R.Green - XXVI E BIENNALE DES ANTIQUAIRES

33 New Bond Street, London W1S 2RS Telephone: +44 (0)20 7499 4738 Fax: +44 (0)20 7495 3318 Email: paintings@richard-green.com

XXVIth BIENNALE DES ANTIQUAIRES

A selection of recent acquisitions for sale to be exhibited at: Stand N05 Grand Palais Avenue Winston Churchill 75008 Paris

Contact: JONATHAN GREEN Mobile: +44 (0)7768 818 182 jonathangreen@richard-green.com MATTHEW GREEN Telephone: +44 (0)20 7499 4738 matthewgreen@richard-green.com Preview Thursday 13th September: 18:00 to 23:00 Friday 14th September to Sunday 23rd September Daily from 11:00 to 20:00 Late-night opening until 23:00 on 18th, 20th and 22nd Closure at 16:00 on Sunday 23rd September

Following the fair the paintings will be on exhibition at our London galleries

www.richard-green.com

Detail of Monet, cat. no. 15

F O R E WO RD

We are delighted to present this group of recent acquisitions at the XXVI Biennale des Antiquaires.

Richard Green has a forty-year association with this most elegant of fairs, held in the Grand Palais built for the Universal Exposition of 1900. Our 2012 selection of paintings, spanning from the Old Masters to the twenty-rst century, reects the position of Paris as a rich repository of European art and the vitality of French painting down the ages. Almost every artist represented in this catalogue can be explored further in the city’s superb museums.

Among our selection are pioneering ower still lifes by the German painter Georg Flegel and the Dutchman Ambrosius Bosschaert, inspired by seventeenth-century fascination with the natural world.

Gaspar van Wittel’s View of the Bacino di San Marco stands at the beginning of a tradition of eighteenthcentury Venetian veduta painting; Wittel, originally from the Netherlands, had important French patrons. Beyond the Biennale, Paris is currently staging exhibitions of Venetian vedutisti, at the Musée Jacquemart-André and the Musée Maillol. Young girl feeding poultry by François Boucher, the supreme French rococo master, is matched outside the fair by examples of his work from the Louvre to Versailles.

Jean Béraud’s Boulevard Poissonière depicts the chic modernity of Baron Haussmann’s Paris, its spirit still so evident in the city today. Paris of course is synonymous with the Impressionists, represented on our stand by Pissarro, Monet and Caillebotte. Pablo Picasso, who fed off the energy of twentiethcentury Paris, is present in a 1938 Nature morte à la pomme and a 1965 Tête de jeune homme. Our selection concludes with Abstraktes Bild [763-5] by Gerhard Richter, a contemporary painter of towering international reputation who is currently enjoying a retrospective at the Centre Georges Pompidou.

As always, the researches of distinguished scholars have contributed to our knowledge and enjoyment of the painters shown in this catalogue. I would like to thank Sylvie Brame, Claire Durand-Ruel Snollaerts, Didier Imbert, Alastair Laing, Cyrille Martin, Fred Meijer, Claude Picasso, Dr Joachim Pissarro, Dr Kurt Wettengl and the Wildenstein Institute.

RICHARD GREEN Telephone: +44 (0)20 7493 3939 richardgreen@richard-green.com

C ONT ENT S

OLD MASTERS 1 GEORG FLEGEL

A still life of irises, dianthus and other owers in a silver-gilt vase A still life of dianthus in a glass vase

IMPRESSIONISTS AND POST-IMPRESSIONISTS 12 EUGÈNE BOUDIN

Scène de plage à Trouville 13 CAMILLE PISSARRO

La gardeuse d’oies 2 AMBROSIUS BOSSCHAERT THE ELDER

A still life of roses, a tulip, anemones and other owers in a glass vase 3 JAN VAN GOYEN

