WATERHOUSE & DODD LONDON |
THE THE
NEW YORK
FINE ART ART FILE FILE FINE Edition 41 2016 Edition 40 Spring 2014
WRITTEN AND PUBLISHED BY
W R I T T E N A N D P U B L I S WATERHOUSE HED BY
WATERHOUSE & DODD
ALEXANDER CALDER
American (1898-1976)
Black stars, 1953
See page 31
PAUL SIGNAC
& DODD
French (1882-1960)
Port d’Antibes, 1917
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Alberto Eva George Henri Auguste Hans Henri Henri Gustave
GIACOMETTI GONZALES GROSZ HAYDEN HERBIN HOFMANN LEBASQUE LE SIDANER LOISEAU
Henri Henri Henry Henry Francis Arnaldo Paul Andy Tom
MARTIN MATISSE MOORE MORET PICABIA POMODORO SIGNAC WARHOL WESSELMANN
see page 4
EMILE CLAUS Belgian (1849-1924) Bateaux à vapeur sur la Tamise Signed & dated 1916 Oil on canvas 36 x 36 in / 92 x 92 cm Provenance: Estate of the artist (thence by descent); Private collection, USA Exhibited: London, Goupil Gallery, Réverbérations sur la Thamise: A Series of Paintings by Emile Claus, May-June 1917, no. 48; Brussels, Galerie Georges Giroux, Solo exhibition, March 1921, no. 3; Waregem, Kultuurcentrum de Schakel, Retrospektieve Emile Claus, 1985; Pontoise, Musée Tavet / Musée Pissarro, Éxposition Néo-Belge, 1990, no. 11; Oostend, Provinciaal Museum voor Moderne Kunst, Retrospektieve Emile Claus, 1997, no. 140, illustrated
The Rue de Clignancourt was one of Loiseau’s favourite Parisian subjects. On the border of Montmartre, the area changed from being a suburb to being part of Paris in 1860, and in its rapid development many artists’ studios were built on the top floors of new apartments. It is from one such
GUSTAVE LOISEAU French (1865-1935) Rue de Clignancourt, Paris Signed Painted circa 1924 Oil on canvas 25.5 x 21 in / 65 x 54 cm
studio that Loiseau often depicted the bustling activity of the streets of Montmartre, with the flaneurs, cafes and carousels,
This work is accompanied by a certificate of authenticity from Didier Imbert and will be included in the forthcoming catalogue raisonné
using the elevated viewpoint to give a panorama of urban life. One exceptional aspect of this work is the quality of the brushwork and the thick impasto. Loiseau’s greatest works all have lavishly applied paint and wonderful criss-crossed
He acknowledged the inspiration of Turner in these London
Thames whilst in London during the First World War. The
scenes, but they more clearly echo the work of his
present composition is both a particularly large format and
contemporary Claude Monet, who painted similar views
especially dramatic, contrasting the grey blue eddying swirls
during the previous decade from his room at the nearby
of the river with the light pastel tints of the sky; the emphatic
Savoy Hotel. However, while Monet’s views were
horizontality of old Waterloo Bridge with the stark verticals
atmospheric and seem somewhat abstract, Claus retained
of the smoke stacks, and the dark billowing smoke pluming
the sense of structure and depth, with buildings, boats, and
upwards from the tugs plying the river with the light scudding
even traffic on the bridge still clearly recognisable.
clouds in the sky that catch the morning sun. Claus esteemed Provenance: Sale, Christie’s, London, 9 December 1998, lot 165; Private collection, New York (purchased at the above sale); Thence by descent to the above’s Estate, on whose behalf this work is being offered
brushstrokes, and here it is seen to great effect. The highest price at auction for a work by Loiseau is $604,000, with one
Emile Claus painted a series of remarkable views of the
this painting highly, as it was one of the few works he
The twelfth of thirteen children, Claus’s father was a grocer-
reworked in lithography.
cum-publican; his mother was the daughter of a Brabant
Full of movement and incident, Claus painted his Thames
father’s wishes, Claus paid his own way to attend the
skipper. Brought up on the banks of the River Lys, against his views looking out from his studio on the fourth floor of
Antwerp Academy of Fine Art. Settling in East Flanders to
He also learnt a great deal first hand from Paul Gauguin.
Mowbray House, on the corner of the former Norfolk Street
paint, the house that he would make his own also
and the Embankment at Temple. He called the works from
overlooked the River Lys. In the 1890s he made several visits
We advised a client (for whose estate we are offering it) to
this series of views his Réverbérations sur la Tamise. In his
to Paris, where he became acquainted with the French
Parisian view making $353,000 in 2015. In 1887 Loiseau received a legacy from his grandmother
buy this work in 1998, saying at the time that it could hang
article ‘The Thames from my Tower Windows’ Claus
Impressionists, including Monet, and other the years
which enabled him to give up his job as a decorator and
alongside works by more celebrated Impressionists. In fact
described what he saw: ‘…on my left is Blackfriars Bridge; to
attracted a wide circle of friends, amongst them such writers
devote his life to painting. He did not appreciate the
our client hung it in a prominent position in his collection
the right, I see Waterloo bridge and the silhouette of
as Maurice Maeterlinck and Emile Zola, and the sculptor
academic tendencies of his teachers and it was not until a
which went on to include major works by Cézanne, Renoir,
Westminster. These are the views which day after day these
Auguste Rodin. In 1904 he founded the society ‘Vie et
move to Pont-Aven in 1890 and his meeting with Henry
Manet and Degas. The Thyssen-Bornemisza Collection has an
past months, have provided me with varying and ravishing
Lumière’, and became widely acknowledged as the great ‘sun
Moret and Maxime Maufra that he found his individual style.
example similar in subject and quality to ours.
impressions of the River.’ (The Studio, May 1917).
painter’ and ‘painter of the Lys’.
EMILE CLAUS Belgian (1849-1924) Bateaux à vapeur sur la Tamise Signed & dated 1916 Oil on canvas 36 x 36 in / 92 x 92 cm Provenance: Estate of the artist (thence by descent); Private collection, USA Exhibited: London, Goupil Gallery, Réverbérations sur la Thamise: A Series of Paintings by Emile Claus, May-June 1917, no. 48; Brussels, Galerie Georges Giroux, Solo exhibition, March 1921, no. 3; Waregem, Kultuurcentrum de Schakel, Retrospektieve Emile Claus, 1985; Pontoise, Musée Tavet / Musée Pissarro, Éxposition Néo-Belge, 1990, no. 11; Oostend, Provinciaal Museum voor Moderne Kunst, Retrospektieve Emile Claus, 1997, no. 140, illustrated
The Rue de Clignancourt was one of Loiseau’s favourite Parisian subjects. On the border of Montmartre, the area changed from being a suburb to being part of Paris in 1860, and in its rapid development many artists’ studios were built on the top floors of new apartments. It is from one such
GUSTAVE LOISEAU French (1865-1935) Rue de Clignancourt, Paris Signed Painted circa 1924 Oil on canvas 25.5 x 21 in / 65 x 54 cm
studio that Loiseau often depicted the bustling activity of the streets of Montmartre, with the flaneurs, cafes and carousels,
This work is accompanied by a certificate of authenticity from Didier Imbert and will be included in the forthcoming catalogue raisonné
using the elevated viewpoint to give a panorama of urban life. One exceptional aspect of this work is the quality of the brushwork and the thick impasto. Loiseau’s greatest works all have lavishly applied paint and wonderful criss-crossed
He acknowledged the inspiration of Turner in these London
Thames whilst in London during the First World War. The
scenes, but they more clearly echo the work of his
present composition is both a particularly large format and
contemporary Claude Monet, who painted similar views
especially dramatic, contrasting the grey blue eddying swirls
during the previous decade from his room at the nearby
of the river with the light pastel tints of the sky; the emphatic
Savoy Hotel. However, while Monet’s views were
horizontality of old Waterloo Bridge with the stark verticals
atmospheric and seem somewhat abstract, Claus retained
of the smoke stacks, and the dark billowing smoke pluming
the sense of structure and depth, with buildings, boats, and
upwards from the tugs plying the river with the light scudding
even traffic on the bridge still clearly recognisable.
clouds in the sky that catch the morning sun. Claus esteemed Provenance: Sale, Christie’s, London, 9 December 1998, lot 165; Private collection, New York (purchased at the above sale); Thence by descent to the above’s Estate, on whose behalf this work is being offered
brushstrokes, and here it is seen to great effect. The highest price at auction for a work by Loiseau is $604,000, with one
Emile Claus painted a series of remarkable views of the
this painting highly, as it was one of the few works he
The twelfth of thirteen children, Claus’s father was a grocer-
reworked in lithography.
cum-publican; his mother was the daughter of a Brabant
Full of movement and incident, Claus painted his Thames
father’s wishes, Claus paid his own way to attend the
skipper. Brought up on the banks of the River Lys, against his views looking out from his studio on the fourth floor of
Antwerp Academy of Fine Art. Settling in East Flanders to
He also learnt a great deal first hand from Paul Gauguin.
Mowbray House, on the corner of the former Norfolk Street
paint, the house that he would make his own also
and the Embankment at Temple. He called the works from
overlooked the River Lys. In the 1890s he made several visits
We advised a client (for whose estate we are offering it) to
this series of views his Réverbérations sur la Tamise. In his
to Paris, where he became acquainted with the French
Parisian view making $353,000 in 2015. In 1887 Loiseau received a legacy from his grandmother
buy this work in 1998, saying at the time that it could hang
article ‘The Thames from my Tower Windows’ Claus
Impressionists, including Monet, and other the years
which enabled him to give up his job as a decorator and
alongside works by more celebrated Impressionists. In fact
described what he saw: ‘…on my left is Blackfriars Bridge; to
attracted a wide circle of friends, amongst them such writers
devote his life to painting. He did not appreciate the
our client hung it in a prominent position in his collection
the right, I see Waterloo bridge and the silhouette of
as Maurice Maeterlinck and Emile Zola, and the sculptor
academic tendencies of his teachers and it was not until a
which went on to include major works by Cézanne, Renoir,
Westminster. These are the views which day after day these
Auguste Rodin. In 1904 he founded the society ‘Vie et
move to Pont-Aven in 1890 and his meeting with Henry
Manet and Degas. The Thyssen-Bornemisza Collection has an
past months, have provided me with varying and ravishing
Lumière’, and became widely acknowledged as the great ‘sun
Moret and Maxime Maufra that he found his individual style.
example similar in subject and quality to ours.
impressions of the River.’ (The Studio, May 1917).
painter’ and ‘painter of the Lys’.
The present view of the port of St Tropez is one of three
PAUL SIGNAC
canvases that Signac painted of this size and subject in 1917.
Port d’Antibes
Of the other two oils, one has long been in the collection of the Ateneum, Helsinki while the other was recently offered at auction by Sotheby’s in London where it realised $2.98 million. A masterclass in compositional control and chromatic harmony, this sun drenched evening view is arguably the best
French (1863-1935)
Signed & dated 1917 Oil on canvas 21.25 x 25.5 in / 54 x 65 cm This work will be included in the forthcoming supplement to the catalogue raisonné being prepared by Françoise Cachin and Marina Ferretti
of the three, and perfectly illustrates Signac’s lifelong fascination with Neo-Impressionism in which colour is mixed not on the artist’s palette but on the viewer’s retina. The view looks across to the port of Antibes and the distinctive towers of the old town and the Château Grimaldi. A scene of quiet human endeavour set within a majestic landscape, the picture surface shimmers with the characteristic dabs and dashes of the contrasting colours of Signac’s distinctive style and the warm glow of the Mediterranean light at the close of day. At a time when Europe was ravaged and exhausted by war, Signac’s idyllic vision of Man in harmony with a bountiful Nature seems
Provenance: Galerie Bernheim-Jeune et Cie, Paris; Galerie André Weil, Paris; Achim Moeller Ltd., London; Private collection (acquired from the above in 1982); Sale, Christie’s, New York, 3 November 2010, lot 57; Private collection Exhibited: Paris, Galerie Bernheim-Jeune et Cie., Exposition Signac; Prague, Alsove Exhibition Rooms, May-June 1934, no. 17; New Jersey, The Montclair Art Museum, Late XIX and Early XX Century French Masters: The John C. Whitehead Collection, April-June 1989, no. 69, illustrated; Portland Museum of Art, Neo-Impressionism: Artists on the Edge, June-October 2002, p. 40, no. 25, illustrated
strikingly at odds with the political reality of the day. Its very
proto fauve painting ‘Luxe Calme et Volupté’. Signac was
contrariness, however, reflects the particular blend of Old
appointed the Society’s president in 1908, a position that he
World privilege and active concern for society that typified
held for the rest of his life.
the artist’s approach to life. Signac was keenly aware of politics, and for a time gave his From a monied background, early on Signac started to train
support to the anarchist movement, but he was shocked by
as an architect, and it is tempting to see the vestiges of this
the escalation of events that precipitated the declaration of
formal education in the sense of order and structure that
war between the European powers in 1914. He wrote to his
seems so often to underpin his compositions. But it was
wife Berthe: “I really think that I shall never be able to
exhibitions of Claude Monet’s work that inspired him to
recover from the appalling distress in which I am sinking,
paint, and his introduction to Georges Seurat that led him to
despite my efforts.” Now in his fifties and officially too old to
pursue the analytical style that would define his work
fight, he closed the doors of the annual Salon des
throughout his life. A keen sailor, in the early 1890s he began
Indépendents. In 1917 Signac lamented in a letter to a friend
exploring the ports of France in his yacht, and sailed around
that on account of the hostilities wracking Europe he had
the Mediterranean as far as Constantinople. Married in 1892
been unable to paint for the previous three years.
to Berthe Robles, the Signacs kept an apartment in Paris and acquired a large property in St Tropez, where Signac
However, despite the unsettled times he found solace in his
constructed a sizeable studio. Yet beneath the veneer of a life
burgeoning relationship with fellow painter Jeanne
of ease and influence smouldered a strong will for change.
Selmersheim-Desgrange. Leaving both his house in St Tropez and his apartment in Paris to his wife Berthe, and with whom
In 1884, together with Georges Seurat and Odilon Redon,
he remained on friendly terms, he settled with Selmersheim-
Signac became a founder member of the influential exhibiting
Desgrange in Antibes where she gave birth to their daughter
body the Société des Artistes Indépendents. Its purpose was
in 1913. It is this new chapter of happy vitality that perhaps
to offer an alternative to the hide-bound annual Paris Salon.
most sustained him throughout the pain he felt during the
Thus, unlike the controversial and partisan entry process
war years. Meanwhile it is not inconceivable that it was the
artists had to submit to for the Salon, the Society advocated
arrival of his daughter, Ginnette, that played some part in his
‘Sans jury ni récompense’ (No jury nor rewards). It quickly
declared inability to paint in the three years prior to this
became the most influential platform for the exhibiting of
work, just as she must have helped the renewed optimism
contemporary art. It was, for example, at the Society’s
with which Signac embarked on this vibrant and uplifting
exhibition in 1905 that Matisse exhibited his seminal and
series of views of Antibes.
The present view of the port of St Tropez is one of three
PAUL SIGNAC
canvases that Signac painted of this size and subject in 1917.
Port d’Antibes
Of the other two oils, one has long been in the collection of the Ateneum, Helsinki while the other was recently offered at auction by Sotheby’s in London where it realised $2.98 million. A masterclass in compositional control and chromatic harmony, this sun drenched evening view is arguably the best
French (1863-1935)
Signed & dated 1917 Oil on canvas 21.25 x 25.5 in / 54 x 65 cm This work will be included in the forthcoming supplement to the catalogue raisonné being prepared by Françoise Cachin and Marina Ferretti
of the three, and perfectly illustrates Signac’s lifelong fascination with Neo-Impressionism in which colour is mixed not on the artist’s palette but on the viewer’s retina. The view looks across to the port of Antibes and the distinctive towers of the old town and the Château Grimaldi. A scene of quiet human endeavour set within a majestic landscape, the picture surface shimmers with the characteristic dabs and dashes of the contrasting colours of Signac’s distinctive style and the warm glow of the Mediterranean light at the close of day. At a time when Europe was ravaged and exhausted by war, Signac’s idyllic vision of Man in harmony with a bountiful Nature seems
Provenance: Galerie Bernheim-Jeune et Cie, Paris; Galerie André Weil, Paris; Achim Moeller Ltd., London; Private collection (acquired from the above in 1982); Sale, Christie’s, New York, 3 November 2010, lot 57; Private collection Exhibited: Paris, Galerie Bernheim-Jeune et Cie., Exposition Signac; Prague, Alsove Exhibition Rooms, May-June 1934, no. 17; New Jersey, The Montclair Art Museum, Late XIX and Early XX Century French Masters: The John C. Whitehead Collection, April-June 1989, no. 69, illustrated; Portland Museum of Art, Neo-Impressionism: Artists on the Edge, June-October 2002, p. 40, no. 25, illustrated
strikingly at odds with the political reality of the day. Its very
proto fauve painting ‘Luxe Calme et Volupté’. Signac was
contrariness, however, reflects the particular blend of Old
appointed the Society’s president in 1908, a position that he
World privilege and active concern for society that typified
held for the rest of his life.
the artist’s approach to life. Signac was keenly aware of politics, and for a time gave his From a monied background, early on Signac started to train
support to the anarchist movement, but he was shocked by
as an architect, and it is tempting to see the vestiges of this
the escalation of events that precipitated the declaration of
formal education in the sense of order and structure that
war between the European powers in 1914. He wrote to his
seems so often to underpin his compositions. But it was
wife Berthe: “I really think that I shall never be able to
exhibitions of Claude Monet’s work that inspired him to
recover from the appalling distress in which I am sinking,
paint, and his introduction to Georges Seurat that led him to
despite my efforts.” Now in his fifties and officially too old to
pursue the analytical style that would define his work
fight, he closed the doors of the annual Salon des
throughout his life. A keen sailor, in the early 1890s he began
Indépendents. In 1917 Signac lamented in a letter to a friend
exploring the ports of France in his yacht, and sailed around
that on account of the hostilities wracking Europe he had
the Mediterranean as far as Constantinople. Married in 1892
been unable to paint for the previous three years.
to Berthe Robles, the Signacs kept an apartment in Paris and acquired a large property in St Tropez, where Signac
However, despite the unsettled times he found solace in his
constructed a sizeable studio. Yet beneath the veneer of a life
burgeoning relationship with fellow painter Jeanne
of ease and influence smouldered a strong will for change.
Selmersheim-Desgrange. Leaving both his house in St Tropez and his apartment in Paris to his wife Berthe, and with whom
In 1884, together with Georges Seurat and Odilon Redon,
he remained on friendly terms, he settled with Selmersheim-
Signac became a founder member of the influential exhibiting
Desgrange in Antibes where she gave birth to their daughter
body the Société des Artistes Indépendents. Its purpose was
in 1913. It is this new chapter of happy vitality that perhaps
to offer an alternative to the hide-bound annual Paris Salon.
most sustained him throughout the pain he felt during the
Thus, unlike the controversial and partisan entry process
war years. Meanwhile it is not inconceivable that it was the
artists had to submit to for the Salon, the Society advocated
arrival of his daughter, Ginnette, that played some part in his
‘Sans jury ni récompense’ (No jury nor rewards). It quickly
declared inability to paint in the three years prior to this
became the most influential platform for the exhibiting of
work, just as she must have helped the renewed optimism
contemporary art. It was, for example, at the Society’s
with which Signac embarked on this vibrant and uplifting
exhibition in 1905 that Matisse exhibited his seminal and
series of views of Antibes.
Left: HENRY MORET French (1856-1913) Ile de Groix, Pointe de l’Enfer Signed & dated 1896 Oil on canvas 29 x 24 in / 73.5 x 61 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné Provenance: Galerie Durand-Ruel, Paris (purchased from the artist on 4 September 1896); Galerie Durand-Ruel, New York; Mrs Chauncey J. Blair, Chicago (acquired from the above on 7 October 1897); Mrs M. R. Bryan
HENRY MORET French (1856-1913) Côte de Clohars, Finistère Signed & dated 1908 Oil on canvas 28.75 x 23.75 in / 73 x 60 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné Provenance: Private collection, France
These three views of Brittany by Henry Moret perfectly capture different aspects of the isolated life to be found in North West France at the end of the 19th century: the
Below: HENRY MORET French (1856-1913) Lande Bretonne Signed Painted in 1903 Oil on canvas 18 x 24 in / 46 x 61 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné
overwhelming power of nature as two diminutive figures stare out at the tumultuous waves crashing on to the rocks below; the immutable serenity of the coastline as a craggy cliff-face drops down to meet an azure and placid sea; and the cyclical rhythm of peasant life as two women with pitchforks turn the cut hay drying in fields below their village. In the second half of the 19th century Brittany attracted a
consequence, for a certain period, Moret’s compositions
host of different artists. Their arrival coincided with the
became simpler, his picture surfaces flatter as his depiction of
recently completed construction of the train line to the
local Breton subjects gained a greater resonance and
region, and their desire to escape increasing urbanisation in
profundity. This new-found edge to his work thereafter never
search of a simpler more ‘authentic’ life. It was Gauguin of
entirely left him, and goes to the heart of both the isolated
course who is the painter most readily associated with the
majesty and underlying poetry that he evokes in such
Pont Aven and Le Pouldu. He arrived in the area for the first
compositions as ‘Isle de Groix, La Pointe de L’Enfer’.
time in 1886, and returned intermittently over the following eight years. But unlike Gauguin and others who came and
With Gauguin’s final departure for the South Pacific in 1894,
went, Moret was the artist who stayed, remaining in the
and Moret’s introduction to Paul Durand-Ruel the following
region all his life. Introduced to Brittany when he was posted
year, Moret’s style altered once again to embrace
as a soldier to Lorient, it was his commanding officer who
Impressionism. Durand-Ruel had been the making of the
encouraged his artistic talents. In 1876 he attended the Ecole
Impressionists in the 1870s and 80s, but was ever on the
des Beaux Arts in Paris, where he studied under the leading
lookout for their natural heirs. Encouraged by the dealer to
Academic painter of the day Jean-Leon Gerome, and in 1880
submit works to him for sale, and be promoted as one of the
he made his first submission to the annual Paris Salon, which
next generation of Impressionist painters, Moret developed a
appropriately enough was of a Breton coastal view.
more feathery Impressionistic technique - Monet-like in style
Later that decade Moret came under the influence of
decades of his life, agreeing in the process an advantageous
- that would come to define his work during the last two Gauguin in Pont Aven, moving with him and his acolytes to
arrangement to supply the dealer with a rich vein of local and
nearby Le Pouldu during the winter of 1889-90. As a
quintessentially Breton subject matter.
