Interior Lives by Rosenberg & Co.

INTERIOR LIVES

INTRODUCTION

“I have fallen in love with a painting… I have felt the energy and life of the painting’s will; I have been held there, instructed. And the overall effect, the result of looking and looking into its brimming surface as long as I could look, is love, by which I mean a sense of tenderness toward experience, of being held within an intimacy with the things of the world.” —Mark Doty, Still Life with Oysters and Lemon1

The pandemic altered “our intimacy with the things of the world.” These eighteen months have been simultaneously fearsome, tiring, and reflective: global tragedy compounded preexisting inequity; grief has been tempered with what Pamela M. Lee describes as “an atmosphere of collective depletion.”2 For many of these last months, most of us were at home, becoming newly intimate with our daily, small surroundings. As we shift into full re-openings and adjust to new waves, our heightened awareness of the ordinary objects of domestic life is fading. Our mental and emotional sightlines are readjusting to scenes beyond our homes, but their recent domiciliary focus provides an opportunity to consider the often-overlooked genre of still life. In their static, unpeopled worlds, still lifes and domestic interiors present “the world minus its narratives or, better, the world minus its capacity for generating narrative interest.”3 The still life deemphasizes narrative, and thereby the importance of human action. What remains is pure attention, buoyed by subjects made free by their very inanimacy. Though historically occupying the lowest rung on the “hierarchy of genres,” still life provided both the subject and scene for the innovations of Modernism: from Paul Cézanne to the Nabis, and Cubism to Dada, the easily-identifiable objects of domestic

necessity facilitated experiments in representation and the analysis of space. In his foundational text on still life, Norman Bryson wrote that “however vertiginous the painting’s ontology becomes, its play with the shifting modes of illusion is grounded in the familiar reality of tables, cups, and saucers. It is the security and dependability of that routine space which allows the metaphysical transformations to take off and soar.”4 The familiarity of still life’s inanimate objects enables the artist to relinquish representation, as in Serge Charchoune’s pointillist abstractions from 1943, or Prunella Clough’s monochromatic planar deconstruction in Still Life with Mugs (1988). In this line of thinking, the “subject” of a still life is very much up for debate: the vision of the artist is foregrounded as the objects depicted become both defamiliarized and revived by their representation. Defamiliarization offers the chance to look anew: still lifes and domestic scenes, absented of the human figure, are small forums on material change, and the period of each work is made evident through style and the subject matter. “We are instructed by the objects that come to speak with us, those material presences,” the poet Mark Doty writes. “Why should we have been born known how to love the world? We require, again and again, these demonstrations.”5

1 Mark Doty, Still Life with Oysters and Lemon (Boston: Beacon Press, 2001), 3–4. 2 Pamela M. Lee, “Introduction: Aspiration Burnout,” October 176 (Spring 2021): 4. 3 Norman Bryson, Looking at the Overlooked: Four Essays on Still Life Painting (London: Reaktion Books, 2018), 60. 4 Bryson, 84. 5 Doty, 10.

WORKS

Marguerite Louppe Guéridon et dessin, c. 1960 Oil on canvas 39.4 x 31.9 in.

This work is accompanied by a certificate of authenticity issued by the Estate of Marguerite Louppe and Maurice Brianchon.

Provenance Estate of Marguerite Louppe and Maurice Brianchon, New York

Prunella Clough Still Life with Mugs, 1988 Oil on canvas 30.3 x 25.2 in.

Provenance Acquired from artist Annely Juda Fine Art, London Private collection, London Osborne Samuel, London Rosenberg & Co., New York

Auguste Herbin Nature morte, 1912 Watercolor, pencil, and charcoal on paper 12.3 x 9.4 in.

Signed herbin lower left.

This work is accompanied by a certificate from Geneviève Claisse.

Provenance Collection of President Georges Pompidou and Madame Claude Pompidou, Paris Rosenberg & Co., New York

Marsden Hartley Still Life, Pomegranates, 1927 Graphite on paper 11.5 x 14.4 in.

Signed and dated lower right Marsden Hartley 27.

The authenticity of this work has been confirmed by Gail R. Scott for The Marsden Hartley Legacy Project, Bates College Museum of Art.

Provenance Estate of the artist Butler Institute of American Art, Youngstown, Ohio Kennedy Galleries, New York Collection of Lewis A. Shepard, Worcester, Massachusetts Private collection, New York Denenberg Fine Arts, Inc., San Francisco Private collection, New York Rosenberg & Co., New York

Serge Férat Nature morte à la cafetière à la guitare, c. 1918 Gouache on paper 12.2 x 8.3 in.

Signed Férat lower right.