A winter landscape with skaters A summer landscape with a ferry

14 CAMILLE PISSARRO

Le marché Saint-Honoré 15 CL AUDE MONET

Bateaux devant les falaises de Pourville 16 GUSTAVE CAILLEBOT TE

4 PHILIPS WOUWERMAN

Argenteuil, fête foraine

Hunters resting at an inn 17 HENRI MARTIN 5 CASPAR NETSCHER

Barques à Collioure

A boy blowing soap bubbles 18 HENRI LE SIDANER 6 GASPAR VAN WIT TEL

Les hortensias, Montreuil-Bellay

A view of the Bacino di San Marco, Venice 19 GUSTAVE LOISEAU 7 FRANÇOIS BOUCHER

Aux bords de l’Eure en été

A young girl feeding poultry 8 JAN FRANS VAN DAEL

A still life of roses, a tulip and other owers in a vase on a stone ledge

MODERN AND CONTEMPORARY PAINTINGS 20 PABLO PICASSO

Nature morte à la pomme et au pichet bleu NINTEENTH CENTURY EUROPEAN PAINTINGS

21 JOSEF ALBERS

Study for Homage to the Square: ‘Wet and Dry’ 9 JEAN-BAPTISTE-CAMILLE COROT

Les étangs de Ville d’Avray

22 GERHARD RICHTER

Abstraktes Bild [763-5] 10 HENRI FANTIN-LATOUR

Vase de roses, pêches et raisins 11 JEAN BÉRAUD

Boulevard Poissonière

Opposite: detail of Bosschaert, cat. no. 2

Detail of Wouwermans, cat. no. 4

OLD MASTER PAINTINGS

1 GEORG FLEGEL Olmutz (Olomoue), Moravia 1566 – 1638 Frankfurt-am-Main

Still life of irises, dianthus, narcissi, fritillaries, hyacinths and other ďƒ&#x;owers in a silver-gilt vase, with fruit, nuts, peas and a spider on a tabletop

Still life of dianthus in a glass vase, with peaches, grapes, insects and a snail on a tabletop

A pair, oil on copper: 9 ½ x 6 ¾ in / 24 x 17 cm Frame size: 15 8 x 13  in / 40.3 x 33.7 cm Painted in the 1630s PROVENANCE:

Private collection, Europe Sotheby’s London, 11th December 1974, lot 2 (erroneously as Ambrosius Brueghel) H Terry Engell, London Anne Wertheimer Collection, Paris Private collection, Germany EXHIBITED:

Münster, Westfälisches Landesmuseum für Kunst and Kulturgeschichte Münster/Baden-Baden, Staatliche Kunsthalle, Stilleben in Europa, 1979-0, exh. cat. by Ingvar Bergström et. al., p.559, no.169 and 170, illus.; illus. in colour p.325 LITERATURE:

Ingvar Bergström, ‘Georg Flegel als Meister des Blumenstücks’, Festscrift für Paul Pieper, vol.55, Westphalia 1977, pp.135–146; pp.141ff., illus. p.146, pl.9a and 9b Alberta Veca in Bergamo, Galleria Lorenzelli, Parádeisos.

Dall’universo del ore, 192, pl.166 and 161 Sam Segal, ‘Georg Flegel as ower painter’, Tableau 7, no.3, 194, pp.73–6, pp.76ff.

Hana Seifertová, Georg Flegel, Prague 1991, p.6, illus. in colour p.65 Kurt Wettengl, Georg Flegel 1566–1638 Stilleben, rev. edn. Stuttgart 1999, p.301, no.61 and 62; no.61 illus. p.175.

Anne-Dore Ketelsen-Volkhardt, Georg Flegel 1566–1638, Munich and Berlin 2003, pp.267–70, no.63 and 62; pp.26–9, pl. and 7

Georg Flegel was one of the most outstanding and innovative still life painters working in Germany in the early seventeenth century.

The son of a shoemaker, Flegel was born in Olmutz, Moravia, but moved to Vienna after 150 and became the assistant of Lucas van Valckenborch I (after 1535–1597), supplying the still life elements in Valckenborch’s paintings of the Seasons, kitchen scenes and portraits. In the early 1590s he followed his master to Frankfurt, a wealthy city of intellectual vitality, religious tolerance, and an important centre for art dealing and publishing. The Renaissance had ushered in an intense curiosity about the natural world and the accurate depiction of it. Flegel was inuenced by the watercolours of Albrecht Dürer and botanical and zoological illustrations by Joris Hofnagel and Pieter van der Borcht, which were being published in Frankfurt. From around 1600 to 1630 Flegel produced over a hundred watercolours of fruit, owers and animals; elements from these studies appear in his oil paintings.

