Chicago art Fair

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Henri Le Sidaner (French, 1862 – 1939) Portrait de Marguerite, Soeur de L’Artiste, 1893 Oil, pastel and pencil on board Signed and dated lower left: H. Le Sidaner / 1893 13 x 9 5/8 inches Framed: 21 ¼ x 18 1/8 inches Ref: 4148

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Provenance: Labels on verso: Exposition Versailles / POTTIER, Emballeur / de Tableux & Objets d’art 41’ Exposition . . . 1894 Connaught Brown, Fine Art Dealers Wolseley Fine Arts Middle Hunt House, Walterstone, Herefordshire, HR2 OLT, London Literature: Yann Farinaux-Le Sidaner, Henri Le Sidaner, Catalogue Raisonné de l'œuvre peint et gravé, Paris, 1989, édition André Fauret, number 828, reproduced page 297.

Before the turn of the century and before signing his contract with Georges Petit Galleries in 1899, Henri Le Sidaner was prolifically creating genre scenes and pastel portraits. It is during these initial years that he developed his “taste for tender, soft and silent atmospheres”1. The delicate nature of Portrait de Marguerite, soeur de l’artiste was purposeful; Le Sidaner strove to create environments within his paintings that reinforced quiet, stillness and often solitude. The lines and gestural marks created by the pastels in this interpretation of his young sister Marguerite are a precursor to what Le Sidaner later developed into his distinct broken brushwork often compared to that of Georges Seurat. The style and coloration of our portrait is a good example of the artist’s beginnings of Symbolism, and is comparable to Le Sidaner’s most famous Symbolist work from this time frame, Le Dimanche, that is currently housed in the Musée de Douai. The same year that Le Sidaner painted our portrait, he traveled to Florence where he experienced the great Rinascimento frescos of Fra Angelico, and responded by painting Femme en prière, reproduced on page 57 of Yann Farineaux-Le Sidaner’s catalogue. This portrait depicts a seated young girl in profile, quite possibly on her First Communion day. She is remarkably similar to Le Sidaner’s interpretation of Marguerite; the features, pose and silent reflections of each girl mimic the other.

It appears that Le Sidaner’s portrait of his young sister is unique in his oeuvre, as records and a thorough examination of Yann Farineaux-Le Sidaner’s catalogue raisonné do not demonstrate another portrait by the artist that bears her name. It is known that earlier in his career Le Sidaner often painted portraits and figural landscapes, often with women dressed in white, and that these women were often depicted wearing white dresses as in Le Dimanche. In fact, Marguerite is shown wearing a whitish blue garment in this portrait with a wreath of flowers on the crown of her head. This circle of flowers may possibly represent the First Holy Communion of Marguerite, as traditionally young women in France would receive their First Communion during the first weekend in May with a wreath of flowers in their hair, and combined with her stoic pose again recalls Femme en prière. Allegorically, the wreath symbolizes new life, rebirth, virginity and purity.

1

Y. Farineux, Le Sidaner, 31

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Henri Le Sidaner began his studies at the École des Beaux-Arts as an apprentice to Alexandre Cabanel in 1880. Displeased with the school’s program he remained in the school for a very short time of only a few months and moved to Étaples, a small village near Pas-de-Calais. It is while he was living in the village of Étaples that he painted Portrait de Marguerite, soeur de l’artiste and that he created his memorable, poetic and melancholy figural landscapes. It is very lucky to have such a wonderful example of Le Sidaner’s earlier work, as much of his studies and pastels were destroyed by the Germans after the Second World War. These included studies for larger paintings and intimate portraits of his family members and friends. It is because of this tragedy that it is quite possible that our painting is the last existing representation by Le Sidaner of his sister Marguerite.

From 1892 – 1894 Le Sidaner travelled throughout Italy and Holland. He returned to Paris in 1895 where he began mingling in Symbolist groups and became friends with Henri Martin and Ernest Laurent. During the next few years Le Sidaner’s style and view towards his paintings changed dramatically and he almost completely excluded figures in his landscapes and still lifes from this point onward which strongly reinforced the tone of solitude and calm in his work. These representations of gardens and interiors are highly desirable in the art market today, and include depictions of Le Sidaner’s garden and home in Gerberoy, as well as gardens in Chartres, Bruges, London, Venice and Beauvais.

