TEFAF Maastricht 2024 by Richard Green

RICHARD GREEN

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JONATHAN GREEN

A s TE FA F M a a s t r ic h t ce le br at e s i t s t hir t y- seve nt h ye ar, we are de lighted t o b e co ming b ac k t o t he love l y c i t y on t he M a a s . For eight d ays t he world ’s colle c t or s , connoisseur s , museum profe ssion als , ar t is t s and g alleris t s de sce nd on t he M ECC t o reve l in an unp ar alle led colle c t ion of f ine and de cor at ive ar t s . O ur s t and will e ncomp a ss wor k s from t he e arly seve nte e nt h ce ntur y t o t he 1970 s . A f a scin at ing group of seve nte e nt h ce ntur y N e t herl andish p aint ing s include s a l and sc ape by J an B r ueghe l t he E lder, f lower pie ce s by A mbrosius B ossch aer t t he E lder and J acob M arre l and a s t ill life by Wille m Cl ae sz . H ed a . It is int riguing t o comp are t he H ed a wit h t he power ful s t ill life by P ablo Pic a sso, Verr e et pichet , 194 4 , p ainted in Occupied P aris and sug ge s t ing , wit h it s arr ange me nt of gl a ss , le mon and pit cher, t he ar t is t and his p ar t ner M arie Thérè se w at ching over t heir d aughter M ay a . N ot hing shows more cle arly t he re son ance of ar t dow n t he age s and it s pl ace at t he he ar t of world culture . A s alw ays , we look for w ard t o we lcoming old frie nd s and new f ace s t o t his mos t spe c t acul ar of f air s .

RICHARD GREEN CHAIRMAN

JONATHAN GREEN CEO

J A N B RU E G H E L T H E E L D E R

Landscape with travellers Signed and dated lower left: BRVEGHEL 1606 Oil on copper: 11 x 16 in / 27.9 x 42.4 cm

Jan Brueghel the Elder was the second son of the famed painter Pieter Bruegel the Elder. He was equally innovative, developing the genres of landscape and flower painting from the last years of the sixteenth century. By 1606, when this painting was made, Brueghel had a flourishing career in his home town of Antwerp after the years 1589-96 spent learning his craft in Italy; in 1608 he was to be appointed Court Painter to the Archdukes Albert and Isabella, Habsburg Regents of the Netherlands. Landscape with travellers reflects the sophistication that Brueghel brought to landscape painting in the first decade of the seventeenth century. He has swept away the high viewpoint and multiple planes of sixteenth century landscapes to create a composition which flows seamlessly from foreground to distance through the control of colour

and bands of light. Our view hovers only slightly above the foreground scene, filled with figures and movement. Brueghel’s extreme delicacy of handling is evident in this work, as is his great sensitivity to nature. Bright colours, such as the red clothing scattered across the figures, move the eye around the panel. Tiny brushstrokes evoke sunlight filtering through leaves as they tremble in the breeze. In the far distance, a great city, surely based on Antwerp, shimmers silver like the New Jerusalem. In the small compass of his 11 x 16 in copper panel Jan Brueghel conjures up a teeming and beautiful world.

A M B RO S I U S B O S S C H A E RT T H E E L D E R

A still life of tulips, roses, lily-of-the-valley, forget-me-nots, cyclamen and other flowers in a silver-gilt-mounted Wanli vase, with shells on a ledge Signed with monogram lower right: .AB. (in ligature) Oil on copper: 11 ¼ x 7 in / 28.5 x 19.3 cm Painted circa 1619-20

The pioneering flower painter Ambrosius Bosschaert was the son of Flemish Protestant refugees who moved to Middelburg, the capital of Zeeland. This composition reflects the international trade and prosperity of the Dutch Golden Age and Middelburg’s status as a horticultural centre. The painting was made c.1619-20, when Bosschaert was at the height of his powers and living in Breda.The copper support (more expensive than an oak panel) allowed for an extremely fine degree of finish. Sam Segal comments on the ‘tremendous translucency and fine satin finish’ characteristic of Bosschaert’s style, which was ‘achieved by applying layers of coloured glaze, using the technique of the fine painters to smooth away all traces of the brush, thus making the brushstrokes nearly invisible’. There is a velvety aura to each of Bosschaert’s flowers that gives them a jewel-like quality.

Bosschaert here groups together flowers which bloom across spring and summer, from the tulips of March and April to the roses and carnations of May and June. The bouquet would have been assembled from drawn or painted studies kept in the studio for reference. Bosschaert crowns the arrangement, as he so often does, with two exquisitely observed tulips. These flowers, which had mythic status in the Ottoman world, became an obsession of the Dutch when they were imported into Europe in the mid-sixteenth century. The stripes on Bosschaert’s purple and scarlet tulips were caused by a virus which eventually weakened the plant, although this was not understood at the time. The fascination was to see which bulbs would ‘break’ into these beautiful, flame-like markings. By the mid-1630s, tulips had become an investment bubble in which single bulbs allegedly changed hands for

the price of an Amsterdam mansion. When the bubble burst, in 1637, many were ruined. Bosschaert gives sculptural solidity to the flowers by placing them against a dark background and putting warm or light-coloured blooms, such as the African marigold and white rose, at the front of the bouquet. Imposing, rounded or spiky flowers are set against a filigree of leaves and smaller flowers in cool colours, such as the blue columbine at the top of the bouquet and the blue cranesbill between the two tulips. The flowers, like other elements of the composition, reflect the international trade of early modern Europe. As well as the tulips, originally from the Near East, the composition features ‘African’ marigolds, in fact native to Mexico; an anemone, from southern Europe and a carnation from the Mediterranean. The marbled Conus shell (Conus omaria) on the far left is from the Indo-Pacific region, while the black and white striped Neritina shell (Neritina turrita) comes from Indonesia. The third shell is an example of a Painted Snail (Polymita picta), a land snail endemic to eastern Cuba. The delicious, pearly arc of the lily-of-the-valley, juxtaposed with tiny, star-like forget-me-nots, echoes the pristine blue and white of the Wanli porcelain vase. The rare and precious nature of the vessel is underlined by the fact that it is mounted in gold (or silvergilt) to protect against chips. It is the perfect container for the artist’s exquisite flowers, each one precious and unique, each the product of God’s Creation.

F LOW E R K E Y 1 2 3 4 5 6 7 8 9 10 11 12 13 a b c d e

Lily-of-the-valley Forget-me-not Sowbread African marigold Windflower Meadow cranesbill Bordered tulip Columbine Flamed tulip Bluebell Carnation White rose Pansy (Heartsease) Conus Polymita Neritina Damsel fly Butterfly

Convallaria majalis L. Myosotis scorpioides L. Cyclamen hederifolium Ait. Tagetes patula L. Anemone hortensis L. Geranium pratense Tulipa cf. agenensis DC x T. schrenkii Reg. Aquilegia vulgaris L. Tulipa schrenkii Reg. x T. cf. stellata Hook. Scilla non-scripta Dianthus caryophyllus L. Rosa x alba L. Viola tricolor L. Conus omaria Hwass: Indo-Pacific Polymita picta (Born.): Cuba, endemic Neritina turrita (Gmel.): Indonesia Coenagrion puella (L.) Erebia medusa (Denis and Schiff )

J ACO B VA N H U L S D O N C K

Still life of strawberries and a carnation in a Wanli porcelain bowl, with plums, cherries, an apricot and a Painted Lady butterfly (Vanessa cardui) on a wooden table One of a pair, signed lower right: IVHVLSDONCK . FE (IVH in ligature) Oil on panel: 10 x 15 in / 26.5 x 38.5 cm Painted circa 1625

JACOB VAN HULSDONCK

Still life of apricots and plums in a Wanli porcelain bowl, with cherries, a plum and a pomegranate on a wooden table One of a pair, signed lower right: IVHVLSDONCK . FE (IVH in ligature) Oil on panel: 10 x 15 in / 26 x 38.5 cm Painted circa 1625

Fewer than a hundred paintings by Jacob van Hulsdonck are known, from a career which spanned several decades. This may be because he painted with an extraordinarily high degree of finish and took a long time to complete each picture. Hulsdonck specialized in still life, mainly flower- and fruitpieces. This pair of paintings, of fruit in Wanli blue and white porcelain bowls, is very characteristic and a superb example of his work. Hulsdonck’s bowls are placed on a wooden tabletop. In his earlier work, the viewpoint is quite high and the backgrounds dark. Later, he lowers the viewpoint, brightens the neutral background colour and often shows the edge of the table, giving a more naturalistic effect. This pair

has comparatively light backgrounds and a low viewpoint, but no edge to the tables (except slightly in the strawberry painting), suggesting that they were made around 1625. In each work, Hulsdonck has made great play of the warm colours of the fruit against the cool, high-glazed hues of the Wanli bowls. In the top of the mound of strawberries, Hulsdonck has stuck a carnation. This motif occurs quite often in his bowls of fruit, for example in Wild strawberries and a carnation in a Wanli bowl, c.1620 (National Gallery of Art, Washington DC). The pink and white stripes and the serrated petals of the flower are exquisitely delineated. It is perhaps the complexity of carnations that appealed to Hulsdonck.