This jewel-like pair of paintings on copper dates from the 1630s, when Flegel had reached a peak of sophistication in his ower still lifes. The dense composition of the bouquets, pushing right out to the edge of the panels, is typical of this period. The balance between opulence and delicacy is particularly apparent in the Still life of owers in a silver-gilt vase, where the blooms are arranged in a Mannerist vase with mythical gures and swags of fruit and leaves chased in high relief. The reds of an anemone and an opium poppy pulsate at the centre of the bouquet, with paler owers – yellow iris, narcissus, nasturtium and globeower; white dianthus, wood anemone and hyacinth; pink fritillary and opium poppy – used around them as foils. The dark background emphasises the structural intricacy of the owers and the drama as they twist in space. The lower half of the painting celebrates the fruits of the earth, as solid and rounded as the luxurious vase. Their delicate textures, created by God, are every bit as marvellous as the silvergilt vase which expresses Man’s virtuosity. The breathtaking beauty of the owers and fruit is rendered all the more poignant by the sense of their transitoriness: the spider carries a reminder of decay, as does the sprig of rosemary for remembrance. A seventeenth century observer would understand the moral: the things of the earth are eeting; only God endures.

The three opium poppies at the centre of the painting (pale pink, red and white, and deep purple) reect the advances in horticulture which were such a feature of the early seventeenth century. They had been developed from single opium owers, which had been used medicinally for centuries. Other highly prized owers recently introduced from the Mediterranean are the deep red anemone (centre right) and the adjacent narcissi with several blooms on one stem. In both these instances Flegel has also placed a related European wild ower in his vase: a wood anemone and a daffodil (both at the bottom of the bouquet). At centre left is a yellow nasturtium, Tropaeolum minus, a recent import from the ‘new-foundland’ of America. Known as Indian cress, it was used as a salad herb. Several of the owers in this bouquet, including the fritillary to the left, with a lifting petal, and the pink and white Siberian iris (Iris siberica) at the top of the painting, derive from watercolours in the Kupferstichkabinett of the Staatliche Museen, Berlin1.

Still life of dianthus celebrates the magnicent variety and structural complexity within a genus of owers, all ultimately derived from the single-owered pink, a native European wild ower. During the sixteenth and seventeenth centuries horticulturalists bred red and white, then double, owers. Around the beginning of the seventeenth century bicoloured owers were produced and Georg Flegel was one of the rst artists to paint them. He delights in their linear striations and curving petals, their feathery vitality balanced by the rounded shapes of the fruit, the snail shell and the pure, simple glass vase with its exquisitely observed reections. A similar snail appears in a small oil on copper in the Historisches Museum,

Frankfurt2, while the glass vase is replicated in a still life of circa 1630 with two carnations, cherries and another glass vase (private collection)3.

Dianthus, or carnations, had a complex symbolism. In earlier religious paintings they appear with the Virgin and Child, because of the association of ‘carnation’ with the Incarnation of Christ. A symbol of love and delity, they are often held by sitters in German Renaissance portraits to denote betrothal.

Botanical information based on a report by Celia Fisher.

1 Inv. no.KdZ 7507 and KdZ 7504; see Kurt Wettengl, Georg Flegel 1566–1638 Stilleben, rev. edn.

Stuttgart 1999, p.184, no.68 and p.183, no.67, both illus in colour. Of the 110 watercolours by Flegel in Berlin, thirty-one were destroyed in 1943–4.

2 Inv. no.Pr 694. See Wettengl op. cit., pp.206–7, no.101, illus. in colour.

3 Wettengl p.68, g. 41 and p.233, g.98.

2 AMBROSIUS BOSSCHAERT THE ELDER Antwerp 1573 – 1621 The Hague

A still life of white and red roses, a tulip, poppy anemones, a hyacinth, a pansy, lily-of-the-valley, a fritillary, columbine, marsh marigold, forget-me-not and rosemary in an ornamented glass vase on a stone ledge, with a Muricanthus shell, a bluebottle and a Red Admiral buttery (Vanessa atalanta) Signed with monogram and dated lower right: .AB. (in ligature) 1621 Oil on copper: 13 ½ x 9 ¼ in / 34.2 x 23.4 cm Frame size: 19 x 15 in / 48.2 x 38.1 cm PROVENANCE:

By descent in a French private collection since at least the early nineteenth century

Hidden away in a French private collection for over two hundred years, this painting is an important addition to the known oeuvre of Ambrosius Bosschaert the Elder, a pioneer in the specialist genre of ower painting which developed from the early seventeenth century. Born in Antwerp, Bosschaert spent much of his career in Middelburg, where his artist father had moved the family around 1587 to escape the persecution of Protestants. Middelburg, a prosperous trading centre and the capital of Zeeland, was renowned for its botanical gardens. There was a ferment of interest in exotic plants, such as irises and tulips, imported from the Balkans, the Near and Far East, and the New World, which formed the basis for the Dutch horticultural industry.