Exhibitions: Salon des Artistes Français, 1887 Salon des Artistes Français, 1891 Société Nationale des Beaux-Arts, 1892 Exposition Universelle de 1900, bronze medal Paris, Musée Galliera, Rétrospective Henri Le Sidaner, 1948 Paris, Galerie Lorenceau, Lo Poésie de l’eau ‘ par Henri Le Sidaner, 1950 Museums and Collections: Art Institute of Chicago Ashmolean Museum, Oxford, England Ball State Museum of Art Carnegie Museum of Pittsburgh Chi-Mei Museum, Taiwan Detroit Institute of the Arts, Michigan Fine Arts Museums of San Francisco Memorial Art Gallery of the University of Rochester Musée d’Orsay, Paris Musée d’Art Moderne, Paris Museum of Modern Art, Rome National Museums and Galleries of Wales Nelson Atkins Museum, Kansas City, MO LONDON 50 Maddox Street • London W1S 1AY • England T: +44 (0) 207 499 8958

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Norton Simon Museum Palazzo Ruspoli, Rome Philadelphia Museum of Art Phillips Collection, Washington, D.C. Phoenix Art Museum, Phoenix, AZ Tate Gallery The Tate Collection, London, England Thyssen-Bornemisza Museum, Madrid Wallraf-Richartz-Museum, Cologne

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Maurice de Vlaminck (French, 1876–1958)

Paysage au toit rouge

watercolor and gouache Signed “Vlaminck” (lower right) 18 /4 x 21 1/2 inches.

*This work is accompanied by a certificate of authenticity from the Wildenstein Institute.

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Jean Dufy (French 1888 – 1964) Nature Morte Champêtre Watercolor on paper Signed “Jean Dufy” lower right Circa 1923 17 ½ x 21 ½ inches Framed: 27 x 30 ½ inches

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Ref: 4185 Provenance: Private Collection, New York Literature: To be included in the forthcoming catalogue raisonné by Jacques Bailly.

In Nature Mort Champêtre (rural still life), Jean Dufy presents us with a charming outdoor still life that perhaps was painted during one of his frequent visits to the ancient provincial provinces of Limousin and Touraine. This work is a refreshing change from his more commercially created works depicting circus scenes, orchestras and street scenes which he knew would sell well. This is a work he would have done for himself and pure artistic reasons. Devoid of any figures, his interest is in strong blocks of color and creating a composition for the joy of it. Colorful washes of the primary colors of red, blue, green, and yellow define a simple repast of fruit, a glass of wine which are laid out in the foreground of the picture on a table topped by a checked tablecloth as well as a simple vase of three flowers. A blossoming tree balances the composition on the left and overhangs a country stucco house with vivid blue shutters and a brilliant red Ludovici tile roof. Dufy’s beloved blue tones fill the summer sky, the jaunty shutters as well as the fruit basket and provide a unifying and colorful harmony throughout this pleasant watercolor. Dufy’s deft handling of bold light and vivid color accompanied by his masterful use of the white paper heighten the airiness and light-hearted appeal of this simple yet exquisitely designed and balanced composition.

Jean Dufy was born in the port city of Le Havre in France in 1888. Jean was the seventh child of eleven born to a father who was both an accountant and a gifted musician. At the Le Havre Exposition in 1906 Dufy saw for the first times the works of Pierre Matisse, Andre Derain, Albert Marquet and Pablo Picasso. Dufy for the first time now knew definitively that he wanted to be an artist. Even though he was drafted in 1914, he continued to draw and to paint the flowers, horses, and landscapes that he saw in Val-d’Ajol, in the Vosges region of France where he recuperated after the war.

In 1916 Dufy began to paint porcelain for Théodore Haviland in Limoges. In 1920 Dufy returned to Paris to live in Monmartre where one of his neighbors was Georges Braque. It was here that Dufy began to work seriously with colorful patchwork squares and bold areas of light. For the first time the public was able to view Dufy’s work at the Salon D’Automne and Galerie Bing in Paris as well as at the Perls Galleries and Balzac Galleries in New York. Dufy often returned his birthplace in Le Havre where he painted monumental works that showcased his mastery of harmonizing colors. He and his wife also spent time in the regions of Limousin and Touraine where he often painted their forests and valleys. From 1950 until 1960 he traveled extensively throughout Europe and North Africa, but he always returned to Paris to paint her streets, her horse drawn carriages, the Eiffel Tower, her sky, the Seine and her gates in harmonious tones of blue. Throughout his lifetime Dufy had LONDON 50 Maddox Street • London W1S 1AY • England T: +44 (0) 207 499 8958

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numerous exhibitions on both sides of the Atlantic. Dufy died on May 12, 1964 in the village of Boussay just two short months after the passing of his beloved wife Ismérie.