Left: HENRY MORET French (1856-1913) Ile de Groix, Pointe de l’Enfer Signed & dated 1896 Oil on canvas 29 x 24 in / 73.5 x 61 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné Provenance: Galerie Durand-Ruel, Paris (purchased from the artist on 4 September 1896); Galerie Durand-Ruel, New York; Mrs Chauncey J. Blair, Chicago (acquired from the above on 7 October 1897); Mrs M. R. Bryan
HENRY MORET French (1856-1913) Côte de Clohars, Finistère Signed & dated 1908 Oil on canvas 28.75 x 23.75 in / 73 x 60 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné Provenance: Private collection, France
These three views of Brittany by Henry Moret perfectly capture different aspects of the isolated life to be found in North West France at the end of the 19th century: the
Below: HENRY MORET French (1856-1913) Lande Bretonne Signed Painted in 1903 Oil on canvas 18 x 24 in / 46 x 61 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné
overwhelming power of nature as two diminutive figures stare out at the tumultuous waves crashing on to the rocks below; the immutable serenity of the coastline as a craggy cliff-face drops down to meet an azure and placid sea; and the cyclical rhythm of peasant life as two women with pitchforks turn the cut hay drying in fields below their village. In the second half of the 19th century Brittany attracted a
consequence, for a certain period, Moret’s compositions
host of different artists. Their arrival coincided with the
became simpler, his picture surfaces flatter as his depiction of
recently completed construction of the train line to the
local Breton subjects gained a greater resonance and
region, and their desire to escape increasing urbanisation in
profundity. This new-found edge to his work thereafter never
search of a simpler more ‘authentic’ life. It was Gauguin of
entirely left him, and goes to the heart of both the isolated
course who is the painter most readily associated with the
majesty and underlying poetry that he evokes in such
Pont Aven and Le Pouldu. He arrived in the area for the first
compositions as ‘Isle de Groix, La Pointe de L’Enfer’.
time in 1886, and returned intermittently over the following eight years. But unlike Gauguin and others who came and
With Gauguin’s final departure for the South Pacific in 1894,
went, Moret was the artist who stayed, remaining in the
and Moret’s introduction to Paul Durand-Ruel the following
region all his life. Introduced to Brittany when he was posted
year, Moret’s style altered once again to embrace
as a soldier to Lorient, it was his commanding officer who
Impressionism. Durand-Ruel had been the making of the
encouraged his artistic talents. In 1876 he attended the Ecole
Impressionists in the 1870s and 80s, but was ever on the
des Beaux Arts in Paris, where he studied under the leading
lookout for their natural heirs. Encouraged by the dealer to
Academic painter of the day Jean-Leon Gerome, and in 1880
submit works to him for sale, and be promoted as one of the
he made his first submission to the annual Paris Salon, which
next generation of Impressionist painters, Moret developed a
appropriately enough was of a Breton coastal view.
more feathery Impressionistic technique - Monet-like in style
Later that decade Moret came under the influence of
decades of his life, agreeing in the process an advantageous
- that would come to define his work during the last two Gauguin in Pont Aven, moving with him and his acolytes to
arrangement to supply the dealer with a rich vein of local and
nearby Le Pouldu during the winter of 1889-90. As a
quintessentially Breton subject matter.
HENRI LEBASQUE French (1865-1937) Promenade en bord de Marne à Lagny Signed Painted circa 1905-7 Oil on canvas 25.5 x 32 in / 65.5 x 81.5 cm This work is accompanied by a certificate of authenticity from Denise Bazetoux and will be included in the forthcoming supplement to the catalogue raisonné Provenance: Private collection, France
Lebasque’s time in Pomponne, a Parisian suburb that lies
and 1907, he never truly belonged to the movement, painting
along the River Marne to the east of the capital, was one of
instead in delicate colours and with a lightness of touch that
his most successful and prolific creative periods. He moved
was contrary to the more confrontational and forcefully
to 18 Quai Bizeau in 1904, facing Lagny from the opposite
expressive nature of Fauvism.
side of the river. Between then and his return to Paris in 1907, the stretch of river in the immediate vicinity of his
One is tempted to think that in today’s art market such
home became his favourite subject. He began to paint ‘en
lightness of touch and sheer prettiness is no longer in vogue,
plein air’, realising in exquisitely coloured paintings such as
but that is not borne out by recent auction prices for
the one illustrated the holiday mood that infused the town:
Lebasque’s works. For instance, in the past two years, seven
the essence of a Sunday on the river, a brief respite from the
paintings by Lebasque have sold at auction for more than
nearby city.
$300,000, with relatively few unsold. A small painting of
A particularly insightful description of Lebasque’s work
of the riverbank shown in our painting, was sold at Christie’s
comes from Louis Vauxcelles in the catalogue of the
Paris in 2014 for just over $300,000.
children playing on the quayside, effectively a close-up of part
exhibition held at the Galerie Pétridès in 1938: “Lebasque was as intelligent as he was sensitive, impulsive, with his own
Lebasque was introduced to the Midi by his friend Albert
personal culture, and he never ceased to reflect upon the
Manguin and for the next few years he painted throughout
principles and conditions of his art. Technique, the study of
France: in the Vendée, Brittany, Normandy, Sanary (near
form, the concern for balance and rhythm obsessed him.
Toulon), at Les Andelys and Nice. For more than thirty years
Nevertheless, he had kept the divine gift of childhood,
he used members of his own family as models in his paintings
marvelling at the vast spectacle of Nature, and he knew that,
and the artefacts, interiors, houses, gardens, riverbanks and
according to Nietzsche’s words, for a poet, “to say no to
beaches in his pictures were drawn from places where he
nature is madness.” He painted as a bird sings, when it sings
stayed for long periods. After spending a few seasons in
well - a smooth and expressive drawing, elegance of lines,
Saint-Tropez and Saint-Maxime, he finally made his permanent
freshness and haziness, transparency of shadows [...]”
home at Le Cannet in 1924.
Lebasque met Camille Pissarro during his time in Pomponne,
Henri Lebasque died at Le Cannet in 1937. Twenty years after
and the latter’s teachings on luminosity, form and colour
his death, the Musée des Ponchettes in Nice presented the
influenced him more than his lessons with Bonnat, under
first retrospective of the works of Henri Lebasque. Today his
whom he had studied in 1886. Lebasque made his début at
works can be found in private and public collections
the Salon des Indépendants in 1896 and also participated in
worldwide, including the Metropolitan Museum, the Musée
the Salon des Artistes Français.
d’Orsay, Paris, the Petit Palais in Geneva, the Museum of Modern Art in New York, the National Gallery of Art in
He was a founding member of the Salon d’Automne in 1903
Washington, the National Museum of Western Art in Tokyo,
with his friend Henri Matisse, but while he exhibited
the Chimei Museum in Taipei, the Hungarian National Gallery
alongside the Fauves at the Salon d’Automne between 1904
in Budapest, and the Indianapolis Museum of Art.
HENRI LEBASQUE French (1865-1937) Promenade en bord de Marne à Lagny Signed Painted circa 1905-7 Oil on canvas 25.5 x 32 in / 65.5 x 81.5 cm This work is accompanied by a certificate of authenticity from Denise Bazetoux and will be included in the forthcoming supplement to the catalogue raisonné Provenance: Private collection, France
Lebasque’s time in Pomponne, a Parisian suburb that lies
and 1907, he never truly belonged to the movement, painting
along the River Marne to the east of the capital, was one of
instead in delicate colours and with a lightness of touch that
his most successful and prolific creative periods. He moved
was contrary to the more confrontational and forcefully
to 18 Quai Bizeau in 1904, facing Lagny from the opposite
expressive nature of Fauvism.
side of the river. Between then and his return to Paris in 1907, the stretch of river in the immediate vicinity of his
One is tempted to think that in today’s art market such
home became his favourite subject. He began to paint ‘en
lightness of touch and sheer prettiness is no longer in vogue,
plein air’, realising in exquisitely coloured paintings such as
but that is not borne out by recent auction prices for
the one illustrated the holiday mood that infused the town:
Lebasque’s works. For instance, in the past two years, seven
the essence of a Sunday on the river, a brief respite from the
paintings by Lebasque have sold at auction for more than
nearby city.
$300,000, with relatively few unsold. A small painting of
A particularly insightful description of Lebasque’s work
of the riverbank shown in our painting, was sold at Christie’s
comes from Louis Vauxcelles in the catalogue of the
Paris in 2014 for just over $300,000.
children playing on the quayside, effectively a close-up of part
exhibition held at the Galerie Pétridès in 1938: “Lebasque was as intelligent as he was sensitive, impulsive, with his own
Lebasque was introduced to the Midi by his friend Albert
personal culture, and he never ceased to reflect upon the
Manguin and for the next few years he painted throughout
principles and conditions of his art. Technique, the study of
France: in the Vendée, Brittany, Normandy, Sanary (near
form, the concern for balance and rhythm obsessed him.
Toulon), at Les Andelys and Nice. For more than thirty years
Nevertheless, he had kept the divine gift of childhood,
he used members of his own family as models in his paintings
marvelling at the vast spectacle of Nature, and he knew that,
and the artefacts, interiors, houses, gardens, riverbanks and
according to Nietzsche’s words, for a poet, “to say no to
beaches in his pictures were drawn from places where he
nature is madness.” He painted as a bird sings, when it sings
stayed for long periods. After spending a few seasons in
well - a smooth and expressive drawing, elegance of lines,
Saint-Tropez and Saint-Maxime, he finally made his permanent
freshness and haziness, transparency of shadows [...]”
home at Le Cannet in 1924.
Lebasque met Camille Pissarro during his time in Pomponne,
Henri Lebasque died at Le Cannet in 1937. Twenty years after
and the latter’s teachings on luminosity, form and colour
his death, the Musée des Ponchettes in Nice presented the
influenced him more than his lessons with Bonnat, under
first retrospective of the works of Henri Lebasque. Today his
whom he had studied in 1886. Lebasque made his début at
works can be found in private and public collections
the Salon des Indépendants in 1896 and also participated in
worldwide, including the Metropolitan Museum, the Musée
the Salon des Artistes Français.
d’Orsay, Paris, the Petit Palais in Geneva, the Museum of Modern Art in New York, the National Gallery of Art in
He was a founding member of the Salon d’Automne in 1903
Washington, the National Museum of Western Art in Tokyo,
with his friend Henri Matisse, but while he exhibited
the Chimei Museum in Taipei, the Hungarian National Gallery
alongside the Fauves at the Salon d’Automne between 1904
in Budapest, and the Indianapolis Museum of Art.
HENRI LE SIDANER French (1862-1939) Les Marches de marbre rose, Versailles Signed Painted in 1921 Oil on canvas 25.5 x 31.75 in / 65 x 81 cm Provenance: Galerie Georges Petit, Paris; Private collection, France Exhibited: Paris, Galerie Georges Petit, Exhibition des Douze (ancienne Société Nouvelle), March 1921 Literature: Yann Farinaux-Le Sidaner, Le Sidaner, l’oeuvre peint et gravé, Paris, 1989, p.183, no.46, illustrated in colour
The quaint village of Moret, on the edge of the forest of
Galerie Georges Petit, supplying them with twenty to thirty
Fontainbleau, had long been a magnet for artists keen to live
pictures a year for the next three decades. In 1901 he moved
a simple rural existence, drawing Carl Larsson and a thriving
to Gerberoy and began to winter at Versailles. ‘Les Marches
Scandinavian community and Impressionists such as Alfred
de Marbre Rose’ of 1921 is the first of two large sweeping
Sisley. Le Sidaner’s view of the village takes in its principal
views that Le Sidaner painted of the celebrated feature of the
Garden, Monet to Matisse’ at the Royal Academy in London
Versailles gardens. Seen in the crisp clean light of morning,
includes six oil paintings by Max Liebermann of his garden on
landmarks: the bridge striding across the river Loing; the
The current blockbuster exhibition ‘Painting the Modern
massive form of the ancient fortified Porte de Bourgogne
the light dappled colours of Le Sidaner’s palette sensitively
the Wannsee near Berlin. They have been lent by private and
that guards the river crossing, and the imposing presence of
capture the worn ancient warmth of the pink marble steps as
public collections, including the Thyssen-Bornemisza Museum
the church of Notre-Dame that fills the upper left of the
they rise up to the expansive terrace beyond.
in Madrid, the Museum Behnhaus Drägerhaus in Lübeck, the Galerie Neue Meister in Dresden, and the Lower Saxony
composition. Painted in a light pastel palette, the oil is one of a handful of views that Le Sidaner captured of the distinctive
By the time of its execution, palaces had become a recurring
State Museum in Hanover. Hanging alongside major works by
features of Moret in 1917-18.
theme in his work, featuring in his views of London’s
Monet, Renoir, Van Gogh and Matisse, they show Liebermann
Hampton Court, palazzos along Venice’s Grand Canal and, of
to be an artist of unique flair and vision.
Le Sidaner’s high work rate coincided with his growing
course, Versailles’s La Cour de Marbre, Le Trianon, and Le
commercial success. In 1899 he signed an agreement with
Pavillon de Musique. HENRI LE SIDANER
In 1909 Liebermann purchased a property in the Berlin suburbs, on the shore of Lake Wannsee, but it was not until French (1862-1939)
L’Église et le pont, Moret Painted in 1918 Signed & dedicated ‘à M. Manaut’ Oil on panel 10.5 x 13.75 in / 27 x 35 cm Provenance: M. Manaut, France (acquired from the artist); M. Bernardeau, France; Sale, Palais Galliéra, Paris, 18 June 1969, lot 100; Private collection Exhibited: Musée Fournaise, Chatou Literature: Yann Farinaux-Le Sidaner, Le Sidaner: L’Oeuvre peint et gravé, Paris, 1989, p. 353, no. 1094, illustrated
MAX LIEBERMANN German (1847-1935) Blumenstauden im Nutzgarten nach Südwesten Signed Painted circa 1928 Oil on canvas 21.25 by 29.75 in / 54.5 cm by 75.5 cm. Provenance: Galerie Thannhauser, Berlin & Luzern; Private Collection, Frankfurt (acquired in the 1960s); Acquired from the above by the present owner (circa 1997); Sale, Sotheby’s London, 5 February 2007, lot 1; Private Collection, UK The authenticity of this work has been confirmed by Prof. Dr. Matthias Eberle
the outbreak of the First World War that he took up residency there. Almost immediately he embarked upon the series of paintings of his garden that was to occupy him for
washes to thick gobbets of paint, is applied with a rhythm
the rest of his life. Having attained considerable recognition
that rises to a tumultuous crescendo as the gladioli shoot
as an artist, he spared no expense on his garden with formal
skywards. The remarkably fresh condition of the paint surface
flower beds, exotic shrubs and thick hedges. It was designed
and canvas allows one, even today, to fully appreciate this
in collaboration with his friend Alfred Litwark, director of the
painterly tour de force.
Hamburger Kunsthalle, who was also an expert in garden design, and was based upon a geometric plan that gave the
As Heather Lemonedes wrote in the RA exhibition
impression of a series of rooms extending from the house.
catalogue: “Liebermann attempted to represent the deeply
Thus, Liebermann was provided with a variety of vistas, each
personal feelings that nature inspired. For [him] the garden
quite different from the next. ‘Blumenstauden im Nutzgarten
was not simply a motif to be painted; his paintings of the
nach Südwesten’ is one of the most dynamic and successful
garden were intended to re-create the art of nature itself,
paintings of the entire series. The varied impasto, from thin
and to interpret and intensify its timelessness.”
HENRI LE SIDANER French (1862-1939) Les Marches de marbre rose, Versailles Signed Painted in 1921 Oil on canvas 25.5 x 31.75 in / 65 x 81 cm Provenance: Galerie Georges Petit, Paris; Private collection, France Exhibited: Paris, Galerie Georges Petit, Exhibition des Douze (ancienne Société Nouvelle), March 1921 Literature: Yann Farinaux-Le Sidaner, Le Sidaner, l’oeuvre peint et gravé, Paris, 1989, p.183, no.46, illustrated in colour
The quaint village of Moret, on the edge of the forest of
Galerie Georges Petit, supplying them with twenty to thirty
Fontainbleau, had long been a magnet for artists keen to live
pictures a year for the next three decades. In 1901 he moved
a simple rural existence, drawing Carl Larsson and a thriving
to Gerberoy and began to winter at Versailles. ‘Les Marches
Scandinavian community and Impressionists such as Alfred
de Marbre Rose’ of 1921 is the first of two large sweeping
Sisley. Le Sidaner’s view of the village takes in its principal
views that Le Sidaner painted of the celebrated feature of the
Garden, Monet to Matisse’ at the Royal Academy in London
Versailles gardens. Seen in the crisp clean light of morning,
includes six oil paintings by Max Liebermann of his garden on
landmarks: the bridge striding across the river Loing; the
The current blockbuster exhibition ‘Painting the Modern
massive form of the ancient fortified Porte de Bourgogne
the light dappled colours of Le Sidaner’s palette sensitively
the Wannsee near Berlin. They have been lent by private and
that guards the river crossing, and the imposing presence of
capture the worn ancient warmth of the pink marble steps as
public collections, including the Thyssen-Bornemisza Museum
the church of Notre-Dame that fills the upper left of the
they rise up to the expansive terrace beyond.
in Madrid, the Museum Behnhaus Drägerhaus in Lübeck, the Galerie Neue Meister in Dresden, and the Lower Saxony
composition. Painted in a light pastel palette, the oil is one of a handful of views that Le Sidaner captured of the distinctive
By the time of its execution, palaces had become a recurring
State Museum in Hanover. Hanging alongside major works by
features of Moret in 1917-18.
theme in his work, featuring in his views of London’s
Monet, Renoir, Van Gogh and Matisse, they show Liebermann
Hampton Court, palazzos along Venice’s Grand Canal and, of
to be an artist of unique flair and vision.
Le Sidaner’s high work rate coincided with his growing
course, Versailles’s La Cour de Marbre, Le Trianon, and Le
commercial success. In 1899 he signed an agreement with
Pavillon de Musique. HENRI LE SIDANER
In 1909 Liebermann purchased a property in the Berlin suburbs, on the shore of Lake Wannsee, but it was not until French (1862-1939)
L’Église et le pont, Moret Painted in 1918 Signed & dedicated ‘à M. Manaut’ Oil on panel 10.5 x 13.75 in / 27 x 35 cm Provenance: M. Manaut, France (acquired from the artist); M. Bernardeau, France; Sale, Palais Galliéra, Paris, 18 June 1969, lot 100; Private collection Exhibited: Musée Fournaise, Chatou Literature: Yann Farinaux-Le Sidaner, Le Sidaner: L’Oeuvre peint et gravé, Paris, 1989, p. 353, no. 1094, illustrated
MAX LIEBERMANN German (1847-1935) Blumenstauden im Nutzgarten nach Südwesten Signed Painted circa 1928 Oil on canvas 21.25 by 29.75 in / 54.5 cm by 75.5 cm. Provenance: Galerie Thannhauser, Berlin & Luzern; Private Collection, Frankfurt (acquired in the 1960s); Acquired from the above by the present owner (circa 1997); Sale, Sotheby’s London, 5 February 2007, lot 1; Private Collection, UK The authenticity of this work has been confirmed by Prof. Dr. Matthias Eberle
the outbreak of the First World War that he took up residency there. Almost immediately he embarked upon the series of paintings of his garden that was to occupy him for
washes to thick gobbets of paint, is applied with a rhythm
the rest of his life. Having attained considerable recognition
that rises to a tumultuous crescendo as the gladioli shoot
as an artist, he spared no expense on his garden with formal
skywards. The remarkably fresh condition of the paint surface
flower beds, exotic shrubs and thick hedges. It was designed
and canvas allows one, even today, to fully appreciate this
in collaboration with his friend Alfred Litwark, director of the
painterly tour de force.
Hamburger Kunsthalle, who was also an expert in garden design, and was based upon a geometric plan that gave the
As Heather Lemonedes wrote in the RA exhibition
impression of a series of rooms extending from the house.
catalogue: “Liebermann attempted to represent the deeply
Thus, Liebermann was provided with a variety of vistas, each
personal feelings that nature inspired. For [him] the garden
quite different from the next. ‘Blumenstauden im Nutzgarten
was not simply a motif to be painted; his paintings of the
nach Südwesten’ is one of the most dynamic and successful
garden were intended to re-create the art of nature itself,
paintings of the entire series. The varied impasto, from thin
and to interpret and intensify its timelessness.”
