HENRI FANTIN-LATOUR
Bouquet de fleurs
Signed and dated upper right: Fantin . 89
Oil on canvas: 20 x 24 ½ in / 51.5 x 62.3 cm
Henri Fantin-Latour here lavishes his brilliance on the flowers of high summer: the whorls of noisette roses; the ruffled skirts of hollyhocks; the silken, gossamer-thin petals of white mallows. Cottage-garden flowers, they evoke summers spent at Buré in Normandy, the property of Fantin’s in-laws. He had met the twentynine-year-old painter Victoria Dubourg while both were copying Old Masters in the Louvre; they married in 1876. It was a happy union, devoted to art and music.
By the late 1880s Fantin was renowned as a painter of roses, which particularly appealed to the English clientèle nurtured by his friends Edwin and Ruth Edwards. Ruth was the first owner of this work. The painting is notable not just for its roses but for its other species with different shapes and aspects, also including love-ina-mist (Nigella damascena), white phlox (Phlox paniculata) and the red clematis (Clematis viticella) which adds a fiery accent. When executing a flower painting, Fantin first covered the background with a neutral tone, working the brushwork so that the expanse pulsates gently. The canvas was left to dry. The following day, the flowers were chosen and arranged against a neutral cloth. Unlike the Dutch Golden Age painters, who assembled their bouquets with flowers from every season, studied from drawings kept for reference, Fantin painted what he saw on the day. Unlike his Impressionist contemporaries, however, he had a horror of pleinair painting, preferring to portray his flowers in the contemplative silence of his studio.
EUGENE BOUDIN
La marée montante à Trouville
Signed, inscribed and dated lower left: Deauville / E. Boudin 95; signed and inscribed with the title on a label on the reverse: E Boudin / La marée montante à Trouville Oil on panel: 10 ½ x 8 in / 26.7 x 20.3 cm
Eugène Boudin was the son of an Honfleur harbour pilot and briefly worked as a cabin boy for his father. He was largely self-taught as a painter; his plein-air coast and harbour views derive from a deep understanding and sympathy with maritime life and atmosphere. The jetties at Trouville-Deauville were favourite motifs in his work, particularly in the period from 1876. Constructed in 1840-50 as the result of a subscription launched by the sailors of Trouville and lengthened in 1858-9, they served to shorten and deepen the channel to the port.
In this painting of 1895, Boudin uses the dark wood of the jetties to define the space. The incoming tide is gradually encroaching on the banks of sand. Boudin interweaves a tapestry of colours into this channel, adding touches of blue, ochre, yellow-green and burgundy to the sandy base, bringing the hues of nature alive. The tranquil water joins a huge, cloud-flecked sky, evoking the radiance and changeability of northern French coastal light. More touches of colour are provided by a red and a blue boat in the middle distance and the jaunty tricolore of the moored fishing boat. Boudin liked to paint the fishing port at quiet, off-duty moments: the only human presence is the sailors in the rowing boats and a few distant strollers on the jetties, created from a few deft brushstrokes. Humanity is kept at arm’s length, subsumed into Boudin’s interest in light and colour.
MAXIMILIEN LUCE
La maison de Suzanne Valadon
Signed and dated lower left: Luce . 95
Oil on canvas: 19 5/8 x 31 ¼ in / 49.8 x 79.2 cm
Maximilien Luce was a child of Montmartre, born in 1858 in Rue Mayet, the son of a railway clerk and a sewing maid. Luce retained a lifelong allegiance to this ramshackle northern district, the hardships and heroism of its petits gens and his Anarchist politics. This painting depicts the house of a future icon of Montmartre, the laundress-turned-trapeze artist-turned model-turned successful artist Suzanne Valadon (1865-1938).
The house is the Maison du Bel Air at 12 Rue Corot, a seventeenth century mansion that had seen better days and been divided into modest apartments. Auguste Renoir and Luce himself were among the artists who lived there at various times. Luce’s painting captures the essence of a sun-warmed, fertile Bohemia rising above the grime of a rapidly-industrialising Paris. It shows the influence of the Divisionist theories of his friends Georges Seurat and Edmond Signac, in which dabs of ‘complementary’ colour are placed unmixed on the canvas, melding on the eye to creature structure and harmony. This can be seen on the façade of the Maison du Bel Air, where dabs of lilac, orange, blue, pink and primrose evoke the play of sunlight and shadow on the mellow stucco. However, Luce was never slavishly in thrall to Seurat’s scientific colour theories. He modulates his touch across the canvas, employing a freer, NeoImpressionistic manner for the tree at the left and the foreground, while evoking the distant plains towards Saint Denis with tighter touches of pastel blue and pink.
CAMILLE PISSARRO
Le verger du manoir d’Ango, Varengeville, après-midi ensoleillée
Signed and dated lower right: C. Pissarro. 99
Oil on canvas: 21 ½ x 25 ¾ in / 54 x 65.4 cm
This work is a fruit of Camille Pissarro’s stay at Varengeville in Normandy from early September to 13th October 1899. He ignored the coastline which had captivated Monet in 1882, preferring ‘little nooks’ with trees and mellow old buildings. The view shows the Manoir d’Ango, the country house of Jean d’Ango (1480-1551), Dieppe shipowner and sponsor of many privateering expeditions. He was one of the richest men in France in the reign of Francis I. Pissarro eschews the architectural grandeur of the main house in favour of depicting a bucolic corner of the estate, the orchard, with its outbuildings cradled in rich vegetation.
