TEFAF NY by Richard Green

6th–10th May 2022 Booth 103 Park Avenue Armory 643 Park Avenue New York, NY 10065 Following the fair, these paintings will be on view at 147 New Bond Street, London W1S 2TS

Penny Marks +44 (0)7720 848 586 pennymarks@richardgreen.com

Jonathan Green +44 (0)7768 818 182 jonathangreen@richardgreen.com

Laura Bergues +44 (0)7508 484 003 laurabergues@richardgreen.com

www.richardgreen.com paintings@richardgreen.com

Paintings are sold subject to our standard terms and conditions of sale, copies of which may be obtained on request and are also available on our website

CONTENTS

PAU L- C E SA R H E L L E U Voilier blanc en régate

CHARLES CAMOIN Bords de l’Arc

PIERRE-AUGUSTE RENOIR Roses dans un vase vert

PIERRE-AUGUSTE RENOIR Paysage, allée de ferme avec femme en rouge et blanc

HENRI MANGUIN Pêches et raisins à la fenêtre

R AOU L DU F Y Régates à Cowes

HENRI LE SIDANER La table sur le jardin fleuri au crépuscule, Gerberoy

P I E R R E B O N N A R D Hon. RA Matinée à Arcachon

WILLIAM TURNBULL Mask

10 H E N R Y M O O R E OM CH Reclining figure: Snake 11

JOSEF ALBERS Study for Homage to the square: Mellow

12 D A M E B A R B A R A H E P W O R T H DBE Upright solitary form (Amulet)

Cover (detail): Pierre Bonnard Hon. RA Matinée à Arcachon

13 B R I D G E T R I L E Y CH CBE 4th revision of June 23 – study after cartoon for High sky 14 G E R H A R D R I C H T E R Grün- blau- rot (Green-blue-red)

Inside cover (detail): Bridget Riley CBE 4th revision of June 23 – study after cartoon for High sky Left (detail): Pierre-Auguste Renoir Roses dans un vase vert

PAU L- C E SA R H E L L E U Vannes 1859 – 1927 Paris

Voilier blanc en régate Signed lower right: Helleu Oil on canvas: 25 5/8 × 31 ½ in / 65.1 × 80 cm Frame size: 33 ¼ × 39 ½ in / 84.5 × 100.3 cm In a Louis XV pastel style carved and gilded frame Painted circa 1901 PROVENANCE:

Lucien Nouvel (d.1975), Chairman of Laboratoires Adrian; by whom given in the 1960s to Monsieur Bonnard; from whom inherited in 1994 by Mrs Buzzi, France EXHIBITED:

Paris, Galerie Jean Charpentier, Autour de 1900, 1950, no.96 (as Le yacht ‘L’Etoile’, 1901) Les Amis de Paul-César Helleu have confirmed the authenticity of this painting, which is registered in their archives as ref. APCH HU1-8418

Born in Vannes on the Breton coast, Paul-César Helleu had yachting in his blood. From the 1890s his success as a society portraitist allowed him to develop a passion for sailing, which was to provide many motifs for his pictures. In 1898 Helleu rented a yacht, the Barbara, to try to give his beloved wife Alice some comfort after a family tragedy. The following year he purchased the Bird, the first of several yachts that he owned. The Helleus summered in Deauville and sailed the Channel to equally fashionable Cowes, where the Royal Yacht Squadron hosted Cowes Week and the artist mingled with members of British high society who also became his clients.

This richly-impasted work shimmers with the pale tones that are a hallmark of Helleu’s oeuvre. He preferred creamy Worth gowns for the sitters in his society portraits and was in the vanguard of fashion in painting his apartment white. Here, the yacht spreads its white sails like an exotic butterfly, its hull throwing a shadow of lilac-grey on the calm harbour. The painting is unified by exquisite tonal control, balancing white and cream, lilac, touches of ochre and eau-de-nil. Helleu’s dazzling, allusive brushwork conjures up both the radiance of coastal light and his profound pleasure in the beauty of yachts.

CHARLES CAMOIN Marseilles 1879 – 1965 Paris

Bords de l’Arc Signed lower right: Camoin; inscribed with the title on the stretcher Oil on canvas: 28 ¾ × 36 ½ in / 73 × 93 cm Frame size: 38 ½ × 45 ½ in / 97.8 × 115.6 cm In a Louis XIV style carved and gilded frame Painted in 1907 PROVENANCE:

Daniel-Henry Kahnweiler, Galerie Kahnweiler, Paris, inv. no.22, acquired from the artist in 1907 Folke Isacson (1898–1975), Gothenburg; from whom acquired by Tore Gerschman (1913–1992), Stockholm, on 25th February 1972 EXHIBITED:

