Catalogue raisonné of works on paper.

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CAMILLE PISSARRO

(1830 – 1903)

Le Boulevard Graphite on blue paper 20.2 x 33.8 cm (8 x 131 ⁄ 4 inches) Signed lower left, C.P. Provenance Private Collection, CA This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro and will be included in the forthcoming Catalogue raisonné of drawings by Camille Pissarro.

CAMILLE PISSARRO

(1830 – 1903)

Entrance to a Village Charcoal on paper 26.7 x 43.2 cm (10 1 ⁄ 2 x 17 inches) Stamped with the artist’s initials Provenance Mme. Rodo Pissarro (daughter-in-law of Camille Pissarro) Arbit Blatas (acquired from the above) Estate of Artbit Blatas Regina Resnick Joachim Pissarro has inspected this drawing and believes that the work was drawn by Camille Pissarro circa 1860.

The style of the drawing denotes a date c.1860, but the composition with the steep foreshortening of the road anticipates those paintings he made at Louveciennes ten years later.

The essential elements - the road, the row of trees and the low horizon - do, however, occur in paintings by artists of the Barbizon school (for example Théodore Rousseau) which Pissarro could have seen after his arrival in France. The charcoal has been used with remarkable deftness throughout.

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CAMILLE PISSARRO

(1830 – 1903)

Study of Figures Watercolour, grey wash and pencil on paper 25.6 x 17.3 cm (101 ⁄ 8 x 63 ⁄ 4 inches) Signed with the artist’s initials, lower right Executed in the 1880s This work is accompanied by a certificate of authenticity from Dr. Joachim Pissarro, dated 30 October 2014.

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MAURICE UTRILLO

(1883 – 1955)

Château de Nangis (Seine-et-Marne) 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) Painted between 1932 and 1934 Provenance Max Moos, Genève 1935, Genève, Galerie Moos, 23 mars, lot 151, repr. N.B. This work is accompanied by a certificate of authenticity from Jean Fabris and Cédric Paillier, dated 17 January 2014.

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HENRI MANGUIN

(1874 – 1949)

Le Barrage de Suresnes Oil on canvas 60 x 73 cm (23 5 ⁄ 8 x 28 3 ⁄ 4 inches) Signed lower left, Manguin Painted in 1939 Provenance Acquired from the Artist in 1939 by Léon Madlyn and has remained in the family since then

Literature Lucile and Claude Manguin, Marie-Caroline Sainsaulieu, Henri Manguin, Catalogue raisonné de l’œuvre peint, éd.

Ides et Calendes, Neuchâtel 1980, no. 1102, illustrated. p. 346 This work is accompanied by a certificate of authenticity from Lucile Martinas Manguin, dated 27 January 1972.

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HENRY MORET

(1856 – 1913)

Ramasseuses de Goémon à Möelan, Bretagne Oil on canvas 65.4 x 92.1 cm (25 3 ⁄ 4 x 36 1 ⁄ 4 inches) Signed and dated lower right, Henry Moret 1900 Provenance Durand-Ruel Gallery, New York (no. 2589) Frank Thompson, Philadelphia Christie's Sale London, 22nd June 2005, lot 00105 Private Collection, California

Literature Pennsylvania, The Pennsylvania Academy of the Fine Arts, Loan Exhibition of Paintings and Drawings of the Modern French School, 1920

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ALBERT LEBOURG (1849–1928) Bord de Seine à la Bouille Oil on canvas 46 x 85 cm (181 ⁄ 8 x 331 ⁄ 2 inches) Signed and inscribed lower left, a. Lebourg la Bouille

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ALBERT GLEIZES

(1881– 1953)

Le Petit Sentier, 1907 Oil on canvas 55 x 46 cm (215 ⁄ 8 x 181 ⁄ 8 inches) Signed and dated lower right, Albert Gleizes 07 Literature Albert Gleizes Catalogue raisonné, 1998, Volume 1, no. 91, p.51

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MAXIMILIEN LUCE (1858 –1941) Printemps Saint-Ay de la Loire, circa 1910 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 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 raisonné de L'œuvre peint, Paris, 1995, vol. 3, p. 177, no. 745, illustrated