A N T H O N I E VA N R AV E S T E Y N

Portrait of Willem van der Wiele van de Werve (1612-1654), aged fifteen Signed with initials, inscribed and dated upper left: Ano 1627 / Aetatis 15 / AR F. Oil on panel: 26 x 20 ¼ in / 66.5 x 51.5 cm

Signed works by Anthonie van Ravesteyn, such as this painting, are very rare. He spent his career in The Hague and served as Dean of its Painters’ Guild, but seems mostly to have worked in the studio of his brother, the portraitist Jan van Ravesteyn (c.1572-1657). This work is one of eight known portraits by Anthonie of various branches of the van de Wiele family. Willem van der Wiele van de Werwe was the son of Jacob van der Wiele van de Werwe and Adriana Hanneman. The family’s manor house,The Werwe in Rijswijk near The Hague, became a secret centre for Catholic worship in an age when saying Mass in public was forbidden in the northern Netherlands.

sensitive, solemn face is full of dignity. Van Ravesteyn lavishes attention on his silver satin doublet, slashed to reveal the salmon-pink lining silk and decorated with elaborate bows. The young man wears the left side of his hair in a long lock, the height of aristocratic fashion around 1630. Willem’s mother Adriana was the aunt of the portrait painter Adriaen Hanneman, who studied with Anthonie van Ravesteyn. This family connection may explain why Anthonie was chosen to paint so many members of the van de Wiele family and why he proudly applied his monogram to several of these portraits.

Van Ravesteyn sets his sitter against a plain, dark background, the better to emphasize the three-dimensionality of the figure. Willem’s

W I L L E M C L A E S Z . H E DA

A still life of a rummer of white wine, a mother-of-pearl inlaid knife, a gilt-brass clockwatch with a blue ribbon, a pewter plate with capers, a peeled lemon and a façon-de-Venise wineglass on a table Signed and dated lower right: . HEDA . 1630 Oil on panel: 16 x 22 ½ in / 41.6 x 57.2 cm

Willem Claesz. Heda transformed the Dutch still life from the widely spaced compositions and bright local colours of exponents such as Floris van Dijck (1575-1651), to develop the ‘monochrome ontbijtje’ or ‘breakfast piece’. He spent his career in Haarlem, a prosperous town with important brewing and textile industries. Paintings such as this were displayed in the public rooms of merchants’ mansions, evidence of the owner’s good taste. Heda began painting still lifes in the mid-1620s, but it was only at the end of the decade that he adopted a lower, more intimate viewpoint in his compositions, unifying the objects by means of tonal affinities. He often included valuable objects in his still lifes, here notably the

clockwatch and knife. The clockwatch, which appears with variations in other works by the artist, dates from c.1600-1620 and was made in south Germany, probably Nuremberg or Augsburg. They were glamorous toys for the élite, not very accurate, but status symbols. The knife is similarly a luxury object, which would have formed part of a small travelling knife and fork set, treasured objects often kept in a case. The façon-de-Venise wineglass, probably produced in the Netherlands to emulate the complex vessels produced by the Murano glass factories, is captured by Heda in all its ethereal complexity and transparency. Tipped on its side, but unbroken, it perhaps warns against luxury and hints at the fragility of worldly things.

S I M O N J ACO B S Z . D E V L I E G E R

Fishermen unloading their catch from a barge by a jetty with a beacon, with shipping in a calm estuary under a cloudy sky Signed lower centre: S DE VLIEGER Oil on panel: 13 ½ x 10 in / 34.5 x 26.5 cm Painted circa 1636

Simon de Vlieger was one of the most important Dutch marine painters of the seventeenth century. He was a versatile and highly successful artist who also produced portraits, genre scenes, townscapes, tapestry cartoons and a few religious works, as well as prolific drawings and etchings. He tackled a wide variety of marine subjects, from calm estuary scenes to shipwrecks. De Vlieger followed in the tradition of Jan Porcellis, who introduced naturalistic colour into marine painting in the 1610s, in reaction to the stridently bright palette of his predecessor Hendrick Cornelisz.Vroom. At the break of day, two crab fishermen haul their baskets into a barge, a third man catching the first ray of light sitting atop the palisade near

a tall beacon. The figure group is arranged along a diagonal running from the lower left corner. A low horizon allows five-sixths of the picture plane to be reserved for the sky, marvellously built up in thick impasto with the background elements added wet-in-wet. Giving more substance to air than to land, the foreground repoussoir is painted thinly in muted earth tones over the more heavily impasted sky. The effect is one of serene luminosity, borne from intense observation of nature and an exquisite command of subtle composition. The painting is closely related to an estuary scene formerly in the André Mniszech collection, which is signed and dated 1636, when de Vlieger was living in Delft.

JAN ( JOHANNES) MIJTENS

Portrait of two children in a landscape, with their dog at their side Signed and dated lower left: Joan Mytens / Ao 1655 Oil on canvas: 30 ¼ x 39 in / 76.8 x 99.1 cm

Jan Mijtens came from a family of Flemish origin which settled in the northern Netherlands because of their Calvinist faith. They were merchants, lawyers and city officials. His grandfather Maerten Mijtens was saddle-maker to the Princes of Orange-Nassau and, like him, Jan spent his career in The Hague. He painted members of the uppermiddle-class society in which he moved, and, increasingly from the 1660s, members of the Orange-Nassau family and their Court. This portrait of two children epitomises the elegance and glamour which clients expected when commissioning Mijtens. The salmon-pink dress of the little girl and her brother’s golden silk robe glow against a subtle, exquisitely observed landscape. The hills and distant buildings

are reminiscent of the Roman Campagna, reflecting the Dutch élite’s identification with the sophistication and achievements of ancient Rome. Gentlemen, as well as many artists, were expected to make a journey to Rome to complete their education: such a trip may be in store for the young boy. Whereas his sister is dressed in the height of fashion, in a miniature version of adult clothing, the boy wears a fanciful adaptation of a Roman toga and sandals with a feathered cap. He is presented as a timeless, quasi-mythological figure, carrying apricots in his lap as symbols of a fruitful future. The girl gathers roses, reflecting her beauty and innocence. The basket of flowers at her feet and the wildflowers and wild strawberries near her brother underline the sense of nature’s abundance.

J ACO B M A R R E L

Still life of tulips, roses, irises, a narcissus, stocks and other flowers in a blue and white vase, with cherries and a snail on a stone ledge Signed and dated lower right: J Marrel / fec 1657 Oil on panel: 16 x 11 ½ in / 42.9 x 29.2 cm

Jacob Marrel spent his career between western Germany and the Netherlands, forming a link between the Frankenthal school of still life painting and the Flemish tradition of Jan Davidsz. de Heem (16061683/84), in whose studio he served from 1636. In 1657, when this painting was made, he was living in Frankfurt-am-Main but making frequent trips to Utrecht, a town strongly associated with de Heem. In bouquets such as this Marrel favoured bright, clear colours, with a balance of warm pinks, red and gold with blues and white. Tulips, as so often, crown the composition. He chooses rare and exquisitely marked blooms, described with a botanist’s precision. Tulips were traded in Frankfurt from early in the seventeenth century and they appear in florilegia in and around that city from 1611. Marrel was caught up in

the Dutch Tulip Mania of the 1630s, dealing in the bulbs and executing a number of watercolours for Tulip Books codifying the varieties, which were given flamboyant names such as Semper Augustus or Admirael Tromp. In fact, no-one could predict which bulbs would ‘break’ into the glorious, coloured flames that were so prized. The effect was caused by a virus, which was not understood at the time. Marrel, like so many speculators, had his fingers burned when the tulip bubble collapsed in 1637. Surrounding the tulips are other spring and early summer flowers: a glowing white double narcissus (a rarity in the seventeenth century), an anemone (another favourite flower of Marrel), irises, morning glory, wallflowers, stocks and roses.The sweet-scented stocks are bicoloured,

an unusual variant caused, like the tulip flames, by a virus. The irises are Spanish or bulbous irises, a comparatively recent introduction into northern Europe. Darker, more delicate flowers, such as the purple columbines, are placed at the back, with the intention of pushing the light-coloured, more sculptural blooms forwards. The flowers are placed in a blue and white earthenware jug, either German or Delft, made in emulation of the costly blue and white Chinese porcelain which the Dutch East India Company began to import into Europe at the beginning of the seventeenth century. Marrel’s jug is slightly chipped at the base, adding a delightful air of naturalism. Marrel places a number of insects among his bouquet, a reminder of life in the gardens from which this bouquet has seemingly so lately been plucked. A red beetle contrasts with the blue of the morning glory and another insect picks its way along the hairy stem of the rosebud. In the left foreground, a snail rears up in contemplation of the all-too-edible blooms. Its glistening body is superbly described and echoes the points of light on the drops of water on the ledge and the slick glaze of the jug. At the right are three sour cherries or morels, a play on Marrel’s name and thus a second signature.