Paris, Salon des Indépendents, 25th March–30th April 1907, no.5182 (as Bords de l’Arc) Paris, Galerie Kahnweiler, Charles Camoin, 6th–18th April 1908, no.8 (as Bords de l’Arc) Madame Grammont-Camoin has confirmed the authenticity of this painting, which will be included in the forthcoming catalogue raisonné of the work of Charles Camoin Charles Camoin here evokes the heat and colour of the South of France, his native region: he was born in Marseilles in 1879. The Arc is a Provençal river which rises near the village of Pourcieux, passes through Aix-en-Provence and flows into the Etang de Berre, a lagoon which connects with the Mediterranean west of Marseilles. Camoin studied with Gustave Moreau and befriended the group of artists, including Dérain, Matisse and Marquet, who shocked the 1905 Salon d’Automne with anti-naturalistic compositions in hot colours edged with bold black lines: a critic dubbed them ‘Fauves’ (wild beasts). Although painted a mere two years after the ‘Fauve’ exhibition, Bords de l’Arc reflects Camoin’s more

complex response to the avant-garde art of his day. He later commented: ‘If I was a fauve, it’s because I painted that way. I had the same exclusive love of colour that I have for my friends. But I was never concerned about theories and principles, I was unintentionally fauve...I’m driven by my instincts’. Camoin draws out every filament of colour, employing subtle, unexpected hues to convey the bleaching effect of intense Mediterranean light. The angular brushwork and superb handling of shades of green owe a debt to Paul Cézanne, whom Camoin met on a trip to Aix-en-Provence in 1901. This painting was a fruit of Camoin’s journey to the South of France with Marquet in 1906; the following year it was acquired by the visionary art dealer Daniel-Henry Kahnweiler.

If I was a fauve, it’s because I painted that way. I had the same exclusive love of colour that I have for my friends. CHARLES CAMOIN

PIERRE-AUGUSTE RENOIR Limoges 1841 – 1919 Cagnes

Roses dans un vase vert Signed lower left: Renoir Oil on canvas: 20 ¾ × 18 ¼ in / 52.7 by 46.4 cm Frame size: 28 × 26 in / 71.1 × 66 cm In a Louis XV style carved and gilded swept frame Painted circa 1910–1912 This work will be included in the forthcoming Renoir Digital Catalogue Raisonné currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc, ref. 21.10.14/20928 PROVENANCE:

LITERATURE:

Ambroise Vollard, Paris, consigned by the artist before 1919 Bignou Gallery, New York, by 19421 James Moffatt, New York Knoedler & Co., New York, on consignment 26th November 1957;2 The Estate of Elwood Bigelow Hosmer, Montreal, acquired through Knoedler & Co. on 2nd January 1958;3 by inheritance to Marguerite4 and A Murray Vaughan, 1969 Lillienfeld Galleries, New York5 Private collector, Roslyn Harbor, Long Island; from whom inherited in 1995 by a private collector, Roslyn Harbor; by descent to a private collector, New York

Ambroise Vollard, Tableaux, pastels et dessins de PierreAuguste Renoir, vol. I, Paris 1918 and revised edn. San Francisco 1989, p.103, no.413, illus. (as Fleurs dans un vase, 1900) Rosamund Frost, Renoir, Paris 1957, p.44, illus. (as Roses dans un vase bleu, 1912, in the collection of the Bignou Gallery, New York) Daniel Wildenstein, Renoir, Paris 1980, pp.46, illus. in colour; 55, illus. (as Roses dans un vase, 1912, in a private collection) Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. III, 1895–1902, Paris 2010, p.17, no.1694, illus. (as Roses dans un vase, c.1900)

EXHIBITED:

Renoir declared: ‘I want my reds to be sonorous, to sound like a bell; if it doesn’t turn out that way, I put more reds or other colours till I get it’. Red, yellow and green contrast and entwine in Roses dans un vase vert, depicting the artist’s favourite flower. He painted still lifes throughout his career, but roses – heavy, sculptural, complex, sensuous, pulsating with colour and breathing delicious scent – are the flowers most closely associated with him. He likened the curves of the rose to the female form and told Ambroise Vollard that his many studies

New York, Durand-Ruel Galleries, Exhibition of Masterpieces by Renoir After 1900. For the Benefit of Children’s Aid Society, 1st–25th April 1942, no.21, illus. (as Roses dans un vase bleu) New York, Wildenstein & Co., Inc., Renoir: The Gentle Rebel, 24th October–30th November 1974, no.56, illus. Roslyn Harbor, Nassau County Museum of Art, La Belle Epoque, 10th June–24th September 1995, p.20, illus. (as Roses in a bowl, 1912, lent by Mrs Doris Gross)

When I paint flowers, I put down tones, I boldly try values, without having to worry about losing a canvas PIERRE-AUGUSTE RENOIR

of roses were linked to ‘researches in flesh tones which I make for a nude’. In this painting roses dominate the composition, evoked in whirls and eddies of rapid brushwork. The pale pink rose to the right is shot through with skeins of yellow, burgundy and touches of green; the yellow rose at bottom left glows with richly-impasted red and white. As well as delighting in the natural world, Renoir is intoxicated by the possibilities of paint itself. Depicting flowers gave him an especial freedom. He commented that ‘Painting flowers lets my brain rest. It does not cause the same tension of spirit as when I face a model. When I paint flowers, I put down tones, I boldly try values, without having to worry about losing a canvas’.