HENRI JEAN GUILLAUME MARTIN French (1860-1943) La pergola sud-ouest de Marquayrol à l’automne Signed Painted circa 1910 Oil on canvas 28 x 35 in / 71 x 88.5 cm This work is accompanied by a certificate of authenticity from Cyrille Martin and will be included in the forthcoming catalogue raisonné being prepared by Marie-Anne Destrebecq Martin Provenance: Private collection, France
While his early works are of poetic subjects, in 1899 Martin
of Martin’s body of work. During the first decade of the
turned his attention to Neo-Impressionist methods,
twentieth century, he painted a series of monumental panels
developing a distinct Pointillist technique that sought to
for the Salle Martin in the Capitole, Toulouse, which illustrate
capture the depth and movement of colour and light. Aside
the cycle of the seasons in Labastide-du-Vert. This grand
from the occasional experiment, he was never interested in
public commission echoes Martin’s intimate studies of the
systematic Divisionism, which sought luminosity through the
changing seasons at his own Marquayrol, of which the present
application of current scientific theories, juxtaposing strokes
work is an excellent example.
of pure colour that could then be made to dance on the retina and create new hues. Influenced by Ernest Laurent and
Martin found success early in his career – he won the Grand
the Italian master Segantini, Martin developed a language of
Prix aged 19 and left Toulouse for Paris shortly after, where
feathery brustrokes and intuitively layered colours that lacked
he studied at the École des Beaux-Arts under Jean-Paul
the systematic coldness of orthodox Divisionism.
Laurens. He exhibited at the Salon des Artistes Français from 1880, winning a medal in 1883, and won the grand prize at
It was at Marquayrol, Martin’s retreat in South-Western
the 1900 Exposition Universelle. In 1899 he completed the
France, that the artist’s unique style reached maturity. He
monumental ‘Serenité’, which now hangs at the Musée
purchased the seventeenth-century manor in 1900, which
d’Orsay. Original and exquisite, the painting prompted Puvis
was set on a hilltop and afforded sweeping views of the
de Chavannes to hail Martin as his heir and successor: “celui-
picturesque village of Labastide-du-Vert. Marquayrol was to
la sera mon héritier, il me continuera”.
Martin what Giverny was to Claude Monet – a retreat, return to nature and continuous source of inspiration.
He was, however, not without his critics. In 1897 Paul Signac
Captivated by the region’s distinct intensities of light and
wrote that “Henri Martin and Cladel have looted us ... they
seasonal colour, he explored how Pointillist dashes and daubs
now pass as the inventors of ‘Pointillism’”. Meanwhile in
could reflect natural tonal and geometric harmonies. To this
1899, in reference to the stunning painting ‘Serenité’ noted
end he cultivated an idyllic Italianate garden, filled with
above, both D S MacColl and Paul Desjardins declared the
cypress lined paths, a circular pool with a statue, and a
use of pointillist technique as inappropriate for a monumental
terrace with a vine-draped pergola, pictured here and one of
painting. But there is no denying the startling originality of
his most recognisable motifs.
this work, a “private fantasy (turned) into a public mural”. As one of the catalogues to the museum suggests: “Even today,
Animated by ever-shifting colours and the south-western sun,
as in 1899, spectators may rub their eyes in confusion before
the pergola became one of Martin’s favourite subjects,
this monumental painting.”
inspiring sumptuous and contemplative canvases, such as the present work. The painting’s delicately layered colours and
The rural seclusion into which Martin threw himself to
sensitive rendition of light and space conjure a scene that is
concentrate on his conversion to more naturalistic
both fleeting and outside of time. Autumn’s fiery reds and
landscapes did not affect his standing in the art world. No
bright, cool blues appear in symphonious daubs and
doubt his earlier body of work had established his reputation
brushstrokes, while carefully rendered patches of shadow and
very firmly, and he continued to receive official recognition. In
light suggest the late afternoon sun. Yet as in many of Martin’s
1905 he received the Cross of the Legion of Honour and five
works, a quiet stillness transcends the painting’s immediate
year later he held his first retrospective exhibition at the
setting and evokes a state of mind.
Galerie Georges Petit in Paris. In 1914 he became a Commander of the Legion of Honour and four years later
The shifts and nuances of every season form an integral part
was elected a Member of the Institut Français.
HENRI JEAN GUILLAUME MARTIN French (1860-1943) La pergola sud-ouest de Marquayrol à l’automne Signed Painted circa 1910 Oil on canvas 28 x 35 in / 71 x 88.5 cm This work is accompanied by a certificate of authenticity from Cyrille Martin and will be included in the forthcoming catalogue raisonné being prepared by Marie-Anne Destrebecq Martin Provenance: Private collection, France
While his early works are of poetic subjects, in 1899 Martin
of Martin’s body of work. During the first decade of the
turned his attention to Neo-Impressionist methods,
twentieth century, he painted a series of monumental panels
developing a distinct Pointillist technique that sought to
for the Salle Martin in the Capitole, Toulouse, which illustrate
capture the depth and movement of colour and light. Aside
the cycle of the seasons in Labastide-du-Vert. This grand
from the occasional experiment, he was never interested in
public commission echoes Martin’s intimate studies of the
systematic Divisionism, which sought luminosity through the
changing seasons at his own Marquayrol, of which the present
application of current scientific theories, juxtaposing strokes
work is an excellent example.
of pure colour that could then be made to dance on the retina and create new hues. Influenced by Ernest Laurent and
Martin found success early in his career – he won the Grand
the Italian master Segantini, Martin developed a language of
Prix aged 19 and left Toulouse for Paris shortly after, where
feathery brustrokes and intuitively layered colours that lacked
he studied at the École des Beaux-Arts under Jean-Paul
the systematic coldness of orthodox Divisionism.
Laurens. He exhibited at the Salon des Artistes Français from 1880, winning a medal in 1883, and won the grand prize at
It was at Marquayrol, Martin’s retreat in South-Western
the 1900 Exposition Universelle. In 1899 he completed the
France, that the artist’s unique style reached maturity. He
monumental ‘Serenité’, which now hangs at the Musée
purchased the seventeenth-century manor in 1900, which
d’Orsay. Original and exquisite, the painting prompted Puvis
was set on a hilltop and afforded sweeping views of the
de Chavannes to hail Martin as his heir and successor: “celui-
picturesque village of Labastide-du-Vert. Marquayrol was to
la sera mon héritier, il me continuera”.
Martin what Giverny was to Claude Monet – a retreat, return to nature and continuous source of inspiration.
He was, however, not without his critics. In 1897 Paul Signac
Captivated by the region’s distinct intensities of light and
wrote that “Henri Martin and Cladel have looted us ... they
seasonal colour, he explored how Pointillist dashes and daubs
now pass as the inventors of ‘Pointillism’”. Meanwhile in
could reflect natural tonal and geometric harmonies. To this
1899, in reference to the stunning painting ‘Serenité’ noted
end he cultivated an idyllic Italianate garden, filled with
above, both D S MacColl and Paul Desjardins declared the
cypress lined paths, a circular pool with a statue, and a
use of pointillist technique as inappropriate for a monumental
terrace with a vine-draped pergola, pictured here and one of
painting. But there is no denying the startling originality of
his most recognisable motifs.
this work, a “private fantasy (turned) into a public mural”. As one of the catalogues to the museum suggests: “Even today,
Animated by ever-shifting colours and the south-western sun,
as in 1899, spectators may rub their eyes in confusion before
the pergola became one of Martin’s favourite subjects,
this monumental painting.”
inspiring sumptuous and contemplative canvases, such as the present work. The painting’s delicately layered colours and
The rural seclusion into which Martin threw himself to
sensitive rendition of light and space conjure a scene that is
concentrate on his conversion to more naturalistic
both fleeting and outside of time. Autumn’s fiery reds and
landscapes did not affect his standing in the art world. No
bright, cool blues appear in symphonious daubs and
doubt his earlier body of work had established his reputation
brushstrokes, while carefully rendered patches of shadow and
very firmly, and he continued to receive official recognition. In
light suggest the late afternoon sun. Yet as in many of Martin’s
1905 he received the Cross of the Legion of Honour and five
works, a quiet stillness transcends the painting’s immediate
year later he held his first retrospective exhibition at the
setting and evokes a state of mind.
Galerie Georges Petit in Paris. In 1914 he became a Commander of the Legion of Honour and four years later
The shifts and nuances of every season form an integral part
was elected a Member of the Institut Français.
ALBERT MARQUET
French (1875-1947)
Vue d’Alger Signed Painted circa 1942 Oil on canvas 10 x 18 in / 25.5 x 46 cm This work is accompanied by a certificate of authenticity from Daniel Malingue and is included in the catalogue raisonné prepared by Jean-Claude Martinet
Marquet painted this sweeping view of the bay of Bab-el-Oud in Algiers from his home in Montplaisant, which afforded stunning views of the Algerian capital. Forced to leave France during the Second World War, Marquet and his wife Marcelle remained at Djenan Sidi Saïd, their villa in Montplaisant, from 1941 to 1945. Growing tired of exile and anxious to return to France, Marquet immersed himself in painting and captured the city in varying lights and moods from atop his
Provenance: Galerie Alex Maguy, Paris; Private collection; Galerie Daniel Malingue, Paris; Private collection, France (1993)
terrace. Painted in warm shades of blue, green, orange and apricot, the present work captures the heat emanating from sun-drenched hilltops and stucco buildings. HENRI MANGUIN French (1874-1949) Le port de Saint Tropez, été-automne 1924,Vue de la ferme Olivier
Degouve de Nuncques arrived in Mallorca in August 1899, where over the following two and a half years he painted some of his most expansive and colourful landscapes. In the present work, painted in the summer of 1900, Degouve captured the extraordinary pink and white rock limestone formations found in the north of the island at Cala San Vicente. In the composition the distinctive rocks emerge majestically from a gloriously placid and inviting sea, while young cedars cling tenaciously to the bare ground above. During his time in Mallorca de Nuncques struck up close ties with some of the leading Catalan artists of the day, including shared Degouve’s love of the area and he, like Degouve, painted some of his most significant works there. Degouve’s
Signed with initials & dated 1900 Oil on panel 8 x 18.5 in / 20 x 47 cm This work is included in the online catalogue raisonné prepared by Hans Wijgergangs, Ronald Feltkamp and Théo Galle under no. 3.1900.006 Provenance: Suzanne Degouve de Nuncques (the artist’s widow); By descent from the above to the present owner, grandson of Adrien de Gerlache Exhibited: Namur, Musée Félicien Rops and Otterlo, Kröller-Müller Museum, William Degouve de Nuncques, maître du mystère, 2012
friendship with Rusiñol, Mir and other artists from Barcelona ensured a lively dialogue of ideas and exchanges of paintings between Spanish and Belgian artists in the years thereafter.
This work is accompanied by a certificate of authenticity from Jean-Pierre Manguin and is included in the catalogue raisonné prepared by Lucile and Claude Manguin under no. 801
sojourn on Mallorca Degouve’s work was characterised by a
Exhibited: San Francisco, Montgomery Gallery, 11 October - 22 December 1990
Côte aux Baléares (Majorque, Cala San Vicente)
Santiago Rusiñol and Joaquím Mir. The latter in particular
Signed Painted in 1924 Oil on board 13 x 16 in / 33 x 41 cm
Provenance: Charles Vildrac, Paris; Galerie Barbizon, Paris; Private collection, France (1975); Atelier Matignon, Paris; Private collection, France (1993)
WILLIAM DEGOUVE DE NUNCQUES Belgian (1867-1935)
Literature: Hans Wijgergangs, Ronald Feltkamp and Théo Galle, William Degouve de Nuncques online catalogue raisonné, no. 3.1900.006, illustrated
A leading figure amongst the Belgian Symbolists, before his restrained, sometimes monochrome palette, and typified by nocturnal moonlit subjects. His time in Spain (1899 – 1902), however, transformed his appreciation of colour, his subsequent work characterised by clear and vibrant hues. the Royal Museums of Fine Arts of Belgium, and the Museum Degouve exhibited widely in his lifetime and displayed his
of Modern and Contemporary Art, Palma. The most
work at La Libre Esthétique alongside other Belgian
substantial collection of his paintings is in the Kröller-Müller
Symbolists. His work can be found in numerous public and
Museum, Otterlo, which held a retrospective of his work in
private collections worldwide, including the Musée d’Orsay,
2012, and in which the present work was featured.
ALBERT MARQUET
French (1875-1947)
Vue d’Alger Signed Painted circa 1942 Oil on canvas 10 x 18 in / 25.5 x 46 cm This work is accompanied by a certificate of authenticity from Daniel Malingue and is included in the catalogue raisonné prepared by Jean-Claude Martinet
Marquet painted this sweeping view of the bay of Bab-el-Oud in Algiers from his home in Montplaisant, which afforded stunning views of the Algerian capital. Forced to leave France during the Second World War, Marquet and his wife Marcelle remained at Djenan Sidi Saïd, their villa in Montplaisant, from 1941 to 1945. Growing tired of exile and anxious to return to France, Marquet immersed himself in painting and captured the city in varying lights and moods from atop his
Provenance: Galerie Alex Maguy, Paris; Private collection; Galerie Daniel Malingue, Paris; Private collection, France (1993)
terrace. Painted in warm shades of blue, green, orange and apricot, the present work captures the heat emanating from sun-drenched hilltops and stucco buildings. HENRI MANGUIN French (1874-1949) Le port de Saint Tropez, été-automne 1924,Vue de la ferme Olivier
Degouve de Nuncques arrived in Mallorca in August 1899, where over the following two and a half years he painted some of his most expansive and colourful landscapes. In the present work, painted in the summer of 1900, Degouve captured the extraordinary pink and white rock limestone formations found in the north of the island at Cala San Vicente. In the composition the distinctive rocks emerge majestically from a gloriously placid and inviting sea, while young cedars cling tenaciously to the bare ground above. During his time in Mallorca de Nuncques struck up close ties with some of the leading Catalan artists of the day, including shared Degouve’s love of the area and he, like Degouve, painted some of his most significant works there. Degouve’s
Signed with initials & dated 1900 Oil on panel 8 x 18.5 in / 20 x 47 cm This work is included in the online catalogue raisonné prepared by Hans Wijgergangs, Ronald Feltkamp and Théo Galle under no. 3.1900.006 Provenance: Suzanne Degouve de Nuncques (the artist’s widow); By descent from the above to the present owner, grandson of Adrien de Gerlache Exhibited: Namur, Musée Félicien Rops and Otterlo, Kröller-Müller Museum, William Degouve de Nuncques, maître du mystère, 2012
friendship with Rusiñol, Mir and other artists from Barcelona ensured a lively dialogue of ideas and exchanges of paintings between Spanish and Belgian artists in the years thereafter.
This work is accompanied by a certificate of authenticity from Jean-Pierre Manguin and is included in the catalogue raisonné prepared by Lucile and Claude Manguin under no. 801
sojourn on Mallorca Degouve’s work was characterised by a
Exhibited: San Francisco, Montgomery Gallery, 11 October - 22 December 1990
Côte aux Baléares (Majorque, Cala San Vicente)
Santiago Rusiñol and Joaquím Mir. The latter in particular
Signed Painted in 1924 Oil on board 13 x 16 in / 33 x 41 cm
Provenance: Charles Vildrac, Paris; Galerie Barbizon, Paris; Private collection, France (1975); Atelier Matignon, Paris; Private collection, France (1993)
WILLIAM DEGOUVE DE NUNCQUES Belgian (1867-1935)
Literature: Hans Wijgergangs, Ronald Feltkamp and Théo Galle, William Degouve de Nuncques online catalogue raisonné, no. 3.1900.006, illustrated
A leading figure amongst the Belgian Symbolists, before his restrained, sometimes monochrome palette, and typified by nocturnal moonlit subjects. His time in Spain (1899 – 1902), however, transformed his appreciation of colour, his subsequent work characterised by clear and vibrant hues. the Royal Museums of Fine Arts of Belgium, and the Museum Degouve exhibited widely in his lifetime and displayed his
of Modern and Contemporary Art, Palma. The most
work at La Libre Esthétique alongside other Belgian
substantial collection of his paintings is in the Kröller-Müller
Symbolists. His work can be found in numerous public and
Museum, Otterlo, which held a retrospective of his work in
private collections worldwide, including the Musée d’Orsay,
2012, and in which the present work was featured.
This incisive and exquisitely painted portrait depicts Jeanne
EVA GONZALES
Gonzalès, the artist’s younger sister and favourite model, who
L’Indolence
was also a painter. Perhaps because of its psychological immediacy, impressionistic brushwork and the rarity of major paintings by Gonzalès, who died in childbirth aged 34, this painting has become a pivotal piece in the artist’s oeuvre. It has been featured in numerous publications on Impressionism and retrospectives of Gonzalès’s work, including the 1914 retrospective at Galerie Bernheim-Jeune and the 1900 Exposition Universelle Centennale de l’art français. Titled L’Indolence, the painting proclaims a state of mind that is reflected in its subject’s forlorn expression. The woman gazes languidly at the world outside her window, the uncaged parakeet to her left emphasizing her own confinement. A violet bouquet of forget-me-nots, seemingly just laid down by her loosely painted fingers, suggests a narrative of love lost. With a keen eye for composition and insightful understanding of painterly effect, Gonzalès conjures layers of narrative and feeling through a simple pose and soft, balanced palette. The painting was first exhibited at the Salon of 1872, where it drew the attention of the writer and critic Emile Zola: “I would like to point out an adorable painting depicting a
French (1849-1883)
Signed Painted circa 1871-72 Oil on canvas 39 x 32 in / 100 x 81 cm This work is included in the catalogue raisonné prepared by Marie-Caroline Sainsaulieu and Jacques de Mons under no. 39 Provenance: Moniard (1872); Henri Guérard (the artist’s husband, circa 24 May 1897); Jeanne Guérard-Gonzalès, Paris (the artist’s sister, 1897); Jean-Raymond Guérard, Paris (the artist’s son, circa 1924); André Watteau, Paris; Private collection, Paris; Sale, Sotheby’s, New York, 11 November 1999, lot 104; Acquired at the above sale by the estate of the present owner Exhibited: Paris, Palais des Champs-Elysées, Salon, 1872, no. 723; Paris, Salons de la Vie Moderne, Eva Gonzalès, 1885, no. 17; Paris, Grand Palais, Exposition Universelle Centennale de l’art Français 1800-1889, 1900, no. 330; Vienna, Die Kunst der Frau, 1910, no. 94 (titled Die Ruhende); Paris, Galerie Bernheim-Jeune, Eva Gonzalès, 1914, no. 2; Paris, Galerie Marcel Bernheim, Eva Gonzalès, 1932, no. 2; Paris, Alfred Daber, Eva Gonzalès, 1950, no. 2; Monaco, Sporting de Monaco, Eva Gonzalès, 1952, no. 2; Paris, Galerie Daber, Eva Gonzalès, 1959, no. 3; Bilbao, El museo de Bellas Artes de Bilbao, Edad Media y Moderna, Edad Contemporanea I y Edad Contemporanea II
Gonzalès. Now in the National Gallery in London, the
Selected Literature: Jules Castagnary, “Le Salon de 1872”, Le Siècle, 1 June 1872, discussed p. 2; Emile Zola, “Lettres Parisiennes”, La Cloche, 12 May 1872, discussed p. 2; Jules Clarétie, Peintres et sculpteurs contemporains, Paris, 1874, discussed p. 263; Philippe Burty, “Eva Gonzalès”, La République Française, 24 January 1985, discussed p. 3; Firmin Javel, “Nos illustrations”, L’Art Français, 3 January 1891, dicussed p. 1; François Monod, “L’Impressionnisme féminin”, Art et Décoration, May 1914, discussed p. 2; Paule Bayle, “Eva Gonzalès”, La Renaissance, June 1932, discussed p. 114; Claude Roger-Marx, Eva Gonzalès, Saint-Germain-en-Laye, 1950, discussed pp. 13-14, 16, illustrated pl. IV; Patrick Brady, ‘L’oeuvre’ de Emile Zola, Geneva, 1958, p. 101; Dictionnaire universel de la peinture, vol. 3, Paris, 1975, p. 137; Sophie Monneret, L’impressionnisme et son époque, vol. I, Paris, 1978, illustrated p. 252
painting is one of Manet’s best-known portraits and depicts
While Manet was unable to capture Gonzalès’s expression,
young child, a naive figure dressed in pink with a muslin scarf chastely knotted around her neck. It is simply a sketch of freshness, of whiteness; it is a virgin fallen from a stained-glass window and painted by a naturalist artist of our times” (‘La Cloche’, 12 May 1872). The critic Jules Clarétie also greatly admired the work, writing that the “charming Indolence is the work of an artist of rare talent, who takes the brush after having handled pastel like Rosalba” (‘Peintres et Sculpteurs Contemporains’, 1874, p. 263). This was a time of great recognition for the young Gonzalès, who first garnered critical attention at the 1870 Paris Salon, when she exhibited three paintings and was herself the subject of Edouard Manet’s celebrated Portrait d’Eva
Gonzalès completing a still life at her easel. Intrigued by her
her own portraits of women depict the sitters’ inner life with
dark looks and Spanish heritage, Manet invited Gonzalès to
startling immediacy. Our image of Gonzalès has long been
sit for him in 1869. Impressed by her obvious talent, he took
defined by Manet’s depiction of her, but the rare examples
her on as a pupil that same year and the two maintained a
that we do have of her work reveal an artist of unique talent
lifelong friendship. The portrait took many sittings to
and extraordinary insight. Her works rarely appear on the
complete and so consumed Manet that it invited the scorn of
market, but given that a painting fetched five times mid-
Berthe Morisot, who wrote in a letter to her sister Edma:
estimate at $2.5m in 2013 and another fetched four and a
“As of now, all his admiration is concentrated on Mlle
half times mid-estimate at $1.5m in 2014, there might be an
Gonzalès, but her portrait does not progress; he says that he
upwards adjustment imminent, and offered at under $1m our
is at the fortieth sitting and that the head is again effaced.”
painting represents a good opportunity.