Pissarro instinctively searches out harmony in man and nature. As an Anarchist, he believed in the dignity of labour and the place of humans in moulding the landscape. The line of beech trees to the right is part of the carefully landscaped d’Ango estate. To the left, a line of judiciously spaced young fruit trees spreads exuberant branches against a cloud-flecked blue sky. The verticals of the trees are balanced by the horizontals of the outbuildings. The variety of Pissarro’s brushwork and his skills as a colourist are fully in evidence here, with the intense greens of orchard and garden thrown into relief by the autumnal hues of the beeches, terracotta roofs and brick chimneypots. Pissarro’s affection for Normandy, long regarded as a land brimming with nature’s bounty, is vividly realised in this painting.
MAXIMILIEN LUCE
Environs de Moulineux, le repos sous les arbres
Signed lower left: Luce
Oil on canvas: 33 ½ x 32 ¾ in / 85.1 x 83.2 cm
Painted circa 1903
Maximilien Luce painted working-class life and Paris street scenes, but also explored landscape. From 1900 Luce and his muse Ambroisine Bouin took holidays in the area around Etampes in the Ile-de-France, staying at Méréville, about fifty miles south-west of Paris. This painting was made in the vicinity of a nearby village, Moulineux. Luce glories in the lush, high summer landscape of northern France, with its meandering streams and gentle hills. Flickering, cross-hatched and dragged brushwork creates a swirl of energy, as do the vivid contrasts of hues. The composition is dominated by a tall poplar soaring into a blue sky flecked with white clouds. The sunny side of the tree is a dense interweaving of yellow-green and yellow brushstrokes, while the shadowed left is composed from touches of deep blue and blue-green. The composition is held in tension by the strong horizontal of fields bleached to a summer gold. At the far left, Luce depicts the golden field striated with the slender, purple shadows of the trees, pushing the power of complementary colours to the limit, in keeping with Post-Impressionist practice.
Two boys lie stretched on the grass, whiling away a delicious holiday afternoon amid the languorous heat and humming insects of la France profonde. Despite its realism and acute observation of the effects of light, Environs de Moulineux lies within a long tradition of French pastoral that goes back to the eighteenth century work of Antoine Watteau and Jean-Honoré Fragonard.
PIERRE-AUGUSTE RENOIR
Femme dans un paysage, Cagnes
Signed lower left: Renoir
Oil on canvas: 16 x 19 5/8 in / 40.6 x 49.8 cm
Painted circa 1910-15
In 1907 Renoir purchased the small estate of Les Collettes near Cagnes, just west of Nice on the Côte d’Azur. Captivated by Provençal landscape and culture, he built a new house but left the old farm buildings untouched and let most of the garden grow in all its lush profusion. John House remarks 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 it was quite different… Monet built his anew, to his own aesthetic specifications, while Renoir’s was old, preserved as an idealized vision of past society’.
Renoir made many paintings of the landscape around Cagnes, executed in jewel-like colours. His joie-de-vivre comes across powerfully. This work captures the dappled light of the wild, fecund garden, with its fragrant maquis and Mediterranean pines. The woman on the right is almost subsumed in rich vegetation. She perhaps represents Renoir’s wife Aline, of Burgundian peasant stock, who delighted in her vines, olives and vegetable garden, her house full of laughter and hospitality. Renoir’s twentieth century landscapes break bold new ground in his work, employing exuberant brushwork to evoke a sense of timelessness. Renoir’s son Jean, the celebrated film director, wrote of his father: ‘He was radiant, in the true sense of the word, by which I mean that we felt there were rays emanating from his brush, as it caressed the canvas’.
GUSTAVE LOISEAU
Pruniers en fleurs, Ennery
Signed lower right: G. Loiseau 1907; inscribed on a label on the stretcher: Pruniers en fleurs / Ennery / 1907 Oil on canvas: 23 5/8 x 28 ¾ in / 60 x 73 cm
Gustave Loiseau maintained a studio in Paris but toured widely in search of motifs. He was perhaps happiest, however, painting in the area around Pontoise on the river Oise, his family home. His parents retired from the capital back to Pontoise in 1880, allowing Loiseau to reacquaint himself with its gentle, fertile landscape.
Fruit tree blossom is a herald of spring and was treated by Loiseau on several occasions, among them Pommiers en fleurs en Normandie, 1903 (Musée des Beaux-Arts, Reims). The present view depicts plum trees at Ennery on the edge of Pontoise. Loiseau makes a feature of the twisted branches of the venerable trees, influenced by Japanese prints and Chinese wall paintings, which often depict flowering plums. In both Japanese and Chinese culture, plum blossom symbolises hope and renewal, as the tree puts forth flowers before leaves in early spring. Loiseau likewise celebrates the return of spring to his beloved northern France. A blue-jacketed peasant stands beneath the trees, totally in harmony with the natural world that he tends. Loiseau evokes the spring light of northern France by careful harmonies of pastel colours, from the exuberant burst of white flowers, to the shimmering sky, to the pink earth with its short, pale green shoots. In the distance is a village with white-walled, long and low houses. In a world of rapid industrialisation, increasingly traversed by the motor car, Loiseau presents a vision of a serene, timeless rural way of life.