1 2 3

Photo no.3038 and 5044. Knoedler Commission Book 5a, p.134. Knoedler stock no.CA5317. Knoedler Commission Book 5a, p.134. The owner of the Hosmer Collection was Lucile Fairbank Pillow (1883–1969), a cousin by marriage of Elwood Bigelow Hosmer (1879–1946) and his sister Olive Hosmer (1880–1965). Marguerite (1903–1991) was the daughter of Lucile Pillow and the wife of A Murray Vaughan (1899–1986), who was President of the Montreal Museum of Fine Arts in 1965, when Elwood Hosmer’s sister and heir Olive Hosmer died. He administered the Hosmer and Pillow estates. Label on the reverse of the stretcher.

PIERRE-AUGUSTE RENOIR Limoges 1841 – 1919 Cagnes

Paysage, allée de ferme avec femme en rouge et blanc Signed lower left: Renoir Oil on canvas: 9 7/8 × 11 7/8 in / 25.1 × 30.2 cm Frame size: 15 × 17 in / 38.1 × 43.2 cm In a Louis XIV style carved and gilded frame Painted in 1918 PROVENANCE:

Estate of the artist, sold after 1919 Raphael Levy, France; by descent to M Maurice, France, circa 1940 LITERATURE:

Albert André, Messrs. Bernheim-Jeune and Marc Elder, Renoir’s Atelier. L’Atelier de Renoir, Paris 1931, revised edn. San Francisco 1989, p.243, no.593, pl.186 Guy-Patrice Dauberville and Michel Dauberville, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. V, 1911–1919 and 1st Supplement, Paris 2014, p.148, no.3873, illus. This work will be included in the forthcoming Renoir Digital Catalogue Raisonné currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc., ref. 21.10.14/20930 In 1907 Renoir purchased the small estate of Les Collettes in Cagnes, just west of Nice on the Côte d’Azur. He said: ‘in this marvellous country, it seems as if misfortune cannot befall one; one is cosseted by the atmosphere’. Captivated by Provençal landscape and culture, Renoir was determined to preserve the rural character of the property and left the original farm buildings untouched, building a new house on the estate into which he moved with his family in 1908. In this painting a woman is embowered in the heat and lush vegetation of a Mediterranean summer. Renoir’s joy as a colourist is evident in the rich, intertwined skeins of yellow and green in the shimmering leaves, and the 14

ancient, twisted olive trunks composed of every warm shade from pink to burgundy to mahogany brown. The fretwork of leaves parts to reveal a sky of perfect, Provençal blue. Renoir’s imagination was set free by these small, informal landscapes, which he painted almost daily during his latter years in Cagnes. He commented: ‘I know I can’t paint nature, but I enjoy struggling with it. A painter can’t be great if he doesn’t understand landscape. Landscape, in the past, has been a term of contempt, particularly in the eighteenth century; but still, that century that I adore did produce some landscapists… With all modesty, I consider not only that my art descends from a Watteau, a Fragonard, a Hubert Robert, but also that I am one with them’.

HENRI MANGUIN Paris 1874 – 1949 St Tropez

Pêches et raisins à la fenêtre Signed lower left: Manguin Oil on canvas: 29 × 23 ¾ in / 73.7 × 60.3 cm Frame size: 36 × 31 in / 91.4 × 78.7 cm In a Louis XV pastel style carved and gilded frame Painted in summer or autumn 1920 PROVENANCE:

Acquired from the artist by Madame E Druet, Galerie Druet, Paris, in January 1921, inv. no.9395 Hôtel Drouot, Paris, 3rd May 1944, lot 166 Private collection, France; by descent EXHIBITED:

Paris, Galerie E Druet, Henri Manguin, 1921, no.30 (as Pêches) LITERATURE:

Marie-Caroline Sainsaulieu, Henri Manguin Catalogue Raisonné de l’Oeuvre Peint sous la Direction de Lucile et Claude Manguin, Neuchâtel 1980, p.232, no.662, illus.