Exhibitions: Galerie Berthe Weill, Paris, France, 1914 (solo) Salon d’Automne, Grand Palais des Champs-Elysées, 1920, 1923, 1924, 1926, 1927, and 1932 Galerie Panardie, Paris, France, 1921 (solo) International Exhibition of Decorative Arts, 1925 (Gold Medal) Galerie Vavin-Raspail, Paris, France, 1925 (solo) Grand Palais des Champs-Elysées, Paris, France, 1925 (solo) Galerie Legede, Paris, France, 1925 (solo) Galerie Dalpayrat, Limoges, France, 1928 (solo) Galerie Bing & Cie, Paris, France, 1929 (solo) Balzac Galleries, New York, 1930 (solo) Perls Galleries, New York, 1938 (solo), 1953 (solo) Portland Art Museum, 1938-1939 Galerie A. Barreiro, Paris, France, 1939 Galerie André, Paris, France, 1947 (solo) Georges De Braux, Inc. Philadelphia, Pennsylvania, 1947-1948 (solo), 1950 (solo), 1955 (solo) Galerie Jos. Hessel, Paris, France, 1948 (solo) Galerie Drouand-David, Paris, France, 1948 (solo) Old Paris Gallery, Boston, Massachusetts, 1948 (solo) Galerie Barreiro Stiebel, Paris, France, 1951 (solo), 1956 (solo) Niveau Gallery, New York, 1951 (solo), 1957 (solo) James Vigeveno Galleries, Westwood Hills, California, 1952 (solo) Van Diemen-Lillienfeld Gallery, New York, 1952 (solo), 1955 (solo) Dominion Gallery, Montreal, Canada, 1957 (solo) Galerie Paris Artistique, Paris, France, 1957 (solo), 1962 (solo) Hammer Galleries, New York, 1957 (solo), 1961 (solo) Galerie Abels, Cologne, Germany, 1958 (solo) W. Findlay Galleries, Chicago, Illinois, 1962 (solo), 1969 (solo) Mayfair Gallery, Greensboro, 1962 The Marble Arch Gallery, New York, 1964 (solo) Hofstra University, Hempstead, Long Island, New York, 1966 (solo) Galerie Reine, New York, New York, 1967 (solo) The Chase Gallery, New York, New York, 1969 (solo) Nice, France, 1973 Galerie d'Art Castiglione, Paris, France, 1978 (solo), 1981 (solo), 1983 (solo) Boston Art Museum, 1982 Soufer Gallery, New York, New York, 1987 (solo) Atelier Matignon, Paris, France, 1988 (solo), 2001 (solo) Galerie Rienzo, New York, 2001 Galerie Jacques Bailly, Paris, France, 2002 (solo) Kodner Gallery, 2004 LONDON 50 Maddox Street • London W1S 1AY • England T: +44 (0) 207 499 8958

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Palais des Beaux-Arts, Brussels, Belgium, 2006 Museums and Public Collections: Albertina Kunst Museum, Vienna, Austria Art Institute of Chicago, Chicago, Illinois Boca Raton Museum of Art. Boca Raton, Florida Brandywine River Museum, Chadds Ford, Pennsylvania Chrysler Museum of Art, Norfolk, Virginia Davis Museum & Cultural Center, Wellesley Hills, Massachusetts Detroit Institute of Arts. Detroit, Michigan Georgia Museum of Art. Athens, Georgia Laguna Art Museum, Laguna Beach, California Madison Museum of Fine Art, Inc., Georgia Muscarelle Museum of Art, Williamsburg, Virginia Musée des Beaux-Arts de Caen, Caen, France Museum of Modern Art, New York, New York New Orleans Museum of Art, New Orleans, Louisiana North Carolina Museum of Art, Raleigh, North Carolina Phoenix Art Museum, Phoenix, Arizona Springfield Museum of Fine Arts, Springfield, Massachusetts The Greenwich House Music School, New York, New York Washington University, Saint Louis, Missouri

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John William Godward RBA 1861-1922 Tranquility, 1914 Oil on canvas, signed and dated 1914 20 x 32 inches

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Ref: 4154 Provenance: Private collection United Kingdom Literature: John william Godward, The eclipse of Classiscm, Vern Grosvenor Swanson PHD. pg 108 - 110. Colour plate 85 pg 110

Seated upon a marble bench, Godward has depicted a captivating Greek or Roman beauty, who softly stares out towards the distance, relaxing on a warm summer’s day.