FRANCIS PICABIA
Dans les collines, effet de soleil, Fuenterrabia
Signed and dated lower left: Picabia 1907; signed, dated and inscribed on the stretcher: Picabia dans les collines, effet de soleil 1907 / Fuenterrabia / Espagna Oil on canvas: 21 ¼ x 25 5/8 in / 54 x 65.1 cm
With his wealth, good looks, talent and showmanship, Picabia took Paris by storm with one-man shows at Galerie Haussmann in 1905 and 1907. The critic Léon Roger-Milès described Picabia as ‘a virtuoso, seated his keyboard, plucking scales’, who ‘launches into an escalade of arpeggios or preludes at random, according to his psychic disposition’.
This painting is a fruit of Picabia’s 1907 tour, as an early adopter of the motor car, to Fuentarrabia in the Basque Country, an area where his family had connections. Although Paris-born and a French citizen, he was proud of his Latin roots. They contributed to a fiery, restless nature that was ever questing for new means of expression. Picabia in 1907 said that his aim was to ‘reproduce the emotion which nature made him feel without the least care for technique’. In fact technique contributes powerfully to the impact of Dans les collines. The composition has a monumental simplicity, with its single tree, farmhouse, bay and sweep of blue-shadowed hills. Rich impasto, with the interweaving of myriad touches of colour, gives vibrancy to the work. Picabia works the sky more thinly, with circular strokes, creating a pulsating radiance of blue heavens and white clouds, emphasizing by contrast the sculptural solidity of the dense vegetation. Like Renoir in his twentieth century landscapes, Picabia moves beyond the Impressionist desire to capture a single moment in nature, in favour of responding to the essence of a scene.
AUGUSTE HERBIN
Vue d''un port Corse 1
Signed lower left: Herbin
Oil on canvas: 21 ¼ x 25 ½ in / 54 x 64.8 cm
Painted in 1907
Chameleon-like, Auguste Herbin explored Impressionism, Divisionism and Fauvism before becoming an enthusiastic exponent of Cubism and Abstraction. This painting was made at the height of his Fauvist period. In the spring of 1907 Herbin was invited to stay in Corsica by the German collector, art dealer and critic Wilhelm Uhde, a major patron of his work. In March 1907, Herbin had exhibited at the Salon des Indépendants alongside artists such as André Derain, Maurice de Vlaminck and Georges Braque. The influence of their bright, anti-naturalistic palettes and energetic brushwork is evident in the fifteen Corsican landscapes that were the fruit of this tour.
Vue d’un port Corse I is richly gestural and dynamic. Herbin employs crescents of thick impasto to describe the shifting colours of the water in the bay and rectangular blocks of varied hues, dabbed with window embrasures, for the quayside houses. The geometry of houses and quayside is contrasted with freely-brushed, purple and green hills and the scribbles of a moving cloudscape. Herbin paints wet-in-wet to express the smooth surface of the quay and to give solidity to the posts which march down it. This vibrant painting conjures up the southern light and romantic ‘otherness’ of France’s Mediterranean island possession. Although at this point Herbin is still committed to representational art, however divorced from naturalism, the seeds of his future adoption of Abstraction can be seen in this composition.
HENRI MANGUIN
Le Pas de la Colle, Cassis
Signed lower left: Manguin
Oil on canvas: 32 ¼ x 39 ¾ in / 81.9 x 101 cm
Painted in summer or autumn 1912
Henri Manguin was a pupil with Matisse, Marquet, Rouault and Camoin in the studio of Gustave Moreau. They sprang to notoriety at the 1905 Salon d’Automne, with works in which perspective is jettisoned and vivid, anti-naturalistic colour employed as a vehicle to express emotion. The critic Louis Vauxcelles dubbed them ‘Fauves’ (wild beasts).
Manguin first visited the South of France in 1904 and was seduced by its light. From 1912 to 1914 he spent summers in Cassis, about twelve miles east of Marseille. This view was made in 1912, when Manguin was staying in Cassis with his friend and fellow Fauve, Othon Friesz. By this period, however, Manguin had modified his style from the extremes of his Fauve manner. The composition looks inland towards the blue hills of the Mont du Président. Although more naturalistic in palette than his Fauve phase, it shows the bold simplification of modernist landscape and his genius as a colourist. The foreground is filled with trees and bushes of a serene monumentality, defined by a myriad of juxtaposed greens in softly blended, hatched brushstrokes. Manguin makes play of the widely contrasting shapes of the natural world, from the spiky agave plants to the spindly branches of the pines. The light makes the scaly trunk of the pine glow with burgundy, ochre and purple hues. All seems breathlessly still and dreamlike in the heat, the reverie broken only by the sound of cicadas.
HENRI MANGUIN
Nu sur un canapé
Signed lower left: Manguin
Oil on canvas: 19 ¾ x 24 1/8 in / 50.1 x 61.2 cm
Painted in Lausanne in 1915
Manguin’s daughter Lucile described her father as ‘homme sensible, cultivé, passionné…aussi habité d’une grande energie’. Reflecting his spirit, this painting is full of a fierce joie de vivre, despite the wartime circumstances under which it was made. At the end of 1914, as the First World War broke out, Manguin relocated his family from France to Lausanne in neutral Switzerland. Manguin had several important Swiss patrons, including Dr Hans Schuler, the first owner of this work.