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ARMAND GUILLAUMIN

(1841 – 1927)

La Roche de l’Écho, Creuse, 1895 Oil on canvas 73 x 92 cm (28 1 ⁄2 x 36 1 ⁄4 inches) Signed lower right, Guillaumin Provenance

Literature

Private Collection Arthur Tooth & Sons Ltd, London Christie's, Sydney, 3 October 1973, lot 454, illustrated 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

Exhibited Australian Historical and Contemporary Paintings, Drawings and Sculpture

This work is accompanied by a letter of authenticity from Stéphanie Chardeau-Botteri, from the Comité Guillaumin, dated 10 May 2011. It will be included in the second volume of the Catalogue raisonné currently in preparation by the Comité Guillaumin.

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MAX LIEBERMANN

(1847 –1935)

Gastzimmer-Dekorentwurf zum IV. Akt von Gerhart Hauptmanns Drama Gabriel Schillings Flucht Pastel and pencil on paper laid down on board 31.3 x 49.8 cm (12 3 ⁄ 8 x 19 5 ⁄ 8 inches) Signed lower right, M Liebermann Drawn in 1912 Provenance

Literature

Max Liebermann, Berlin (1914) Anon. sale, Berlin, Paul Cassirer and Hugo Helbing, 17 May 1927, lot 85 Mr. and Mrs. Ernst Eichenwald, Berlin and New York (circa 1935) Dr. Heinz F. Eichenwald Collection

E. Hancke, Max Liebermann, Sein Leben und seine Werke, Berlin, 1914, p. 546 M. Eberle, Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien, Munich, 1996, vol.2, cat.no. 1912/9 H. Rischbieter, ed., Bühne und bildende Kunst im XX Jahrhundert, Maler und Bildauer arbeiten für das Theater, Hannover, 1968, p.287

Exhibited Kunsthalle Mannheim, Moderne Theaterkunst. 13. Ausstellung des Freien Bundes, January-February 1913

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This work is accompanied by a letter of authenticity from Drs. Margaret Nouwen dated 5 March 2014.

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GINO SEVERINI

(1833 – 1966)

Nature Morte aux Jolies Dentelles Oil on board 33.3 x 41 cm (13 1 ⁄8 x 16 1 ⁄8 inches) Signed lower right, G.Severini Inscribed on the reverse, Meudon 8 Painted in 1946 Provenance Collection Bourdeillette (Monsieur Bourdeillette was a French diplomat posted to Rome)

Literature Gino Severini Catalogue raisonné by Daniela Ronti, Arnoldo Mondadori Editore, Editions Philippe Daverio, Milan, 1988, illustrated No. 30, page 622 Madame Severini, the artist’s daughter, has confirmed the authenticity of this work and has indicated that Severini and his family lived at Meudon from October 1946 until October 1952.

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HENRI HAYDEN

(1883 – 1970)

Vue d’un Village Oil on canvas 65 x 92 cm (25 x 36 inches) Signed and dated lower left, Hayden 1921 Inscribed on the reverse, Hayden V-1921 Provenance E.J. van Wisseling and Co., Amsterdam Lucienne Rosenberg, Paris Private Collection, Paris Private Collection, California This work is accompanied by a certificate of authenticity from Pierre Célice dated 29 July 2011.

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HENRI HAYDEN

(1883– 1970)

Nature Morte à la Bouteille de Bass et à l’As de Trèfle Oil on canvas 54 x 65 cm (21 1 ⁄ 4 x 25 5 ⁄ 8 inches) Signed lower right, Hayden Painted in 1919 Provenance Hirschl & Adler, New York Roland, Browse & Delbanco, London (acquired from the above in 1962) Acquired from the above by the present owner in 1968 This work is accompanied by a certificate of authenticity from Pierre Célice dated 4th May 2011.

It will be included in the forthcoming Hayden Catalogue raisonné being prepared by Pierre Célice.