This work is accompanied by a certificate of authenticity issued by Alban Roussot, descendent of Serge Férat.

Provenance Estate of the artist Galerie Berès, Paris Rosenberg & Co., New York

Leopold Survage Nature morte au compotier, c. 1919 Pencil on paper 8.3 x 8.3 in.

Signed with artist’s monogram lower right.

This work is accompanied by a certificate of authenticity issued by Anne Marie Divieto.

Provenance Acquired from the artist Serge Férat collection Haba and Alban Roussot collection Private collection Fromkin Fine Art, Jerusalem Rosenberg & Co., New York

Susan Jane Walp Still Life I, 2013 Oil on gessoed paper 8.4 x 10.75 in.

Provenance Tibor de Nagy Gallery, New York

Susan Jane Walp Blood Orange Segments in Green Dish with Blue Cloth, 2017 Oil on paper 10.5 x 10.75 in.

Provenance Tibor de Nagy Gallery, New York

Edmund de Waal Certosa, III, 2015 Porcelain vessels with gilding on wooden shelf 4.5 x 27.5 x 4 in.

Provenance Acquired from the artist The Alan Cristea Gallery, London Rosenberg & Co., New York

Donald Hamilton Fraser Still Life with Mirror, 1975 Oil on paper 9 x 12 in.

Signed Fraser lower left.

Provenance Acquired from the artist Paul Rosenberg & Co., New York Rosenberg & Co., New York

Renato (René) Paresce Natura morta, 1926 Pencil on paper 14.8 x 16.9 in.

This work accompanied by a certificate of authenticity issued by Rachele Ferrario.

Provenance Private collection, Florence Collection Mauro Stefanini, Prato Galleria Open Art, Prato Rosenberg & Co., New York

Louis Marcoussis Nature morte cubiste, 1915 Watercolor and gouache on paper 12.2 x 8.7 in.

Signed and dated lower left.

This work is accompanied by a certificate of authenticity issued by Madame Paul Cailac. Certificate number 6300 from Madame Paule Cailac on the date of June 29, 1989.

Provenance Private collection, Paris Rosenberg & Co., New York

Gino Severini Studio per natura morta con violino, 1946 Watercolor on paper 10.6 x 14.5 in.

Signed G. Severini lower right.

Provenance Galerie Motte, Geneva Private collection Rosenberg & Co., New York

Otto Gutfreund Nature morte, c. 1920–24 Graphite on paper 7.7 x 10 in.

Provenance Collection of Emile Gutfreund Galerie Berès, Paris Rosenberg & Co., New York

Sonja Sekula Untitled (Bottle), 1958 Collage of several layers with gouache and ink on paper 8 x 5.8 in.

Signed and dated lower right.

Provenance Private collection, Switzerland Peter Blum Gallery, New York Rosenberg & Co., New York

Juan Gris Bouquet de fleurs, c. 1920 Graphite on paper 10.3 x 8.2 in.

Signed Juan Gris lower right.

Provenance Acquired from the artist Galerie de L’Effort Moderne, Paris Private collection, France Private collection Rosenberg & Co., New York

Kenneth Stubbs Geometric Still Life, c. 1954 Casein on paper 8 x 4.5 in.

Signed KS lower right.

The authenticity of this work has been confirmed by Keith Stubbs.

Provenance Acme Fine Art, Boston Rosenberg & Co., New York

Nell Blaine Blue Cloth, 1980 Oil on canvas 26 x 22 in.

Signed N Blaine lower left

Provenance Tibor de Nagy Gallery, New York

John D. Graham Still Life with Saw, 1925 Oil on canvas 14.1 x 17 in.

Signed J.D. Graham/25 upper right.

Provenance Morris Davidson, New York Private collection Tommy and Gil LiPuma, New York Private collection, New York

Marsden Hartley Still Life with Lemons (Fruit and Tumbler), 1928 Oil on composition board 23.9 x 19.6 in.

Signed Marsden Hartley/Conway Mass/1928 on verso.

The authenticity of this work has been confirmed by Gail R. Scott for The Marsden Hartley Legacy Project, Bates College Museum of Art.

Provenance George Alexander Carden, Sr., Baystore Dr. George Alexander Jr. and Constance Carden, New York Private collection Private collection, New York

Alfred H. Maurer Cubist Still Life with Pear, c. 1930–1932 Oil on gesso board 18 x 21.5 in.

Provenance Salander-O’Reilly Galleries, New York Private collection, New York

Giacomo Manzù Cestino, 1984 Gilt bronze 19.7 x 13.4 x 6.3 in.

Stamped with the artist’s signature, Manzù.