From 1593 to 1613, Ambrosius was a member, and at times dean, of the Middelburg Guild of St Luke, where he was recorded both as a painter and art dealer. Around 1604, he married the elder sister of Balthasar van der Ast, who would become his foster-son and most successful pupil. By 1614 Bosschaert had left Middelburg. Subsequently, he was briey recorded in Amsterdam, then in Bergen-opZoom, in 1615, in Utrecht, from 1615 to 1619, and in Breda, from 1619 to 1621. He died in The Hague, when delivering a painting he had executed for a member of Prince Maurits’s household. In Utrecht his two sons Ambrosius the Younger and Abraham, and his brother-in-law, Balthasar van der Ast, continued to be active. His eldest surviving son, Johannes, worked in Haarlem and Dordrecht where he exerted considerable inuence, even though he died very young. Through the still lifes of his (step)sons as well as due to his own work, Ambrosius Bosschaert the Elder’s inuence on ower and fruit painting can be felt distinctly until at least the mid-seventeenth century.

Bosschaert’s rst dated work is of 1605, although he appears to have begun to specialize in painting owers several years before.

He frequently, as here, painted on copper, a more costly, stable, and smooth support than panel, which allowed him to achieve an exquisite gloss and delicacy of nish. This painting dates from 1621, when Bosschaert was living in Breda. It reects the condence of his mature work, when he was able to orchestrate a substantial number of ower species – well over a dozen – on a relatively small support into a vibrant composition with spatial depth, movement and tonal harmony, without sacricing the individual details and charms of each ower.

Characteristically, Bosschaert grouped together owers which bloom at different times of the year, from the tulip and fritillary of spring to the roses of June. All, to the seventeenth century mind, celebrate God’s Creation. The composition is dominated by the yellow iris and red tulip, which provide a magnicent burst of energy at the top of the picture. Strongly-lit, rounded owers – the roses, marsh marigold and poppy anemones – echo the shape of the vase. In between, more delicate, feathery plants such as the sprig of rosemary and forget-me-nots, mostly in cool tones of blue and green, bind the composition together and rest the eye. Like most seventeenth-century painters of oral still lifes, Bosschaert composed his bouquets with the aid of individual studies of owers and objects. As a result he could freely repeat and rearrange motifs in various paintings. In this example, too, twins of owers and other motifs from earlier works can be found, but Bosschaert appears to have put extra effort into this painting in order to present various blooms that were unseen in his earlier work. The elaborate mould-blown glass vase, embossed with gilded lion heads biting small gold rings, can be found in only one other of Bosschaert’s still lifes, a oral bouquet from 1617, now in the Hallwyl Museum in Stockholm, inv. no.K.A. 19. That painting includes the same dark red poppy anemone in the same spot, with a similar Atalanta buttery alighted on it, and a pansy below. The anemone can also

be found in Bosschaert’s bouquet from 1619 in the Rijksmuseum, Amsterdam, inv. no.SK A 1522, where it is paired with the pink rose from the present composition in reverse. Also in reverse, the red and white tulip can be found in several of Bosschaert’s oral still lifes from 1618 to 1621, among them the impressive work from 1618 in the Statens Museum in Copenhagen, inv. no.KMSsp212, as well as in a painting from 1619, previously with P de Boer1, Amsterdam.

That painting, too, includes the combination of the poppy anemone, buttery and pansy. The shell at lower right is highly similar to the one in the same position in what is arguably Bosschaert’s most famous ower painting, the one with a view of a landscape behind the bouquet in the Mauritshuis, The Hague, inv. no.679, which also seems to include the same dark blue hyacinth, the grape hyacinth and the fritillary found in the present bouquet.

This painting, previously known only through early copies2, has close connections with a Bosschaert masterpiece also signed and dated 1621, Bouquet of owers in a glass vase, in the National Gallery of Art, Washington DC, inv. no.1996.35.1. It shares with the Washington painting the group of owers placed above the rim of the vase, among them the central white rose and marsh marigold, the left-hand columbine and pink rose, and curving sprig of lilyof-the-valley. Some of the owers in the group have been moved, such as the cyclamen, or differ in detail, such as the white rose bud, which has opened up further here. In the Washington painting the positions of the tulip and iris which crown the composition have been reversed and they have been mirrored, while the Red Admiral buttery is perched on the tabletop, replacing the shell. Although Bosschaert reuses the same ower motifs, taken from studies kept in his studio, he always varies the details. Bosschaert’s clients will not have worried or cared that the artist repeated motifs or even parts of his compositions. After his still lifes had left the studio and were dispersed, they would only very rarely be confronted with each other. Moreover, Bosschaert’s extremely high standard for the execution of his paintings ensured that each of them was, and particularly in a meticulous state of preservation as this example still is, a highly desirable jewel of art.