This incisive and exquisitely painted portrait depicts Jeanne
EVA GONZALES
Gonzalès, the artist’s younger sister and favourite model, who
L’Indolence
was also a painter. Perhaps because of its psychological immediacy, impressionistic brushwork and the rarity of major paintings by Gonzalès, who died in childbirth aged 34, this painting has become a pivotal piece in the artist’s oeuvre. It has been featured in numerous publications on Impressionism and retrospectives of Gonzalès’s work, including the 1914 retrospective at Galerie Bernheim-Jeune and the 1900 Exposition Universelle Centennale de l’art français. Titled L’Indolence, the painting proclaims a state of mind that is reflected in its subject’s forlorn expression. The woman gazes languidly at the world outside her window, the uncaged parakeet to her left emphasizing her own confinement. A violet bouquet of forget-me-nots, seemingly just laid down by her loosely painted fingers, suggests a narrative of love lost. With a keen eye for composition and insightful understanding of painterly effect, Gonzalès conjures layers of narrative and feeling through a simple pose and soft, balanced palette. The painting was first exhibited at the Salon of 1872, where it drew the attention of the writer and critic Emile Zola: “I would like to point out an adorable painting depicting a
French (1849-1883)
Signed Painted circa 1871-72 Oil on canvas 39 x 32 in / 100 x 81 cm This work is included in the catalogue raisonné prepared by Marie-Caroline Sainsaulieu and Jacques de Mons under no. 39 Provenance: Moniard (1872); Henri Guérard (the artist’s husband, circa 24 May 1897); Jeanne Guérard-Gonzalès, Paris (the artist’s sister, 1897); Jean-Raymond Guérard, Paris (the artist’s son, circa 1924); André Watteau, Paris; Private collection, Paris; Sale, Sotheby’s, New York, 11 November 1999, lot 104; Acquired at the above sale by the estate of the present owner Exhibited: Paris, Palais des Champs-Elysées, Salon, 1872, no. 723; Paris, Salons de la Vie Moderne, Eva Gonzalès, 1885, no. 17; Paris, Grand Palais, Exposition Universelle Centennale de l’art Français 1800-1889, 1900, no. 330; Vienna, Die Kunst der Frau, 1910, no. 94 (titled Die Ruhende); Paris, Galerie Bernheim-Jeune, Eva Gonzalès, 1914, no. 2; Paris, Galerie Marcel Bernheim, Eva Gonzalès, 1932, no. 2; Paris, Alfred Daber, Eva Gonzalès, 1950, no. 2; Monaco, Sporting de Monaco, Eva Gonzalès, 1952, no. 2; Paris, Galerie Daber, Eva Gonzalès, 1959, no. 3; Bilbao, El museo de Bellas Artes de Bilbao, Edad Media y Moderna, Edad Contemporanea I y Edad Contemporanea II
Gonzalès. Now in the National Gallery in London, the
Selected Literature: Jules Castagnary, “Le Salon de 1872”, Le Siècle, 1 June 1872, discussed p. 2; Emile Zola, “Lettres Parisiennes”, La Cloche, 12 May 1872, discussed p. 2; Jules Clarétie, Peintres et sculpteurs contemporains, Paris, 1874, discussed p. 263; Philippe Burty, “Eva Gonzalès”, La République Française, 24 January 1985, discussed p. 3; Firmin Javel, “Nos illustrations”, L’Art Français, 3 January 1891, dicussed p. 1; François Monod, “L’Impressionnisme féminin”, Art et Décoration, May 1914, discussed p. 2; Paule Bayle, “Eva Gonzalès”, La Renaissance, June 1932, discussed p. 114; Claude Roger-Marx, Eva Gonzalès, Saint-Germain-en-Laye, 1950, discussed pp. 13-14, 16, illustrated pl. IV; Patrick Brady, ‘L’oeuvre’ de Emile Zola, Geneva, 1958, p. 101; Dictionnaire universel de la peinture, vol. 3, Paris, 1975, p. 137; Sophie Monneret, L’impressionnisme et son époque, vol. I, Paris, 1978, illustrated p. 252
painting is one of Manet’s best-known portraits and depicts
While Manet was unable to capture Gonzalès’s expression,
young child, a naive figure dressed in pink with a muslin scarf chastely knotted around her neck. It is simply a sketch of freshness, of whiteness; it is a virgin fallen from a stained-glass window and painted by a naturalist artist of our times” (‘La Cloche’, 12 May 1872). The critic Jules Clarétie also greatly admired the work, writing that the “charming Indolence is the work of an artist of rare talent, who takes the brush after having handled pastel like Rosalba” (‘Peintres et Sculpteurs Contemporains’, 1874, p. 263). This was a time of great recognition for the young Gonzalès, who first garnered critical attention at the 1870 Paris Salon, when she exhibited three paintings and was herself the subject of Edouard Manet’s celebrated Portrait d’Eva
Gonzalès completing a still life at her easel. Intrigued by her
her own portraits of women depict the sitters’ inner life with
dark looks and Spanish heritage, Manet invited Gonzalès to
startling immediacy. Our image of Gonzalès has long been
sit for him in 1869. Impressed by her obvious talent, he took
defined by Manet’s depiction of her, but the rare examples
her on as a pupil that same year and the two maintained a
that we do have of her work reveal an artist of unique talent
lifelong friendship. The portrait took many sittings to
and extraordinary insight. Her works rarely appear on the
complete and so consumed Manet that it invited the scorn of
market, but given that a painting fetched five times mid-
Berthe Morisot, who wrote in a letter to her sister Edma:
estimate at $2.5m in 2013 and another fetched four and a
“As of now, all his admiration is concentrated on Mlle
half times mid-estimate at $1.5m in 2014, there might be an
Gonzalès, but her portrait does not progress; he says that he
upwards adjustment imminent, and offered at under $1m our
is at the fortieth sitting and that the head is again effaced.”
painting represents a good opportunity.
AUGUSTE HERBIN French (1882-1960) Nature morte aux pots de fleurs Signed Painted in 1918 Oil on canvas 39.25 x 28.75 in / 100.5 x 73 cm This work is included in the catalogue raisonné prepared by Geneviève Claisse under no. 359 Provenance: Galerie L'Effort Moderne (Léonce Rosenberg), Paris; Galerie Michel Haas, Berlin; Sale, Francis Briest, Drouot-Montaigne, Paris, 15 June 1991, lot 27; Private collection, Paris (acquired at the above sale); Private collection, USA Literature: "Parade 1925", Connaissance des Arts, May 1959, p. 106-15, illustrated p. 111; Geneviève Claisse, Herbin: Catalogue raisonné de l'oeuvre peint, Paris, 1993, no. 359, illustrated p. 343
With its vibrantly coloured interlocking planes and rhythmic
January 1918. Painted the following month, the present work
ornamental motifs, this painting is amongst Herbin’s most
was one of Rosenberg’s first acquisitions for his burgeoning
complex and arresting Cubist compositions. Painted in 1918,
gallery. He launched his exhibition programme with a solo
it belongs to a pivotal point in the evolution of Herbin’s
show of Herbin’s work and reserved the highest praise for
unique Cubist aesthetic, which is characterised by bright
the artist in his Bulletin, writing that “the perfection of all
tonalities and intricate decorative forms.
perfections, the absolute of all idealism is always Herbin” (Bulletin, 1918, p. 21).
Herbin began to experiment with Cubism in 1909, when he moved to the Bateau-Lavoir and became acquainted with
Wilhelm Uhde and Alfred Flechtheim, both amongst the
Picasso, Braque and Gris. Intrigued by their interrogation of
greatest dealers and collectors of the time, also took an
perspective, he began to paint compositions that dissect
interest in Herbin’s work during this period, acquiring pieces
objects into multiple facets, though he did not adopt the
directly from the artist’s studio. The importance of Herbin’s
near-monochromatic tones of Analytic Cubism.
mature Cubist work is increasingly reflected in the current market, with two such works recently ranking amongst the
He developed his unique approach in 1917, when he returned
artist’s top twenty sales, the first selling for €481,500 at
to painting following a three-year placement at an airplane
Christie’s in October 2015 and another fetching £314,500 at
factory during the First World War. By this time his style had
Christie’s in June of that same year. While the artist’s top
become more abstract and geometrical, evident in this
prices have hitherto been dominated by his early Fauvist
painting’s kaleidoscopic floral arrangement and highly stylised,
work, these recent sales suggest a reappraisal of his more
background. This was a unique period in Herbin’s career, who
abstract, analytical compositions.
would briefly return to representation in the 1920s with his New Objectivity works and move towards pure abstraction
Indeed Herbin’s ornate abstraction and radical use of vibrant
in the 1930s. Revelling in colour and ornament, while still
colour established his considerable international reputation
embracing the historically charged still life format, this
and held the most profound influence on a generation of
painting is a rare example from a brief and highly original
younger artists. He went on to develop his unique reading of
period in Herbin’s work.
colour in 1942, creating the ‘alphabet plastique’, which relates colours, shapes, musical notes and letters. These associations
Herbin’s innovative abstract style drew the attention of the
developed into a unique visual language that he continued to
prominent art dealer Léonce Rosenberg, who invited him to
refine until his death in 1960, leaving his last work, entitled
exhibit at his new venture, Galerie de l’Effort Moderne, in
‘Fin’, unfinished.
AUGUSTE HERBIN French (1882-1960) Nature morte aux pots de fleurs Signed Painted in 1918 Oil on canvas 39.25 x 28.75 in / 100.5 x 73 cm This work is included in the catalogue raisonné prepared by Geneviève Claisse under no. 359 Provenance: Galerie L'Effort Moderne (Léonce Rosenberg), Paris; Galerie Michel Haas, Berlin; Sale, Francis Briest, Drouot-Montaigne, Paris, 15 June 1991, lot 27; Private collection, Paris (acquired at the above sale); Private collection, USA Literature: "Parade 1925", Connaissance des Arts, May 1959, p. 106-15, illustrated p. 111; Geneviève Claisse, Herbin: Catalogue raisonné de l'oeuvre peint, Paris, 1993, no. 359, illustrated p. 343
With its vibrantly coloured interlocking planes and rhythmic
January 1918. Painted the following month, the present work
ornamental motifs, this painting is amongst Herbin’s most
was one of Rosenberg’s first acquisitions for his burgeoning
complex and arresting Cubist compositions. Painted in 1918,
gallery. He launched his exhibition programme with a solo
it belongs to a pivotal point in the evolution of Herbin’s
show of Herbin’s work and reserved the highest praise for
unique Cubist aesthetic, which is characterised by bright
the artist in his Bulletin, writing that “the perfection of all
tonalities and intricate decorative forms.
perfections, the absolute of all idealism is always Herbin” (Bulletin, 1918, p. 21).
Herbin began to experiment with Cubism in 1909, when he moved to the Bateau-Lavoir and became acquainted with
Wilhelm Uhde and Alfred Flechtheim, both amongst the
Picasso, Braque and Gris. Intrigued by their interrogation of
greatest dealers and collectors of the time, also took an
perspective, he began to paint compositions that dissect
interest in Herbin’s work during this period, acquiring pieces
objects into multiple facets, though he did not adopt the
directly from the artist’s studio. The importance of Herbin’s
near-monochromatic tones of Analytic Cubism.
mature Cubist work is increasingly reflected in the current market, with two such works recently ranking amongst the
He developed his unique approach in 1917, when he returned
artist’s top twenty sales, the first selling for €481,500 at
to painting following a three-year placement at an airplane
Christie’s in October 2015 and another fetching £314,500 at
factory during the First World War. By this time his style had
Christie’s in June of that same year. While the artist’s top
become more abstract and geometrical, evident in this
prices have hitherto been dominated by his early Fauvist
painting’s kaleidoscopic floral arrangement and highly stylised,
work, these recent sales suggest a reappraisal of his more
background. This was a unique period in Herbin’s career, who
abstract, analytical compositions.
would briefly return to representation in the 1920s with his New Objectivity works and move towards pure abstraction
Indeed Herbin’s ornate abstraction and radical use of vibrant
in the 1930s. Revelling in colour and ornament, while still
colour established his considerable international reputation
embracing the historically charged still life format, this
and held the most profound influence on a generation of
painting is a rare example from a brief and highly original
younger artists. He went on to develop his unique reading of
period in Herbin’s work.
colour in 1942, creating the ‘alphabet plastique’, which relates colours, shapes, musical notes and letters. These associations
Herbin’s innovative abstract style drew the attention of the
developed into a unique visual language that he continued to
prominent art dealer Léonce Rosenberg, who invited him to
refine until his death in 1960, leaving his last work, entitled
exhibit at his new venture, Galerie de l’Effort Moderne, in
‘Fin’, unfinished.
ALBERT ANDRÉ French (1869-1954) Intérieur Signed Painted circa 1893 Oil on canvas 18 x 21.5 in / 46 x 55 cm Provenance: Private collection of Léon Brami (1901-1983), owner of Galerie Vendôme and Galerie Sélection, Paris; Private collection (acquired from the above’s widow in 2015)
Painted circa 1893, this contemplative, sun-dappled interior is
JEAN-FRANCOIS RAFFAELLI
a wonderful example of the intimiste works for which André
Le violoniste des rues
is best known. It was produced when the artist was forging his reputation, which was solidified after 1894, when the great Impressionist dealer Paul Durand-Ruel began to sell his work on Renoir’s recommendation. Having studied at the Académie Julian along with Louis Valtat, Maurice Denis and
French (1850-1924)
Signed Painted in 1890 Oil on panel 22 x 15 in / 54 x 38 cm Provenance: Dickinson Roundell, London; Private collection, USA (2000)
Pierre Bonnard, André developed a distinct PostImpressionist style that combines dazzling light with a keen eye for colour and pattern, illustrated in this painting’s ornate curtains and wallpaper and the striking juxtaposition of dashes of red and deep green. It depicts a candid, domestic moment, as two women pore over their sewing, their work illuminated by the streaming sunlight. Painted in the intimiste style, it leaves the impression that the viewer has chanced upon this scene, seemingly unnoticed.
During the 1920s and early 1930s Henri Lebasque turned to
HENRI LEBASQUE
painting a series of intimate female nudes. Surrounded by
Nu assis sur un tapis
While his subjects and technique differ greatly from those of
richly decorated fabrics they show an obvious debt to his
André, Jean-François Raffaelli similarly found inspiration in
friend Henri Matisse, with whom he had founded the Salon
those moments that are often overlooked. His Realist
d’Automne two decades before. Yet the figures are not the
paintings were championed by Edgar Degas and influential
exotic Odalisques of the master, with their sultry sexuality
critics such as J.K. Huysmans, who saw him as a ‘un Millet
that harps back to the nudes of Gerome and the 19th
Parisien’. Returning to Paris after an 1876 trip to Brittany, he
century Orientalists. Instead there is something more
took Paris’s unfashionable back streets and suburbs as his
domestic and, perhaps, wholsesome. The poses, as here, owe
main subject. The present work is an excellent example of
something more to Degas - the unguarded moment, the pose
French (1865-1937)
Signed Oil on canvas Painted circa 1928 25.5 x 21.25 in / 65 x 54 cm Provenance: Private collection, France Literature: Denise Bazetoux, Henri Lebasque: catalogue raisonné, vol. 1, Paris, 2008, p. 266, no. 1062, illustrated
what Raffaelli termed caractérisme, which found beauty in
that at first seems awkward and ungainly but has a natural
oeuvre. They appear regularly at auction where they have
character and called on the Realist artist to reveal the
elegance, the sense of unconsidered immediacy and the
sold for more than $500,000, and examples of Lebasque’s
essence of his subject and of society in all its aspects. Painted
feeling of intimacy.
in Raffaelli’s characteristic muted palette, it depicts an elderly
paintings of female nudes are in the Musée d’Orsay, Paris, the Chimei Museum in Taipei, the Magyar Nemzeti Galéria
street violinist in an indistinct setting, focusing on the man’s
Lebasques nudes come from quite a short period of his
(Hungarian National Gallery) in Budapest, and the
posture, expression and instrument.
career, but they occupy a relatively important part of his
Indianapolis Museum of Art.
ALBERT ANDRÉ French (1869-1954) Intérieur Signed Painted circa 1893 Oil on canvas 18 x 21.5 in / 46 x 55 cm Provenance: Private collection of Léon Brami (1901-1983), owner of Galerie Vendôme and Galerie Sélection, Paris; Private collection (acquired from the above’s widow in 2015)
Painted circa 1893, this contemplative, sun-dappled interior is
JEAN-FRANCOIS RAFFAELLI
a wonderful example of the intimiste works for which André
Le violoniste des rues
is best known. It was produced when the artist was forging his reputation, which was solidified after 1894, when the great Impressionist dealer Paul Durand-Ruel began to sell his work on Renoir’s recommendation. Having studied at the Académie Julian along with Louis Valtat, Maurice Denis and
French (1850-1924)
Signed Painted in 1890 Oil on panel 22 x 15 in / 54 x 38 cm Provenance: Dickinson Roundell, London; Private collection, USA (2000)
Pierre Bonnard, André developed a distinct PostImpressionist style that combines dazzling light with a keen eye for colour and pattern, illustrated in this painting’s ornate curtains and wallpaper and the striking juxtaposition of dashes of red and deep green. It depicts a candid, domestic moment, as two women pore over their sewing, their work illuminated by the streaming sunlight. Painted in the intimiste style, it leaves the impression that the viewer has chanced upon this scene, seemingly unnoticed.
During the 1920s and early 1930s Henri Lebasque turned to
HENRI LEBASQUE
painting a series of intimate female nudes. Surrounded by
Nu assis sur un tapis
While his subjects and technique differ greatly from those of
richly decorated fabrics they show an obvious debt to his
André, Jean-François Raffaelli similarly found inspiration in
friend Henri Matisse, with whom he had founded the Salon
those moments that are often overlooked. His Realist
d’Automne two decades before. Yet the figures are not the
paintings were championed by Edgar Degas and influential
exotic Odalisques of the master, with their sultry sexuality
critics such as J.K. Huysmans, who saw him as a ‘un Millet
that harps back to the nudes of Gerome and the 19th
Parisien’. Returning to Paris after an 1876 trip to Brittany, he
century Orientalists. Instead there is something more
took Paris’s unfashionable back streets and suburbs as his
domestic and, perhaps, wholsesome. The poses, as here, owe
main subject. The present work is an excellent example of
something more to Degas - the unguarded moment, the pose
French (1865-1937)
Signed Oil on canvas Painted circa 1928 25.5 x 21.25 in / 65 x 54 cm Provenance: Private collection, France Literature: Denise Bazetoux, Henri Lebasque: catalogue raisonné, vol. 1, Paris, 2008, p. 266, no. 1062, illustrated
what Raffaelli termed caractérisme, which found beauty in
that at first seems awkward and ungainly but has a natural
oeuvre. They appear regularly at auction where they have
character and called on the Realist artist to reveal the
elegance, the sense of unconsidered immediacy and the
sold for more than $500,000, and examples of Lebasque’s
essence of his subject and of society in all its aspects. Painted
feeling of intimacy.
in Raffaelli’s characteristic muted palette, it depicts an elderly
paintings of female nudes are in the Musée d’Orsay, Paris, the Chimei Museum in Taipei, the Magyar Nemzeti Galéria
street violinist in an indistinct setting, focusing on the man’s
Lebasques nudes come from quite a short period of his
(Hungarian National Gallery) in Budapest, and the
posture, expression and instrument.
career, but they occupy a relatively important part of his
Indianapolis Museum of Art.
RUDOLF BAUER German (1889-1953) Rote Form Signed Painted in 1919 Oil on board 24 x 34 in / 61 x 86 cm
This painting is an exceptionally rare example of Bauer’s early expressionistic style, possessing the raw energy, daring palette and compositional harmony for which he gained acclaim.
Provenance: Das Geistreich (R. Bauer), Berlin; Solomon R. Guggenheim, New York; Fischer Fine Art Ltd, London; Sale, Kunsthaus Lempertz, Cologne, 1975, lot 30; Acquired from the above by the father of the previous owner
Painted in 1919, it was realised when Bauer was represented by Der Sturm, the avant-garde gallery that defined Berlin’s modern art scene in the years surrounding the First World War. In contrast to the more geometric constructions that Bauer realised after 1925, in ‘Rote Form’ each shape, line and burst of colour convey remarkable emotional intensity. Bauer expounded this aspect of his work in a 1918 essay ‘The
Exhibited: Der Sturm (Herwarth Walden), Berlin; Caracas, Museo de Bellas Artes, Arte Aleman en Venezuela, 1979, Inventory Number: 005P Literature: The Art of Tomorrow: Fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings, New York, 1939, p. 76, no. 21
Cosmic Movement’, written for Herwarth Walden’s ‘Expressionism: The Turning Point’. The article explores the primacy of feeling in the act of creation, illustrating through a
This complex trajectory began in 1917, when Bauer met his
series of images the ways in which emotions such as calm,
one-time lover and most fervent supporter, Hilla Rebay.
restlessness, anger and doubt can be captured by line and
Rebay moved to New York in 1927, where she met Solomon
colour.