The sitter, known as ‘Dolcissmia’ has perfectly soft, rosy cheeks, plump lips and a glowing complexion. Her graceful pose adds to her sense of beauty and aesthetic perfection as does Godward’s sensual rendering of textures and harmonious colouring used throughout the canvas. From the coolness of the marble to the warm blush of the girl's expectant lips, she is glamourous, youthful and sultry.

Her classical robes create a sense of exotic sensuality by recalling the smouldering courtesans of the ancient world such as Helen of Troy, Phryne and Campaspe.

Notably, Dolcissima’s beauty and appeal is emphasised when contrasted against the cool, hard marble that she sits on. This work is representative of the work of the group of painters sometimes called the “Marble” School, with the classical setting calling back to Ancient Greece, depicting her as a Hellenic goddess. Inspired by the work of Sir Lawrence Alma Tadema, John William Godward (1861-1922), amongst others, painted subjects which harked back to the Classical age. The Ancient worlds of Greece and Rome were viewed as a past idyll, an age of beauty and certainty.

This work was painted in Rome in the Villa Strohl-Fern, which was a group of artists' studios to where Godward had absconded in 1911. It was here that the artist lived with the sitter who was his favourite model, however, this move scandalised his family as a result. The model is possibly the 'Dolcissima' that Russell Flint met when he visited Godward, as she is featured in many of Godward's other works of that date.

The late Edwardian period was seen in a similar light to be lost forever, shattered by the events of the First World War. This Neoclassical approach with subjects drawn from ancient Greek and Roman life placed in elaborate settings, with especially careful and realistic rendering of details like marble and flowers, is typical of his work.

Godward regularly exhibited his paintings at the Royal Academy in London, where they were greatly admired by the public. His work is represented in art galleries around the world, from the Getty Museum in California to the Manchester City Art Gallery in England.

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ARMAND GUILLAUMIN (1841 – 1927)

Coucher du Soleil dans la Cruese, circa 1898

Oil on canvas Size: 29.13 x 39.37 ins / 74 x 100 cms Signed lower left

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Ref: 3132 Provenance: Lucien Schloss, Paris Peter Findlay, New York Private Collection, France Exhibition: Geneva, Musée du Petit Palais, "Guillaumin", 8th January - 31st May, 1992, p. 82, no. 32 (reproduced in color) Toulouse, Musée Paul Dupuy, "Armand Guillaumin l'impressionniste, ami de Cézanne et de Van Gogh", 24 February - 31st May, 1993, p. 88, no. 32 Clermont Ferrand, Musée des Beaux Arts, "Armand Guillaumin l'impressionniste, ami de Cézanne et de Van Gogh", 17 February - 11 June, 1995, no. 36 Cologne, Wallraf-Richartz Museum, "Vom Spiel der farbe Armand Guillaumin ein wergessener Impressionist", 23 February - 5 May, 1996, p. 207, no. G 68 Lausanne, Fondation de l'Hermitage, "Armand Guillaumin, un maitre de l’impressionnisme", 12th July - 20th October, 1997, p. 110, no. 62 Belfort, Musée d’Art et d’histoire, "Armand Guillaumin de la lumière à la couleur", 7th June 31st August, 1997, p. 65, no. 35 Turin, Palazzo Bricheriaso, "l’Impressionismo di Guillaumin", 24th October, 2003 - 1st February, 2007, p. 105 (reproduced in colour) Literature: G Serret D Fabiani, Armand Guillaumin catalogue de l’oeuvre peint, Paris 1971, no. 394 Christopher Gray, Armand Guillaumin, Pequot Press, Chester Conn, 1991, p.178

Armand Guillaumin was born in Paris and attended the Académie Suisse when he was twenty years of age. The Suisse Academy was an art school at which various artists studied before him trained, including Eugène Delacroix and Paul Cézanne. Guillaumin met the latter, who became a life-long friend – in 1871 they painted together by the Seine and Cézanne is said to have been very impressed by Guillaumin’s work.