At his home on the Avenue de Rumine in Lausanne, Manguin made a number of studies of nudes, using his wife Jeanne-Marie as a model. Nu sur un canapé, is among the finest of these intimate, sensual works. Jeanne lies on a sofa, the curves of her body depicted in caressing strokes of flesh tones striated with purple and green shadows. She is cocooned in a room of vivid colour, vibrant as the palette of Manguin’s Fauve years. Shadows of red and purple gather in the corner of the room, broadening out to green and yellow in the sunlit area behind Jeanne’s glossy, dark chignon. The furnishings are a riot of complementary colours: orange and purple in the carpet, green and orange in the cushions, red and midnight blue in the tablecloth. Manguin transforms a cluttered, bourgeois interior into the exotic lair of an odalisque. Behind Jeanne is another of Manguin’s paintings of a nude, referencing Old Master tradition, such as Titian’s magisterial Venus of Urbino, 1534.
ALBERT MARQUET
Samois, le portail vert
Signed lower left: marquet
Oil on canvas: 25 5/8 x 32 in / 65.1 x 81.3 cm
Painted in summer 1917
Early in his career Albert Marquet adopted the bold colours and radical simplification of the Fauve painters. By the time that this work was made, in 1917, he had forged a highly individual manner influenced by aspects of Impressionism, the work of Cézanne and the graceful economy of Japanese prints. In August and September of that year he rented a villa in Samois-sur-Seine, north of Fontainebleau. Although the First World War was raging on the battlefields to the north-west, Marquet’s Samois paintings are permeated with the utmost serenity, almost in defiance of the outside world.
Samois, le portail vert looks down on the gates of the villa, which are framed by tall trees, giving a sense of enclosure and peace. Beyond the silvery expanse of the Seine, a land of green and gold meadows rolls to the gentle hills that edge the Seine valley. Marquet is an exquisitely subtle colourist, capturing the moist, subdued light of northern France and the rich symphony of greens in this lush, high summer landscape. The elements of the composition are simplified and geometrically aligned, bands of horizontals balanced by the verticals of the foreground trees. Marquet’s wife, Marcelle, summed up his philosophy: ‘The dream of Marquet was to be the invisible but ever-present witness, a witness who missed nothing and who knew…how to disencumber things from that which weighed them down and deformed them, so as to arrive at their essential truth’.
14
FELIX VALLOTTON
La Seine aux Andelys, le soir
Stamped with the signature and dated lower left: F. VALLOTTON. 24
Oil on canvas: 21 3/8 x 25 5/8 in / 54.3 x 65.1 cm
A Swiss Protestant who spent most of his career in Paris; a Nabi who painted with the chill precision of his Northern forebears; an individualist who eschewed all the ‘isms’ of the twentieth century: Félix Vallotton has been called the ‘Painter of Disquiet’. He painted landscapes most of his career, but particularly after 1909. This work depicts the Seine at Les Andelys in Normandy, a place of magic for Vallotton as the birthplace of his hero, Nicolas Poussin (1594-1665). Poussin’s development of ‘historical landscape’, which metamorphosed the changeable elements of nature into compositions of grandeur and permanence, was deeply influential upon him. Vallotton wrote: ‘I dream of painting free from any literal respect for nature, I would like to reconstruct landscapes solely with the help of the emotion they gave me, a few broad, evocative lines, one or more details, chosen, without slavish devotion to the accuracy of time or lighting’.
This work abstracts the essence of a sunset as the colour leaches from the landscape and the purple shadows gather. The scene is taken from just beyond the town of Les Andelys, with the dark mass of the Ile du Château on the left. Vallotton is less interested in topographical detail, however, than in the shapes which the austere masses of land make on the canvas. Vallotton evokes a landscape which is gently melancholy, dreamlike and mesmerizing, painted in a spirit very far from the exuberance of Impressionism, but proudly powerful and individual.
HENRI MARTIN
Mer et rochers
Signed lower centre: Henri Martin
Oil on canvas: 25 ½ x 31 5/8 in / 64.8 x 80.3 cm
Painted circa 1926
In 1923 Henri Martin bought a house at Collioure, a Catalan town south of Perpignan, fifteen miles from the French-Spanish border. It was a magnet for painters in the twentieth century, including Derain, Matisse and Picasso. Martin’s son, the painter Jac MartinFerrières, wrote that the house ‘was placed on rocks facing the sea, and he made many studies from there’. Martin knew the area well, as his friend Henri Marre spent part of every year in Collioure. The hot Mediterranean light, crisp shadows and monumental, golden architecture presented Martin with a new challenge. Throughout the 1920s and 30s he produced a series of views of Collioure which are among the most bold and joyful of his career.
Mer et rochers is unusual in Martin’s work in concentrating on a section of sea and rocky shore without any architectural elements or horizon. Martin painted en plein air and was extremely responsive to changes of light and atmosphere. The richly-impasted ocean, composed from dabs of green and blue with flecks of white, fills the upper two-thirds of the canvas. In the foreground, swirls and eddies of white, intermixed with touches of pink and cream, evoke waves breaking around jagged brown rocks, conjuring up the power of the sea and the complex undercurrents of the Catalan shore. The concentration on a few elements in nature has a hypnotic effect, harking back to the Symbolist elements of Martin’s work in the early part of his career.
MARQUET
Mer agitée à Collioure
Signed lower left: marquet
Oil on panel: 12 ½ x 16 ¼ in / 31.8 x 41.3 cm
Painted in 1940
This painting demonstrates Albert Marquet’s skills as a colourist: Mediterranean light and heat pour out of this canvas. The choppy sea grades from sapphire blue to turquoise, contrasting with the salmon pink, terracotta and dazzling white buildings of the old town. Behind, the sky is a hazy eau-de-nil green, with the palest of pink clouds building at the horizon, perhaps harbingers of a thundery shower that will cool the land. André Rouveyre, a fellow student in Gustave Moreau’s atelier, wrote: ‘Marquet reigns over the kingdom of light. The light that shines on the things of this world, of course, but also that which belongs to his pictures alone: a strangely regal quality that comes from his sensitivity and wisdom’.