Guggenheim, introducing him to non-objective art and Bauer’s work. Guggenheim became Bauer’s most important
With its rhythmic, flowing composition and dynamic colours
patron and proponent; he amassed over 300 of his works and
and light, the painting is imbued with a sense of harmony and
Bauer’s vibrant, abstract paintings were vital to his
movement that reflects Bauer’s belief in the equivalence of
Foundation’s first exhibitions. Their relationship deteriorated
music and art. Comparing his work with that of Kandinsky,
when Bauer, urged by Rebay, signed a contract that left all of
Bauer’s most important influence, the poet and critic
his current and future output to the Guggenheim Foundation
Theodor Däubler wrote: “Kandinsky is the first artist, after a
in exchange for a monthly stipend. Having signed a contract
long struggle, to discard the object. Bauer was able to
in a language that he did not understand, Bauer felt
instantly produce compositions of painterly-musical feeling...
despondent and betrayed. He never painted again. His work
Bauer is close to Cubism and transforms his musical dreams
was relegated to the museum’s basement following
into colour. . . . Compared to Kandinsky, his work is more
Guggenheim’s death in 1949.
tactile, almost sculptural in character.” The present work once formed part of Guggenheim’s One of the first and most influential abstract artists, Rudolf
collection. He had acquired it from Das Geistreich (The
Bauer’s sudden fall into obscurity is amongst the most
Realm of the Spirit), an art salon that Bauer established in
complex and tragic stories in twentieth century art. As
Berlin in 1930, having made a substantial amount of money
evidenced by ‘Rudolf Bauer: Tomorrow Today’ (Sotheby’s 2014
from earlier sales to his patron. Bauer conceived of it as a
selling exhibition) today Bauer’s works are being
‘temple of non-objectivity,’ a haven for Guggenheim and other
rediscovered, though they still remain exceptionally affordable
collectors with a taste for abstraction. Showing primarily his
for their historic and aesthetic significance. In the first half of
own paintings and those of Wassily Kandinsky, it was the first
the twentieth century, Bauer belonged to the leading
museum dedicated to Non-Objective art. Indeed as Susanne
vanguard, exhibiting alongside the likes of Picasso, Kandinsky,
Neuburger has noted, “it was the first germ of the idea that
Mondrian and Miró. His ‘non-objective’ abstract style would
was to become the Solomon R. Guggenheim Museum.” ‘Rote
profoundly influence modern art, inspiring painters from
Form’ held a prominent place in Guggenheim’s collection and
Jackson Pollock to the Abstract Expressionists. Yet by the end
was illustrated in The Art of Tomorrow, the fifth catalogue of
of the Second World War he had stopped painting and fallen
the Solomon R. Guggenheim collection of non-objective
into obscurity.
paintings.
RUDOLF BAUER German (1889-1953) Rote Form Signed Painted in 1919 Oil on board 24 x 34 in / 61 x 86 cm
This painting is an exceptionally rare example of Bauer’s early expressionistic style, possessing the raw energy, daring palette and compositional harmony for which he gained acclaim.
Provenance: Das Geistreich (R. Bauer), Berlin; Solomon R. Guggenheim, New York; Fischer Fine Art Ltd, London; Sale, Kunsthaus Lempertz, Cologne, 1975, lot 30; Acquired from the above by the father of the previous owner
Painted in 1919, it was realised when Bauer was represented by Der Sturm, the avant-garde gallery that defined Berlin’s modern art scene in the years surrounding the First World War. In contrast to the more geometric constructions that Bauer realised after 1925, in ‘Rote Form’ each shape, line and burst of colour convey remarkable emotional intensity. Bauer expounded this aspect of his work in a 1918 essay ‘The
Exhibited: Der Sturm (Herwarth Walden), Berlin; Caracas, Museo de Bellas Artes, Arte Aleman en Venezuela, 1979, Inventory Number: 005P Literature: The Art of Tomorrow: Fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings, New York, 1939, p. 76, no. 21
Cosmic Movement’, written for Herwarth Walden’s ‘Expressionism: The Turning Point’. The article explores the primacy of feeling in the act of creation, illustrating through a
This complex trajectory began in 1917, when Bauer met his
series of images the ways in which emotions such as calm,
one-time lover and most fervent supporter, Hilla Rebay.
restlessness, anger and doubt can be captured by line and
Rebay moved to New York in 1927, where she met Solomon
colour.
Guggenheim, introducing him to non-objective art and Bauer’s work. Guggenheim became Bauer’s most important
With its rhythmic, flowing composition and dynamic colours
patron and proponent; he amassed over 300 of his works and
and light, the painting is imbued with a sense of harmony and
Bauer’s vibrant, abstract paintings were vital to his
movement that reflects Bauer’s belief in the equivalence of
Foundation’s first exhibitions. Their relationship deteriorated
music and art. Comparing his work with that of Kandinsky,
when Bauer, urged by Rebay, signed a contract that left all of
Bauer’s most important influence, the poet and critic
his current and future output to the Guggenheim Foundation
Theodor Däubler wrote: “Kandinsky is the first artist, after a
in exchange for a monthly stipend. Having signed a contract
long struggle, to discard the object. Bauer was able to
in a language that he did not understand, Bauer felt
instantly produce compositions of painterly-musical feeling...
despondent and betrayed. He never painted again. His work
Bauer is close to Cubism and transforms his musical dreams
was relegated to the museum’s basement following
into colour. . . . Compared to Kandinsky, his work is more
Guggenheim’s death in 1949.
tactile, almost sculptural in character.” The present work once formed part of Guggenheim’s One of the first and most influential abstract artists, Rudolf
collection. He had acquired it from Das Geistreich (The
Bauer’s sudden fall into obscurity is amongst the most
Realm of the Spirit), an art salon that Bauer established in
complex and tragic stories in twentieth century art. As
Berlin in 1930, having made a substantial amount of money
evidenced by ‘Rudolf Bauer: Tomorrow Today’ (Sotheby’s 2014
from earlier sales to his patron. Bauer conceived of it as a
selling exhibition) today Bauer’s works are being
‘temple of non-objectivity,’ a haven for Guggenheim and other
rediscovered, though they still remain exceptionally affordable
collectors with a taste for abstraction. Showing primarily his
for their historic and aesthetic significance. In the first half of
own paintings and those of Wassily Kandinsky, it was the first
the twentieth century, Bauer belonged to the leading
museum dedicated to Non-Objective art. Indeed as Susanne
vanguard, exhibiting alongside the likes of Picasso, Kandinsky,
Neuburger has noted, “it was the first germ of the idea that
Mondrian and Miró. His ‘non-objective’ abstract style would
was to become the Solomon R. Guggenheim Museum.” ‘Rote
profoundly influence modern art, inspiring painters from
Form’ held a prominent place in Guggenheim’s collection and
Jackson Pollock to the Abstract Expressionists. Yet by the end
was illustrated in The Art of Tomorrow, the fifth catalogue of
of the Second World War he had stopped painting and fallen
the Solomon R. Guggenheim collection of non-objective
into obscurity.
paintings.
The above work forms part of the storyboard for the animated film Destino, which was billed as ‘a collaboration between two of the greatest artists of the century – Salvador
SALVADOR DALI Spanish (1904-1989) Sans titre, tête monolithe, rochers, cycliste à l’envers
Dali and Walt Disney’. Destino imagines a love story between Chronos, the personification of time, and his ill-fated love for the mortal Dahlia. The story unfolds within a surrealist landscape inspired by Dali’s paintings and incorporates many of the classic motifs that formed part of his highly distinctive
In a deliberately cropped composition, in which the scale and
GIORGIO DE CHIRICO Italian (1888-1978)
substance of the forms is left unclear, two horses stand side
Cavalli sulla Spiaggia
by side, their sleek coats contrasting with their elaborately sculpted tails, and the flowing mane of the albino. A mound of pink earth and rock rises behind them, half obscuring the façade of a classical temple. In many respects it is as difficult
Executed circa 1947 India ink, pen, black ink & pencil on paper 8 x 9 in / 20.5 x 23 cm
Enigmatic is an adjective that customarily describes his
This work is accompanied by a certificate of authenticity from Robert Descharnes
canvases, including his first: ‘Enigma of an autumn afternoon’
visual vocabulary, developed during the heyday of Surrealism
to fathom the artist de Chirico as it is to interpret his art.
Signed Painted in 1938 Oil on canvas 21.5 x 25.5 in / 54 x 65 cm Provenance: Private collection, Italy Exhibited: Chiavenna, “Giorgio De Chirico”, 25 July - 31 August, 2003, p. 27, illustrated in in the catalogue in colour
paintings, and ‘enigma’ is a word often used in the titles of his painted in 1909 (Peggy Guggenheim Museum, Venice).
in the 1930s and early 1940s. This particular image depicts the immortal stone-faced Chronos, still undisturbed from his
In many respects de Chirico was a unique talent, a lone voice
eternal slumber. It features several figures that appear in Dali’s paintings, including the inexorable cyclist and the man
Roy E. Disney, and was completed and released in 2003.
championing the logical extension of Symbolism in the 20th
After the War De Chirico acrimoniously parted company
century. His fellow artists were preoccupied with the
with André Breton and the Surrealists, and advocated a
who struggles against his own shadow, which pushes against
While Dali and Disney never saw Destino to completion,
development of ‘form’, in the guise of Cubism and
renewed attention to craftsmanship, publishing a book on the
him as if to suggest the weight of time.
their friendship endured a lifetime. Vastly different in their art
Abstraction, while he saw himself as single-handedly
subject calling for a return to order, entitled ‘Valori Plastici’
and characters, these two icons were united by their
overhauling art’s ‘soul’, to make it fit for 20th century
(‘The Return of Craftsmanship’). The long shadows and
Destino bears testament to Dali’s remarkable versatility as an
extraordinary imaginations and pursuit of an art form that
purpose. His artistic training was largely spent in Munich
improbable juxtapositions of old and new were replaced by a
artist and his interest in film as a medium for his Surrealist
merges dreams with reality.
imagery, which he first explored with Luis Buñuel in the 1929
where he developed an early interest in Symbolism. From
disquieting rationality that evoked a Romantic vision rooted
1909-19 he practised what is known as his metaphysical
in Classical order. But in fact, although de Chirico’s post-War
silent film ‘Un Chien Andalou’. He worked on Destino on and
Other examples from Destino are currently on display at The
period in which he drew upon his profound interest in
work drew consciously on Academic precepts, the visual
off between 1945 and 1950, though the film was put on
Dali Museum in St Petersburg, Florida as part of Disney and
history, mythology and philosophy, combined with his
effect was in many ways every bit as unsettling on the viewer
indefinite hiatus due to Walt Disney Studios’s poor financial
Dali: Architects of the Imagination - a multimedia exhibition
experience of the piazzas, palaces, churches and arcades that
as his Metaphysical work, a truth borne out by the enigmatic
standing after the war. It was unearthed by Disney’s nephew,
that explores their years of friendship and collaboration.
conjure up images of isolation, melancholy, mystery and loss.
but coolly stylish ‘Cavalli sulla Spiaggia’.
Left: HENRI HAYDEN Polish / French (1883-1970) Nature morte Signed; signed & dated 1918 verso Gouache on board 13 x 16 in / 32.5 x 41 cm This work is accompanied by a certificate of authenticity from Pierre Célice and will be included in the forthcoming catalogue raisonné Provenance: Roland, Browse and Delbanco, London; Malcolm Bendon, New York; Sale, Sotheby’s, London, 25 June 1997, lot 277; Private collection, USA (purchased at the above sale) Below: JEAN DUFY French (1888-1964) La Fenêtre de l’Atelier
Painted in 1918, this Cubist still life is from Hayden’s most sought after period, 1917-1922, when he was working at his most analytical. From Poland, Hayden settled in Paris, arriving in the French capital in 1907, the year of Cézanne’s posthumous retrospective, an exhibition that proved hugely influential to the development of Modernism and Cubism in particular. As for many other painters, Cézanne sparked Hayden’s interest in simplifying his compositions, which from 1912 began to develop a Cubist idiom. During the First World War Hayden became well acquainted with Jean Metzinger, Gino Severini and Pablo Picasso. His circle also included the composers of the group Les Six. In 1915 he met Juan Gris, and through Gris was introduced to the art dealer Léonce Rosenberg whose Galerie de l’Effort Moderne championed the Cubist cause. In 1917 Hayden painted his first truly Cubist works, the present work being completed just a year later. As well as still lifes Hayden painted landscapes and figure studies, such as ‘Three Musicians’ (1920; Centre Pompidou, Paris). Like Picasso, Braque and Gris before him, Hayden composed using simple everyday objects. In the present work he incorporates a goblet and vase full of water, a pipe, a packet of Elégantes cigarettes and books into a cohesive whole, placing them on a table on which is spread a brightly patterned table cloth and a green napkin. Rearranging the individual elements into a dynamically constructed Cubistic whole, Hayden creates a complex composition of overlapping edges and planes seen from multiple angles.
Signed Painted in 1919 Oil on card mounted on wood panel 21 x 14.5 in / 53 x 37 cm
No other artist at the forefront of Modernism explored still
GEORGES BRAQUE
life painting so thoroughly as Georges Braque. His constant
Les oeufs dans la poêle
analysis, revision and reinvention of the subject lies at the heart of his creative spirit. Always thoughtful in approaching
This work is accompanied by a certificate of authenticity from Galerie Jacques Bailly
the theme, always completely thorough in his interpretation, Braque embarked on still life painting in the way a master
Provenance: Germaine Dufy, younger sister of Raoul and Jean Dufy; Comtesse Françoise de Faramond; By descent from the above to the present owner
sculptor might chisel a block of stone, considering it minutely from every angle, weighing up carefully every element and crafting it assiduously brush stroke by brush stroke as he roughed out the composition and conscientiously built up the paint surface tone by tone, hue by hue. Sometimes markedly monochrome and austere, such as his early Cubist works of circa 1910, other times large, joyful and jubilant such as his large late still lifes of the 1940s, Les Oeufs dans la poele was painted at a moment of conscience for Braque. In 1940, when France was invaded by Germany, officers in Paris pandered to him on account of his being a leading cultural figure. However at no point did Braque fall
French (1882-1963)
Signed Painted in 1941 Oil on canvas 15 x 30.75 in / 38 x 78 cm This work is included in vol. III of the catalogue raisonné prepared by Nicole Worms de Romilly Provenance: Galerie Louise Leiris (Daniel Kahnweiler), Paris; Galerie Simon, Paris; Private collection, Bern; Sale, Sotheby’s, London, 25 June 1997, lot 212; Private collection, USA Exhibited: Bern, Kunsthalle and Zurich, Kunsthaus, ‘Braque’, 1953; Bern, Kunsthalle, ‘Europäische Kunst aus Berner Privatbesitz’, 1955, no. 14, illustrated Literature: ‘Schweiz’, no. 4, April 1953, illustrated; Nicole Worms de Romilly, Catalogue raisonné de l’oeuvre de Georges Braque. Peintures 1936-1941, Paris, Maeght, 1961, vol. III, p. 89, illustrated
for their flattery or acquiesce to their entreaties. But as well as reflective of the limited choice and bleak Braque’s still lifes of the War years reflect his essential
outlook of the day, the large oversized forms of the still life
integrity. In Paris in particular, even the bare essentials were
also suggest a more existential aspect to the way he
scarce and simple fare was the order of the day. Les oeufs
approached his work. Describing this after the War he
dans la poêle, like many of his other still lifes of the period,
commented: ‘Objects don’t exist for me except in so far as a
captures this austerity. Composing his subject on an
rapport between them or between them and myself. When
emphatically horizontal canvas in different degrees of black
one attains this harmony, one reaches a sort of intellectual
and earthen tones a plain repast is presented: cheese on a
non-existence – what I can only describe as a state of peace
plate, fried eggs in a skillet, a kitchen knife and napkin
– which makes everything possible and right.’ This underlying
arranged over a simple table. Only the bright yellow of the
balance is clear in Les oeufs dans la poêle, where each
egg yolks interrupt the restrained palette.
element is abstracted yet remains in harmony with the next.
Giacometti’s drawing describes a corner of the artist’s studio at 46 rue Hippolyte-Maindron in Montparnasse, Paris. A bust, apparently a work in progress, sits sphynx-like on the sculptor’s table. In the lower right corner of the composition part of a painting by Giacometti leans against the wall. The background is indeterminate, the suggestion of reflections on glass, perhaps a window or a mirror, walls are sketched in beyond. As the art critic David Sylvester spoke of Giacometti’s sculpture, so in the sculptor’s drawings his skill was “to present life as it is perceived while time passes.” Certainly Giacometti passed a lot of time in his studio. Part of a building complex off the rue d’Alésia, Giacometti worked there all his life – forty years – moving in in 1926, and remaining there until he died. In 1932 his brother Diego joined him as his assistant, Alberto renting a studio for him opposite. Conditions were cramped and poor – Giacometti’s studio measured just 15 by 16 feet – and the roof leaked. But the space became the aggregation of his life, and silent witness to his work. In 1946 he was joined at no 46 by Annette Arm. He had met Annette in 1942 while in Switzerland and they were reunited after the War. Annette rented a room adjacent to his studio, which, after marrying in 1949 (the year of the present work) became their bedroom. Above: ALBERTO GIACOMETTI
Swiss (1901-1966)
Vue de l’atelier de l’artiste
Giacometti had arrived in Montparnasse in the early 1920s, where he associated with artists in the Cubist and Surrealist groups, - André Breton and Pablo Picasso amongst them -
Signed Drawn in 1949 Pen & India ink on paper 20.25 x 13.25 in / 51.5 x 33 cm
and established himself as the leading sculptor among the Surrealists. Post-War he became best known for his
Provenance: Sidney Janis Gallery, New York; Alan Frumkin Gallery, New York; Milton D. Ratner, Fort Lee, NJ; Christie’s, 14 November 1996, lot 356; Private collection, New York; Private collection, New York
sculptures of elongated, representational figures.
Recalling his beginnings as an artist, Matisse recounted to his
HENRI MATISSE
friend the writer Louis Aragon: “For several years I thought
Corbeille d’ananas et fruits
that I would paint only still lifes. It was after having depicted
French (1869-1954)
still life objects that I was able to depict the human figure.”
Signed Drawn in 1926 Charcoal on paper 19 x 25 in / 48 x 62.5 cm
Matisse had first started to paint while recovering from
This work is accompanied by a certificate of authenticity from Wanda de Guébriant
appendicitis, and the still life was clearly the most convenient of themes to explore while he was confined to his bed. However the genre continued to occupy him for the first five years of his life as a painter, forming the core of his output from 1890-95, and as his aesthetic grew so the humble still
Provenance: Pierre Matisse (thence by descent); Private collection, UK Literature: Pierre Schneider, Matisse, London, 1984, illustrated p. 38
life took on a talismanic importance in his work. to capture movement and light in the human figure in
Exhibited: Chicago, The Art Institute of Chicago; River Forest, IL, Rosary College; Omaha, Joslyn Art Museum; Indianapolis Museum of Art; Madison, University of Wisconsin, Elvehjem Art Center and Jerusalem, Israel Museum, Alberto Giacometti: The Milton D. Ratner Family Collection, 1974-1975
In his early days Matisse was inspired by the still lifes of
general and dance in particular. Instead, in still lifes he could
Northern Europe, whether 17th century Flemish painters, or
anchor the materiality of what was before him. As a result
the dark and brooding compositions of Van Gogh. But it was
the genre was never far from the surface of his work,
really Manet and Cézanne between them who exerted the
appearing either as a catalyst, central motif, foil or cameo
most influence on him, the former having breathed new life
role in some of his most ambitious compositions.
into what had become a de-valued genre, the latter offering a masterclass in compositional structure and technical rigour. GEORGE GROSZ
Right: German (1893-1957)
Sich entkleidente Frau Stamped with Nachlass mark Drawn in 1939 Charcoal & pencil on paper 24 x 18 in / 61 x 45.5 cm Provenance: Estate of the artist; Galleria Il Fauno (Luciano Anselmino), Turin; Sale, Sotheby’s, London, 20 March 1996, lot 230; Private collection, USA (purchased at the above sale)
And, through the inclusion of still life elements Matisse
Certainly in the tentative handling of the lines that define the
created worlds in miniature over which he had sole
separate forms and the displacement of fruit, tureen and
dominion. Time and again, it was from the still life
incidental vessels and paper across the pitched surface of the
components that he selected that movement, pattern and
table in ‘Corbeille d’ananas et fruits’, the presence of
form on a grand scale evolved in equal measure. Thus
Cézanne is strongly felt.
Matisse’s arrangement of everyday objects became the decorative heart to complex works like Harmony in Red
As his style developed, still life became the physical
(1908, Hermitage Museum); the foreground accompaniment
manifestation of Matisse’s often repeated desire to record
to Still Life with ‘La Danse’ (1909, Hermitage Museum) and
‘the substance of things’. There was nothing fleeting, temporal
the central fulcrum to such major compositions as
or effervescent about a still life, unlike his other great pursuit:
Nasturtiums and La Danse I, (1912, Pushkin Museum).
Giacometti’s drawing describes a corner of the artist’s studio at 46 rue Hippolyte-Maindron in Montparnasse, Paris. A bust, apparently a work in progress, sits sphynx-like on the sculptor’s table. In the lower right corner of the composition part of a painting by Giacometti leans against the wall. The background is indeterminate, the suggestion of reflections on glass, perhaps a window or a mirror, walls are sketched in beyond. As the art critic David Sylvester spoke of Giacometti’s sculpture, so in the sculptor’s drawings his skill was “to present life as it is perceived while time passes.” Certainly Giacometti passed a lot of time in his studio. Part of a building complex off the rue d’Alésia, Giacometti worked there all his life – forty years – moving in in 1926, and remaining there until he died. In 1932 his brother Diego joined him as his assistant, Alberto renting a studio for him opposite. Conditions were cramped and poor – Giacometti’s studio measured just 15 by 16 feet – and the roof leaked. But the space became the aggregation of his life, and silent witness to his work. In 1946 he was joined at no 46 by Annette Arm. He had met Annette in 1942 while in Switzerland and they were reunited after the War. Annette rented a room adjacent to his studio, which, after marrying in 1949 (the year of the present work) became their bedroom. Above: ALBERTO GIACOMETTI
Swiss (1901-1966)
Vue de l’atelier de l’artiste
Giacometti had arrived in Montparnasse in the early 1920s, where he associated with artists in the Cubist and Surrealist groups, - André Breton and Pablo Picasso amongst them -
Signed Drawn in 1949 Pen & India ink on paper 20.25 x 13.25 in / 51.5 x 33 cm
and established himself as the leading sculptor among the Surrealists. Post-War he became best known for his
Provenance: Sidney Janis Gallery, New York; Alan Frumkin Gallery, New York; Milton D. Ratner, Fort Lee, NJ; Christie’s, 14 November 1996, lot 356; Private collection, New York; Private collection, New York
sculptures of elongated, representational figures.