F LOW E R K E Y 1 Tulip 2 Iris 3 Narcissus 4 Double stocks 5 Columbine 6 Rose 7 Wallflower 8 Morning glory 9 Anemone 10 Rosemary 11 Buttercup 12 Bluebell 13 Cherry

Tulipa hybrid cultivar Iris xiphium Narcissus poeticus Matthiola incana Aquilegia vulgaris Rosa centifolia Cheiranthus cheiri Ipomoea purpurea Anemone coronaria Rosmarinus officinalis Ranunculus acris Scilla non-scripta Prunus avium

N I CO L A E S B E RC H E M

A halt on the falcon hunt Signed lower right: Berchem Oil on panel: 13 ½ x 14 ¼ in / 34.3 x 36.2 cm P a i n t e d c i r c a 16 6 5

Nicolaes Berchem was the son of the Haarlem still life painter Pieter Claesz. (c.1597-1660). He took his name, Berchem, from his father’s birthplace. Nicolaes had an extraordinarily wide artistic education, studying with Jan van Goyen, Claes Moeyaert and Pieter de Grebber, among others. He became effortlessly at home in several genres, including historical, mythological and Biblical works, as well as landscapes. In the 1650s and 60s Berchem painted a number of cavalry battles and hunting and hawking scenes, the latter influenced by the highly popular work of Philips Wouwerman (1619-1668). This painting reflects Berchem’s elegance and the delicious fluidity of his brushwork. He delights in the tones playing over the back of the magnificent

grey horse, the silks of the woman’s dress and the windswept hat of the dismounted man. The party has halted in a rolling landscape beneath a stormy sky, brilliantly evoked and adding to the drama of the hunt. Such paintings appealed to the sophisticated tastes of the northern Netherlands in the second half of the seventeenth century, when Protestant austerity had long since given way to a yearning for luxury and aristocratic pursuits. Falconry was a sport of the upper class and professional Dutch falconers were famed throughout Europe. When this painting was made, Berchem was living in Amsterdam, the commercial powerhouse of the Dutch Republic, a city with many wealthy collectors. The work was later in the collection of an English nobleman, Harry Vane Powlett, 4th Duke of Cleveland (1803-1891).

A N N E VA L L AY E R - CO S T E R

Vase de fleurs S i g n e d l owe r r i g h t : Ve r. C o s t e r O i l o n c a nv a s : 12 ¾ x 11 i n / 32 .4 x 27.9 c m P a i n t e d c i r c a 18 0 5

Anne Vallayer-Coster had a distinguished career beginning in the last years of France’s ancien régime, unusual for one of her sex. She became a member of the Académie Royale in 1770 at the age of twenty-six, one of only a handful women to hold this honour. Vallayer gained the patronage of Queen Marie-Antoinette, who obtained lodgings for her in the Louvre and was a signatory in 1781 to her marriage contract with the avocat de parlement Jean-Pierre-Silvestre Coster. Vallayer-Coster’s delicate, fluid touch and clear, bright palette were very much in tune with the aesthetic of Marie-Antoinette, which combined neoclassical simplicity with playfulness and a love of the natural world. This painting is an exquisite example of Vallayer-Coster’s smaller-scale

flower pieces. She sets a few early summer blooms in a simple glass vase which limpidly refracts the light and the complex shadows of the stalks. Vallayer-Coster’s brushwork sensuously caresses the intricate petals of the roses and delineates the ruffled cups of the scarlet ranunculas. The warm tones of the roses, ranunculas and peony are offset by the cool blues of the delphinium, pansies and forget-me-nots, which form a diagonal from top right to bottom left. The bouquet is set on an unadorned stone ledge against a plain background of soft grey which enhances the sculptural solidity of the flowers. A deep shadow to the right throws into relief the light shining on the glass vase, a passage of painting of brilliant virtuosity.

H E N R I FA N T I N - L ATO U R

Pivoines et boules de neige Signed and dated upper right: Fantin . 78 Oil on canvas: 17 x 13 in / 44.1 x 35.2 cm

From the mid-1870s, Henri Fantin-Latour abandoned the complex still lifes of his earlier phase, such as the room setting Flowers and various objects, 1874 (Konstmuseum, Göteborg), in favour of simpler flowerpieces set against an even, mid-beige background, as with this work. These restrained, poetic assemblages were popular with his English clients. They were sold through his English agents Edwin (18231879) and Ruth Edwards (c.1833-1907). Ruth Edwards carried on dealing in Fantin’s work after being widowed and owned this painting after 1898. The elegant, fluted vase was a popular choice for Fantin’s smaller bouquets. Here he employs pastel colours, from the boules de neige (viburnum), to the pale pink peonies, to the raspberry-pink (with

deeper pink buds) of the weigela. This perhaps reflected trends in garden design and the fascination with monochromes seen for example in Whistler’s Symphony in white no.1 (The white girl), 1861-62 (National Gallery of Art, Washington DC). Whistler had met Fantin in 1858 and encouraged him to make his first visit to London. As always, Fantin blends the realism of his academic training with a delight in the tactile qualities of paint. He evokes the tissue-thin delicacy of the peony petals and the massed white flowers of the boules de neige, described with thick, staccato brushwork. The slender vase is composed with quick, allusive strokes. A sprig of weigela on the table top, echoing a favourite device of seventeenth century Dutch flower painters, balances the arch of the weigela on the left of the vase.

G U S TAV E C A I L L E B OT T E

Bateaux sur la Seine à Argenteuil Signed and dated lower left: G. Caillebotte 1892 Oil on canvas: 28 ½ x 23 ¾ in / 73 x 60 cm

In 1881, disillusioned with life in Paris, Gustave Caillebotte acquired a property at Petit Gennevilliers, a small village on the Seine opposite Argenteuil, north-west of Paris. For the rest of his days, the Seine was to be the focus of his life, both as a site for leisure and as a subject for painting. A passionate sailor and fisherman, Caillebotte spent many hours on the Seine, first as a rower and later as a yachtsman. Argenteuil was the nearest spot to Paris where serious yachting could take place and was the headquarters of the Cercle de la Voile de Paris, a prestigious sailing club to which Caillebotte belonged. He competed in the spring and autumn regattas and designed a series of eleven of his own yachts, honing them to perfection.

This painting conveys the exhilaration and freedom that Caillebotte must have felt every time he ventured upon the water. The spring day is flooded with blue light. The scene is looking towards Bezons, with l’île Marande on the left and the last houses of Argenteuil shining in the sun on the opposite bank. The viewpoint hovers in the centre of the river, horizontal striations of brushwork setting up a gentle rocking motion. Caillebotte’s paintings are at once strikingly simple and boldly individualistic, one of his great strengths. Yachts at anchor recede with geometric precision, forming a triangle whose far point is provided by the dazzling, richly impasted sail of the yacht at the centre of the composition.

H E N RY M O R E T

Bateaux au mouillage à Doëlan-sur-Mer Signed and dated lower left: Henry Moret / 1895 Oil on canvas: 23 x 28 ¾ in / 60 x 73 cm

Henry Moret’s earlier work was influenced by Gauguin, whom he met in Pont-Aven, Brittany in 1888. Later he developed his own personal, powerful style which fused elements of Gauguin’s Syntheticism – flat areas of colour, bold contrasts, the power of colour to evoke emotion – with the more naturalistic approach to space and light of the Impressionists. Emile Bernard wrote of Moret: ‘He was a very gentle, likeable character; a peaceable, sincere revolutionary. I lost sight of him when I left Pont-Aven….He had turned away from our developments in synthesis and gone over to the plein air school of Monet….So far from weakening his talent he had strengthened it, rejecting theories, keeping in touch with life itself, with nature’.

village of Doëlan. In 1895, when this painting was made, Moret was renting a house on Doëlan’s right bank. The brilliant colours in this work are a legacy of Moret’s Syntheticist phase, but the naturalistic modelling shows him turning towards Post-Impressionism. Boats from Brittany’s famed sardine fishing fleet ride at anchor, their nets drying in the sun. The richly-impasted, densely-worked brushwork makes use of complementary colours which spark off each other, the deep turquoise of the cove contrasting with the band of red cliffs. Clouds race across the headland, striating the landscape with an array of hues from deep emerald to chartreuse.