In 1863, two years after joining the Académie Suisse, Guillaumin exhibited at the Salon des Refusés, popularised by Edouard Manet for avant-garde artists to exhibit canvases rejected from the canonical Paris Salon. Here Guillaumin befriended Dutchman Vincent van Gogh (1853-1890), whose vibrant colour intensity paralleled the Frenchman’s own experimentations. Vincent’s brother Theo also sold some of Guillaumin’s works.

The artist’s most famous works are landscapes and experimentations with the effects of light, mainly of Parisian scenes. In 1870 he worked alongside Camille Pissarro in Pontoise, as well as with Cézanne at Auvers. Guillaumin experimented with strong structural compositions and shimmering light, and Pissarro encouraged him to exhibit three canvases at the first Impressionist exhibition.

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PAUL CESAR HELLEU (1859 – 1927) Portrait of a Woman White, black and red pastel on buff paper Size: 20.5 x 30.25 ins / 52.07 x 76.84 cms Signed lower right

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Ref: 2634 Provenance: Private Collection, Connecticut

Paul César Helleu worked as a painter and an engraver in France at the turn of the century. His work epitomises the charm and elegance of French culture at the time – the belle époque – with all its verve and focus on fashion. Whilst he was renowned for his portraits of society ladies on commission, and those of his childhood sweetheart who later became his wife (Alice Guerin), this sitter is his eldest daughter Ellen, born in 1887. Therefore date of this work is probably between 1905 and 1910.

Helleu was born in Vannes in 1859 and moved to Paris as a young man. He later became a pupil of Jean Leon Gérome at the École Nationale des Beaux-Arts and became a lifelong friend of fellow student John Singer Sargent. Gérome was to buy his first painting. Artists including Monet, Rodin and Tissot also recognised his talent whilst he was studying in Paris (he was later formally accepted as part of the Impressionist group). In fact, Tissot gave Helleu his own engraving tools because he was in such despair after the death of his beloved Kathleen Newton that he was unable to use them to make art. As a result, Helleu became an excellent drypoint engraver and one can see those skills for draughtsmanship and fine line work in this particular drawing.

Helleu immortalised many beautiful women in paint and graphite because he became the darling of fashionable, aristocratic ladies at the time (including Coco Chanel).

Perhaps what makes him all the more appealing to the modern viewer is that, despite this, he was not a cad; throughout their lives together, his favourite model was his wife.

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ACHILLE LAUGĒ (1861 - 1944) Bouquet des fleurs Oil on panel Panel size: 24 x 24 ins / 61 x 61 cms Signed and dated 1913 lower right

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Ref: 1756

Provenance: Private Collection, United States

Achille Laugé spent most of his life in Cailhau near Carcassonne. In 1881, he went to Paris and studied at the École des Beaux-Arts; some common students of his generation include Alexandre Cabanel and Jean-Paul Laurens. In 1888, after seven years in Paris and a term of military service, Laugé returned to his native south of France. He first moved to Carcassone, and then in 1895, he moved to Cailhau where he spent the rest of his life.

Laugé was in Paris during the critical years from 1886 to1888 (Seurat's La Grande Jatte was first exhibited amidst much controversy in 1886) and his contact with NeoImpressionism should not be underestimated. In 1894 he exhibited at the Salon des Indépendants, as well as at a Toulouse exhibition with de Bonnard, Maurice Denis, Sérusier, Roussel, Toulouse-Lautrec and Vuillard. Later on in his life, he held several one-man shows in Paris from 1907 to 1930.

Though thoroughly influenced by the theories of the time, upon departure from Paris Laugé developed his own divisionist technique, following the lead of Seurat and the Pointillists. Laugé never adopted Seurat’s scientific attitude; rather his interest in primary and vivid colours led his to develop an energetic, translucent palette. Laugé’s pictures comprised small points of colour. He later went on to paint landscapes, portraits, and still-lives with thin, systematically placed strokes resembling en treillis crosshatching. After 1905 he applied his pigments more freely, with enlarged strokes and thick impasto that brought him closer to a traditional impressionist technique whilst maintaining his ability to paint the translucence of southern light.

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MAXIMILIEN LUCE (French 1858 - 1941) Les Meules aux Environs de Molineux Oil on board 12.5 x 18 inches Signed and Dated ‘1903 Luce’

This piece is accompanied by a photo-certificate, noting that it will be included in Volume 4 of Denise Bazetoux's Catalogue Raisonné de l'Oeuvre de Maximilien Luce, now in preparation.