Henri Manguin was a pupil of Gustave Moreau, caught up in the avant-garde ferment of the Fauves. In his later work he moved away from the hot, clashing colours of his Fauve phase to achieve a harmonious, interlinked palette influenced by Paul Cézanne. Like so many of his contemporaries, he was fascinated by the light and timeless lifestyle of the Midi, first discovering SaintTropez with Paul Signac in 1904. This painting was made between July and October 1920, the year that Manguin first rented the villa known as l’Oustalet on the Golfe de Saint-Tropez; he bought the property several years later. Pêches et raisins à la fenêtre breathes an aura of serene wellbeing, characteristic of French painting in the 1920s,

when French artists were drawn to depicting the good life after the trauma of the First World War. Manguin painted still life throughout his career. Here he combines an interior with a landscape view, playing with inside and outside space, a theme which interested Matisse and Bonnard also in these years. The peaches and grapes on the table are defined with bold, painterly strokes, their rich colours underlined with vibrant shadows. Beyond the open window is the shimmering blue of the Golfe de Saint-Tropez, with the hills of Grimaud in the hazy distance. Here Manguin employs rapid brushwork that blends on the picture surface, conveying a sense of soft atmosphere fragrant with the scent of pines and sea air.

R AOU L DU F Y Le Havre 1877 – 1953 Forcalquier

Régates à Cowes Signed lower left: Raoul Dufy Oil on canvas: 18 × 21 ½ in / 45.5 × 54.5 cm Frame size: 25 3/4 × 29 1/4 in / 65.4 × 74.3 cm In a Louis XV pastel style carved and gilded frame Painted in 1929 PROVENANCE:

Private collection, France, acquired in the 1990s To be included in the Second Supplement to the Catalogue raisonné de l’oeuvre peint de Raoul Dufy being prepared by Mme Fanny Guillon-Laffaille Raoul Dufy was influenced both by the Fauves and the German Expressionists in his use of colour as an emotional medium divorced from a strict adherence to appearances. Slavish truth to nature was less important than evoking a ‘shorthand of the essential’ through a poetic universe of emblems. Among his favourite themes were regattas and seaside views. Born in Le Havre, Dufy was exhilarated by the sea and the activities of boats. He commented: ‘Unhappy the man who lives in a climate far from the sea, or unfed by the sparkling waters of a river!... The painter needs to be able to see a certain quality of light, a flickering, an airy palpitation bathing what he sees’. Dufy painted in fashionable Deauville and across the Channel in Cowes on the Isle of Wight, catching the zeitgeist of the 1920s with its obsession with fresh air, exercise and sport. The apex of the yachting year was the annual Cowes Week in July, when the world’s finest yachtsmen competed in regattas and slender socialites clinked cocktail glasses and strolled on the promenades dressed in dazzling navy and white. Dufy conveys the excitement of Cowes Week with a vibrant design of colourful signal flags and yachts seen from a high viewpoint, as if standing on the yards of a boat dressed overall.

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 × 39 ½ in / 82.2 × 100.3 cm Frame size: 41 × 48 ½ in / 104.1 × 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, 1968, no.19 LITERATURE:

Op de Hoogte, May 1936 Amsterdamsche Courant, 1936 Yann Farinaux-Le Sidaner, Le Sidaner, L’Oeuvre Peint, Paris 1989, p.252, no.687, illus.

Le Sidaner was fascinated by crépuscule, the hour ‘entre le chien et le loup’ when colours become mysterious

In 1901 Henri Le Sidaner visited Gerberoy, about six miles north-west of 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 half-timbered houses and the rolling countryside beyond. Gerberoy became Le Sidaner’s paradise and the inspiration for many paintings, as important to him as Giverny to Monet or the garden at Marquayrol to Henri Martin. Le Sidaner was fascinated by crépuscule, the hour ‘entre le chien et le loup’ when colours become mysterious. Here, the soft yellow glow of the interior, lit by the light reflected in the mirror, contrasts with the pulsating green and white of the garden beyond. Le Sidaner created a White Garden in the first years of the twentieth century on the terrace to the south side of his house, influenced by English garden design, but predating by some three decades Vita Sackville-West’s famous White Garden at Sissinghurst. Glimpsed beyond the open windows in this painting are the borders of white oeillets mignardises, or dianthus. Their sweet scent mingles with that of the white roses, drifting through the open summer windows. The white flowers glow in the dusk. Inside, the table is laid for an elegant but simple supper: human presence is implied, but rarely, in Le Sidaner’s mature work, do people appear.

P I E R R E B O N N A R D Hon. RA Fontenay-aux-Roses 1867–1947 Cannet, Alpes-Maritimes

Matinée à Arcachon Signed lower right: Bonnard Oil on canvas: 21 ¾ × 25 ¾ in / 55.2 × 65.4 cm Frame size: 29 × 33 in / 73.7 × 83.8 cm In a Louis XIV style carved and gilded frame Painted circa 1930 PROVENANCE:

Private collection, acquired from the artist in 1933; by descent to a private collection, Switzerland Galerie Romer, Zurich; from which acquired by a private collector, UK EXHIBITED:

Paris, Bernheim-Jeune, Œuvres récentes de Bonnard, 15th–23rd June 1933, no.23 Zurich, Kunsthaus, Pierre Bonnard, 6th June–24th July 1949, no.107 Wolfsburg, Stadthalle Wolfsburg, Französische Malerei, 8th April–31st May 1961, no.6 Basel, Galerie Beyeler, Bonnard, 1966, no.34 (as La voile blanche) Lausanne, Fondation de L’Hermitage, De Cézanne à Picasso, dans les collections romandes, 1985, no.9, illus. in colour Saint-Tropez, Musée de l’Annonciade, Lumière et couleurs: Pierre Bonnard à Saint-Tropez, 1998 Lausanne, Fondation de L’Hermitage, Pierre Bonnard, 7th June–13th October 1991, illus. in colour (as dating from 1932) LITERATURE:

Jean and Henry Dauberville, Bonnard: Catalogue raisonné de l’œuvre peint 1920–1939, Paris 1973, vol. III, p.343, no.1431, illus.