Of all the members of the Pont-Aven School, Moret was the most faithful to the area. In 1896 he settled permanently in the small fishing 13

P I E R R E - AU G U S T E R E N O I R

Jetée de roses Signed upper right: Renoir Oil on canvas: 9 x 16 in / 23.2 x 41.6 cm Painted circa 1910-15

In 1907 Renoir purchased the small estate of Les Collettes near Cagnes, west of Nice on the Côte d’Azur. Captivated by Provençal landscape and culture, he was determined to preserve the rural character of the property and left the original farm buildings untouched, building a new house which he moved into with his family in 1908. John House remarked that ‘Almost like Monet, who built his water garden as his ideal pictorial subject in his last years, Renoir would construct at Les Collettes a physical world which fulfilled his pictorial vision. But...Monet built his anew, to his own aesthetic specifications, while Renoir’s was old, preserved as an idealized vision of past society’.

colour and infinity of secret folds which reflected or buried the light. Roses rambled in the garden of Les Collettes, glowing like jewels in the Mediterranean sun. By the time that this painting was made, around 1910-15, Renoir was suffering badly from arthritis and had to paint with brushes strapped to his wrists. However, as this work shows, he had lost none of his energy or sensitivity. He revels in the whorls of the pink petals with their cream highlights and scarlet depths. Set against a vague background, the roses press forward on the picture plane, a Ravel Valse of heavy-scented, swirling floral abundance.

Renoir painted flowers all his career, from his days decorating porcelain for the Sèvres factory. He was especially fond of roses, with their rich

H E N R I L E S I DA N E R

La table, automne, Gerberoy Signed lower left: Le Sidaner Oil on canvas: 26 x 32 ¼ in / 66 x 81.9 cm Painted in September 1920

In 1901 Henri Le Sidaner visited Gerberoy, near Beauvais in Picardy, in search of a house round which he could develop a garden. He rented a small cottage which in 1910 he bought and began to enlarge, adding a garden of terraces, Italianate balustrades and pavilions, overlooking halftimbered houses and cobbled streets. In the summers Gerberoy was Le Sidaner’s paradise and the inspiration for many paintings depicting the house and its environs. It became as important to him as Giverny to Monet. The theme of a table set for a meal in the courtyard of the house was one that Le Sidaner revisited many times. This painting is a particularly successful example, with its harmonious interweaving of colours and

textures. Underpinning the composition are many tonal variations on white, formed from a mosaic of associated colours: pale grey, lilac, eaude-nil. It gives a living surface to the sun-dappled, white house, the snowy tablecloth and the shiny ceramics of the dinner service. Over this white foundation, Le Sidaner trails the intense hues of the Virginia creeper which covers the house. The entrance to the courtyard is framed by an arch of cobalt blue clematis. Figures rarely appear in Le Sidaner’s mature work. The poet Camille Mauclair wrote of the artist: ‘He considered that the silent harmony of things is enough to evoke the presence of those who live among them. Indeed, such presences are felt throughout his works. Deserted they may be but never empty’.

A L B E RT M A RQ U E T

Poissy, le lavoir Signed lower left: marquet Oil on panel: 13 x 16 in / 33 x 41 cm Painted in 1929

Albert Marquet lived on the banks of the Seine most of his life and became celebrated for his sensitive observation of Paris and its river. In the early years of the twentieth century he was associated with the Fauves (Wild Beasts), with their vibrant colours and bold brushwork. By the time that this painting was made, in 1929, Marquet had forged a highly individual manner influenced by aspects of Impressionism, the work of Cézanne and the graceful economy of Japanese landscape painting. Marquet spent the summer of 1929 in a villa on Ile Migneaux, a long, thin strip of land on a bend of the Seine opposite the town of Poissy. The garden of the house ran down to the river. This view is painted from a

boat which was kept moored at the bottom of the garden. Floating in the river, Marquet has produced a composition of dreamlike tranquillity. He captures the subtle radiance of the light of northern France and the lush, fresh greens of early summer. On the left is an old bateau lavoir or laundry boat. The pea-green lavoir harmonizes with the trees lining the river, which display a myriad of hues from deep emerald in the shadows, to brilliant yellow-green on the sunlit vegetation. The crisp geometry of the buildings, outlined in black, and the perfect reflection of the landscape in the river, infuse the painting with a classical serenity influenced by Japanese prints.

PA B LO P I C A S S O

Verre et pichet Signed lower right: Picasso; dated and numbered on the reverse: 24 juillet / 44 / III Oil on canvas: 13 x 16 in / 33.3 x 41 cm

On 24th July 1944, the day Picasso painted this picture, the Allied forces had defeated the German army in Normandy and were heading towards Paris. The days of the German Occupation seemed to be numbered and people allowed themselves to hope that the war itself might be over by the end of the year. The city of Paris was liberated a month later when the Allies and Free French forces entered the capital on 25th August. At the outbreak of World War Two, depressed at the death of his mother and the fall of Barcelona to Francoists, Picasso had moved to Royan on the Atlantic coast, but returned to Paris in August 1940.1 His application for French nationality had been refused because of his Anarchist associations and having been named a degenerate artist, he was not allowed to exhibit his work. He was frequently visited in

his studio at 7 rue des Grands-Augustins by Nazi soldiers. Despite the harsh living conditions, the scarcity of materials, the threat of extradition and confiscation of his work, Picasso remained in Paris, his presence giving hope while he produced masterpieces such as L’Aubade, 1942 (Centre Pompidou, Paris), L’homme au mouton, 1943 (Musée National Picasso, Paris), and a significant group of still life subjects. John Richardson writes, ‘he laid low but would not hide. Worldwide renown apparently saved him.’2 During the Second World War, Picasso transcribed his bleak experience of Occupied Paris into austere and often disturbing domestic compositions. By the time he executed this striking still life of a glass, pitcher and lemon, fragile yet increasingly hopeful notes had begun to imbue a new series of paintings which he completed in July 17

1944. Picasso first painted Still life with oranges and Still life with glass and lemon, objects which would reappear frequently in future works, in mid-June 1941. This summer series of Verre et pichet, encompassing fourteen successive canvases, was executed between 19th-28th July 1944, including examples at the Centre Pompidou, Paris, the Musée d’Art Moderne, St Étienne and the Auckland Art Gallery, New Zealand. Like many of the interacting objects within Picasso’s wartime still lifes, the glass and pitcher seem to negotiate a delicate balance between light and darkness, stability and disorder, perhaps signifying the artist’s own psychological fluctuation between hope and despair. Poised upon a tilted table top, the vivid, boldly defined vessels cast fragments of light and shadow upon the fractured table and walls beyond, balancing shades of deep blue, mauve and black with smaller facets of bright blue, white and yellow, which illuminate the scene like a stained-glass window. In contrast to earlier wartime works, Picasso here successfully combines or counters the distorted geometric representations of his Cubist period with the opulent arcs of his Neoclassical phase, the pitcher recalling the fruitful, voluptuous curves of his Nature morte au pichet et aux pommes dated 1919 (Musée National Picasso, Paris). In The Picasso Project, Jill Jiminez draws similarities ‘between the poverty of his early Cubist days, when a bottle or jug of wine was so coveted, and the current bleak rationing of the war, with the rarity of many everyday items…Indeed not since his Cubist period, does Picasso seem so engaged with still life’, the subject of the glass and lemon in particular, a ‘record of the meager selection of nourishment available in wartime Europe.’3 In contrast to the rage expressed in many of his wartime portraits (often of Dora Maar), Picasso’s still lifes at this time seem more restrained and reflective, perhaps revealing the more tranquil domestic life he enjoyed with Marie-Thérèse and their daughter. In the present work, the oval apertures of the animated glass and jug seem to face each other, connecting through the bright, sun-like lemon; their essential transparency with sections of thick parallel lines reflecting each other’s internal structures. It is possible that the three still life components represent members of Picasso’s unofficial, but intimate family unit, with the artist and Marie-Thérèse as the glass and pitcher watching over their child Maya, in the shape of the lemon, shining in the radiant colour of hope. In September 1944, Picasso stated in an interview for the San Francisco Chronicle, ‘I have not painted the war, because I am not the kind of a painter who goes out like a photographer for something to depict. But I have no doubt that the war is in these paintings I have done. Later on perhaps the historians will find them and show that my style has changed under the war’s influence. Myself, I don’t know.’4 1

John Richardson writes, ‘The artist went there to arrange safe accommodation for Marie-Thérèse and Maya in the event of war…Only after war broke out in September would Picasso decide to join them there.’ A Life of Picasso:The Minotaur Years 1933-1943, Jonathan Cape, London 2022, p.189.

John Richardson, ibid, p.219.

The Picasso Project (ed.), Picasso’s Paintings,Watercolours, Drawings and Sculpture: Nazi Occupation 1940-1944, Alan Wofsy Fine Arts, San Francisco 1999, pp.xiii, xiv.

Peter D Whitney, ‘Picasso is safe: The artist was neither a traitor to his paintings nor his country,’ San Francisco Chronicle, 3rd September 1944, cited in John Richardson, p.282.