Recalling his beginnings as an artist, Matisse recounted to his
HENRI MATISSE
friend the writer Louis Aragon: “For several years I thought
Corbeille d’ananas et fruits
that I would paint only still lifes. It was after having depicted
French (1869-1954)
still life objects that I was able to depict the human figure.”
Signed Drawn in 1926 Charcoal on paper 19 x 25 in / 48 x 62.5 cm
Matisse had first started to paint while recovering from
This work is accompanied by a certificate of authenticity from Wanda de Guébriant
appendicitis, and the still life was clearly the most convenient of themes to explore while he was confined to his bed. However the genre continued to occupy him for the first five years of his life as a painter, forming the core of his output from 1890-95, and as his aesthetic grew so the humble still
Provenance: Pierre Matisse (thence by descent); Private collection, UK Literature: Pierre Schneider, Matisse, London, 1984, illustrated p. 38
life took on a talismanic importance in his work. to capture movement and light in the human figure in
Exhibited: Chicago, The Art Institute of Chicago; River Forest, IL, Rosary College; Omaha, Joslyn Art Museum; Indianapolis Museum of Art; Madison, University of Wisconsin, Elvehjem Art Center and Jerusalem, Israel Museum, Alberto Giacometti: The Milton D. Ratner Family Collection, 1974-1975
In his early days Matisse was inspired by the still lifes of
general and dance in particular. Instead, in still lifes he could
Northern Europe, whether 17th century Flemish painters, or
anchor the materiality of what was before him. As a result
the dark and brooding compositions of Van Gogh. But it was
the genre was never far from the surface of his work,
really Manet and Cézanne between them who exerted the
appearing either as a catalyst, central motif, foil or cameo
most influence on him, the former having breathed new life
role in some of his most ambitious compositions.
into what had become a de-valued genre, the latter offering a masterclass in compositional structure and technical rigour. GEORGE GROSZ
Right: German (1893-1957)
Sich entkleidente Frau Stamped with Nachlass mark Drawn in 1939 Charcoal & pencil on paper 24 x 18 in / 61 x 45.5 cm Provenance: Estate of the artist; Galleria Il Fauno (Luciano Anselmino), Turin; Sale, Sotheby’s, London, 20 March 1996, lot 230; Private collection, USA (purchased at the above sale)
And, through the inclusion of still life elements Matisse
Certainly in the tentative handling of the lines that define the
created worlds in miniature over which he had sole
separate forms and the displacement of fruit, tureen and
dominion. Time and again, it was from the still life
incidental vessels and paper across the pitched surface of the
components that he selected that movement, pattern and
table in ‘Corbeille d’ananas et fruits’, the presence of
form on a grand scale evolved in equal measure. Thus
Cézanne is strongly felt.
Matisse’s arrangement of everyday objects became the decorative heart to complex works like Harmony in Red
As his style developed, still life became the physical
(1908, Hermitage Museum); the foreground accompaniment
manifestation of Matisse’s often repeated desire to record
to Still Life with ‘La Danse’ (1909, Hermitage Museum) and
‘the substance of things’. There was nothing fleeting, temporal
the central fulcrum to such major compositions as
or effervescent about a still life, unlike his other great pursuit:
Nasturtiums and La Danse I, (1912, Pushkin Museum).
ALEXANDER CALDER American (1898-1976) Composition in Red
One of the most celebrated artists of the twentieth century, Calder produced works that are both ground-breaking and light-hearted, imbuing his paintings and sculptures with humour and playfulness. His earliest sculptures were motor-
Signed & dated 1961 Gouache and watercolour on paper 29 x 42 in / 73.5 x 107 cm
contained miniature universes.
This work has been registered in the archives of the Calder Foundation and is awaiting an identification number
It was only after coming into contact with Surrealism that
Provenance: Pierre Halet, France (gifted from the artist in 1961); Private collection, France Exhibited: Tours, Château de Tours, Absence et présences, 1 April-7 May 2006; Tours, Château de Tours, Calder en Touraine, 6 June-19 October 2008 Literature: Absence et présences, Tours, 2006 Calder en Touraine, Tours, 2008, illustrated p. 154
driven – influenced by the Constructivists, they read as self-
Calder took an interest in the aesthetic and philosophical potential of organic movement, borrowing shapes and motions from the natural world, from planetary trajectories to dancing foliage. He cited Miró as an important influence and indeed his paintings and mobiles exhibit the same buoyancy, wit and whimsy, conveying a sense of movement through serpentine, unbroken lines. His paintings were parallel to his innovative sculptures, which Marcel Duchamp first described as “mobiles”. Composed of bent and twisted wires that “draw” three-dimensional figures in space, Calder’s mobiles embody the constant motion of life, enacting our own experience of movement, temporality and chance.
His gouaches capture the kineticism of his mobiles, translating their suspended geometric shapes into organic forms, such as suns or stars. In Black Star, for instance, the
ALEXANDER CALDER American (1898-1976) Black Star
spiralling motions of Calder’s mobiles appear as sinuous brushstrokes, bleeding and fading as if to suggest the impermanence of movement. Sweeping stars appear to hover around black suns, evoking solar harmonies in a vivid palette and composition. An early example of Calder’s interrogation
Signed & dated 1953 Gouache and watercolour on paper 29 x 42 in / 73.5 x 107 cm This work is registered in the archives of the Calder Foundation under identification number A09677
of movement and space, Black Star was painted in the summer of 1953, when the artist realised numerous gouaches
Provenance : Christophe Czwiklitzer, Baden Baden
during an extended stay in Aix-en-Provence. Another example from Calder’s Aix-en-Provence gouaches, the monochromatic Black Sun, resides in Tate Modern’s permanent collection. almost graphically in geometric shapes or flat, static planes. Painted in Touraine in 1961, Composition in red is also
Calder gifted this piece to his close friend and collaborator,
significantly earlier than the majority of pieces currently on
the writer Pierre Halet, and the work formed part of a 2006
the market. This painting is remarkable amongst Calder’s
exhibition held in Halet’s honour at the Château de Tours.
body of work for its spontaneity and unconstrained brilliant colour. Its dazzling expanse of red and broad swathes of
By the 1950s Calder had achieved international acclaim for
yellow conjure a rolling landscape that is unrestrained by
his ground-breaking and magnificent works, allowing him to
formula or painting surface. This visceral aspect stands in
expand his studios in the United States and France and
contrast to many of Calder’s gouaches, where colour appears
create works on a monumental scale.
ALEXANDER CALDER American (1898-1976) Composition in Red
One of the most celebrated artists of the twentieth century, Calder produced works that are both ground-breaking and light-hearted, imbuing his paintings and sculptures with humour and playfulness. His earliest sculptures were motor-
Signed & dated 1961 Gouache and watercolour on paper 29 x 42 in / 73.5 x 107 cm
contained miniature universes.
This work has been registered in the archives of the Calder Foundation and is awaiting an identification number
It was only after coming into contact with Surrealism that
Provenance: Pierre Halet, France (gifted from the artist in 1961); Private collection, France Exhibited: Tours, Château de Tours, Absence et présences, 1 April-7 May 2006; Tours, Château de Tours, Calder en Touraine, 6 June-19 October 2008 Literature: Absence et présences, Tours, 2006 Calder en Touraine, Tours, 2008, illustrated p. 154
driven – influenced by the Constructivists, they read as self-
Calder took an interest in the aesthetic and philosophical potential of organic movement, borrowing shapes and motions from the natural world, from planetary trajectories to dancing foliage. He cited Miró as an important influence and indeed his paintings and mobiles exhibit the same buoyancy, wit and whimsy, conveying a sense of movement through serpentine, unbroken lines. His paintings were parallel to his innovative sculptures, which Marcel Duchamp first described as “mobiles”. Composed of bent and twisted wires that “draw” three-dimensional figures in space, Calder’s mobiles embody the constant motion of life, enacting our own experience of movement, temporality and chance.
His gouaches capture the kineticism of his mobiles, translating their suspended geometric shapes into organic forms, such as suns or stars. In Black Star, for instance, the
ALEXANDER CALDER American (1898-1976) Black Star
spiralling motions of Calder’s mobiles appear as sinuous brushstrokes, bleeding and fading as if to suggest the impermanence of movement. Sweeping stars appear to hover around black suns, evoking solar harmonies in a vivid palette and composition. An early example of Calder’s interrogation
Signed & dated 1953 Gouache and watercolour on paper 29 x 42 in / 73.5 x 107 cm This work is registered in the archives of the Calder Foundation under identification number A09677
of movement and space, Black Star was painted in the summer of 1953, when the artist realised numerous gouaches
Provenance : Christophe Czwiklitzer, Baden Baden
during an extended stay in Aix-en-Provence. Another example from Calder’s Aix-en-Provence gouaches, the monochromatic Black Sun, resides in Tate Modern’s permanent collection. almost graphically in geometric shapes or flat, static planes. Painted in Touraine in 1961, Composition in red is also
Calder gifted this piece to his close friend and collaborator,
significantly earlier than the majority of pieces currently on
the writer Pierre Halet, and the work formed part of a 2006
the market. This painting is remarkable amongst Calder’s
exhibition held in Halet’s honour at the Château de Tours.
body of work for its spontaneity and unconstrained brilliant colour. Its dazzling expanse of red and broad swathes of
By the 1950s Calder had achieved international acclaim for
yellow conjure a rolling landscape that is unrestrained by
his ground-breaking and magnificent works, allowing him to
formula or painting surface. This visceral aspect stands in
expand his studios in the United States and France and
contrast to many of Calder’s gouaches, where colour appears
create works on a monumental scale.
TOM WESSELMANN American (1931-2004) Big Study for Smoker #26 Signed, titled & dated 1977 on the stretcher Oil on shaped canvas 21.25 x 36.5 in / 54 x 92.5 cm
ARNALDO POMODORO Italian (Born 1926)
Colonna
Incised with signature and numbered ‘Arnaldo Pomodoro ~ 02 p.a.’ on base Executed in 1982-1983 Bronze 96 x 6 x 6 in / 244 x 15 x 15 cm This work is registered in the Archivo Arnaldo Pomodoro, Milan under no. AP 446 and is included in the catalogue raisonné under no. 710 Provenance: Private collection, Palm Beach; Thence by descent to the present owner
AGOSTINO BONALUMI
Italian (1935-2013)
Blu
Signed & dated 1980 verso Shaped canvas & vinyl tempera 27.5 x 27.5 in / 70 x 70 cm This work is accompanied by a certificate of authenticity from Archivio Bonalumi, Milan and is recorded under no. 80-002 Provenance: Private collection, Italy
Bonalumi’s Blu addresses the sheer materiality of painting,
Provenance: Sidney Janis Gallery, New York; Private collection, Los Angeles (acquired from the above in 1978); Thence by descent to the present owner (2011)
In 1960 he began the Great American Nudes, which remain his best-known works, and in 1961 the Green Gallery on 57th Street offered him a contract. Until this point he
The American art historian Lucy Lippard classified
worked in isolation from other Pop artists – unaware in fact
Wesselmann as one of the five ‘hard-core’ New York pop
that similar ground was being covered by any other artists.
artists, along with Warhol, Lichtenstein, Rosenquist and Oldenburg. These artists, in varying ways, cast a light on
The smoker motif originated in 1967 and became one of the
modern society during a period of huge social and cultural
artists’ most iconic themes. It evoked some of the glamour of
change, and they did so without passing specific judgement.
Hollywood’s golden age when no screen siren was without a
Wesselmann insisted on the individuality of all the artists
smoldering cigarette, but also continued the overtly
involved in Pop art and was quick to point out their lack of a
sensualised imagery of the Great American Nudes. The use of
clear group identity.
shaped canvases in the smoker series was a major
Exhibited: Boston, Thomas Segal Gallery, Arnaldo Pomodoro, January-February 1984
specifically its most essential components: canvas and paint.
development in his work. By the mid 1970s, Wesselmann had
The right side of the canvas is delicately shaped into louvered
begun adding a hand to the composition which both added
Literature: F. Gualdoni, ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, Milan, 2007, vol. II, p. 628, no. 710
and tactile. The left side mimics this relief through paint
peaks and recesses, achieving a sense of space that is literal alone, using varying tones of brilliant blue to create illusory depth. Describing his approach, Bonalumi stated: “My work has never been about indulging a material for the sake of it. It’s the result of an active interest in materials themselves, the intelligence of materials.” An excellent example of what Bonalumi called his Picture-Objects, he created the present
to the complexity of the imagery and also reinforced the innuendo implied. TOM WESSELMANN
American (1931-2004)
Drawing for Bedroom Painting #14 Signed & dated c. 1969; titled & dated 1969+1975 verso Ink & Liquitex on paper 14 x 17 in / 35.6 x 43.2 cm
work through a process of ‘extroflection’ that stretched and shaped canvases by placing structures and frames behind
Provenance: Galerie Benden + Klimczak, Cologne; Private collection (acquired from the above)
them. His interest in manipulating space in his work followed his introduction to Piero Manzoni and Enrico Castellani and frequent visits to Lucio Fontana’s studio.
Exhibited: Munich, Galerie Thomas Modern, Tom Wesselmann, 2013 Literature: Tom Wesselmann, Munich, 2013, illustrated p. 40
TOM WESSELMANN American (1931-2004) Big Study for Smoker #26 Signed, titled & dated 1977 on the stretcher Oil on shaped canvas 21.25 x 36.5 in / 54 x 92.5 cm
ARNALDO POMODORO Italian (Born 1926)
Colonna
Incised with signature and numbered ‘Arnaldo Pomodoro ~ 02 p.a.’ on base Executed in 1982-1983 Bronze 96 x 6 x 6 in / 244 x 15 x 15 cm This work is registered in the Archivo Arnaldo Pomodoro, Milan under no. AP 446 and is included in the catalogue raisonné under no. 710 Provenance: Private collection, Palm Beach; Thence by descent to the present owner
AGOSTINO BONALUMI
Italian (1935-2013)
Blu
Signed & dated 1980 verso Shaped canvas & vinyl tempera 27.5 x 27.5 in / 70 x 70 cm This work is accompanied by a certificate of authenticity from Archivio Bonalumi, Milan and is recorded under no. 80-002 Provenance: Private collection, Italy
Bonalumi’s Blu addresses the sheer materiality of painting,
Provenance: Sidney Janis Gallery, New York; Private collection, Los Angeles (acquired from the above in 1978); Thence by descent to the present owner (2011)
In 1960 he began the Great American Nudes, which remain his best-known works, and in 1961 the Green Gallery on 57th Street offered him a contract. Until this point he
The American art historian Lucy Lippard classified
worked in isolation from other Pop artists – unaware in fact
Wesselmann as one of the five ‘hard-core’ New York pop
that similar ground was being covered by any other artists.
artists, along with Warhol, Lichtenstein, Rosenquist and Oldenburg. These artists, in varying ways, cast a light on
The smoker motif originated in 1967 and became one of the
modern society during a period of huge social and cultural
artists’ most iconic themes. It evoked some of the glamour of
change, and they did so without passing specific judgement.
Hollywood’s golden age when no screen siren was without a
Wesselmann insisted on the individuality of all the artists
smoldering cigarette, but also continued the overtly
involved in Pop art and was quick to point out their lack of a
sensualised imagery of the Great American Nudes. The use of
clear group identity.
shaped canvases in the smoker series was a major
Exhibited: Boston, Thomas Segal Gallery, Arnaldo Pomodoro, January-February 1984
specifically its most essential components: canvas and paint.
development in his work. By the mid 1970s, Wesselmann had
The right side of the canvas is delicately shaped into louvered
begun adding a hand to the composition which both added
Literature: F. Gualdoni, ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, Milan, 2007, vol. II, p. 628, no. 710
and tactile. The left side mimics this relief through paint
peaks and recesses, achieving a sense of space that is literal alone, using varying tones of brilliant blue to create illusory depth. Describing his approach, Bonalumi stated: “My work has never been about indulging a material for the sake of it. It’s the result of an active interest in materials themselves, the intelligence of materials.” An excellent example of what Bonalumi called his Picture-Objects, he created the present
to the complexity of the imagery and also reinforced the innuendo implied. TOM WESSELMANN
American (1931-2004)
Drawing for Bedroom Painting #14 Signed & dated c. 1969; titled & dated 1969+1975 verso Ink & Liquitex on paper 14 x 17 in / 35.6 x 43.2 cm
work through a process of ‘extroflection’ that stretched and shaped canvases by placing structures and frames behind
Provenance: Galerie Benden + Klimczak, Cologne; Private collection (acquired from the above)
them. His interest in manipulating space in his work followed his introduction to Piero Manzoni and Enrico Castellani and frequent visits to Lucio Fontana’s studio.
Exhibited: Munich, Galerie Thomas Modern, Tom Wesselmann, 2013 Literature: Tom Wesselmann, Munich, 2013, illustrated p. 40
WILLEM DE KOONING Dutch / American (1904-1997) Untitled Painted circa 1960 Oil on paper 24 x 19 in / 61 x 48 cm Provenance: Dr Henry Vogel, New York (gift from the artist); Private collection, New York (by decent from the above)
A leading proponent of Abstract Expressionism, Willem de Kooning is considered to be one of the most innovative and influential artists of the twentieth century. This legacy is palpable in the present work, which crystalizes the artist’s gesture in energetic, intuitive lines. Our work was sourced from the family of Dr Henry Vogel, de Kooning’s psychiatrist and long-time trusted friend. Their relationship developed following de Kooning’s breakdown and relocation from New York to the Springs of East Hampton in the early 1960s. The light and landscape of East Hampton reminded de Kooning of his native Holland and wrought a profound influence on his work. Free from the distractions of city life and New York’s crowded spaces, De Kooning revised his approach to painting, moving towards open compositions and a lighter palette. The above work sets swathes of colour and energetic brushstrokes within a palpable open space. Paint is daubed, pulled and impressed upon the paper so that colour and light appear to shimmer across the surface.
Hans Hofmann is equally revered as a teacher and an artist.
HANS HOFMANN
His importance in shaping the development of Abstract
Untitled
A retrospective of De Kooning’s work was
Expressionism in New York cannot be overstated, and our
recently held at the Museum of Modern Art in
work dates from a key period in both Hofmann’s personal
New York. His work can be found in numerous
development and that of the movement in general. Hofmann
institutions worldwide, including the Stedelijk
was a German emigré who left Munich in 1932, initially for
Museum, Tate Modern, the National Gallery of
California before settling in New York. Hofmann brought with
Australia, the Metropolitan Museum of Art, New
him a profound understanding of the European avant-garde.
York, the Art Institute of Chicago, and the
In our work one can see both echoes of the Surrealists –
Smithsonian Institution, Washington DC.
Joan Miró, Hans Arp and André Mason in particular – and a
HANS HOFMANN
debate has raged as to the extent of Hofmann’s effect on
precedent in Pollock’s work of the late 1940s. Academic German (1880-1966)
Untitled
Pollock, but it was known that Pollock was a visitor to Hofmann’s studio as early as 1942. Pollock’s wife, Lee
Signed Painted circa 1942 Watercolor on paper 17 x 14 in / 43 x 35.5 cm
Krasner, was also a student of Hofmann’s in New York during the 1940s.
German (1880-1966)
Signed & dated 1945 Oil on panel 42.75 x 30.75 in / 108.5 x 78 cm This work is included in the catalogue raisonné of Hofmann’s paintings under no. P538 Provenance: Artist’s studio; Lillian Kiesler, Paris (c.1945-1980); Harold Diamond, New York (1980); Margo Leavin Gallery, Los Angeles (1980); John Berggruen Gallery, San Francisco (1980); Private collection; Private collection, Germany; Miriam Shiell Fine Art, Toronto (2011); Doreen and Alan Saskin, Toronto (2011) Exhibited: London, Crane Kalman Gallery, Hans Hofmann: A Selection of Paintings and Watercolours, 1990, no. 40
WILLEM DE KOONING Dutch / American (1904-1997) Untitled Painted circa 1960 Oil on paper 24 x 19 in / 61 x 48 cm Provenance: Dr Henry Vogel, New York (gift from the artist); Private collection, New York (by decent from the above)
A leading proponent of Abstract Expressionism, Willem de Kooning is considered to be one of the most innovative and influential artists of the twentieth century. This legacy is palpable in the present work, which crystalizes the artist’s gesture in energetic, intuitive lines. Our work was sourced from the family of Dr Henry Vogel, de Kooning’s psychiatrist and long-time trusted friend. Their relationship developed following de Kooning’s breakdown and relocation from New York to the Springs of East Hampton in the early 1960s. The light and landscape of East Hampton reminded de Kooning of his native Holland and wrought a profound influence on his work. Free from the distractions of city life and New York’s crowded spaces, De Kooning revised his approach to painting, moving towards open compositions and a lighter palette. The above work sets swathes of colour and energetic brushstrokes within a palpable open space. Paint is daubed, pulled and impressed upon the paper so that colour and light appear to shimmer across the surface.
Hans Hofmann is equally revered as a teacher and an artist.