1 LJ Bol, The Bosschaert Dynasty, 1960, no.43.

2 See LJ Bol, ibid, no.49, as School of Bosschaert; another in the Rijksmuseum Twenthe Enschede, oil on panel 13 ½ x 8 ½ in / 34 x 22 cm, from the van Heel Collection. A third copy is oil on copper 13 ¼ x 9 ¼ in / 33.7 x 23.5 cm, Sotheby’s London, 6th December 1972, lot 8; Paris, Galerie d’Art Saint Honoré, 17th Century Netherlandish Paintings, 1985; Amsterdam, Salomon Lilian, 1995, p.8 (erroneously said to be on a silver support). Several of these have, probably erroneously, been attributed to Ambrosius Bosschaert the Younger, as early works.

By the time of his death in The Hague in 1621, Bosschaert was one of the most renowned ower painters of his day. The Washington bouquet has a trompe l’oeil tablet at the base of the picture, probably a near-contemporary addition, with an inscription that can equally apply to the present work: ‘C’est l’Angelicq main du gra[n] d Peindre de Flore AMBROSE, renommé jusqu’au Riuage Mort’ (This is the angelic hand of the great painter of owers, Ambrosius, renowned even to the banks of death).

Fred G Meijer

3 JAN VAN GOYEN Leiden 1596 – 1656 The Hague

A winter landscape with skaters

A summer landscape with a ferry by a village

A winter landscape with skaters Signed and dated lower left: I . V. . GOIEN . / 1623 .

Oil on panel, circular: diameter 10 in / 25.4 cm Frame size: 14 3 x 14 3 in / 7.5 x 7.5 cm PROVENANCE:

Van Diemen & Co., Berlin and Amsterdam, 1925 Collection of Mrs DD Fontheim, London; Christie’s London, 10th April 1981, lot 21 Private collection, Germany

Landscapes of the Seasons derive from medieval religious manuscripts such as Books of Hours. Pieter Bruegel the Elder (c.1525/0– 1569) brought the theme of Winter to prominence with his brilliantly innovative oil on panel Hunters in the snow, 1565 (Kunsthistorisches Museum, Vienna), part of a large-scale series of the Seasons. The period from the mid-sixteenth to the mid-nineteenth century can be termed a ‘Little Ice Age’ in northern Europe, with especially hard winters in the rst quarter of the seventeenth century. The genre of winter landscapes was further developed by the deaf-mute Kampen artist Hendrick Avercamp (1585–164), who from the rst decade of the seventeenth century produced hauntingly atmospheric views of the pleasures and perils of winter.

LITERATURE:

Hans-Ulrich Beck, Jan van Goyen 1596–1656, vol. II, Amsterdam 197, p.7, no.10, illus. (size incorrectly given as 1 ¾ in / 5 cm)

A summer landscape with a ferry by a village Signed and dated lower centre: I . V. GOIEN / 1623 Panel, circular: diameter 10 in / 25.4 cm Frame size: 14 3 x 14 3 in / 7.5 x 7.5 cm PROVENANCE:

The Cooper-Muller English Trust, London; Christie’s London, 25th March 1977, lot 42 (£26,000 to Brod) Brod Gallery, London Private collection, Germany LITERATURE:

Hans-Ulrich Beck, Jan van Goyen 1596–1656, vol. III, Doornspijk 1987, p.150, no.10A, illus.

A PAIR

This pair of roundels by Jan van Goyen is dated 162. The crisp, calligraphic painting style and vivid use of local colour show the inuence of his master Esaias van de Velde (1587–160), with whom he studied in Haarlem from 1617 to 1618. Van de Velde was among the rst Dutch artists to abandon the high, panoramic format of Mannerist landscape in favour of a more intimate, naturalistic style. Van Goyen continues this tradition: we are right down among the townsfolk, partaking of their winter pleasures, which include skating and sledding. Touches of blue and red in their clothing move the eye across the landscape; the distant town walls and windmill are depicted in a more silvery palette, conjuring up the frosty atmosphere, with a blush of pink across the snow-laden clouds indicating that the business of the day has nished and folk are enjoying their leisure at the end of the short winter afternoon.