K E E S VA N D O N G E N

Rose or La Rose dans le verre Signed lower right: Van Dongen Oil on panel: 12 ¾ x 8 ¼ in / 32.4 x 21 cm Painted circa 1928-30

This sumptuous flowerpiece is rich in colour and media, the heavyheaded, voluptuous rose rendered in thick, expressive, almost sculptural strokes. Despite the essential simplicity of the subject and form, its dramatic colour contrasts and assured execution, with loose, luscious brushwork, give this modest rose incredible depth and intensity. The sensuous flower unfurls from dark maroon revealing touches of scarlet, to passages of violet verging on magenta, before exquisite directional strokes of pale pink curve to form the upper, exterior petals. Broadly painted leaves in fresh yellow-green flow from the flower above its silver, transparent vessel, with thick touches of white where it catches the light. The pale grey foreground, also executed in rapid, rhythmic strokes, brilliantly offsets the dark backdrop whose turbulent surface progresses from the green of the leaves, through viridian and teal

towards ultramarine and Prussian blue, recalling the artist’s early association with Fauvism, characterised by bold, non-naturalistic colour. This captivating rose was painted by Kees van Dongen towards the end of the Roaring Twenties, a decade in which the previously scandalous Dutch-born radical, associated with Fauvism and German Expressionism, had become a world-famous artist and sought-after society portraitist. In 1926 Van Dongen was made a Knight of the Légion d’Honneur and took French nationality in 1929. He was also commissioned at this time by the couturier, Paul Poiret, for a publication on Deauville. Despite his reputation, the late 1920s was a quieter, more reflective period for the artist in which vivacious paintings of flowers flourished.

M A RC C H AG A L L

Esquisse pour Chèvre dans un bouquet or Le bouquet rouge Signed lower centre: Chagall Oil and ink on panel: 10 x 8 ¾ in / 27 x 22.2 cm Painted in 1952

Paintings of lovers and flowers are among Marc Chagall’s most celebrated images featuring representations of himself with his adored wife and muse, Bella Rosenfeld. Writing of their courtship in his autobiography, Chagall recollected: ‘I only had to open my window, and blue air, love, and flowers entered with her.’1 As early as The birthday, 1915 (Museum of Modern Art, New York), lovers and flowers became a perennial theme in the artist’s work, inextricably linked to the celebration and evocation of love. The radiant bride and her ethereal lover on the left of this flourishing bouquet may also signify Chagall’s happy marriage to Valentina ‘Vava’ Brodsky, whom he met in the spring and wed in the summer of 1952. The vivid, jewel-like colours of the floral display are illuminated by the full moon, which highlights the bright white goat

seated in the centre of the composition. Animals frequently appear in Chagall’s joyful images of magical realism, here fluently articulated in ink like the burgeoning flowers wreathed by leaves. Beneath the luminous arrangement, the triangular roofs of small dwellings recall the artist’s hometown of Vitebsk. A vivid combination of memory, fantasy and association, this beautiful work is an expression of pure creative joy and the vital brilliance of life itself. This exceptional painting was previously owned by Meyer Kestnbaum (1896-1960), Chairman of the Commission on Intergovernmental Relations during the Eisenhower administration and from 1955 until his death, a special assistant to President Eisenhower. Marc Chagall cited in My Life, Peter Owen, London 1965, p.121.

JEAN-PIERRE CASSIGNEUL

Les roses Signed lower left: Cassigneul; inscribed with the title on the stretcher Oil on canvas: 31 x 25 in / 81 x 65.1 cm Painted in 1974

‘J’aime particulièrement la splendeur éphémère des bouquets. Quel artiste n’a jamais peint un bouquet sur une table? Les fleurs sont un thème universel qui traverse toutes les époques.’ Jean-Pierre Cassigneul1 A striking, insouciant nude in a light blue, panelled interior rests her elbow on a table-top of dark gold, her delicate form obscured by an opulent bouquet of bright pink and pale yellow roses. The woman’s cool colouring echoes the vivid and densely painted flowers, giving shape and expression to her skin. The deep green of the verdant leaves also articulates her silhouette and heavy-lidded eyes, in a manner reminiscent of the Fauve artist, Kees van Dongen. Her bobbed hair and bold eye make-up recall French film stars of the 1960s, such as Mireille

Darc in Jean-Luc Goddard’s Week-End (1967). Jean-Pierre Cassigneul began painting portraits of elegant and enigmatic women in 1963 and they remain his favourite and most celebrated subject; their timeless appeal making Cassigneul one of the most successful French painters working today. Born in Paris in 1935, Cassigneul was sent to Switzerland during the War, returning to spend much of his childhood at the House of Jean Dessés, founded by his grandfather and managed by his father. Here the artist was surrounded by haute couture, models and seamstresses, which likely inspired his images of Parisian style and love of bright colour. 1

The artist cited in Cassigneul: Peintures, Éditions Méroé, Paris 2019, p.85.

JAN BRUEGHEL THE ELDER Brussels 1568 - 1625 Antwerp

AMBROSIUS BOSSCHAERT THE ELDER Antwerp 1573 - 1621 The Hague

Landscape with travellers Signed and dated lower left: BRVEGHEL 1606 Oil on copper: 11 x 16 in / 27.9 x 42.4 cm Frame size: 17 ½ x 22 in / 44.4 x 55.9 cm In a black polished seventeenth century style Dutch frame The reverse of the copper panel is stamped with the maker’s mark of Peeter Stas (1565-1616) and the coat of arms of the city of Antwerp PROVENANCE: Sale, Phillips, Sussex, 1822 (label on the reverse) John Vivian, 4th Baron Swansea, DL (19252005); his sale, Sotheby’s London, 6th July 1966, lot 117 (£12,800 to Leggatt) Lady Beamish; her estate sale, Sotheby’s London, 11th July 1979, lot 15 Private collection, UK; Christie’s London, 3rd December 1997, lot 15; Richard Green, London; private collection, Europe, 1998; Richard Green, London, 1999; private collection, Europe Richard Green, London, 2000; private collection, USA EXHIBITED: London, Richard Green, The Cabinet Picture, 1999, pp.166-7, illus. in colour; 189 LITERATURE: Klaus Ertz, Jan Brueghel der Ältere, Cologne 1979, p.580, no.136 Weltkunst, May 2000, p.885 Klaus Ertz and Christa Nitze-Ertz, Jan Brueghel der Ältere (1568-1625): Kritischer Katalog der Gëmalde, vol. 1, Lingen 2008, pp.124-5, no.30, illus. in colour

A still life of tulips, roses, lily-ofthe-valley, forget-me-nots, cyclamen and other flowers in a silver-giltmounted Wanli vase, with shells on a ledge Signed with monogram lower right: .AB. (in ligature) Oil on copper: 11 ¼ x 7 in / 28.5 x 19.3 cm Frame size: 16 x 12 ¼ in / 40.6 x 31.1 cm In a black polished seventeenth century style Dutch frame Painted circa 1619-20 PROVENANCE: Henri Heugel (1844-1916), Paris; by descent Leonard Koetser, London and New York, by 1961 Robert Hilton Smith (1928-2009), Washington DC and Crystal City, VA, by 1969 Brod Gallery, London, by 1975 Christie’s New York, 2nd June 1988, lot 103; Richard Green, London Baron Harris of Peckham; Sotheby’s London, 4th July 1990, lot 31; where acquired by Ann Getty (1941-2020) and Gordon Getty (b.1933) EXHIBITED: London, Brod Gallery, catalogue 1975, no.1, illus. Maastricht, Brod Gallery, Pictura, 1975, p.75, illus. LITERATURE: Sam Segal, ‘Balthasar van der Ast’, in Masters of Middelburg: Exhibition in the Honour of Laurens J Bol, Kunsthandel K&V Waterman BV, Amsterdam 1984, pp.50; 61, note 10

JACOB VAN HULSDONCK

ANTHONIE VAN RAVESTEYN

Antwerp 1582 - Antwerp - 1647

1580 - The Hague - 1669

Still life of strawberries and a carnation in a Wanli porcelain bowl, with plums, cherries, an apricot and a Painted Lady butterfly (Vanessa cardui) on a wooden table

Portrait of Willem van der Wiele van de Werve (1612-1654), aged fifteen

Still life of apricots and plums in a Wanli porcelain bowl, with cherries, a plum and a pomegranate on a wooden table A pair, the former signed lower right: IVHVLSDONCK . FE (IVH in ligature) Oil on panel: 10 x 15 in / 26.5 x 38.5 cm Frame size: 20 x 15 in / 50.8 x 38.1 cm the latter signed lower right: IVHVLSDONCK . FE (IVH in ligature) Oil on panel: 10 x 15 in / 26 x 38.5 cm Frame size: 20 x 15 in / 50.8 x 38.1 cm In black polished seventeenth century style Dutch frames Painted circa 1625 PROVENANCE: Private collection, Switzerland