Marquet depicts the view towards Collioure’s harbour wall, with the medieval lighthouse and the church of Nôtre-Dame-desAnges behind. Situated fifteen miles from the present FrenchSpanish border, for centuries Collioure was of strategic importance, squabbled over by the kingdoms of Aragon, Majorca, Spain and France, to which it was finally ceded in 1659. The Royal Castle, built in the thirteenth and fourteenth centuries by the Kings of Majorca, was reinforced to its present outline by Philip II of Spain in the sixteenth century. By the nineteenth century Collioure was a modest fishing port and a centre for anchovy salting and canning; its unspoiled beauty attracted increasing numbers of visitors as the twentieth century progressed.
ALFRED SISLEY
Paris 1839 - 1899 Moret-sur-Loing
Les coteaux de La Celle, après
Saint-Mammès
Signed and dated lower right: Sisley. 84
Oil on canvas: 21 1/8 x 25 ½ in / 53.7 x 65 cm
Frame size: 29 x 33 in / 73.7 x 83.8 cm
In a Louis XV gilded composition pastel frame
PROVENANCE:
Maurice Allard du Chollet, Paris
Bollag Galleries, Zurich;
M Knoedler & Company, New York, acquired from the above in August 1923;
The Hon. Sir Evan Edward Charteris (1864-1940), London, acquired from the above on 30th April 1928
Derek Jackson OBE, DFC, AFC, FRS (1906-1982), by July 1938; by descent in a private collection, Switzerland
EXHIBITED:
Paris, Galeries Georges Petit, Exposition d’œuvres de Alfred Sisley, May-June 1917, no.40 (as Les bateaux de La Celle après Saint-Mammès)
New York, M Knoedler & Company, Exhibition of the Last Fifty Years in French Art, January 1927, no.21 (as The banks of the river)
Columbus, OH, The Columbus Gallery of Fine Arts, Paintings Belonging to Mr Derek Jackson of Lausanne, Switzerland, 1957, p.13, illus.
Lausanne, Fondation de l’Hermitage, L’Impressionnisme dans les Collections Romandes, JuneOctober 1984, no.100, illus. in colour
LITERATURE:
F Daulte, Alfred Sisley, Catalogue Raisonné de l’Oeuvre Peint, Lausanne 1959, no.558, illus.
F Daulte, Sisley, Les Saisons, Paris 1992, p.61, no.34, illus. in colour
S Brame et F Lorenceau, Alfred Sisley, Catalogue
Critique des Peintures et des Pastels, Lausanne and Paris 2021, pp.226, 469, no.570, illus. in colour
HENRI FANTIN-LATOUR
Grenoble 1836 - 1904 Buré
Bouquet de fleurs
Signed and dated upper right: Fantin . 89
Oil on canvas: 20 x 24 ½ in / 51.5 x 62.3 cm
Frame size: 31 x 35 in / 78.7 x 88.9 cm
In an antique Louis XIV carved and gilded frame
PROVENANCE:
Mrs Edwin Edwards (c.1833-1907), London, acquired from the artist
F and J Tempelaere, Paris
Alex Reid, Glasgow
John Stewart of Renfrew, Greenock, Scotland
Alex Reid and Lefevre, London, 1951
Mrs Albert D Lasker, New York, by 1953; her sister Mrs Alice Woodard Fordyce, New York
Parke-Bernet Galleries Inc., New York, 19th May 1966, lot 7, illus. in colour
Lefevre and Marlborough, London, 1966
Sir Alfred Beit, 2nd Bt. (1903-1994), Russborough House, Blessington, Ireland
Sotheby’s London, 4th April 1989, lot 29; Richard Green, London; Mr Shigerki Kameyama, Tokyo, Japan, 1989
Christie’s New York, 8th November 2000, lot 11; Richard Green, London; private collection, USA
EXHIBITED:
Glasgow, Ian McNicol Galleries, Fantin-Latour, 1950, no.10
Dallas, Museum of Fine Arts, An Exhibition of 69
Paintings from the Collection of Mrs Albert D Lasker, 6th-29th March 1953, no.33
Paris, Grand Palais/Ottawa, National Gallery of Canada/San Francisco, California Palace of the Legion of Honor, Fantin-Latour, November 1982-September 1983, pp.272-3, no.104, illus. (as Summer bouquet ; lent by Sir Alfred Beit)
LITERATURE:
Mme Fantin-Latour, Catalogue de l’oeuvre complet de Fantin-Latour, Paris 1911, p.144, no.1374
The Burlington Magazine, vol XCIII, December 1951, p.XIX, illus.
W Brockway and A Frankfurter, The Albert D Lasker Collection. Renoir to Matisse, New York 1957, p.19, illus. in colour
The Burlington Magazine, vol. CVIII, April 1966, p.xxxii, illus.