This work is accompanied by a certificate of authenticity issued by Giulia Manzoni.

Provenance Estate of the artist Rosenberg & Co., New York

Kenneth Stubbs Still Life with Pipe and Bottle, 1934 Gouache on paper 10 x 16 in.

The authenticity of this work has been confirmed by Keith Stubbs.

Provenance Acme Fine Art, Boston Rosenberg & Co., New York

Marguerite Louppe Bouteilles et Flacons, c. 1960 Oil on canvas 31.9 x 39.4 in.

Signed Marguerite Louppe lower left.

This work is accompanied by a certificate of authenticity issued by the estate of Marguerite Louppe and Maurice Brianchon.

Provenance Estate of Marguerite Louppe and Maurice Brianchon, New York

Sergio de Castro L’atelier Gris, 1967 Gouache on paper 20.5 x 24.2 in.

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

Provenance Acquired from the artist Galerie Berès, Paris Rosenberg & Co., New York

Henri Hayden Lejo, c. 1916 Gouache on paper 15.2 x 11 in.

Signed Hayden lower right.

This work is accompanied by a certificate of authenticity issued by Pierre Célice.

Provenance Galerie Berès, Paris Rosenberg & Co., New York

Serge Charchoune Nature morte pointilliste, 1943 Oil on tinted black wood panel 5.5 x 10.6 in.

Signed and dated Charchoune IX43X lower left.

The authenticity of this work was confirmed by Pierre Guénégan, Paris, on September 30, 2019. This work will be included in the supplemental volume of the forthcoming catalogue raisonné.

Provenance Galerie Roque, Paris Private collection Rosenberg & Co., New York

Serge Charchoune Untitled, 1943 Oil on board 5.5 x 8.5 in.

The authenticity of this work has been confirmed by Eric Fitoussi and Benoît Sapiro.

Provenance Rose Fried, New York Private collection, New York Rosenberg & Co., New York

Marguerite Louppe Numéro 63, c. 1960 Oil on canvas 21.5 x 25.6 in.

Signed Marguerite Louppe lower left.

This work is accompanied by a certificate of authenticity issued by the Estate of Marguerite Louppe and Maurice Brianchon.

Provenance Estate of Marguerite Louppe and Maurice Brianchon, New York

Louis Valtat Coupe verte, oranges et citrons, 1909 Oil on canvas 6 x 10 in.

Signed with initials L.V. lower right.

Provenance Private collection, Germany Waterhouse & Dodd Fine Art, London Rosenberg & Co., New York

Louis Valtat Panneau d’anémones, c. 1915 Oil on cardboard 4.3 x 11.5 in.

Signed L. Valtat lower right.

This work is recorded in the archives of l’Association Les amis de Louis Valtat.

Provenance Gillian Jason Gallery, London Wolseley Fine Arts, London Private collection, Netherlands Private collection, Netherlands Rosenberg & Co., New York

Marsden Hartley Ski Signs, c. 1939–1940 Oil on board 22 x 28 in.

Signed Marsden Hartley/1939–1940/Ski Signs on verso.

The authenticity of this work has been confirmed by Gail R. Scott for The Marsden Hartley Legacy Project, Bates College Museum of Art.

Provenance Acquired from the artist William Macbeth Gallery, New York Estate of the artist Paul Rosenberg & Co., New York John and Dorothy Rood Collection, Minneapolis Estate of Jacob and Bronka Weintraub, New York Private collection, New York

Jean Lurçat Nature morte, 1927 Oil on panel 14.7 x 25.5 in.

Signed and dated JLurçat 27 center right.

The authenticity of this work has been confirmed by Gérard Denizeau.

Provenance Estate of Luciel Baum Fleisher, Atlanta Sky Gallery, Boca Raton Rosenberg & Co., New York

Marguerite Louppe Téléphone, journal et vase, c. 1940 Oil on canvas 28 x 36 in.

Signed Marguerite Louppe lower left.

This work is accompanied by a certificate of authenticity issued by the Estate of Marguerite Louppe and Maurice Brianchon.

Provenance Estate of Marguerite Louppe and Maurice Brianchon, New York

Henri Hayden Nature morte au compotier, 1920 Oil and gouache on paper 10.25 x 11.6 in.

Signed Hayden lower left.

This work is accompanied by a certificate of authenticity issued by Pierre Célice.

Provenance Private collection, Spain Galerie Berès, Paris Rosenberg & Co., New York

Donald Hamilton Fraser Table with Blue Flowers, 1957 Oil on canvas 30 x 20 in.

Provenance Gimpel Fils Gallery, London Private collection Rosenberg & Co., New York

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