Van Goyen creates his gures by drawing with the brush tip, so that a network of tiny lines evokes with dancing deftness details of costume, class, physiognomy and even personality. The roundel format gives a pleasing intensity to the composition, the conjuring up of a complete little world in the space of a very few inches.

Van Goyen was particularly fond of painting pairs of winter and summer landscapes in the 1620s, when he signed his name in the format I . V. GOIEN, which appears on both of these roundels. Rich greens, reds, browns and ochres dominate the Summer landscape, which shows the trees in full leaf and a languorous stillness on the river. A ferry boat has just arrived, bearing foot passengers and even a man on horseback, which was far from unusual; the Dutch were highly efficient at transporting their citizens round their watery nation. A church spire at the centre of the composition leads the eye into the distance. As with the Winter landscape, land and sky are carefully balanced; here soft white summer clouds sail serenely over the lively village below.

4 PHILIPS WOUWERMAN 1619 – Haarlem – 1668

Hunters resting at an inn

Signed lower right: PHILS. W (PHILS in ligature) Oil on panel: 14 x 16 in / 35.6 x 40.6 cm Frame size: 21 x 23 in / 53.3 x 58.4 cm Painted in the second half of the 1650s PROVENANCE:

Comte E de Pourtalès, Paris; acquired with the rest of his collection by Theodore Emmerson and John Smith, London; sale Phillips, London, 19th May 1826, lot 81 (£141 15s. to Norton)1; Peter Norton, London P&D Colnaghi, London Acquired by Charles Sedelmeyer, Paris, on 27th January 1896; sold to Robert von Mendelssohn, Berlin on 12th March 1896; by descent to the E and Franz von Mendelssohn Trust Sotheby Parke Bernet, New York, 13th February 1958, lot 12 Morris I Kaplan, Chicago Sotheby’s London, 12th June 1968, lot 109, bt. Burus Christie’s London, 26th November 1976, lot 41 Richard Green Gallery, London, 1976 Private collection, Europe EXHIBITED:

Berlin, Palais Redern, Austellung von Werken Alter Kunst aus dem Privatbesitz von Mitgliedern des Kaiser Friedrich-Museum-Vereins, 1906, p.41, no.157 LITERATURE:

Charles Sedelmeyer, Illustrated Catalogue of the Third Series of 100 Paintings by Old Masters, Paris 1896, no.50, illus.

Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, vol. II, p.452, no.647 Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, London 1909, vol. II, p.457, no.647 Birgit Schumacher, Philips Wouwerman: the Horse Painter of the Golden Age, Doornspijk 2006, vol. I, pp.250–1, no.A201; vol. II, g. 189

Philips Wouwerman, who spent most of his career in Haarlem, specialised in Italianate landscapes with horses and gures, riding schools, hunts and battle scenes, as well as some religious and mythological subjects. He enjoyed considerable acclaim and wealth during his lifetime. Wouwerman’s works were avidly sought after by aristocratic collectors in the eighteenth and nineteenth centuries, their fame further disseminated through high-quality prints. Birgit Schumacher dates this painting to the second half of the 1650s, when Wouwerman was at the height of his fame. In that decade his gure groups become more rened and his palette takes on a silvery tonality, in contrast to the warm brown tones of the previous decade.

Hunters resting at an inn depicts a group of riders taking refreshment after a hard day in the saddle, their spoils – a buck and a doe – slung over the central grey horse, whose anks and neck catch the slanting afternoon light. Hunting was the preserve of the gentry and these cavaliers are elegantly dressed, with jaunty hats and fur-edged coats. A pretty countrywoman holding a baby hands a rider a agon of wine. Wouwerman arranges his frieze of gures with great care, creating a lively outline with a curving hunting horn and tossing horse’s head, a ripple of movement that leads the eye across the landscape to the pointing horseman on the right.

He gestures at the hazy, mountainous landscape of the homeward journey. The whole painting is bathed in atmosphere, with low-hung clouds tearing off to reveal the brilliant blue sky which sets the whole tone for the painting. The gures are depicted with tiny brushstrokes of extreme delicacy, so that the whole work has an air of great renement.

The elegance and idealisation of this hunt is underscored by its being set, not in the at countryside round Haarlem, but in a landscape reminiscent of the Roman Campagna. The seventeenth century Dutch had a fascination with Italy and countless artists, including painters of Italianate landscape such as Jan Both, spent time there. It has never been proved that Wouwerman travelled to southern Europe, but the grace of his painting shows that he subscribed to the courtly Italian ideal.