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Provenance: Private collection, New Hampshire Maximilien Luce remains a very important figure in French Post-Impressionist Art, as a Pointillist and a social realist. Along with Pissarro, Georges Seurat (1859-1891) and Paul Signac (1863-1935) Luce was one of the founders of the Neo-Impressionist School and was, for a period of time, a strict Pointillist, although after 1920 Luce started to paint in a freer manner.

Luce portrayed the contemporary world with passion, and Paris was one of his most beloved subjects, with the artist soon becoming preoccupied with his Parisian subject matter and the daily lives of the petit people. This evening view of the Théâtre du Châtelet in Paris is a gloriously luminous rendering of a Parisian street scene. The pink and yellow hues that surround the theatre’s windows and seep out onto the street are reflected in the evening sky, creating a warm glow of electric light that resonates from the canvas with a warmth and energy. The contrast of this irridescent light with the dark evening night creates a harmonious composition.

Théâtre du Châtelet is still a theatre and opera house in Paris that was built on the site of the Châtelet, which was converted from a small fortress as part of Baron Haussmann’s modernizations of the city. Luce was born in Paris, and his love and knowledge for the city is demonstrated in this successful way of conveying with precision the tonal qualities and atmospheric effects that pertain to varying kinds of light, according to a particular time of day.

As a youth Maximilen Luce was apprenticed to become an engraver and in 1876 he joined the workshop of the engraver Eugène Froment (1844-1900), a graduate of the Ecole des Arts Décoratifs, as a qualified craftsman. There, Luce worked on engraving, numerous illustrations for French newspapers as well as some for foreign periodicals.

In 1877, Luce left Paris and went to London. When he returned to France in 1879 he was called for military service. It was during his military service that Luce met Charles Emile Carolus- Duran (1837-1917), the famous French painter and sculpture whose students included countless artists. Luce entered Carolus-Duran’s studio, a move which not only gave him meticulous training as a draftsman, but introduced him to the leading painters of the time.

Luce met Camille Pissarro (1830-1903), with whom he became very good friends and who gave Luce much artistic advice. In 1887, Luce joined the Société des Indépendants,

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after which time he consistently participated in the avant-garde group’s exhibitions.

Though landscapes made up most of his oeuvre, Luce executed some marvelous paintings of people in the Pointillist style – an aspect of his style that differentiated him from many of his fellow Neo- Impressionists. Maximilien Luce was, Concerned very little with accolades, he did, however, accept the position of President of the Société des Artistes Indépendants in 1935 subsequent to the death of Signac, a position from which he would resign as a statement against the society’s growing posture towards restricting Jewish artists from exhibiting.

This beautiful little painting shows Luce’s wonderfully colorful style. The pastoral scene is imbued with a sense of light from the periodic applications of bright color throught the grass in the foreground, the rolling hills in the background and the small houses that carry in a line from the left-hand side into the center of the composition. The splashes of purple, blue, and orange are applied with the short brushstrokes that characterize much of Luce’s work. The sky is similarly staccato in shades of white, blue and purple. Overall this is a very fine example of the artist’s work.

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Albert Marquet (1875-1927)

L’lle, Poissy, 1929 Oil on canvas 25.63 x 31.89 inches stamped with signature 'Marquet' (lower right)

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Ref: 4127 Provenance: Estate of the artist; Mme Marcelle Marquet, Paris (by descent from the above); Galerie de l'Elysée (Alex Maguy), Paris; Steve Banks Fine Arts, San Francisco; Private Collection, Texas This work will be included in the forthcoming volume of the catalogue critique of Albert Marquet’s paintings being prepared by the Wildenstein Institute.

Marquet alongside friends and fellow students at the Atelier Moreau; Matisse, Rouault and Camoin, was one of the original Fauve artists, exhibiting at the scandalous Salon d’Automne in 1905. Positioned in the stylistic wake of Impressionism and teetering on the brink of Modernity, he played a pivotal role within post-impressionist progressions towards a more coherent and rigourous methodology for art.

In 1920, weary of cold Parisian winters and on the advice of Matisse, Marquet headed to North Africa, to visit Morocco and Algeria. Marquet was fascinated by the green trees, minaret skylines and lively ports, and found the intense light and dense shadows perfect for creating the modernist reductions of colour, tone and form which characterized his oeuvre. After marrying in 1923, Marquet and his Algerian born wife Marcelle, spent nearly every winter in North Africa. Intrigued yet often unnerved by the foreignness of the place Marquet turned to his wife to act as intermediary for interpreting language and customs. Marquet’s work of the following decade expresses an extra dimension; a softening and appreciation of his wife’s happiness at the familiar surroundings, and an assimilation of their overall contentment.