Pierre Bonnard was a northerner enthralled by the light of the South. He first visited Arcachon, on the Atlantic coast south-west of Bordeaux, in December 1889, returning several times between 1920 and 1933. This painting is probably a fruit of his six months spent at the Villa Castellamare in the Ville d’Hiver at Arcachon from November 1930. Its near-abstract swathes of pulsating colour epitomise the assurance and wisdom that Bonnard had gained from four decades of responding to nature. Bonnard described painting as ‘a sequence of marks which join together and end up forming the object, the fragment over which the eye wanders without a hitch.’ He never painted in front of the motif, instead making sketches with colour notes which served as his inspiration in the studio. Unstretched canvases would be tacked to a wall and the composition would proceed almost by magic into a harmony which hovered between representation and poetry. Bonnard’s imagination was especially set free by marine subjects. Arcachon sits on a bay closed to the west by the long spit of Cap Ferret, creating a huge mirror of light and colour. Bonnard grades his painting from the sapphire blue of the foreground waves, through paler blue to the violet of the distant hills, hung with dawn-tinged clouds. The southern sky rises up in touches of lilac, cream and mint. White hulls and sails, reduced almost to geometric bursts of radiance, make the blue of the bay more intense.

WILLIAM TURNBULL Dundee 1922 – 2012 London

Mask Stamped with monogram, numbered and dated on the reverse: 3/4 46 Bronze with a green patina: 15 ½ × 9 ¼ × 5/8 in / 39.4 × 23.5 × 1.6 cm On a York Stone base: 3 1/8 × 7 3/8 × 4 1/8 in / 7.9 × 18.7 × 10.5 cm Conceived in cement in 1946 and cast in a numbered edition of 4 plus one artist’s cast PROVENANCE:

Gerard Valkier, Paris LITERATURE:

Richard Morphet, William Turnbull: sculpture and painting, exh. cat., The Tate Gallery, London, 1973, p.22, fig.2 (another cast illus.) Ann Elliot, Sculpture at Goodwood 1, exh. cat., The Hat Hill Sculpture Foundation, 1995, p.64 Amanda A Davidson, The Sculpture of William Turnbull, The Henry Moore Foundation in association with Lund Humphries, Aldershot, 2005, pp.12, 79, cat. no.3 (another cast illus.) This extraordinary work is one of the first recorded sculptures created by William Turnbull in 1946. A tall, elongated trapezium, the flat, frontal Mask is divided into three tapering triangles; the outer forms bearing deep circular recessions at the centre of raised spirals, suggesting eyes. The third, central triangle is articulated with horizontal lines above a third, semi-circular hollow to the right, with four lines echoing its arc to the left, evoking a mouth or flared nostril. With its textured surface and variegated patina resembling an ancient artefact, Mask, a common theme in non-Western traditions, became a recurrent motif in Turnbull’s art. Inspired by the simple forms of archaeological and anthropological objects, as well as pre-classical forms of art, in particular African and Greek theatrical masks, Turnbull created further solid pieces during the 1950s,

accentuating their surfaces. The artist declared, ‘the mask is a marvellous example of the attempt to fix that which is maybe most continuously fleeting and mobile – the expression on a face.’1 As well as a human head, Amanda Davidson suggests, Mask, 1946 ‘also appears to represent a horse’s head, but again is flat and frontal, using the conventions of masks to present a three-dimensional impression in a two-dimensional manner in sculpture.’2 The equine subject was inspired by the marble Horse of Selene, dated c.438–432BC, from the frieze on the east pediment of the Parthenon, on display at the British Museum, ‘a work that Turnbull saw while studying at the Slade and deeply admired.’3

2 3

The artist cited in Amanda A Davidson, The Sculpture of William Turnbull, op. cit., p.28. Amanda A Davidson, op. cit., p.12. Ibid., p.72.