To be included in the forthcoming catalogue raisonné of the work of Henri Fantin-Latour currently being prepared by Messrs Brame and Lorenceau
EUGENE BOUDIN
Honfleur 1824 - 1898 Deauville
La marée montante à Trouville
Signed, inscribed and dated lower left: Deauville / E. Boudin 95;
signed and inscribed with the title on a label on the reverse: E Boudin / La marée montante à Trouville
Oil on panel: 10 ½ x 8 in / 26.7 x 20.3 cm
Frame size: 17 x 15in / 43.2 x 38.1 cm
In a gilded Louis XIV style composition frame
PROVENANCE: Gérard, Paris
Jos Hessel, Paris
Private collection
Roland, Browse and Delbanco, London
Sotheby’s London, 3rd July 1968, lot 37 (£7,500 to Green);
Richard Green Gallery, London, 1968; private collection, UK
LITERATURE:
Queen magazine, 6th November 1968 (advertisement)
Robert Schmit, Eugène Boudin 1824-1898, Paris 1973, vol. III, p.220, no.3173, illus. (as Trouville. Les jetées marée basse, dated 1893)
MAXIMILIEN LUCE
1858 - Paris - 1941
La maison de Suzanne Valadon
Signed and dated lower left: Luce . 95
Oil on canvas: 19 5/8 x 31 ¼ in / 49.8 x 79.2 cm
Frame size: 30 x 41 in / 76.2 x 104.1 cm
In a gilded Louis XIV style composition frame
PROVENANCE:
Private collection, France; from whom acquired in 1966 by Hammer Galleries, New York, inv. no.2007-1; from which acquired by Fritz and Lucy Jewett, San Francisco, CA, December 1966
LITERATURE:
Jean Bouin-Luce and Denise Bazetoux, Maximilien Luce, catalogue raisonné de l’oeuvre peint, Paris 1986, vol. II, p.50, no.174, illus.
5
CAMILLE PISSARRO
Charlotte Amalie, Saint Thomas 1830 - 1903 Paris
Le verger du manoir d’Ango, Varengeville, après-midi ensoleillée
Signed and dated lower right: C. Pissarro. 99
Oil on canvas: 21 ½ x 25 ¾ in / 54 x 65.4 cm
Frame size: 29 ½ x 33 in / 74.9 x 85.7 cm
In an antique carved and gilded Louis XIV frame
PROVENANCE:
Durand-Ruel, Paris (acquired from the artist in November 1899 and until 1941)
A & R Ball, New York (acquired by 1959); M Knoedler & Co., New York (acquired from the above in October 1959);
Mr and Mrs Norman B Woolworth, New York (acquired from the above on 20th October 1959); Pauline E Woolworth, New York (by descent from the above);
Ann Kendall Richards, Inc., New York (acquired from the family of the above);
Roger and Laura Meier, Portland (acquired from the above in 1998); the Meier Family Collection, USA
EXHIBITED:
Paris, Durand-Ruel, Tableaux par Camille Pissarro, 1928, no.87, n.p. (as L’Auberge du manoir, Varengeville) Basel, Kunsthalle, Impressionisten - Monet, Pissarro, Sisley: Vorläufer und Zeitgenossen, 1949, no.171 (as Varengeville, l’après-midi )
Paris, Galerie André Weil, Exposition Pissarro: au Profit du Musée de Jérusalem, 1950, no.34 (as Auberge du manoir à Varengeville, wrongly dated 1898)
New York, The Metropolitan Museum of Art, New York Collects: Paintings, Watercolors and Sculpture from Private Collections, 1968, no.170 (as Varengeville) Portland Art Museum, Paris to Portland: Impressionist and Post-Impressionist Masters in Portland Collections,
2003, n.n., pp.9, illus. in colour; 44 Portland Art Museum, 2018-2023, on loan Portland Art Museum, Paris 1900: City of Entertainment, 2019
LITERATURE:
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro - Son art, son Oeuvre, vol. I, Paris 1939, no.1086, p.232; vol. II, no.1086, pl. 217, illus. (as Varengeville, l’auberge du manoir, après-midi )
Janine Bailly-Herzberg, Correspondance de Camille Pissarro, vol. V, Paris 1980, no.1675.11, p.55
Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings, vol. III, Paris 2005, no.1291, p.799, illus. in colour
6
MAXIMILIEN LUCE
1858 - Paris - 1941
Environs de Moulineux, le repos sous les arbres
Signed lower left: Luce
Oil on canvas: 33 ½ x 32 ¾ in / 85.1 x 83.2 cm
Frame size: 42 x 40 in / 106.7 x 101.6 cm
In a gilded Louis XIV style gilded composition frame
Painted circa 1903
PROVENANCE:
Frédéric Luce, son of the artist; given by Frédéric to Madame C, a childhood friend; by descent in the family of Mme C, France
LITERATURE:
Jean Bouin-Luce and Denise Bazetoux, Maximilien Luce, catalogue raisonné de l’oeuvre peint, Paris 1986, vol. III, p.163, no.664, illus.