Signed with initials, inscribed and dated upper left: Ano 1627 / Aetatis 15 / AR F. Oil on panel: 26 x 20 ¼ in / 66.5 x 51.5 cm Frame size: 34 x 27 ½ in / 86.4 x 69.8 cm In a black polished seventeenth century style Dutch frame PROVENANCE: Major John Edward Montague Bradish-Ellames, 8th Hussars (1895-1984); by inheritance in a private collection, UK

WILLEM CLAESZ. HEDA

SIMON JACOBSZ. DE VLIEGER

1594 - Haarlem - 1680

Rotterdam 1600/1 - 1653 Weesp

A still life of a rummer of white wine, a mother-of-pearl inlaid knife, a gilt-brass clockwatch with a blue ribbon, a pewter plate with capers, a peeled lemon and a façon-deVenise wineglass on a table

Fishermen unloading their catch from a barge by a jetty with a beacon, with shipping in a calm estuary under a cloudy sky

Signed and dated lower right: . HEDA . 1630 Oil on panel: 16 x 22 ½ in / 41.6 x 57.2 cm Frame size: 28 ¼ x 22 ½ in / 71.8 x 57.2 cm In a black polished seventeenth century style Dutch frame PROVENANCE: Frederik Muller, 14th May 1912, lot 122; Frans Smulders Collection; his sale, Galerie Royale Kleykamp, The Hague, 9th November 1937, lot 2, illus. Private collection, Europe, for two generations Sotheby’s Amsterdam, 11th November 2008, lot 39 Private collection, Europe EXHIBITED: Haarlem, Frans Hals Museum, on loan 19982008 Niigata Bandaijima Art Museum/Toyohashi, City Museum of Art and History/Sakura City Museum of Art, Dutch Art in the Age of Frans Hals from the Collection of the Frans Hals Museum, 2003-4, no.55 Haarlem, Frans Hals Museum/Zurich, Kunsthaus/Washington DC, National Gallery of Art, Pieter Claesz.: Meester van het Stilleven in de Gouden Eeuw, 2004-5

Oil on panel: 13 ½ x 10 in / 34.5 x 26.5 cm Signed lower centre: S DE VLIEGER Frame size: 19 x 16 in / 48.3 x 40.6 cm In a black polished seventeenth century style Dutch frame Painted circa 1636 PROVENANCE: Ivan Sergeyevich Turgenev (1818-1883), Bougival1; his sale, Féral, Paris, 20th April 1878, lot 44, (‘Calme plat; des pêcheurs chargent dans leur bateau des paniers à poissons. Plusieurs bateaux à voiles sillonnent la mer. Bon petit tableau signé en toutes lettres. Bois. Haut., 34 cent.; larg., 27 cent.’) (FFr. 550 to Pinart); (possibly) collection of Marquise AlphonseLouis Pinart (1852-1911), Boulogne-Billancourt near Paris; by descent to Mrs Civialle-Pinart (a niece?); her sale, Féral, Paris, 15th May 1911, lot 29, (‘L’Estuaire. Dans deux barques amarrées à une estacade formée d’une palissade, deux pêcheurs vident leur nasses; un homme est assis au sommet d’un pieu de bois. Des bateaux à voiles voguent au large du fleuve sous un ciel nuageux. On aperçoit une rive dans le lointain. Signé en toutes lettres sur une barque. Bois. Haut., 34 cent.; larg., 27 cent.’); with Matthey, Paris, from whom acquired by Kleinberger on 24th November 1911; Galerie F Kleinberger, Paris, inv. no.8930, from whom acquired by Lehmann on 2nd December 1912 for FFr. 5,000; Albert Lehmann (1840-1922) and Caroline Cornélie Lehmann, née Kulp (1849-1926), Paris; Lehmann sale, Galerie Georges Petit, Paris,

JAN (JOHANNES) MIJTENS 1614 - The Hague - 1670

Portrait of two children in a landscape, with their dog at their side 3rd part, 12th-13th June 1925, lot 293, illus. (‘La Rentrée des nasses – Une barque de pêche est amarrée, à droite, à l’un des pilots d’une estacade sur laquelle un homme est assis. Deux pêcheurs l’occupent, l’un, à l’arrière, remonte une nasse sphérique, l’autre tient un havenet. Au fond, sous un vaste ciel où dérivent des nuages clairs, une embarcation à voiles et sa chaloupe.’); sold for FFr.21,5002 to Frederik Johannes ‘Frits’ Lugt (1884-1970) on behalf of a Dutch collector; their sale, Mak van Waay, Amsterdam, 15th November 1976, lot 72, illus.; Richard Green, London Ferdinand III Mühlens (1937-2021) Cologne, since 1977 EXHIBITED: London, Richard Green, Annual Exhibition of Old Masters, 1977, pp.28-29, no.12, illus. in colour Pictura, Maastricht, May 1977 LITERATURE: HP Baard, Willem van de Velde de Oude, Willem van de Velde de Jonge, Amsterdam 1942, p.8, illus. J Kelch, Studien zu Simon de Vlieger als Marinemaler, unpublished typewritten thesis, Berlin 1971, Catalogue of Paintings, p.48, no.59 Weltkunst, 1st May 1977 (colour illus., advertisement)

Signed and dated lower left: Joan Mytens / Ao 1655 Oil on canvas: 30 ¼ x 39 in / 76.8 x 99.1 cm Frame size: 39 x 48 in / 99.1 x 121.9 cm In a black polished seventeenth century style Dutch frame PROVENANCE: Lieutenant-Colonel Duncan Macalester Loup (1751-1812), The Hague1; his sale, Frans Johannes Bosboom, The Hague, 20th August 1806, lot 109 (bt. Gram) William Makepeace Thackeray (1811-1863); by descent to Mrs Edward Fisher, Welby Warren, Grantham Sotheby’s London, 8th July 1930, lot 53 (124 gns. to Pyke) Arthur Tooth & Sons, 1933 Robert Tritton (d.1957), Godmersham Park, Kent, by 1946; by inheritance to Mrs Robert Tritton, Godmersham Park, Kent; her estate sale, Christie’s London, 8th July 1983, lot 82; Richard Green, London, 1983; private collection, Guernsey

EXHIBITED: London, Richard Green, Old Master Paintings, 1983, pp.16-17, no.5, illus. in colour LITERATURE: Ralph Edwards, Early Conversation Pictures from the Middle Ages to about 1730. A Study in Origins, London 1954, pp.88, 143, no.30 (with incorrect size and wrongly dated after 1658) Alex Peter, Überlegungen zur höllandischen Bildnis- und Genremalerei am Ende ihres ‘Goldenen Zeitalters’, PhD thesis, Justus-Liebig University, Gießen 1996, p.167 Alexandra Nina Bauer, Jan Mijtens (1613/141670), Leben und Werk, Petersberg 2006, pp.258, no.A135; 416, illus.

To be included in the catalogue raisonné of the work of Simon de Vlieger being prepared by Gillis Tak Labrijn

We are grateful to Gillis Tak Labrijn for permission to use this detailed provenance from his forthcoming catalogue raisonné of the work of Simon de Vlieger. 2 FFr.27,000 according to ‘Der Cicerone’, Versteigerungsergebnisse 1925, vol.17, p.152 (293). 1

Information on Duncan Macalester Loup from the Getty Provenance Index.

JACOB MARREL

NICOLAES BERCHEM

ANNE VALLAYER-COSTER

Frankenthal 1614 - 1681 Frankfurt am Main

Haarlem 1620 - 1683 Amsterdam

1744 - Paris - 1818

Still life of tulips, roses, irises, a narcissus, stocks and other flowers in a blue and white vase, with cherries and a snail on a stone ledge

A halt on the falcon hunt

Vase de fleurs

Signed lower right: Berchem Oil on panel: 13 ½ x 14 ¼ in / 34.3 x 36.2 cm Frame size: 19 x 19 ½ in / 48.3 x 49.5 cm In a black polished seventeenth century style Dutch frame

Signed lower right: Ver. Coster Oil on canvas: 12 ¾ x 11 in / 32.4 x 27.9 cm Frame size: 18 ½ x 16 ½ in / 47 x 41.9 cm In an original Empire gilded frame

Signed and dated lower right: J Marrel / fec 1657 x 11 ½ in / 42.9 x 29.2 cm Oil on panel: 16 Frame size: 23 ¼ x 18 in / 59.1 x 45.7 cm In a black polished seventeenth century style Dutch frame PROVENANCE: Private collector, Europe, by descent from their grandfather

Painted circa 1805 Painted circa 1665 PROVENANCE: Possibly anonymous sale, Amsterdam, 16th July 1819, lot 151 (Dfl.16 to Gruyter) Thomas Emmerson, Esq., London; probably his sale, Phillips, London, 1st-2nd May 1829, lot 55 (with a slightly erroneous description) Acquired by John Smith in 1840 and sold by Messrs. Smith to GH Morland, 1841 Harry Vane Powlett, 4th Duke of Cleveland (1803-1891), Battle Abbey, East Sussex; his sale, Christie, Manson & Woods, London, 8th March 1902, lot 7 (155gns to Lesser) Collection of Mrs Holbrooke; her sale, Christie, Manson & Woods, London, 17th February 1939, lot 38 Vicars Brothers Ltd, 12 Old Bond Street, London, inv. no.33707 (label on the reverse) Private collection, Europe LITERATURE: John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, vol. V, London 1834, p.79, no.245 and vol. IX, Supplement, London 1842, p.599, no.19 Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII Jahrhunderts, vol. IX, Esslingen 1926, pp.97-98, no.163

According to Hofstede de Groot, op. cit., vol. IX.