H E N R Y M O O R E OM CH Castleford 1898 – 1986 Much Hadham

Reclining figure: Snake Inscribed and numbered underneath: Susse Fondeur Paris / AT / 1/8 Bronze: 4 ¾ × 11 ¼ × 3 in / 12.1 × 28.6 × 7.6 cm On a wooden base: ¾ × 12 × 4 ¼ in / 1.9 × 30.5 × 10.8 cm Conceived in lead circa 1939–40 and cast in 1959 at Susse Fondeur, Paris in an edition of 8 plus one artist’s copy LH208a PROVENANCE:

Stephen Mazoh, New York; Curtis and Margaret Marshall, acquired from the above in 1968, then by descent LITERATURE:

Franco Russoli and David Mitchinson, Henry Moore Sculpture, London, 1981, no. 151 (another cast illus. p.86) Alan Bowness (ed.), Henry Moore Complete Sculpture 1980–86, Vol. 6, Lund Humphries, London, 1988 (reprinted 1999), Addenda to Volume 1 1921–48, p.30, no. 208a (another cast illus. p.31) Henry Moore and John Hedgecoe, Henry Moore, Simon and Schuster, New York, 1968 (another cast illus. no.2, pp.152–153) Susan Compton, Henry Moore, exh. cat., Royal Academy of Arts, London, 1988, no.39, p.189 (another cast illus. p.80)

Life size

A fascinating balance of mass and space, organic and mechanical form, abstraction and surrealism, Reclining figure: Snake, is a captivating example of Moore’s distinctive and experimental work of the late 1930s. The undulating, attenuated limbs articulating the abstracted figure, flow like a golden ribbon around the open space, suggesting, in contrast to the posture of repose, continual movement. Writing on a cast of the present work at the Henry Moore Foundation, Susan Compton writes, though it is likely that the subtitle Snake was devised years after its creation, ‘the female form has here been drawn out in such convoluted curves that such an analogy is not unreasonable, and the upstanding head resembles that of a snake. However, it is less likely to have

Susan Compton, Henry Moore, exh. cat., Royal Academy of Arts, London 1988, no.39, p.189.

been invoked by the serpent which tempted Eve in the Garden of Eden, than by the inspiration of heads on tiny Egyptian fertility figures to be found in the collections of the British Museum. Such terracotta figurines also have prominent breasts, which in Moore’s figure seem almost to double as the wings on a key for a clockwork motor. On a more serious note, the surrounding ringlike structure owes its origin to bone formations which already fascinated the artist as early as 1932, when he drew a sheet of Studies of Transformation of Bones [HMF 941]. Although on such a small scale, the sculpture anticipates Moore’s fascination for internal and external forms that reached an apogee in 1951.’1

JOSEF ALBERS Bottrup, Germany 1888 – 1976 New Haven, Connecticut

Study for Homage to the square: Mellow Signed with monogram and dated lower right: A60; signed, dated and inscribed on the reverse Oil on masonite: 24 × 24 in / 61 × 61 cm Frame size: 24 ½ × 24 ½ inches/ 62.2 × 62.2 cm In an aluminium bead frame Registered with the Anni and Josef Albers Foundation as no: JAAF 1960.1.54 PROVENANCE:

London Arts Gallery, Detroit; Private collection, USA, acquired from the above in 1971 EXHIBITED:

Essen, Museum Folkwang, Josef Albers, 6th February–3rd March 1963, no.25 Kunsthalle Bern, Marcel Duchamp, Wassily Kandinsky, Kasimir Malewitsch, Josef Albers, Tom Doyle, 23rd October–29th November 1964, no.154 Paris, Galerie Denise René, Albers, March–April 1968, no.5 Detroit, London Arts Gallery, From Constructivism to Kinetic Art: A survey in two parts, 1968–1969 This painting will be included in the forthcoming catalogue raisonné of the work of Josef Albers currently being prepared by the Anni and Josef Albers Foundation and is registered as no: JAAF 1960.1.54

This bright, serene canvas exemplifies the positive appeal of yellow, which Josef Albers considered the colour of ‘curing, caring and uplift.’ In apparent contrast to the rigorous, hard-edged forms and meticulous application of pure, unmixed hues, the subtle, alluring combination of colours elicits an emotional as well as a perceptual response. With close observation and absorption, the soft, buttery golden shades of cadmium yellow light in the centre and Naples yellow in the outer square, flicker, advance and recede around the pale, skin-toned Naples yellow reddish, which seems to vary with each lingering glance, as if subject to constantly changing light. Albers was profoundly influenced by the German Romantic writer, Johann Wolfgang Goethe’s Theory of Color (1810), which stated of yellow: ‘In its greatest purity it always conveys the quality of brightness, and has a cheerful, vivacious, mildly exciting character…a strong yellow on lustrous silk (e.g., satin) has a magnificent and noble effect. We also experience a very warm and cozy impression with yellow. Thus, in painting, too, it belongs among the luminous and active colors…The eye is gladdened, the heart expands, the feelings are cheered, an immediate warmth seems to waft toward us.’1 From his early days as a student at the Bauhaus in Germany, Josef Albers was fascinated by the interaction of colour and began his most famous series ‘Homage to the Square’ in 1950.

Johann Wolfgang Goethe, Goethe: The Collected Works Volume 12, Scientific Studies, ed. and trans. Douglas E Miller, Princeton, 1995, p.279.