7
PIERRE-AUGUSTE RENOIR
Limoges 1841 - 1919 Cagnes
Femme dans un paysage, Cagnes
Signed lower left: Renoir
Oil on canvas: 16 x 19 5/8 in / 40.6 x 49.8 cm
Frame size: 22 ½ x 26 ½ in / 57.2 x 67.3 cm
In a carved and gilded Louis XIV style frame
Painted circa 1910-15
PROVENANCE:
Ambroise Vollard, Paris, acquired from the artist before 1919
Galerie Römer, Zurich
A la Vieille Russie, New York; Hirschl and Adler Galleries, New York, acquired from the above in 1959;
Galerie Durand-Matthiesen, Geneva, acquired from the above in November 1960; private collection, Switzerland; Christie’s London, 2nd December 1996, lot 5; private collection, Taiwan
Halcyon Gallery, London; acquired from the above in 2017 by a private collector, UK
EXHIBITED:
New York, Hirschl and Adler Galleries, Inc., Selections from the Collection of Hirschl and Adler Galleries, vol. II, 1961, p.55, no.86, illus. in colour (as View of a village)
LITERATURE:
Ambroise Vollard, Tableaux, pastels et dessins de PierreAuguste Renoir, vol. I, Paris 1918, n.p., no.295, illus. and revised edn. San Francisco 1989, p.74, no.295, illus. (as Paysage)
Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. IV, 1903-1910, Paris 2012, p.207,
no.3031, illus. (as Paysage (Personnage dans un paysage à Cagnes), c.1905)
To be included in the forthcoming digital catalogue raisonné of the work of Pierre-Auguste Renoir being prepared by the Wildenstein Plattner Institute from the François Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein archives, ref. no. PRG4Z4
GUSTAVE LOISEAU
1865 - Paris - 1935
Pruniers en fleurs, Ennery
Signed lower right: G. Loiseau 1907; inscribed on a label on the stretcher: Pruniers en fleurs / Ennery / 1907
Oil on canvas: 23 5/8 x 28 ¾ in / 60 x 73 cm
Frame size: 32 ½ x 37 ½ in / 82.6 x 95.2 cm
In its original Louis XIV style composition frame
PROVENANCE:
Galerie Herman, Paris, circa 1985-90; private collection, France, acquired from the above; by descent in a private collection, France
To be included in the catalogue raisonné of the work of Gustave Loiseau being prepared by Monsieur Didier Imbert, inv. no.A 343
9
FRANCIS PICABIA
1879 - Paris - 1953
Dans les collines, effet de soleil, Fuentarrabia
Signed and dated lower left: Picabia 1907; signed, dated and inscribed on the stretcher: Picabia dans les collines, effet de soleil 1907 / Fuenterrabia / Espagna
Oil on canvas: 21 ¼ x 25 5/8 in / 54 x 65.1 cm
Frame size: 29 x 33 in / 73.6 x 83.8 cm
In a Louis XV style carved and gilded pastel frame
PROVENANCE:
By descent in a private collection, France, since the 1960s
To be included in the catalogue raisonné of the work of Francis Picabia being prepared by the Comité Picabia
10
AUGUSTE HERBIN
Quiévy 1882 - 1960 Paris
Vue d''un port Corse 1
Signed lower left: Herbin
Oil on canvas: 21 ¼ x 25 ½ in / 54 x 64.8 cm
Frame size: 28 ½ x 33 in / 72.4 x 83.8 cm
In a Louis XV style carved and gilded composition frame
Painted in 1907
PROVENANCE:
Galeria Agora (Daniel Malingue), Paris
M Knoedler & Co., New York
Private collection, New York
Michelle Rosenfeld Fine Arts Inc., New York; private collection, acquired from the above in 1992
EXHIBITED:
New York, M Knoedler & Co., Auguste Herbin Paintings from 1907 to 1958, 28th January-16th February 1978, no.1
LITERATURE:
Geneviève Claisse, Herbin, Catalogue Raisonné de l’Oeuvre Peint, Lausanne and Paris 1993, p.298, no.112, illus.
HENRI MANGUIN
Paris 1874 - 1949 St Tropez
Le Pas de la Colle, Cassis
Signed lower left: Manguin
Oil on canvas: 32 ¼ x 39 ¾ in / 81.9 x 101 cm
Frame size: 41 x 49 in / 104.1 x 124.5 cm
In a Louis XIV style gilded composition frame
Painted in summer or autumn 1912
PROVENANCE:
Acquired from the artist by Galerie E Druet, Paris, in December 1912, inv. no.7166
Joachim Gasquet (1873-1921), Paris, 1913
Private collection, Vauxrezis dans l’Aisne, Hauts de France, acquired circa 1923; private collection, France
EXHIBITED:
Paris, Galerie E Druet, Manguin, 28th April-10th May 1913, no.25
LITERATURE:
Marie-Caroline Sainsaulieu, Henri Manguin Catalogue Raisonné de l’Oeuvre Peint sous la Direction de Lucile et Claude Manguin, Neuchâtel 1980, p.169, no.428, illus.
12
HENRI MANGUIN
Paris 1874 - 1949 St Tropez
Nu sur un canapé
Signed lower left: Manguin
Oil on canvas: 19 ¾ x 24 1/8 in / 50.2 x 61.2 cm
Frame size: 31 x 34 in / 78.7 x 86.4 cm
In a Louis XV style carved and gilded frame
Painted in Lausanne in 1915
PROVENANCE:
Dr Hans Schuler Collection, Winterthur (acquired from the artist in January 1916); Kunsthaus, Zurich (bequeathed from the above in 1920)
Galerie Beyeler, Basel
Private collection, Paris, by 1967
Galerie de l’Elysée (Alex Maguy), Paris, no.1299 (as Composition)
Teri and Bernard Solomon Collection, Los Angeles; their sale, Sotheby Parke Bernet, Los Angeles, 4th February 1975, lot 309
Private collection, USA, by 1980 (Possibly) Ansley Graham, Los Angeles
Michelman Fine Art Inc., New York; acquired from the above in December 2003 by a private collector, USA
LITERATURE:
Exh. cat., Henri Manguin, Fauve Master (1905-1910), Los Angeles 1974, illus.