HANS HOFMANN
His importance in shaping the development of Abstract
Untitled
A retrospective of De Kooning’s work was
Expressionism in New York cannot be overstated, and our
recently held at the Museum of Modern Art in
work dates from a key period in both Hofmann’s personal
New York. His work can be found in numerous
development and that of the movement in general. Hofmann
institutions worldwide, including the Stedelijk
was a German emigré who left Munich in 1932, initially for
Museum, Tate Modern, the National Gallery of
California before settling in New York. Hofmann brought with
Australia, the Metropolitan Museum of Art, New
him a profound understanding of the European avant-garde.
York, the Art Institute of Chicago, and the
In our work one can see both echoes of the Surrealists –
Smithsonian Institution, Washington DC.
Joan Miró, Hans Arp and André Mason in particular – and a
HANS HOFMANN
debate has raged as to the extent of Hofmann’s effect on
precedent in Pollock’s work of the late 1940s. Academic German (1880-1966)
Untitled
Pollock, but it was known that Pollock was a visitor to Hofmann’s studio as early as 1942. Pollock’s wife, Lee
Signed Painted circa 1942 Watercolor on paper 17 x 14 in / 43 x 35.5 cm
Krasner, was also a student of Hofmann’s in New York during the 1940s.
German (1880-1966)
Signed & dated 1945 Oil on panel 42.75 x 30.75 in / 108.5 x 78 cm This work is included in the catalogue raisonné of Hofmann’s paintings under no. P538 Provenance: Artist’s studio; Lillian Kiesler, Paris (c.1945-1980); Harold Diamond, New York (1980); Margo Leavin Gallery, Los Angeles (1980); John Berggruen Gallery, San Francisco (1980); Private collection; Private collection, Germany; Miriam Shiell Fine Art, Toronto (2011); Doreen and Alan Saskin, Toronto (2011) Exhibited: London, Crane Kalman Gallery, Hans Hofmann: A Selection of Paintings and Watercolours, 1990, no. 40
In 1966 Galerie Raymonde Cazenave in Paris staged an exhibition ‘Folmer - Rotopeintures / Rotocorps / Interdimensional / Giration’. This extraordinary exhibition brought together 34 works of art by Georges Folmer, President of the Groupe Mesure. What took the exhibition out of the ordinary was the fact that each exhibit, whether freestanding or wall works, had a number of moving parts.
In the early 1960s Folmer had sought to push the limits of painting: to animate geometric space by inserting movement into his works. Folmer was uniquely placed as an artist to achieve this, for as well as having the techniques of a painter, he had the eye of an architect as well as abilities of an engineer. The desire to amalgamate these GEORGES FOLMER
skills was one of the central tenets of the Groupe Mesure. As R V Gindertael wrote in his preface to
French (1895-1977)
the Cazenave exhibition, Folmer created “contemporary art
Above: Noël Signed Executed in 1962 Mixed media on canvas 39.5 x 32 in / 100 x 81 cm
of monumental character that is perfectly in tune with the boldest trends of a forward-looking architecture”.
This work is included in the catalogue raisonné under no. 756 Provenance: Estate of the artist Exhibited: Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illus. p. 91
Serge Lemoine, soon to become President of the Musée d’Orsay, wrote in 1990 in the preface to an exhibition of Folmer’s work at Galerie Mikaeloff: “As a result of his experiments with forms, surfaces, shapes, colours and their
Below: Roto-peinture Signed verso Executed in 1962-65 Oil on wood 10 x 10 in / 25 x 25 cm This work is included in the catalogue raisonné under no. 827 Provenance: Estate of the artist
combinations, the integral movement in the works allows him to resolve the GEORGES FOLMER
problems posed by the French (1895-1977)
Above Top: Composition Signed & dated 1963; signed ‘no. 4 Folmer’ verso Gouache on paper 19.5 x 14 in / 50 x 35 cm This work is included in the catalogue raisonné under no. 767 Provenance: Estate of the artist; Private collection, Switzerland Exhibited: Nancy, Musée des Beaux-Arts, Folmer et l’abstraction géométrique, 1993, no. 51, illustrated; Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illustrated p. 87 Above: Sans titre Signed ‘FOL’ Executed in 1954-55 Ink & gouache on paper 15 x 18.5 in / 38 x 47 cm This work is included in the catalogue raisonné under no. 644 Provenance: Estate of the artist;
production of a series of works ... his ‘rotopeintures’ with their explicit title are as
GEORGES FOLMER French (1895-1977) Above: Roto - peinture Executed in 1962 Gouache on wood 19 x 19.5 x 1.5 in / 49 x 49.5 x 3.5 cm This work is included in the catalogue raisonné under no. 815 Exhibited: Paris, Galerie Raymonde Cazenave, Georges Folmer, 1966, fig.2, illus Below Left: Maquette de roto-corps Executed in 1960-65 Acrylic on wood and plexiglass 10.5 x 3 in / 27 x 7 cm This work is included in the catalogue raisonné under no. 809 Provenance: Estate of the artist Exhibited: Paris, Galerie Raymonde Cazenave, 1966; Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illustrated p. 106
much paintings as
not only did Folmer produce only a relatively few kinetic
sculptures that are able
works of art, but each of them is unique, not just in form and
to present multiple
colour but (apart from a single series) each one is different in
aspects starting from
its fundamental structure and in the way that it moves. Some
the same basic
were produced as maquettes for larger works that were
structure.”
never made, some of the simpler series of Roto-Peintures such as the one illustrated on the facing page were intended
As a glance through
to be manufactured on a much larger scale. We are
Folmer’s Catalogue
priviledged to have been allowed to offer these rare and
Raisonné makes clear,
important works for sale from the estate of the artist.
In 1966 Galerie Raymonde Cazenave in Paris staged an exhibition ‘Folmer - Rotopeintures / Rotocorps / Interdimensional / Giration’. This extraordinary exhibition brought together 34 works of art by Georges Folmer, President of the Groupe Mesure. What took the exhibition out of the ordinary was the fact that each exhibit, whether freestanding or wall works, had a number of moving parts.
In the early 1960s Folmer had sought to push the limits of painting: to animate geometric space by inserting movement into his works. Folmer was uniquely placed as an artist to achieve this, for as well as having the techniques of a painter, he had the eye of an architect as well as abilities of an engineer. The desire to amalgamate these GEORGES FOLMER
skills was one of the central tenets of the Groupe Mesure. As R V Gindertael wrote in his preface to
French (1895-1977)
the Cazenave exhibition, Folmer created “contemporary art
Above: Noël Signed Executed in 1962 Mixed media on canvas 39.5 x 32 in / 100 x 81 cm
of monumental character that is perfectly in tune with the boldest trends of a forward-looking architecture”.
This work is included in the catalogue raisonné under no. 756 Provenance: Estate of the artist Exhibited: Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illus. p. 91
Serge Lemoine, soon to become President of the Musée d’Orsay, wrote in 1990 in the preface to an exhibition of Folmer’s work at Galerie Mikaeloff: “As a result of his experiments with forms, surfaces, shapes, colours and their
Below: Roto-peinture Signed verso Executed in 1962-65 Oil on wood 10 x 10 in / 25 x 25 cm This work is included in the catalogue raisonné under no. 827 Provenance: Estate of the artist
combinations, the integral movement in the works allows him to resolve the GEORGES FOLMER
problems posed by the French (1895-1977)
Above Top: Composition Signed & dated 1963; signed ‘no. 4 Folmer’ verso Gouache on paper 19.5 x 14 in / 50 x 35 cm This work is included in the catalogue raisonné under no. 767 Provenance: Estate of the artist; Private collection, Switzerland Exhibited: Nancy, Musée des Beaux-Arts, Folmer et l’abstraction géométrique, 1993, no. 51, illustrated; Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illustrated p. 87 Above: Sans titre Signed ‘FOL’ Executed in 1954-55 Ink & gouache on paper 15 x 18.5 in / 38 x 47 cm This work is included in the catalogue raisonné under no. 644 Provenance: Estate of the artist;
production of a series of works ... his ‘rotopeintures’ with their explicit title are as
GEORGES FOLMER French (1895-1977) Above: Roto - peinture Executed in 1962 Gouache on wood 19 x 19.5 x 1.5 in / 49 x 49.5 x 3.5 cm This work is included in the catalogue raisonné under no. 815 Exhibited: Paris, Galerie Raymonde Cazenave, Georges Folmer, 1966, fig.2, illus Below Left: Maquette de roto-corps Executed in 1960-65 Acrylic on wood and plexiglass 10.5 x 3 in / 27 x 7 cm This work is included in the catalogue raisonné under no. 809 Provenance: Estate of the artist Exhibited: Paris, Galerie Raymonde Cazenave, 1966; Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illustrated p. 106
much paintings as
not only did Folmer produce only a relatively few kinetic
sculptures that are able
works of art, but each of them is unique, not just in form and
to present multiple
colour but (apart from a single series) each one is different in
aspects starting from
its fundamental structure and in the way that it moves. Some
the same basic
were produced as maquettes for larger works that were
structure.”
never made, some of the simpler series of Roto-Peintures such as the one illustrated on the facing page were intended
As a glance through
to be manufactured on a much larger scale. We are
Folmer’s Catalogue
priviledged to have been allowed to offer these rare and
Raisonné makes clear,
important works for sale from the estate of the artist.
ANDY WARHOL American (1928-1987)
ANDY WARHOL American (1928 – 1987)
Portrait of Jock Soto
The Scream (After Munch)
Signed, dated 1987 & inscribed ‘Andy Warhol’ verso Acrylic & silkscreen ink on canvas 40 x 40 in / 101.5 x 101.5 cm
Executed in 1983 Bears Andy Warhol Art Authentication Board stamp verso Screenprint on Lenox board in a unique combination of colours 40 x 32 in / 101.5 x 81.5 cm
This work will be included in the forthcoming volume of the catalogue raisonné of Warhol’s work
This work is accompanied by a letter from the Andy Warhol Art Authentication Board and holds the identification number A185.995
Provenance: Jock Soto, New York (gifted by the artist); Private collection, USA (acquired from the above in 2015)
Provenance: Collection of Kristof Freiherr Rüdt von Collenberg, Amsterdam; Private collection, USA (1999)
Jock Soto was a
Literature: Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, IIIA.58
celebrated principal dancer of George Balanchine’s New York City Ballet. Soto was promoted to soloist in
Andy Warhol’s prints after
1984 and named
Edvard Munch were never
principal in 1985. During this time he danced principal roles in over 40 ballets, many of
and wanted to take photographs of them. Upon Warhol’s
which were created specifically for him. He retired from the
death, Soto and Watts retrieved their portraits from The
Company in 2005 and returned as an instructor to the
Factory and rode home with them on a bus.
published, and exist only in rare, unique colour variants. The series was commissioned by New York’s Galleri Bellman and reimagines
School of American Ballet.
Munch’s most celebrated works:
Jock Soto held this original silkscreen from 1987 to 2015. A Soto met Andy Warhol in 1985. Then 20 years old, Soto was
similarly sized silkscreen portrait derived from the same
instantly absorbed into the artist’s circle of intimates. Warhol
photograph rests in the collection of the Andy Warhol
was entranced by Heather Watts, the principal ballerina with
Museum in Pittsburgh, but lacks the halftone photographic
the New York City Ballet and Soto’s long-time ballet partner,
details this silkscreen possesses. TOM WESSELMANN American (1931-2004) My Black Belt Conceived in 1983; this version executed in 1990 Incised with signature and numbered ‘Wesselman A/P’ verso Painted steel 30 x 52.5 x 30.5 in / 76 x 133.5 x 77.5 cm This work is an artist’s proof from an edition of eight plus three artist’s proofs
The Brooch (Eva Mudocci), Madonna, Self-Portrait with Skeleton Arm, and his most
TOM
iconic image, The Scream. One of the most innovative and
new life in reproduction, one that is caught between the
influential artists of American Pop, and indeed in the history
icon’s formal qualities and the collective memory that
of twentieth-century art, Warhol’s use of mass imagery and
shrouds it.
reproductive technologies destabilised accepted notions of fine art and creativity. Appropriating popular culture’s most
Warhol’s interest in Munch extended beyond the ubiquity of
ubiquitous images, from Marilyn Monroe to the Campbell’s
his work. Munch was also a prolific printmaker, reproducing
Soup can, he fashioned a language of bold lines and synthetic
his paintings as lithographs. Like Warhol, he was acutely
colours that has in itself become iconic.
aware of the power of colour, using varying shades and
By the 1980’s famous artworks had become commodities,
his 1964 Self-Portrait, Warhol echoes the same frontal pose
combinations to shift the mood and impact of each print. In taking the form of posters, fridge magnets and all species of
and red hue of Munch’s Self-Portrait with Skeleton Arm,
museum souvenirs. Munch’s work, and The Scream in
asserting his affinity with an artist who observed the peculiar
particular, are amongst modern art’s most reproduced and
angst of modern life. Another example of Warhol’s The
recognisable images. Warhol’s silkscreen reimagines Munch’s
Scream can be found in the Museum of Modern Art, New
haunting image in characteristic brilliant colour. Munch’s
York. Works from this series were also exhibited in
coursing contorted lines, so central to the painting’s sense of
Munch/Warhol, which was held at New York’s Scandinavia
disruption and angst, take on a graphic quality in Warhol’s
House in 2013 and coincided with the publication of Patricia
work. As in all of Warhol’s silkscreens, the image takes on a
Berman’s ‘Munch/Warhol and the Multiple Image’.
ANDY WARHOL American (1928-1987)
ANDY WARHOL American (1928 – 1987)
Portrait of Jock Soto
The Scream (After Munch)
Signed, dated 1987 & inscribed ‘Andy Warhol’ verso Acrylic & silkscreen ink on canvas 40 x 40 in / 101.5 x 101.5 cm
Executed in 1983 Bears Andy Warhol Art Authentication Board stamp verso Screenprint on Lenox board in a unique combination of colours 40 x 32 in / 101.5 x 81.5 cm
This work will be included in the forthcoming volume of the catalogue raisonné of Warhol’s work
This work is accompanied by a letter from the Andy Warhol Art Authentication Board and holds the identification number A185.995
Provenance: Jock Soto, New York (gifted by the artist); Private collection, USA (acquired from the above in 2015)
Provenance: Collection of Kristof Freiherr Rüdt von Collenberg, Amsterdam; Private collection, USA (1999)
Jock Soto was a
Literature: Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, IIIA.58
celebrated principal dancer of George Balanchine’s New York City Ballet. Soto was promoted to soloist in
Andy Warhol’s prints after
1984 and named
Edvard Munch were never
principal in 1985. During this time he danced principal roles in over 40 ballets, many of
and wanted to take photographs of them. Upon Warhol’s
which were created specifically for him. He retired from the
death, Soto and Watts retrieved their portraits from The
Company in 2005 and returned as an instructor to the
Factory and rode home with them on a bus.
published, and exist only in rare, unique colour variants. The series was commissioned by New York’s Galleri Bellman and reimagines
School of American Ballet.
Munch’s most celebrated works:
Jock Soto held this original silkscreen from 1987 to 2015. A Soto met Andy Warhol in 1985. Then 20 years old, Soto was
similarly sized silkscreen portrait derived from the same
instantly absorbed into the artist’s circle of intimates. Warhol
photograph rests in the collection of the Andy Warhol
was entranced by Heather Watts, the principal ballerina with
Museum in Pittsburgh, but lacks the halftone photographic
the New York City Ballet and Soto’s long-time ballet partner,
details this silkscreen possesses. TOM WESSELMANN American (1931-2004) My Black Belt Conceived in 1983; this version executed in 1990 Incised with signature and numbered ‘Wesselman A/P’ verso Painted steel 30 x 52.5 x 30.5 in / 76 x 133.5 x 77.5 cm This work is an artist’s proof from an edition of eight plus three artist’s proofs
The Brooch (Eva Mudocci), Madonna, Self-Portrait with Skeleton Arm, and his most
TOM
iconic image, The Scream. One of the most innovative and
new life in reproduction, one that is caught between the
influential artists of American Pop, and indeed in the history
icon’s formal qualities and the collective memory that
of twentieth-century art, Warhol’s use of mass imagery and
shrouds it.
reproductive technologies destabilised accepted notions of fine art and creativity. Appropriating popular culture’s most
Warhol’s interest in Munch extended beyond the ubiquity of
ubiquitous images, from Marilyn Monroe to the Campbell’s
his work. Munch was also a prolific printmaker, reproducing
Soup can, he fashioned a language of bold lines and synthetic
his paintings as lithographs. Like Warhol, he was acutely
colours that has in itself become iconic.
aware of the power of colour, using varying shades and
By the 1980’s famous artworks had become commodities,
his 1964 Self-Portrait, Warhol echoes the same frontal pose
combinations to shift the mood and impact of each print. In taking the form of posters, fridge magnets and all species of
and red hue of Munch’s Self-Portrait with Skeleton Arm,
museum souvenirs. Munch’s work, and The Scream in
asserting his affinity with an artist who observed the peculiar
particular, are amongst modern art’s most reproduced and
angst of modern life. Another example of Warhol’s The
recognisable images. Warhol’s silkscreen reimagines Munch’s
Scream can be found in the Museum of Modern Art, New
haunting image in characteristic brilliant colour. Munch’s
York. Works from this series were also exhibited in
coursing contorted lines, so central to the painting’s sense of
Munch/Warhol, which was held at New York’s Scandinavia
disruption and angst, take on a graphic quality in Warhol’s
House in 2013 and coincided with the publication of Patricia
work. As in all of Warhol’s silkscreens, the image takes on a
Berman’s ‘Munch/Warhol and the Multiple Image’.
PAVEL TCHELITCHEW Russian (1898-1957)
HENRY MOORE British (1898-1986)
Décor de theatre
Madonna and Child Studies
Executed circa 1922 Gouache on card 15.75 x 21 in / 40 x 53 cm
Signed & dated 1943; inscribed ‘Top lighting’ Pen, India ink, brush, gray wash, coloured wax crayons & pencil on paper 7 x 7 in / 18 x 18 cm
Provenance: Estate of the artist; Richard Nathanson, London; Private collection, USA Exhibited: London, The Alpine Club, Pavel Tchelitchew: A Collection of Theatre Designs, c. 1919-1923 (arranged by Richard Nathanson), 13-22 December 1976, no. 13 Literature: Richard Nathanson, Pavel Tchelitchew: A Collection of Theatre Designs, c. 1919-1923, London, 1976, p. 14, no. 13
Executed circa 1922, the present work on paper is almost certainly a preparatory stage design for a production at Der
This work is included in vol. III of the catalogue raisonné of Moore’s drawings under no. AG 43.102 Provenance: Pierre Loeb Gallery, Paris; Lee Kolker, New York (circa 1950); Sale, Sotheby & Co., London, 16 December 1964, lot 127; Pita Kapnek, Johannesburg; Sale, Sotheby & Co., London, 13 December 1967, lot 185; Vanderwoude Tananbaum Gallery, New York; Private collection, USA (acquired from the above in January 1986)
Blaue Vogel (The Blue Bird), the Russian émigré cabaret in Charlottenburg. Thanks to Tchelitchew’s innovative designs Der Blaue Vogel quickly established itself as one of the most exciting cabaret’s in Berlin, featuring stunning sets and costumes that drew on many of the styles in vogue at the time: Futurism, Expressionism and Classicism. Henry Moore is arguably Britain’s most globally revered artist
of that drawing was the Mother & Child, one of two iconic
Born in Russia, Tchelitchew had been attracted to ballet and
of the 20th century. He was a remarkable draughtsman and
subjects by the artist (the other being the reclining figure).
theatre from an early age. A painter throughout his life, he
the market has witnessed extremely strong interest in his
The date of our drawing is key. The subject of the mother
was forced to flee his homeland as the Russian Revolution
graphic work of late. In June 2015 a drawing by Moore took
nurturing her child can be viewed as a response to the
took hold. Journeying first to Istanbul where he produced
over £2.1 million (including premium) at auction. The subject
suffering experienced during World War Two. What was
designs for the ballet, he arrived in Germany in 1921. Home
always a tender motif took on added poignancy at this time.
to hundreds of thousands of newly displaced Russians, other leading artists and intellectuals who passed through Berlin at
In Square Forms, we are presented with a drawing more
this time included Maxim Gorky, El Lissitzky, Boris Pasternak,
directly connected to the artist’s sculptural work, and we are
Naum Gabo, Anton Pevsner and Alexander Archipenko.