D A M E B A R B A R A H E P W O R T H DBE Wakefield 1903 – 1975 St Ives

Upright solitary form (Amulet) Numbered on the base: 2/10 Bronze: 3 ½ × 1 × 2 ¾ in / 8.9 × 2.5 × 7 cm On a wooden base: 2 3/8 × 2 × 3 1/8 in / 6 × 5 × 7.9 cm Conceived in 1961 and cast as a numbered edition of 10+0 BH 308 PROVENANCE:

Presented to Stanmer County Secondary School, Brighton by the artist, May 1964 Private collection, acquired from Falmer High School in 1993–4 EXHIBITED:

London, Whitechapel Art Gallery, Barbara Hepworth: An Exhibition of Sculpture from 1952–1962, May–June 1962, cat. 67, cast 8 London, Tate Gallery, Barbara Hepworth, April–May 1968, cat. 118, illus. p. 36, cast 0 London, Gimpel Fils, Barbara Hepworth, October– November 1972, cat. 18, cast 3 London, Gimpel Fils, Barbara Hepworth: 50 Sculptures from 1935 to 1970, October–November 1975, cat. 33, illus., cast 3 New York, Gimpel & Weitzenhoffer Ltd., Barbara Hepworth, March–April 1977, cat. 7, illus., cast 3 East Winterslow (near Salisbury), New Art Centre Sculpture Park and Gallery, Barbara Hepworth: Polished Bronzes, December 2001 – February 2002, cast 4 LITERATURE:

This work will be included as BH 308 in the forthcoming catalogue raisonné of Barbara Hepworth’s sculptures being revised by Dr Sophie Bowness. Hepworth applied the subtitle amulet, meaning a small object or charm imbued with magical, protective powers, to several works in the early 1960s including the alabaster, Small form (Amulet), 1960, and the bronze maquette, Pierced form (Amulet), 1962, which Hepworth translated into the marble, Pierced form, 1963–4 (Tate). In 1968, Hepworth declared that she wanted her work to be ‘a totem, a talisman, a kind of touchstone for all that is of lasting value…something that would be valid at any time or that would have been valid 2,000 or even 20,000 years ago.’1 Though the amulet works share a piercing set within a wider depression, in contrast to the later works, Upright solitary form (Amulet) possesses a highly polished, unpatinated surface and brilliant shine. For Sophie Bowness, Hepworth’s small, polished bronzes are ‘characterised by a sensuous, golden finish. They illustrate a new richness in her later work.’ Their reflective surfaces, ‘akin to the high finish achieved on some of her contemporary marble and slate carvings… have a light of their own as well as being highly reflective…With their brilliant surfaces and combination of sensuousness and elegance, the polished bronzes have a distinctive place within Hepworth’s singularly various later work.’2

Alan Bowness (ed.), The Complete Sculpture of Barbara Hepworth 1960–69, Lund Humphries, London, 1971, cat. no.308, p.32, another cast illus. pl.49 Matthew Gale and Chris Stephens, Barbara Hepworth: Works in the Tate Gallery Collection and the Barbara Hepworth Museum St Ives, London, 1999, referred to p.226 Hepworth by the Sea: sculptures and paintings 1935–1962, De La Warr Pavilion, Bexhill on Sea, 2001, referred to p.11

The artist in an interview with Susan Puddefoot, ‘A Totem, a Talisman, a Kind of Touchstone’, The Times, 2nd April 1968, p.13 cited in Matthew Gale and Chris Stephens, op. cit., p.257. Sophie Bowness, Barbara Hepworth, Polished Bronzes, exh. cat., New Art Centre Sculpture Park and Gallery, 2001, unpag.

Life size

B R I D G E T R I L E Y CH CBE Born London 1931

4th revision of June 23 – study after cartoon for High sky Signed and dated lower right: Bridget Riley ’91, inscribed lower left: 4th revision of June 23 / Study after Cartoon for High Sky Gouache and pencil on paper: 26 × 34 ¼ in / 66 × 87 cm Framed size: 32 ¾ × 40 ¾ in / 83.2 × 103.5 cm In a contemporary pine frame PROVENANCE:

Curwen Gallery, London Karsten Schubert, London; Private collection, UK, acquired from the above in the 1990s, then by descent EXHIBITED:

Basel, Art 24 Basel, 16th–21st June 1993

The colour is open, airy like the sky above or reflections in water. There is a two-sidedness to the painting which I felt was taking me in a new direction BRIDGET RILEY