PROVENANCE: Private collection, France

HENRI FANTIN-LATOUR

GUSTAVE CAILLEBOTTE

Grenoble 1836 – 1904 Buré

Paris 1848 - 1894 Gennevilliers

Pivoines et boules de neige

Bateaux sur la Seine à Argenteuil

Signed and dated upper right: Fantin . 78 x 13 in / 44.1 x 35.2 cm Oil on canvas: 17 Frame size: 28 ½ x 25 in / 72.4 x 63.5 cm In a carved and gilded Louis XV style frame

Signed and dated lower left: G. Caillebotte 1892 Oil on canvas: 28 ½ x 23 ¾ in / 73 x 60 cm Frame size: 38 x 32 ½ in / 96.5 x 82.6 cm In an antique Louis XIV carved and gilded frame

PROVENANCE: Alex Reid, Glasgow; his sale, Hôtel Drouot, Paris, 10th June 1898, lot 28 Ruth Edwards, London EJ van Wisselingh & Co., Amsterdam Wildenstein & Co. Inc., New York Pamela Woolworth Combemarle Collection, New York; her sale, Christie’s London, 27th November 1964, lot 38; where acquired by Arthur Tooth & Sons, London Sotheby’s London, 21st April 1971, lot 6; where acquired by Frost & Reed Gallery Ltd., London Michael F Drinkhouse Collection, New York; his sale, Sotheby’s New York, 17th May 1978, lot 6; where acquired by Alan and Simone Hartman

PROVENANCE: Paul Hugot (1841-1896), Paris, circa 1893 Collection of Monsieur A [Aghion], Paris; his sale, Hôtel Drouot, Paris, 29th March 1918, no.4 Hôtel Rameau, Versailles, 2nd June 1976, lot 98, illus. in colour Hôtel Drouot, Paris, 27th November 1986, lot 148, illus. in colour; Richard Green, London, 1986; Lord Harris of Peckham, UK, 1987; Richard Green, London, 1992; Mr and Mrs Benoit Devos, Belgium, 1992; Richard Green, London, 2000; private collection, USA

EXHIBITED: Amsterdam, EJ van Wisselingh & Co., Cent ans de Peinture Française, 16th April-5th May 1928, no.29 (as Fleurs diverses, wrongly dated 1872) London, Frost & Reed Gallery Ltd. and Christopher Wade, A Collection of Twenty-one Important Paintings, 1973, no.6 LITERATURE: Mme Fantin-Latour, Catalogue de l’Oeuvre Complet de Fantin-Latour, Paris 1911, p.94, no.892 M Verrier, Fantin-Latour, Paris 1978, p.35, illus. To be included in the forthcoming catalogue raisonné of the work of Henri Fantin-Latour currently being prepared by Messrs Brame and Lorenceau

EXHIBITED: Paris, Galerie Durand-Ruel, Exposition Retrospective d’Oeuvres de Gustave Caillebotte, 1894, no.54 London, Richard Green, Exhibition of Old Master and Impressionist Paintings, 1987, no.29, illus. in colour LITERATURE: Recorded in the Archive of Caillebotte’s brother Martial Caillebotte Marie Berhaut, Caillebotte, sa Vie et son Oeuvre: Catalogue Raisonné des Peintres et Pastels, Paris 1978, p.220, no.413, illus. Jean Chardeau, Les Dessins de Caillebotte, Paris 1989, pp.94-100, illus. p.99 Marie Berhaut, Catalogue raisonné des peintures et pastels, Paris 1994, p.234, no.438, illus.

HENRY MORET

PIERRE-AUGUSTE RENOIR

Cherbourg 1856 - 1913 Paris

Limoges 1841 - 1919 Cagnes

Bateaux au mouillage à Doëlansur-Mer

Jetée de roses

Signed and dated lower left: Henry Moret / 1895 Oil on canvas: 23 x 28 ¾ in / 60 x 73 cm Frame size: 32 x 37 in / 81.3 x 94 cm In an antique Louis XIV carved and gilded frame PROVENANCE: Acquired from the artist in 1901 by a private collector, France; by descent To be included in the catalogue raisonné of the work of Henry Moret being prepared by Jean-Yves Rolland

Signed upper right: Renoir Oil on canvas: 9 x 16 in / 23.2 x 41.6 cm Frame size: 15 x 22 ¼ in / 38.1 x 56.5 cm In a nineteenth century baguette style composition frame Painted circa 1910-15 PROVENANCE: Joseph Hessel (1859-1942), Paris Madame de Montigny, Toulouse Private collection, Béziers, by 1969 Private collection, Switzerland; by descent in the 1980s to a private collection, Vevey EXHIBITED: Béziers, Musée des Beaux-Arts, Collections Privées des Béziers et sa Région. Deuxième Exposition, July-September 1969, pp.63, no.144; 178, illus. upside down (lent by a private collection, Béziers) To be included in the forthcoming digital catalogue raisonné of the work of PierreAuguste Renoir being prepared by the Wildenstein Plattner Institute from the François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein archives, ref. no.21.09.29/20908 To be included in the Second Supplement to the Catalogue Raisonné des Tableaux, Pastels, Dessins et Aquarelles de Pierre-Auguste Renoir being prepared by Guy-Patrice Dauberville and Floriane Dauberville

HENRI LE SIDANER

ALBERT MARQUET

PABLO PICASSO

Port-Louis 1862 - 1939 Versailles

Bordeaux 1875 - 1947 Paris

Malaga 1881 - 1973 Mougins

La table, automne, Gerberoy

Poissy, le lavoir

Verre et pichet

Signed lower left: Le Sidaner Oil on canvas: 26 x 32 ¼ in / 66 x 81.9 cm Frame size: 35 x 41 in / 88.9 x 104.1 cm In an antique Louis XIV carved and gilded frame

Signed lower left: marquet Oil on panel: 13 x 16 in / 33 x 41 cm Frame size: 19 ½ x 22 ½ in / 49.5 x 57.2 cm In a nineteenth century carved and gilded frame

Painted in September 1920

Painted in 1929

Signed lower right: Picasso; dated and numbered on the reverse: 24 juillet / 44 / III Oil on canvas: 13 x 16 in / 33.3 x 41 cm Frame size: 20 ½ x 23 ½ in / 52.1 x 59.7 cm In a Spanish cassetta style black and gilded frame

PROVENANCE: Galeries Georges Petit, Paris, no.5145 and 10566, acquired from the artist in January 1921 for FFr.2,400 Gaby Salomon, Buenos Aires Geo Davey, Paris Arthur Tooth & Sons, London Mrs Nora Prince-Littler, London Christie’s London, 28th June 1977, lot 1; where acquired by Richard Green, London; private collection, USA, purchased from the above Sotheby’s New York, 8th November 2006, lot 221; Richard Green, London; private collection, UK

PROVENANCE: Galerie Druet, Paris, acquired from the artist 8th November 1929; Mme Lemière, acquired from Galerie Druet on 6th December 1929 Jacques Rodrigues-Henriques, Paris Galerie Motte, Palace Hôtel St-Moritz, Geneva, 13th February 1976, lot 62, illus. (as La Seine à Poissy – Le lavoir); where acquired by a private collector, Switzerland; by descent

EXHIBITED: Pittsburgh, Carnegie Institute, International Exhibition, Salle Le Sidaner, April 1921, no.190 Paris, Musée Galliera, Rétrospective Henri Le Sidaner, April 1948, no.19 London, Roland Browse and Delbanco, Le Sidaner, February-March 1964, no.57 London, Royal Academy, Post Impressionism, December 1979-March 1980, no.115, illus. Paris, Musée Marmottan, Henri Le Sidaner, MayJuly 1989, no.33, illus. pp.66, 101 LITERATURE: Yann Farinaux-Le Sidaner, Le Sidaner, l’Oeuvre peint et gravé, Paris 1989, p.170, no.427, illus. Josefina R Aldecoa, La Enredadera, 2002, colour detail illus. on the cover Certificate of authentication from Yann Farinaux-Le Sidaner, ref. no.LS 595

EXHIBITED: Lausanne, Fondation de l’Hermitage, Albert Marquet, 12th February-5th June 1988, no.63, illus. (lent by a private collector, Geneva) Albert Marquet travelling exhibition, Tokyo, Isetan Museum, 26th September-22nd October 1991; Nagoya, Matsuzakaya Museum, 31st October-17th November 1991; Ibaraki, Modern Art Museum, 11th January-23rd February 1992, p.70, no.45, illus. Certificate of authenticity from Jean-Claude Martinet1, Paris, 29th November 1976 To be included in the forthcoming Digital Catalogue Raisonné of the work of Albert Marquet currently being prepared by the Wildenstein Plattner Institute, Inc.