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EDGAR DEGAS

(1830 – 1903)

Femme Nue Assise Charcoal on paper 61 x 42 cm (24 x 16 1 ⁄ 2 inches) Stamped signature lower left, Degas Provenance The artist’s studio sale, part III Galerie Georges Petit, Paris, 7-9 April 1919, lot 274 Edmond Céria (acquired at the above sale)

Literature P.A. Lemoisne, Degas et son œuvre, Paris, 1946, vol. III, p. 698, no. 1200 A. Wofsy, Degas’s Atelier at Auction, Paintings, Pastels and Drawings Sales III and IV – 1919, San Francisco, 1989, no. 274 (illustrated p. 206) This work is accompanied by a letter of authenticity by Brame & Laurenceau, dated 28 June 2011.

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PIERRE BONNARD

(1867 – 1947)

Baigneuse debout Crayon on paper 39 x 28.5 cm (15 1 ⁄ 4 x 111 ⁄ 4 inches) Signed lower right, Bonnard Provenance Marlborough Fine Art, London Collection of Denys Sutton, London Private Collection, Atlanta The authenticity of this work has been confirmed by M. Guy-Patrice and Michel Dauberville.

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CAMILLE PISSARRO

(1830 – 1903)

Country Landscape Pencil on paper 12.7 x 21.2 cm (5 x 8 1 ⁄ 4 inches) Signed with Estate stamp lower right, C.P. Executed in Pontoise in the mid-1870s Provenance Arbit Blatas Estate of Arbit Blatas Regina Resnik Private Collection, Florida This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro dated 12 April 2005.

CAMILLE PISSARRO

(1830 – 1903)

Paysage avec Deux Personnages Ink on paper 16.2 x 21.6 cm (6 3 ⁄ 8 x 8 1 ⁄ 2 inches) Signed with Estate stamp, C.P. Executed between 1855 and 1860 Provenance Estate of the artist Schoneman Galleries, Inc., New York Estate of Margo Schoneman

Exhibited Pissarro Drawings: From the Collection of Mr. and Mrs. F. L. Schoneman, Norton Gallery & School of Art, West Palm Beach, Florida, December 5, 1976 to January 5, 1977 This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro dated 14 January 2014.

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PIERRE BONNARD

(1867 – 1947)

Paysage à Vernon Pencil and wax crayon on paper 31.1 x 23,6 cm (121 ⁄ 4 x 91 ⁄ 4 inches) Signed with Estate stamp lower right, PB Executed circa 1920 Provenance From the estate of the artist Private collection, Atlanta

Literature Literature G. Genty and P. Vernon, Bonnard inédits, Paris, 2003, no. 454, p. 170 The authenticity of this work has been confirmed by M. Guy-Patrice Dauberville.

PIERRE BONNARD

(1867 – 1947)

Le Parc, Étude pour un Éventail Ink, India ink and pencil on paper 25.1 x 34 cm (9 7 ⁄ 8 x 133 ⁄ 8 inches) Signed with Estate stamp in centre, PB Executed circa 1891-1892 Provenance Collection of Lew and Edie Wasserman, Los Angeles Private collection, Atlanta

Exhibited Milan, Palazzo della permanenete, bale, Kunsthalle Pierre Bonnard, avril - juillet 1955, no.56 The authenticity of this work has been confirmed by M. Guy-Patrice and Michel Dauberville.

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GEORGES MANZANA PISSARRO Le Pont de Saint-Cloud Oil on canvas 64.8 x 59.4 cm (25 1 ⁄ 2 x 23 3 ⁄ 8 inches) Signed lower right, G.Manzana Provenance Kaplan Gallery, London Trosby Galleries, Palm Beach Private Collection (acquired from the above)

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(1871 – 1961)

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GEORGES MANZANA PISSARRO

(1871 – 1961)

Un Paysage Pastoral Oil on board 54.5 x 65.5 cm (211 ⁄ 2 x 25 3 ⁄ 4 inches) Signed and dated lower right, G. Manzana 1901 Provenance Private Collection, France

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LUDOVIC-RODO PISSARRO Cabaret Dancers Oil on panel 46 x 55 cm (181 ⁄ 8 x 215 ⁄ 8 inches) Signed lower left, Ludovic Rodo Painted circa 1906

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(1878 – 1952)

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