Alongside Matisse, Marquet was central to the exploration and development of evocative line, and is recognised as an exceptional draughtsman. A great observer of everyday life, this drawing of a North African family exhibits beautifully the unique linear simplicity and figurative realism which characterise his oeuvre; capturing eloquently the atmosphere and essence of each person though the scarcest of touches and gestures.

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HENRI MARTIN (1860-1943) Labastide-du-Vert Oil on canvas Signed Lower right Size: 27.5 x 39 ins / 70 x 99 cms

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Ref: 3049 Provenance: Private Collection, USA

Born August 5, 1860 in Toulouse, Martin’s career started academically and then expanded to an avant-garde Post-impressionist style. His early works were devoted to poetic and allegorical themes reflecting his training at the École des Beaux-Arts in Toulouse. After winning the Grand Prix he moved to Paris in 1879 to study at the École des Beaux-Arts under Jean-Paul Laurens (1838-1921). This all implied that Henri Martin was turning into the prime academician, and saloniste: Martin would exhibit at the Salon des Artistes Français in Paris from 1880, winning a medal at the 1883 Salon.

The strict, linear-based painting style Martin had acquired up to this point loosened after a trip to Italy in 1885.

Martin returned to Paris in 1889 and began experimenting with pointillism and the theories of colour. His subjects turned from allegories and history painting almost exclusively to landscape painting. Colourful canvases full of light depict the rolling countryside around his house at different times of the day and render works of shadow and sun. In 1889 Henri Martin exhibited at La Fête de la Fédération where he was presented with a gold medal.

Working in an avant-garde, ground-breaking style, Martin boasted much recognition for his work. He was named Chevalier of the Legion of Honour in 1896, and in 1900 won the grand prize at the Exposition Universelle. Martin is buried in the cemetery at La Bastide-du-Vert.

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Maxime Maufra (French 1861 - 1918) Soleil Couchant, Yport, 1900

Oil on canvas 21.26 x 25.59 inches Signed lower right

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Ref: 4128 Provenance: Private Collection, United States

Note: Yport is a traditional fishing village on the Alabaster coast in the Seine-Maritime department of Normandy, between Fecamp and Etretat.

The village is one of the smaller resorts in the region and contains a mix of small fishing houses and larger 19th century properties built at the time that Yport started to become an established seaside resort.

Maufra first began painting when he turned eighteen years. He was encouraged to do so by two artists from Nantes: brothers Leduc. He did not fully embrace his painting career immediately as he was at this time a businessman; therefore he only painted in his spare moments from 1884 to 1890. It was then that Maufra discovered the Impressionists and was able to display his works at the Paris Salon of 1886. He devoted himself to painting from nature and his favoured spot was along the banks of the Loire valley.

He left Nantes for Brittany, where he met Paul Gauguin (1848-1903) and Paul Serusier (1864-1927). Maufra had his first solo exhibition in Paris in 1894, at Le Barc de Toutteville. Returning from Brittany, he was the first painter to take up residence in the Bateau-Lavoir, a famous Parisian residence for artists.

Notably, Maufra remained an independent artist throughout his life, being influenced by others but always being wholly original in his output, dedicating his oeuvre to recording nature. In his works, he sometimes quoted the pointillist technique of Pissarro or Sisley, whilst he also portrayed the strong colours and powerful drawing of the Pont-Aven school.

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Francis Picabia (French, 1879–1953) Effet de soleil sur les bords de la loire a candes, 1908 Oil on canvas 21.5 x 25.5 inches Signed (lower right); inscribed (verso) Provenance: Palais Galliera, Paris, March 31, 1976, no. 86 Edgardo Acosta Gallery, Beverly Hills Private Collection, Seattle Private Collection, United States Literature: Camfield, William A., Beverley Calté, Candace Clements, Pierre Arnauld, Francis Picabia Catalogue Raisonné (1898-1914), Vol. 1 (Brussels, Mercatorfonds; distributed by New Haven and London, Yale University Press, 2014): no. 336 (repro. in color)

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PABLO PICASSO (1881-1973) Les trois Grâces, 1923 Pen & Ink on paper Size: 24.77 cms x 18.41 cms (9.75 ins x 7.25 ins) Inscribed le Cap Antibe

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Ref: 4145 Provenance: The Estate of Harry B Henshel, Palm Beach, Florida; Private Collection, United Kingdom

Picasso is one of the most famed artists in the world, often recognised for his development of the Cubism. Born in Malaga, Spain in 1881, Picasso largely spent his life split between Barcelona and France. In 1990 Picasso took his first trip to Paris and soon became attached to the city. It was in Paris that he met the eminent art dealer Daniel-Henry Kahnweiler, who also championed the work of Braque, the artist that is also credited with inventing Cubism.