Nephew of Marquet’s wife and author of the first volume of the catalogue raisonné of his work.

PROVENANCE: Galerie Louise Leiris, Paris (no.15491) Galeria Theo, Madrid; private collection, Europe, acquired from the above, then by descent EXHIBITED: Madrid, Galeria Theo, Españoles universales siglo XX, October-November 1975, illus. p.35 Barcelona, Galeria Theo, Artistas españoles de la escuela de Paris, May-June 1976, illus. p.26 Segovia, Museo de Arte Contemporáneo Esteban Vicente, Picasso en las colecciones españolas, 10th October-14th January 2001, no.84, illus. LITERATURE: Christian Zervos, Pablo Picasso, Oeuvres de 1944 à 1946, Editions Cahiers d’Art, Paris 1963, vol.14, no.11, illus. p.6 The Picasso Project (ed.), Picasso’s Paintings, Watercolours, Drawings and Sculpture: 1940-1944, Alan Wofsy Fine Arts, San Francisco 1999, p.365, no.44-126, illus.

KEES VAN DONGEN

MARC CHAGALL

Delfshaven 1877 - 1968 Monaco

Vitebsk 1887 - 1985 Saint-Paul-de-Vence

Rose or La Rose dans le verre

Esquisse pour Chèvre dans un bouquet or Le bouquet rouge

Signed lower right: Van Dongen Oil on panel: 12 ¾ x 8 ¼ in / 32.4 x 21 cm Frame size: 19 ½ x 15 in / 49.5 x 38.1 cm In a Louis XIV style carved and gilded frame Painted circa 1928-30 PROVENANCE: Marie-Madeleine Lépine (née Dollfus, 19061990), Paris until 1990; Estate of Madame Lépine; Ader Tajan, Paris, Hôtel George V, Succession de Madame Lépine, vente au profit de l’Institut Pasteur, 17th November 1992, lot 147, as Rose dans un verre; Kunsthandel Borzo, 's Hertogenbosch, circa 1993; Willem Rueb, Amsterdam; Cornelis Paulus van Pauwvliet (1937-2022), Amsterdam, acquired from the above in 1996, then by descent EXHIBITED: Paris, Galerie Charpentier, Van Dongen, Oeuvres de 1890 à 1948, March-April 1949, no.159, as Rose Paris, Galerie Romanet, La fleur coupée: Cent tableaux de fleurs de Van Gogh à Bernard Buffet, December 1955, no.93, as La rose dans le verre LITERATURE: Norbert Hostyn and Willem Rappard, Dictionaire van Belgische en Hollandse Bloemenschilders geboren tussen 1750 en 1880, Knokke-Heist, Berko 1995, illus. in colour p.169, as Roos in een vaas This painting will be included in the forthcoming Kees van Dongen Digital Catalogue Raisonné currently being prepared by the Wildenstein Plattner Institute, as no.KDL7NO

Signed lower centre: Chagall Oil and ink on panel: 10 x 8 ¾ in / 27 x 22.2 cm Frame size: 19 ½ x 17 ¼ in / 49.5 x 43.8 cm In a Spanish cassetta style frame Painted in 1952 PROVENANCE: Fairweather-Hardin Gallery, Chicago, as Bouquet; Mr & Mrs Meyer Kestnbaum (1896-1960), Chicago, acquired from the above in 1958, then by descent EXHIBITED: Tokyo, Musée National d’Art Occidental and Musée Municipal de Kyoto, Exposition Marc Chagall - Japan 1963, October-December 1963, no.93, as Le Bouquet, lent by Mrs Meyer Kestnbaum The Comité Marc Chagall has confirmed the authenticity of this work and it is recorded by them as no.2023357

JEAN-PIERRE CASSIGNEUL Born Paris 1935

Les roses Signed lower left: Cassigneul; inscribed with the title on the stretcher Oil on canvas: 31 x 25 in / 81 x 65.1 cm Frame size: 41 ¾ x 35 in / 106 x 88.9 cm In a Louis XIV style gilded composition frame Painted in 1974 PROVENANCE: Wally Findlay Galleries, New York Christie’s New York, 18th May 1999, lot 93 Private collection, circa 2013 Jean-Pierre Cassigneul has kindly confirmed the authenticity of this work, which is accompanied by a certificate signed by the artist (no.2137)

MUSEUMS & NATIONAL COLLECTIONS Richard Green has assisted in the formation and development of numerous private and public collections including the following:

UNITED KINGDOM Aberdeen: City Art Gallery Altrincham: Dunham Massey (NT) Barnard Castle: Bowes Museum Bedford: Cecil Higgins Museum Canterbury: Royal Museum and Art Gallery Cheltenham: Art Gallery and Museum Chester: The Grosvenor Museum Coventry: City Museum Dedham: Sir Alfred Munnings Art Museum Hampshire: County Museums Service Hull: Ferens Art Gallery Ipswich: Borough Council Museums and Galleries Leeds: Leeds City Art Gallery Lincoln: Usher Gallery Liskeard: Thorburn Museum London: Chiswick House (English Heritage) Department of the Environment The Iveagh Bequest, Kenwood The Museum of London National Maritime Museum National Portrait Gallery National Postal Museum Tate Britain The Wimbledon Lawn Tennis Museum Lydiard Tregoze: Lydiard House Malmesbury: Athelstan Museum Norwich: Castle Museum Plymouth: City Museum and Art Gallery Richmond: London Borough of Richmond upon Thames and Orleans House Gallery St Helier: States of Jersey (Office) Southsea: Royal Marine Museum Stirling: Stirling Smith Art Gallery and Museum York:York City Art Gallery

CANADA Fredericton: Beaverbrook Art Gallery Ottawa: The National Gallery of Canada UNITED STATES OF AMERICA Baltimore, MD: The Baltimore Museum of Art Boston, MA: Museum of Fine Arts Cincinnati, OH: Art Museum Dayton, OH: The Dayton Art Institute Gainesville, FL: Harn Museum of Art Houston, TX: Sarah Campbell Blaffer Foundation Los Angeles, CA: J Paul Getty Museum New Haven, CT:Yale Center for British Art New York, NY: Dahesh Museum Ocala, FL: The Appleton Museum of Art Omaha, NE: Joslyn Art Museum Pasadena, CA: Norton Simon Museum Rochester, NY: Genessee County Museum San Marino, CA: The Huntington Library St Louis, MO: Missouri Historical Society Sharon, MA: Kendall Whaling Museum Toledo, OH: Toledo Museum of Art Ventura County, CA: Maritime Museum Washington, DC: The National Gallery The White House Williamstown, MA: Sterling and Francine Clark Art Institute Winona, MN: Minnesota Marine Art Museum Worcester, MA: Worcester Art Museum BELGIUM Antwerp: Maisons Rockox Courtrai: City Art Gallery DENMARK Troense: Maritime Museum

IRELAND Dublin: National Gallery of Ireland FRANCE Compiègne: Musée National du Château Paris: Fondation Custodia GERMANY Berlin: Staatliche Kunsthalle Darmstadt: Hessisches Landesmuseum Hannover: Niedersachsisches Landesmuseum Karlsruhe: Staatliche Kunsthalle Speyer am Rhein: Historisches Museum der Pfalz JAPAN Kanagawa: The Pola Museum of Art, The Pola Art Foundation HOLLAND Amsterdam: Joods Historisch Museum Rijksmuseum Amersfoort: Museum Flehite Utrecht: Centraal Museum SOUTH AFRICA Durban: Art Museum SPAIN Madrid: Real Academia de Bellas Artes de Sun Fernando Museo Thyssen-Bornemisza Museo Nacional del Prado SWITZERLAND Zurich: Schweizerisches Landesmuseum THAILAND Bangkok: Museum of Contemporary Art

TERMS OF SALE Paintings are sold subject to our standard terms and conditions of sale 2024, available on our website and upon request. Catalogue by Susan Morris and Rachel Boyd Hall. Photography by Sophie Drury. Graphic design by Gemini Patel. Published by Richard Green. © Richard Green (and any applicable image right owners/artists or their estates) 2023. Database right maker: Richard Green. All rights reserved. Richard Green is the registered trade mark of Richard Green Master Paintings Limited registered in the EU, the USA and other countries. Printed in England by Hampton Printing (Bristol) Ltd. Event Number: 6705.