Marie-Caroline Sainsaulieu, Henri Manguin Catalogue Raisonné de l’Oeuvre Peint sous la Direction de Lucile et Claude Manguin, Neuchâtel 1980, p.190, no.504, illus.
ALBERT MARQUET
Bordeaux 1875 - 1947 Paris
Samois, le portail vert
Signed lower left: marquet
Oil on canvas: 25 5/8 x 32 in / 65.1 x 81.3 cm
Frame size: 33 x 39 in / 83.8 x 99.1 cm
In a Louis XV style gilded composition frame
Painted in summer 1917
PROVENANCE:
Private collection, Paris; by descent to a private collection, Paris, in 2023
To be included in the forthcoming Digital Catalogue Raisonné of the work of Albert Marquet currently being prepared by the Wildenstein Plattner Institute, Inc., inv. no.24.03.14/21535
FELIX VALLOTTON
Lausanne 1865 - 1925 Neuilly-sur-Seine
La Seine aux Andelys, le soir
Stamped with the signature and dated lower left: F. VALLOTTON. 24
Oil on canvas: 21 3/8 x 25 5/8 in / 54.3 x 65.1 cm
Frame size: 28 x 32 ½ in / 71.1 x 82.6 cm
In a Scandinavian style carved and gilded frame
PROVENANCE:
The Estate of Félix Vallotton; his stepson Joseph-Jacques Rodrigues-Henriques (1886-1968), Paris
Dr Roux Berger, Paris, by 1932 Private collection, Paris
LITERATURE:
Félix Vallotton, MS ‘Livre de Raison’, LRZ 1499, ‘La Seine aux Andelys, le soir, soleil couché, des reflets jaunes traînent sur l’eau (T 15)’
Marina Ducrey with the collaboration of Katia Poletti, Félix Vallotton 1865-1925 L’Oeuvre Paint III: Catalogue
Raisonné Seconde Partie 1910-1925 (CR 748 à 1704), Zurich/Lausanne 2005, vol. III, p.831, no.1596, illus.
15
HENRI MARTIN
Toulouse 1860 - 1943 Labastide-du-Vert
Mer et rochers
Signed lower centre: Henri Martin
Oil on canvas: 25 ½ x 31 5/8 in / 64.8 x 80.3 cm
Frame size: 33 x 39 ½ in / 83.8 x 100.3 cm
In a Louis XV style gilded composition pastel frame
Painted circa 1926
PROVENANCE:
Sotheby’s London, 30th March 1988, lot 134; where acquired by a private collector, UK
To be included in the forthcoming catalogue raisonné of the work of Henri Martin being prepared by MarieAnne Destrebecq-Martin
16
HENRI LE SIDANER
Port-Louis 1862 - 1939 Versailles
La table sur le jardin fleuri au crépuscule, Gerberoy
Signed lower left: Le Sidaner
Oil on canvas: 32 3/8 x 39 ½ in / 82.2 x 100.3 cm
Frame size: 41 x 48 ½ in / 104.1 x 123.2 cm
In a Louis XIV style carved and gilded frame
Painted in 1930
PROVENANCE:
M Midlé, France, acquired by 1948
Hôtel Drouot, Paris, 25th October 1967
Maurice Sternberg Galleries, Chicago; from whom acquired by Camille (1921-2021) and Raymond Hankamer (1922-2013), Texas, USA
EXHIBITED:
Paris, Paul Bornet, Exposition des Trois (La Touche, Laurent, Le Sidaner), 1931
Pittsburgh, Carnegie Institute, Le Sidaner, 1931
Paris, Galerie Charpentier, Exposition Le Sidaner, February 1934
Amsterdam, Galerie Buffa, Exposition Le Sidaner
Paris, Salon du Groupe Indépendent de la Société
Nationale, April 1937
Paris, Musée Galliéra, April 1948, no.58 (lent by M Midlé)
Chicago, Maurice Sternberg Galleries, Le Sidaner, no.19
LITERATURE:
Op de Hoogte, May 1936
Amsterdamsche Courant, 1936
Yann Farinaux-Le Sidaner, Le Sidaner, L’Oeuvre Peint et Gravé, Paris 1989, p.252, no.687, illus.
17
ALBERT MARQUET
Bordeaux 1875 - 1947 Paris
Mer agitée à Collioure
Signed lower left: marquet
Oil on panel: 12 ½ x 16 ¼ in / 31.8 x 41.3 cm
Frame size: 18 ¾ x 21 ¾ in / 47.6 x 55.2 cm
In a Louis XV style pastel frame
Painted in 1940
PROVENANCE: R Petel, by 1954
Galerie des Granges, Geneva; from whom acquired by a private collector, Lausanne; by descent in a private collection, Switzerland
EXHIBITED:
Toulouse, Musée des Augustins, Albert Marquet, 19th June-18th July 1954, no.39 (as Collioure, lent by R Petel)
To be included in the forthcoming Digital Catalogue Raisonné of the work of Albert Marquet currently being prepared by the Wildenstein Plattner Institute, Inc., ref. 20.04.20/20834
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
AUSTRALIA
Adelaide: Art Gallery of South Australia
TERMS OF SALE
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
Los Angeles County Museum of Art
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
Paintings and sculptures are sold subject to our standard terms and conditions of sale July 2024, available on our website and upon request.
Catalogue by Susan Morris. 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) 2024. 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: 6837.