This radiant, prismatic work on paper directly relates to two large oil paintings by the artist; High sky, 1991 (private collection) and High sky 2, 1992 (Neues Museum, State Museum for Art and Design, Nuremberg). Discussing the first oil painting, Riley describes two opposing centres of action: ‘On the left the colour is more opaque, more vividly present, almost tactile – like sun-warmed stone, building firmer, denser space. To the right, the colour is open, airy like the sky above or reflections in water. There is a two-sidedness to the painting which I felt was taking me in a new direction.’1 Riley developed the dynamic structure of her Rhomboid paintings from 1986, introducing a diagonal movement from bottom left to top right to disrupt the verticality of her celebrated Egyptian stripes. These shimmering, fragmented fields of diamond planes are characterised by an unprecedented array of colours. The dramatic tonal range and complex colour construction, visible in this brilliant gouache, may have been inspired by the oblique correspondences, contrasts, echoes and modulations that Riley observed in the works of the great European, in particular, Venetian colourists. In 1989, Riley curated an exhibition of paintings chosen from the National Gallery, London, her selection including seven large figure compositions by Titian, Veronese, El Greco, Rubens, Poussin and Cézanne, the organisation of each work ‘shaped by diagonals’ and ‘characterised, if in varying degrees, by complex colour orchestrations.’2 1 2

The artist cited in ‘Bridget Riley in conversation with Michael Harrison, 2011’, Bridget Riley Working Drawings, The Bridget Riley Art Foundation, Thames & Hudson, 2021, p.262. Robert Kudielka (ed.), The Eye’s Mind: Bridget Riley, Collected Writings 1965–1999, Thame & Hudson in association with the Serpentine Gallery and De Montfort University, London, 1999, p.226.

GERHARD RICHTER Born Dresden 1932

Grün- blau- rot (Green-blue-red) Signed, dated and inscribed on the reverse: 789 – 88 / Richter, 93. Stamped on the stretcher: Edition for Parkett No. 35 Oil on canvas: 11 ¾ × 15 ¾ in / 29.8 × 40 cm Frame size: 14 ¼ × 18 ¼ in / 36.2 × 46.4 cm Floated in a gessoed shadow box frame PROVENANCE:

Parkett Verlag, Zürich Private collection, Germany Christie’s London, 6th February 2003, lot 717 Galerie Maulberger, Munich Private collection, acquired from the above LITERATURE:

Parkett, No. 35, 1993, illus. in colour p.100 Gerhard Richter: Werkübersicht/Catalogue Raisonné 1962–1993, vol. III, Edition Cantz, Ostfildern, 1993, p.196, no.789/1-115 Hebertus Butin, Gerhard Richter: Editionen 1965–1993, Bremen 1993, p.166, no.69 Stefan Gronert and Hubertus Butin, Gerhard Richter: Editions 1965–2004 Catalogue Raisonné, Hatje Cantz, Ostfildern-Ruit, 2004, pp.35–36, p.229, no.81 Christine Mehring, ‘Richter’s Willkür’, Art Journal, Vol.71, No.4 (Winter 2012), p.23 Dietmar Elger, Gerhard Richter Archive & Staaliche Kunstsammlungen Dresden (ed), Gerhard Richter Catalogue Raisonné, Volume 4, Nos.652-1-805-6, 1988–1994, Hatje Cantz Verlag, 2015, no.789/1-115, pp.524–525, illustrated in colour p.525

Gerhard Richter first began painting vibrant Abstract pictures in 1976 and is still fascinated by their creation, which he likens to ‘a force of nature.’ Grün- blau- rot was created in 1993 in collaboration with the Swiss art journal, Parkett, as a series of 115 individual oil paintings on canvas applied in smooth, wet layers with a squeegee. The title documents the three colours used and the order in which the pigments were applied to the canvases. The importance of chance is central to this regimented threecolour sequence, which documents a skilful interplay of opposing colours, action and erasure, chance and intention. During an interview with Sabine Schutz in 1990, Richter commented of his abstract paintings: “I don’t have a specific picture in my mind’s eye. I want to end up with a picture that I haven’t planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture’.1 Richter began using a squeegee from the late 1970s and from the late 1980s his abstract paintings were created almost exclusively with it. As well as effecting the random and varied behaviour of the paint, sometimes forming thin, smooth layers, overlapping, blending, sometimes torn into stippled patches on the surface, the squeegee technique also creates the optical illusion of space and depth which confounds the actual order of application.

The artist cited in The Daily Practice of Painting: Writings and Interviews, 1962–1993, ed. Hans-Ulrich Obrist, trans. David Britt, Cambridge, Mass., 1995, p.216.

L I S T O F M U S E U M S & N AT I O N A L C O L L E C T I O N S 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 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

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

IRELAND Dublin: National Gallery of Ireland FRANCE Compiègne: Musée National du Chateau Paris: Fondation Custodia

Catalogue by Susan Morris and Rachel Boyd Hall. Photography by Sophie Drury. Graphic design by Chris Rees Design Limited. Published by Richard Green. © Richard Green (and any applicable image right owners/artists or their estates) 2022. Database right maker: Richard Green. All rights reserved. Paintings are sold subject to our standard terms and conditions of sale, copies of which may be obtained on request and are also available at www.richardgreen.com. 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: 6346.