Picasso is known to have had many artistic ‘periods’, into which all his paintings are sectioned. They include the ‘Blue Period’ 1901-1904; ‘Rose Period’ 1905-1907; ‘African Period’ 1907-1909; ‘Analytic Cubism’ 1909-1912 and finally between 19121919 his ‘Synthetic Cubism Period’.

The Three Graces has been a prominent theme in art for centuries stemming from Greek and Roman mythology. Continually depicted in Classical, Renaissance and Baroque painting by artists such as Botticelli, Raphael and Rubens. The Graces stood as representations of charm, beauty, and creativity. Like the artists before him, Picasso returned to the subject matter of the Graces numerous times and in many mediums including painting, drawing and etching.

This drawing from 1923 is typical of Picasso’s bold figurative style. The strong bodies of the Graces are perfectly formed through simple clean lines. The close body language and held hands suggests an intimacy to the figures, as if one is interrupting a private moment. With a few simple strokes of pen Picasso has elegantly depicted both the figures and their natural surroundings. The mountains in the background not only echo the curves of the Graces’ bodies but play upon the long established artistic rhetoric of female nudes amongst nature.

Although the subject matter is evident, there is a hint of androgyny to the left hand figure. Unlike the figures facing the viewer this Grace gives no hint of their gender, other than what can be assumed from the title. With broad shoulders, undefined back, muscular legs, and uncharacteristically short hair this Grace slides into the realm of unspecified gender. This is a common trope in Picasso’s work when he places greater focus upon shape than realistic representation.

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ALFRED SISLEY (French 1839-1899) Les Oies A Saint-Mammes Pastel on paper 11.42 x 15.75 inches Signed ‘Sisley’ lower right

Ref: 3900 Provenance: Hammer Galleries, New York Private Collection USA Note: The Comité Sisley have confirmed the authenticity of this work This work will be included in the new edition on the Alfred Sisley catalogue raisonné by Fraçois Daulte, prepared at the Galerie Brame & Lorenceau by the Comité Alfred Sisley During the first fifteen years of his career as a painter, Sisley lived and worked in a succession of towns west of Paris in the lush valley of the Seine, including Bougival, Louveciennes, Marly-leRoi, and Sèvres. In January 1880, a time of dire financial straits for many of the Impressionists, Sisley left the Paris suburbs for the more rural region near the confluence of the Seine and Loing, about seventy-five kilometres southeast of the capital. It is here that this work is set, in SaintMammès.

Sisley painted and drew numerous views of the woods, pastures, the river and bridge, and as in this piece, the geese of Saint-Mammes. "He sought to express the harmonies that prevail, in all weather and at every time of day, between foliage, water and sky; and he succeeded... He loved river banks; the fringes of woodlands; towns and villages glimpsed through the trees; old buildings swamped in greenery; winter morning sunlight; summer afternoons. " (G. Geffroy, "Sisley," Les Cahiers d'aujourd'hui, Paris, 1923, n.p.).

Sisley initially settled at Veneux-Nadon on the left bank of the Loing, in a house just a few minutes’ walk from the railway station. In the autumn of 1882, he moved about three miles southeast, to the medieval town of Moret-sur-Loing; he stayed there, however, for only a year before relocating to the hamlet of Les Sablons, on the edge of the Forest of Fontainebleau immediately adjacent to Veneux-Nadon.

He explained in a letter to Paul Durand-Ruel dated August 1883, "I have decided to leave Moret at the earliest possible opportunity, as it's not very good for my heart... However, I'm not going very far: to Les Sablons, a quarter of an hour away, but with better air" (quoted in R. Shone, Sisley, London, 1992, p. 142). In 1889, Sisley returned to Moret, which would remain his home-and almost the exclusive subject of his art--until his death a decade later.

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Alfred Sisley Jeune Fille Crayon and Chalk on paper 3.54 x 4.92 inches

Provenance Private Collection, France This work is accompanied by a certificate from Monsieur Andre Schoeller