able to witness the fascinating thought processes at play during the compositional development. Moore used this and related drawings to develop the models for the Time Life Above: FRANCIS PICABIA French (1878-1953) Portrait de femme Signed Executed circa 1920 Watercolour with pen & ink on paper 20.5 x 17 in / 52 x 43 cm Provenance: Private collection (purchased from the artist in the 1930s and thence by descent); Sale, Sotheby’s, London, 25 October 1995, lot 42; Private collection, USA (purchased at the above sale)
Left: JEAN FRÉDÉRIC BAZILLE French (1841-1870) Portrait presumé de Camille des Hours Signed Drawn in 1864 Pencil on paper 8.5 x 5 in / 21.5 x 12.75 cm Literature: Michel Schulman, Frédéric Bazille, Supplément au catalogue raisonné, Turin, 2006, p.24, illustrated Provenance: Waterhouse & Dodd, London (2009); Private collection, UK
Screen in London, 1951-52. The screen was a rare example of Moore’s sculpture being formally integrated into an architectural design. The Time and Life building is situated on New Bond Street in London’s Mayfair. HENRY MOORE
British (1898-1986)
Square Forms - Eleven studies for sculptures Executed in 1936 Signed & dated (incorrectly) ‘34 Studio inventory number 546 C circled verso Pencil, crayon & wash on tissue mounted on paper 22 x 15 in / 56 x 38 cm This work is included in vol. II of the catalogue raisonné of Moore’s drawings under no. HMF 1244
PAVEL TCHELITCHEW Russian (1898-1957)
HENRY MOORE British (1898-1986)
Décor de theatre
Madonna and Child Studies
Executed circa 1922 Gouache on card 15.75 x 21 in / 40 x 53 cm
Signed & dated 1943; inscribed ‘Top lighting’ Pen, India ink, brush, gray wash, coloured wax crayons & pencil on paper 7 x 7 in / 18 x 18 cm
Provenance: Estate of the artist; Richard Nathanson, London; Private collection, USA Exhibited: London, The Alpine Club, Pavel Tchelitchew: A Collection of Theatre Designs, c. 1919-1923 (arranged by Richard Nathanson), 13-22 December 1976, no. 13 Literature: Richard Nathanson, Pavel Tchelitchew: A Collection of Theatre Designs, c. 1919-1923, London, 1976, p. 14, no. 13
Executed circa 1922, the present work on paper is almost certainly a preparatory stage design for a production at Der
This work is included in vol. III of the catalogue raisonné of Moore’s drawings under no. AG 43.102 Provenance: Pierre Loeb Gallery, Paris; Lee Kolker, New York (circa 1950); Sale, Sotheby & Co., London, 16 December 1964, lot 127; Pita Kapnek, Johannesburg; Sale, Sotheby & Co., London, 13 December 1967, lot 185; Vanderwoude Tananbaum Gallery, New York; Private collection, USA (acquired from the above in January 1986)
Blaue Vogel (The Blue Bird), the Russian émigré cabaret in Charlottenburg. Thanks to Tchelitchew’s innovative designs Der Blaue Vogel quickly established itself as one of the most exciting cabaret’s in Berlin, featuring stunning sets and costumes that drew on many of the styles in vogue at the time: Futurism, Expressionism and Classicism. Henry Moore is arguably Britain’s most globally revered artist
of that drawing was the Mother & Child, one of two iconic
Born in Russia, Tchelitchew had been attracted to ballet and
of the 20th century. He was a remarkable draughtsman and
subjects by the artist (the other being the reclining figure).
theatre from an early age. A painter throughout his life, he
the market has witnessed extremely strong interest in his
The date of our drawing is key. The subject of the mother
was forced to flee his homeland as the Russian Revolution
graphic work of late. In June 2015 a drawing by Moore took
nurturing her child can be viewed as a response to the
took hold. Journeying first to Istanbul where he produced
over £2.1 million (including premium) at auction. The subject
suffering experienced during World War Two. What was
designs for the ballet, he arrived in Germany in 1921. Home
always a tender motif took on added poignancy at this time.
to hundreds of thousands of newly displaced Russians, other leading artists and intellectuals who passed through Berlin at
In Square Forms, we are presented with a drawing more
this time included Maxim Gorky, El Lissitzky, Boris Pasternak,
directly connected to the artist’s sculptural work, and we are
Naum Gabo, Anton Pevsner and Alexander Archipenko.
able to witness the fascinating thought processes at play during the compositional development. Moore used this and related drawings to develop the models for the Time Life Above: FRANCIS PICABIA French (1878-1953) Portrait de femme Signed Executed circa 1920 Watercolour with pen & ink on paper 20.5 x 17 in / 52 x 43 cm Provenance: Private collection (purchased from the artist in the 1930s and thence by descent); Sale, Sotheby’s, London, 25 October 1995, lot 42; Private collection, USA (purchased at the above sale)
Left: JEAN FRÉDÉRIC BAZILLE French (1841-1870) Portrait presumé de Camille des Hours Signed Drawn in 1864 Pencil on paper 8.5 x 5 in / 21.5 x 12.75 cm Literature: Michel Schulman, Frédéric Bazille, Supplément au catalogue raisonné, Turin, 2006, p.24, illustrated Provenance: Waterhouse & Dodd, London (2009); Private collection, UK
Screen in London, 1951-52. The screen was a rare example of Moore’s sculpture being formally integrated into an architectural design. The Time and Life building is situated on New Bond Street in London’s Mayfair. HENRY MOORE
British (1898-1986)
Square Forms - Eleven studies for sculptures Executed in 1936 Signed & dated (incorrectly) ‘34 Studio inventory number 546 C circled verso Pencil, crayon & wash on tissue mounted on paper 22 x 15 in / 56 x 38 cm This work is included in vol. II of the catalogue raisonné of Moore’s drawings under no. HMF 1244
ALLAN D’ARCANGELO American (1930-1998) Landscape Signed, titled, inscribed & dated 1967 on reverse Acrylic on canvas 38 x 42 in / 96.5 x 106.5 cm Provenance: Private collection, New Jersey; By descent from the above to the previous owner
By the second half of the 1960s, D’Arcangelo began to emphasize the road sign’s formal elements in compositions that became increasingly abstract. Herein lies what Nicolas Calas described as the metaphysical aspect of his work. Calas compares D’Arcangelo to Giorgio De Chirico, who placed ancient images in a context where they lost their meaning. These paintings take contemporary images and turn them into abstracted symbols by Allan D’Arcangelo has long been recognised as a leading
removing their context. Faced with symbols that are both
figure among the first generation of American Pop Artists.
recognisable and unintelligible, the viewer’s mind is free to
These artists reacted to the relatively new and utterly
wander unobstructed by fact.
pervasive visual landscape of mid-twentieth century America – one defined by endlessly reproduced images from popular
This surreal quality is a departure from the more traditional
and consumer culture. While his early Pop work engaged
symbolism of the road as an expression of freedom and
with mass culture, by 1962 D’Arcangelo turned his attention
adventure. The brilliance of D’Arcangelo’s work lies in its
to the open road, an equally ubiquitous aspect of the post-
ability to hold so many layers in an image that is utterly
war American experience. Developed throughout the 1960s,
minimal. D’Arcangelo’s work can be found in numerous public
these landscape paintings are amongst Pop Art’s most iconic
collections, including the Metropolitan Museum of Art, the
images.
MOMA in New York, the Guggenheim Museum, the Centre Georges Pompidou, and many others.
Our canvas is a major painting from a period when Frost was experimenting with colour juxtapositions using pure abstract
D’Arcangelo’s landscapes follow the development
forms. Using combinations of colours set against contrasting
of the inter-state highway network in 1956, which
backgrounds, Frost uses colour to create pictorial space, the
replaced winding state roads with endless
effect heightened or lessened by subtle changes in tone. This
concrete ribbons. Beginning with his 1962 Full
process marks a transition away from the abstracted
Moon and subsequent US Highway #1 series,
landscape forms of previous years and a pointer towards his
D’Arcangelo captured the American landscape
later, more reductive, work.
SIR TERRY FROST British (1915-2003) Untitled Signed & dated 1971 on reverse Oil on canvas 72 x 96 in / 183 x 244 cm
Frost’s first solo exhibition was held at the Leicester Galleries, London in 1952. In 1960 he held his first solo show
through the standardised language of road signs and markers that became one of its defining
Sir Terry Frost remains to this day one of Britain’s best loved
in New York at the Barbara Schaefer Gallery and during this
features.
artists, famous both for his pioneering abstract art and his
time he met some of the leading American Abstract
ALLAN D’ARCANGELO American (1930-1998) Aspen, Colo (A-14) Signed, titled & dated 1967 on reverse Acrylic on canvas 45 x 49.5 in / 114.5 x 125.5 cm Provenance: Private collection, Virginia
gregarious character. His initial tuition in fine art came from
Expressionists. He was awarded the John Moore’s Prize in
the great fortune of meeting Adrian Heath in the most
1965, elected to the Royal Academy in 1992 and knighted in
unfortunate of circumstances - both were prisoners of war in
1998. A retrospective of his work was held at the Royal
Bavaria during the early 1940s.
Academy in 2000.
Despite his early work being figurative, by 1949 Frost had
A major exhibition marking the artist’s centenary was held at
turned entirely to abstraction, a reflection perhaps of Heath’s
the Newlyn Art Gallery / The Exchange, opening on the 10th
early influence and the predominant style of work being
October last year. The exhibition was a collaboration
produced in his adopted home of St Ives where he was for a
between the two venues together with Tate St Ives and Leeds
time Barbara Hepworth’s assistant.
City Art Gallery.
ALLAN D’ARCANGELO American (1930-1998) Landscape Signed, titled, inscribed & dated 1967 on reverse Acrylic on canvas 38 x 42 in / 96.5 x 106.5 cm Provenance: Private collection, New Jersey; By descent from the above to the previous owner
By the second half of the 1960s, D’Arcangelo began to emphasize the road sign’s formal elements in compositions that became increasingly abstract. Herein lies what Nicolas Calas described as the metaphysical aspect of his work. Calas compares D’Arcangelo to Giorgio De Chirico, who placed ancient images in a context where they lost their meaning. These paintings take contemporary images and turn them into abstracted symbols by Allan D’Arcangelo has long been recognised as a leading
removing their context. Faced with symbols that are both
figure among the first generation of American Pop Artists.
recognisable and unintelligible, the viewer’s mind is free to
These artists reacted to the relatively new and utterly
wander unobstructed by fact.
pervasive visual landscape of mid-twentieth century America – one defined by endlessly reproduced images from popular
This surreal quality is a departure from the more traditional
and consumer culture. While his early Pop work engaged
symbolism of the road as an expression of freedom and
with mass culture, by 1962 D’Arcangelo turned his attention
adventure. The brilliance of D’Arcangelo’s work lies in its
to the open road, an equally ubiquitous aspect of the post-
ability to hold so many layers in an image that is utterly
war American experience. Developed throughout the 1960s,
minimal. D’Arcangelo’s work can be found in numerous public
these landscape paintings are amongst Pop Art’s most iconic
collections, including the Metropolitan Museum of Art, the
images.
MOMA in New York, the Guggenheim Museum, the Centre Georges Pompidou, and many others.
Our canvas is a major painting from a period when Frost was experimenting with colour juxtapositions using pure abstract
D’Arcangelo’s landscapes follow the development
forms. Using combinations of colours set against contrasting
of the inter-state highway network in 1956, which
backgrounds, Frost uses colour to create pictorial space, the
replaced winding state roads with endless
effect heightened or lessened by subtle changes in tone. This
concrete ribbons. Beginning with his 1962 Full
process marks a transition away from the abstracted
Moon and subsequent US Highway #1 series,
landscape forms of previous years and a pointer towards his
D’Arcangelo captured the American landscape
later, more reductive, work.
SIR TERRY FROST British (1915-2003) Untitled Signed & dated 1971 on reverse Oil on canvas 72 x 96 in / 183 x 244 cm
Frost’s first solo exhibition was held at the Leicester Galleries, London in 1952. In 1960 he held his first solo show
through the standardised language of road signs and markers that became one of its defining
Sir Terry Frost remains to this day one of Britain’s best loved
in New York at the Barbara Schaefer Gallery and during this
features.
artists, famous both for his pioneering abstract art and his
time he met some of the leading American Abstract
ALLAN D’ARCANGELO American (1930-1998) Aspen, Colo (A-14) Signed, titled & dated 1967 on reverse Acrylic on canvas 45 x 49.5 in / 114.5 x 125.5 cm Provenance: Private collection, Virginia
gregarious character. His initial tuition in fine art came from
Expressionists. He was awarded the John Moore’s Prize in
the great fortune of meeting Adrian Heath in the most
1965, elected to the Royal Academy in 1992 and knighted in
unfortunate of circumstances - both were prisoners of war in
1998. A retrospective of his work was held at the Royal
Bavaria during the early 1940s.
Academy in 2000.
Despite his early work being figurative, by 1949 Frost had
A major exhibition marking the artist’s centenary was held at
turned entirely to abstraction, a reflection perhaps of Heath’s
the Newlyn Art Gallery / The Exchange, opening on the 10th
early influence and the predominant style of work being
October last year. The exhibition was a collaboration
produced in his adopted home of St Ives where he was for a
between the two venues together with Tate St Ives and Leeds
time Barbara Hepworth’s assistant.
City Art Gallery.
DOROTHY MEAD
British (1928-1975)
Left: Seated figure Painted in 1967 Oil on canvas 36 x 24 in / 91 x 61 cm Lower right: Life Class Signed & dated 1973 Etching (from an edition of 20) 13 x 9 in / 33 x 23 cm Below: Seated figure Dated April 1963 Gouache on paper 30 x 22 in / 76 x 56 cm
By the mid 1960s Mead was an influential presence at Goldsmith’s College. Despite her deep connection to Bomberg’s teaching, her own style had developed considerably. This did not enable her to escape the stigma that Bomberg’s association brought at the time, but her students (including Waterhouse & Dodd artist, Michael Taylor) remember her as both fiercely supportive of her artists and a passionate advocate of figurative painting at a time when most art schools were moving away from such a practice. The works displayed on this page (all from the estate) show three depictions of the figure; firstly in rather controlled oils, then in more expressive gouache and finally in the reductive style of an etching. All adhere to Bomberg’s doctrine of expressing a presence rather than describing a form, yet all are unmistakably the work of an individual artist, unswayed by contemporary art fashion and practice. Waterhouse & Dodd have represented the Dorothy Mead estate for two years. In that time we have held a major retrospective exhibition and included a significant number of her works as part of the exhibition ‘Borough: David Bomberg and his students at Borough Polytechnic.’ A review of the latter show by Digby Warde-Aldam of
Paul Feiler is one of the most highly regarded figures
Apollo Magazine notes:
associated with the ‘St Ives Colony’ of artists who
“Best of the lot here is
congregated in the town during and immediately after World
Dorothy Mead, whose
War Two. When one considers that his peers included
tragically premature death
Barbara Hepworth, Ben Nicholson, Patrick Heron and Peter
cut short a career of
Lanyon, one can see that the benchmark for such recognition
staggering promise. Her
is rather high. Feiler’s work during the 1950s saw an
dazzling figures and
evolution from landscape towards complete abstraction. His
landscapes from the 1960s
work from the early 1960s is arguably his most sought after.
might seem at odds with the work of the British
More monochromatic than many of his peers, Feiler relied on
avant-garde of the time,
great surface texture and compositional balance rather than
but while they have a firm
bombastic use of colour. By the mid-1960s Feiler’s work had
grounding in the modernity
become less gestural and more geometric. Our work is from
of Bomberg’s vintage, they
the high water mark of his career, and is one of the best
shimmer with pop art’s
examples currently available. His long career was aptly
energy and irreverence.”
celebrated with a retrospective at Tate St Ives in 2005.
PAUL FEILER British (1915-2013) Pierced Vertical Signed, titled & dated 1963/4 verso Oil on canvas 30 x 32 in / 76 x 81 cm Provenance: Private collection, UK
DOROTHY MEAD
British (1928-1975)
Left: Seated figure Painted in 1967 Oil on canvas 36 x 24 in / 91 x 61 cm Lower right: Life Class Signed & dated 1973 Etching (from an edition of 20) 13 x 9 in / 33 x 23 cm Below: Seated figure Dated April 1963 Gouache on paper 30 x 22 in / 76 x 56 cm
By the mid 1960s Mead was an influential presence at Goldsmith’s College. Despite her deep connection to Bomberg’s teaching, her own style had developed considerably. This did not enable her to escape the stigma that Bomberg’s association brought at the time, but her students (including Waterhouse & Dodd artist, Michael Taylor) remember her as both fiercely supportive of her artists and a passionate advocate of figurative painting at a time when most art schools were moving away from such a practice. The works displayed on this page (all from the estate) show three depictions of the figure; firstly in rather controlled oils, then in more expressive gouache and finally in the reductive style of an etching. All adhere to Bomberg’s doctrine of expressing a presence rather than describing a form, yet all are unmistakably the work of an individual artist, unswayed by contemporary art fashion and practice. Waterhouse & Dodd have represented the Dorothy Mead estate for two years. In that time we have held a major retrospective exhibition and included a significant number of her works as part of the exhibition ‘Borough: David Bomberg and his students at Borough Polytechnic.’ A review of the latter show by Digby Warde-Aldam of
Paul Feiler is one of the most highly regarded figures
Apollo Magazine notes:
associated with the ‘St Ives Colony’ of artists who
“Best of the lot here is
congregated in the town during and immediately after World
Dorothy Mead, whose
War Two. When one considers that his peers included
tragically premature death
Barbara Hepworth, Ben Nicholson, Patrick Heron and Peter
cut short a career of
Lanyon, one can see that the benchmark for such recognition
staggering promise. Her
is rather high. Feiler’s work during the 1950s saw an
dazzling figures and
evolution from landscape towards complete abstraction. His
landscapes from the 1960s
work from the early 1960s is arguably his most sought after.
might seem at odds with the work of the British
More monochromatic than many of his peers, Feiler relied on
avant-garde of the time,
great surface texture and compositional balance rather than
but while they have a firm
bombastic use of colour. By the mid-1960s Feiler’s work had
grounding in the modernity
become less gestural and more geometric. Our work is from
of Bomberg’s vintage, they
the high water mark of his career, and is one of the best
shimmer with pop art’s
examples currently available. His long career was aptly
energy and irreverence.”
celebrated with a retrospective at Tate St Ives in 2005.
PAUL FEILER British (1915-2013) Pierced Vertical Signed, titled & dated 1963/4 verso Oil on canvas 30 x 32 in / 76 x 81 cm Provenance: Private collection, UK
PETER LOWE British (born 1938) Left: Constructed perspex relief Signed & dated 1966 verso Perspex 40 x 28 x 3.5 in / 102 x 72 x 9 cm Right: Rotation of 2 layers Signed, titled & dated 1968 verso Perspex mounted on board 20 x 20 x 4 in / 50 x 50 x 10 cm Below: White relief 2 Signed & dated circa 1975 verso Painted wood 32 x 32 x 5 in / 81 x 81 x 13 cm Provenance: All artworks direct from the artist
feels that the use of simple guiding principles creates an ‘art for all’ which is the very antithesis of the rather exclusive concept of individual genius as proposed by the Abstract Expressionists. Lowe’s art Peter Lowe was born in Hackney, East London in 1938. His very early work was in a realist manner, but his experiences of studying under Kenneth and Mary Martin at Goldsmith’s College in London had a powerful effect on his development and work.
PETER LOWE British (Born 1938) Triangles in dodecagon
is a rejection of grand and overblown statements, and a return to simplicity and purity. He maintains that an understanding of the systems employed in constructing his work is not necessary to the enjoyment of the piece, although he writes and talks
Signed, titled & dated 2000 verso Oil on canvas 40 x 40 in / 101.5 x 101.5 cm
very eloquently on the subject.
From the early 1960s Lowe rejected figurative art, instead
He is also at pains to stress that without the
producing geometric abstracts in a variety of different media.
As Alistair Grieve has noted: “Scale is important. Though
decisions made by the artist as to the form and the
His compositions were always derived from rational
Lowe has made large, ground based works, most of his reliefs
system, the object would not exist as a work of art.
mathematic systems, invariably very simple yet extremely
are of a modest, domestic scale. They are reassuring objects
Mathematics and geometry are merely tools with
elegant. Lowe made use of modern materials such as Perspex
to live with, beautifully made, precisely ordered, accessible
which to construct an artwork, employed in the
and constantly intriguing.”
same way a portraitist might refer to a sitter to
wall based reliefs – the style for which he is perhaps best
compose an image. Lowe’s work can be found in
known - but he has also produced free standing sculpture,
Despite the use of mathematics and geometry, Lowe rejects
many public collections, not least Tate Britain, The
paintings, drawings and prints.
the notion of his work being cold and detached. In fact, he
Victoria & Albert Museum and The Arts Council.
and well as more traditional media. He has produced many
PETER LOWE British (born 1938) Left: Constructed perspex relief Signed & dated 1966 verso Perspex 40 x 28 x 3.5 in / 102 x 72 x 9 cm Right: Rotation of 2 layers Signed, titled & dated 1968 verso Perspex mounted on board 20 x 20 x 4 in / 50 x 50 x 10 cm Below: White relief 2 Signed & dated circa 1975 verso Painted wood 32 x 32 x 5 in / 81 x 81 x 13 cm Provenance: All artworks direct from the artist
feels that the use of simple guiding principles creates an ‘art for all’ which is the very antithesis of the rather exclusive concept of individual genius as proposed by the Abstract Expressionists. Lowe’s art Peter Lowe was born in Hackney, East London in 1938. His very early work was in a realist manner, but his experiences of studying under Kenneth and Mary Martin at Goldsmith’s College in London had a powerful effect on his development and work.
PETER LOWE British (Born 1938) Triangles in dodecagon
is a rejection of grand and overblown statements, and a return to simplicity and purity. He maintains that an understanding of the systems employed in constructing his work is not necessary to the enjoyment of the piece, although he writes and talks
Signed, titled & dated 2000 verso Oil on canvas 40 x 40 in / 101.5 x 101.5 cm
very eloquently on the subject.
From the early 1960s Lowe rejected figurative art, instead
He is also at pains to stress that without the
producing geometric abstracts in a variety of different media.
As Alistair Grieve has noted: “Scale is important. Though
decisions made by the artist as to the form and the
His compositions were always derived from rational
Lowe has made large, ground based works, most of his reliefs
system, the object would not exist as a work of art.
mathematic systems, invariably very simple yet extremely
are of a modest, domestic scale. They are reassuring objects
Mathematics and geometry are merely tools with
elegant. Lowe made use of modern materials such as Perspex
to live with, beautifully made, precisely ordered, accessible
which to construct an artwork, employed in the
and constantly intriguing.”
same way a portraitist might refer to a sitter to
wall based reliefs – the style for which he is perhaps best
compose an image. Lowe’s work can be found in
known - but he has also produced free standing sculpture,
Despite the use of mathematics and geometry, Lowe rejects
many public collections, not least Tate Britain, The
paintings, drawings and prints.
the notion of his work being cold and detached. In fact, he
Victoria & Albert Museum and The Arts Council.
and well as more traditional media. He has produced many
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