1 Lugt no.11181; see Getty Provenance Index.

5 CASPAR NETSCHER Heidelberg circa 1639 – 1684 The Hague

A boy blowing soap bubbles

Signed and dated lower left: CA Netscher. Ft. / 1679 Oil on panel: 11 ¼ x 9 in / 28.5 x 23 cm Frame size: 20 x 18 in / 50.8 x 45.7 cm

bubbles, the intricacies of the child’s sleeve and the dense, rich weave of the table carpet. The boy’s face, with its intense blue gaze, has real personality.

PROVENANCE:

Blowing bubbles was a favourite theme in seventeenth century Dutch child portraits, evoking both the innocent joys of youth and the fragility of life; Netscher also treated the subject in Two boys blowing bubbles, 1670 (National Gallery, London)1. The Roman proverb homo bulla est (man is a bubble) was reiterated by Erasmus in his inuential Adagia (1572). The child points with his pipe to a bubble that oats away towards a heartrendingly blue sky, past the statue of a dancing satyr that stands in the shadows. The Bacchic theme is continued in a relief on the parapet on which the child leans: three putti drag a goat by its horns. The classical sculptures seem to hint of the vanities of the adult world which the child has not yet encountered. Netscher’s highly-educated audience would have recognised the satyr as a treasure from the Palazzo Borghese, etched by Jan de Bisschop as plate 1 of his Signorum Veterum Icones in 16722.

Jan Kleijnenberg Collection, Leiden; Kleinenbergh [sic] sale, 19th July 1841 and ff., lot 178 (1,270 orins to Landry) Baron Arthur de Rothschild (1851–1903); sale M Baron de X [de Rothschild], Paris, 15th May 1931, lot 31, illus.

(FFr.18,500) sale Comtesse de M et. al. (ex-collection Mme H), Paris, 20th March 1953, lot 12, illus.

LITERATURE:

J Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, vol 9, Supplement, London 1842, p.539, no.5 (as Portrait of an interesting youth; wrongly described as 10 x 8 in, on canvas) C Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol 5, London 1913, p.171, no.64 ME Wieseman, Caspar Netscher and Late Seventeenth-Century Dutch Painting, Doornspijk 2002, p.294, no.184 (as location unknown)

Trained by Gerard ter Borch in Deventer, Caspar Netscher settled in The Hague in 1662, specialising in high-life genre scenes. After circa 1667 he concentrated on small-scale portraits, often with an allegorical element which appealed to the courtly clientèle of The Hague. By the end of the decade he was the most sought-after portrait painter in the city.

A boy blowing soap bubbles is a genre piece that may well also be a portrait. Its exquisite delicacy of nish reects Netscher’s training with ter Borch, as well as the inuence of Gerrit Dou (1613–1675), most famous of the Leiden jnschilders, whose highly detailed genre paintings commanded enormous prices. Netscher, however, balances extreme detail with painterly uidity and an interest in textures, evident in the virtuoso treatment of the reections on the

Netscher’s exquisite, glamorous work was avidly collected in the eighteenth and nineteenth centuries; Louis XV acquired The singing lesson, for example, in 1741. The present painting belonged to Baron Arthur de Rothschild (1851–1903), son of Nathaniel de Rothschild (1812–1870) of the French branch of the banking family.

Baron Arthur was a prominent philatelist and keen yachtsman who supported the America’s Cup. He bequeathed to the Louvre ten of his nest Old Masters, including works by Jacob van Ruisdael and Jean-Baptiste Greuze.

1 A composition very similar to the present Boy blowing soap bubbles (in a Munich private collection c.1954) is recorded by Wieseman as a studio variant: Wieseman op. cit., p.329, no.B 31).

2 See for example British Museum, Department of Prints and Drawings, inv. no.1850.0810.654.

6 GASPAR VAN WIT TEL called GASPARE VANVITELLI Amersfoort circa 1652/4 – 1736 Rome

A view of the Bacino di San Marco, Venice, looking west towards the mouth of the Grand Canal

Oil on canvas: 20 ¾ x 42  in / 52.7 x 107 cm Frame size: 30 x 51  in / 76.2 x 130.8 cm Painted circa 1705 PROVENANCE:

Possibly the Dukes of Medinaceli, inv. no.202 Private collection, Yorkshire, since at least the nineteenth century Richard Green, London, 1979; from whom bought by a private collector, Argentina; by descent LITERATURE:

Possibly Inventario General de Todos los trastos y Vienes Muebles Pertenecientes a la Casa del Exmo. Sr. Marques Duque de Medinaceli, mi Señor [manuscript in the archives of the Duques de Medinaceli, Seville], 1711, no.202, ‘Ziudad de Venecia Mirada desde el mar chica numo. 251.1.100 rs’ Possibly V Lleó Cañal, ‘The art collection of the ninth Duke of Medinaceli’, Burlington Magazine, vol.CXXXI, February 1989, no.1031, p.115, no.202 G Briganti, eds. L Laureati and L Trezzani, Gaspar van Wittel, Milan 1996, p.244, no.299

Born in Amersfoort circa 1652, Gaspar van Wittel arrived in Rome (possibly via Venice) around 1675, joining the cheerful association of expatriot Dutch artists known as the Schildersbent. He was based in Rome for the rest of his life, becoming highly successful for views that combine a Northern precision of execution with sparkling light and a sense of the bustling, modern life of the city. Italianising his name to Vanvitelli, he numbered among his patrons the highest Roman aristocracy, including the Colonnas, for whom he painted a series of works still on view at Palazzo Colonna.

In 1694–96 Vanvitelli visited Bologna, Florence and Venice, where according to his biographer Pascoli he ‘drew the rarest views and everywhere painted on commission various small paintings’. He stayed in Venice probably from early 1695 to late 1696; he was back in Rome by December, when the Colonnas paid him for a View of the Molo, Piazzetta and Palazzo Ducale and a View of the Bacino di San Marco (both private collection) which is similar to the

present Bacino1. Five preparatory drawings of Venice survive in the Biblioteca Nazionale, Rome, but none of the Bacino. Vanvitelli’s earliest dated view of the city is a painting of The Molo, the Piazzetta and the Palazzo Ducale, dated 1697, now in the Prado, Madrid, which predates by seven years the earliest known Venetian view

by Luca Carlevarijs2. Vanvitelli’s views both of Venice and Rome have a pioneering quality that sees him looking at the cities with the freshness of a foreigner’s eye at the dawn of the eighteenth century.

The present view of The Bacino di San Marco encompasses many of the quintessential buildings that came to dene the city in the later eighteenth century view painting of Canaletto and Guardi. It is also an ambitious, complex panorama, extending from the Giudecca at far left nearly to the Piazzetta, and looking straight down the canal of the Giudecca and the Grand Canal.

At the far right, behind the large galley, is the long brick façade of

the public granaries, with the sh market in front hidden by the vessel. The granaries were demolished in 1808 to make way for the Giardino Reale. Just left of centre, moulded by the soft light, are the baroque curves of Santa Maria della Salute, Baldassare Longhena’s masterpiece, begun in 1631 in thanksgiving for the delivery of Venice from the plague, and completed in 1687, not many years before this painting was made. In front of the Salute is the Dogana (customs house), designed by Giuseppe Benoni in 1677.

It is surmounted by Bernardo Falcone’s bronze statues of Atlantes supporting a golden globe, on which perches ckle Fortune holding a sail: a tting image for the maritime Republic of Venice. To the right of the Salute are the buildings of the Abbazia di San Gregorio.

At the far left of Vanvitelli’s painting, enveloped in sunset haze and seen just beyond the masts of more ships, is Andrea Palladio’s church of the Redentore on the Giudecca, begun in 1577. On the opposite side of the Giudecca canal, small craft are moored along the Fondamenta delle Zattere.

Vanvitelli made several other versions of this view, all showing slight differences, particularly in the shipping. Two are dated: one 1710 (private collection, Florence) and the other 1721 (see G Briganti, Gaspar van Wittel, rev. edn. ed. L Laureati and L Trezzani, Milan 1996, pp.244–5, no.298–303). A previously unpublished version of this view was with Richard Green in 1999 (The Bacino di San Marco, Venice, looking west toward the mouth of the Grand Canal, signed, canvas 22  x 43 in / 56.8 x 109.2 cm; private collection, UK).

1 See London, Robilant and Voena, Vanvitelli, 2008, text by Laura Laureati, pp.78–81, no.18 and 19, illus. in colour.

2 See G Briganti, Gaspar van Wittel, rev. edn. ed. L Laureati and L Trezzani, Milan 1996, p.241, no.287.

7 FRANÇOIS BOUCHER 1703 – Paris – 1770

A young girl feeding poultry

Signed and dated lower centre: FBoucher 1769 Oil on canvas: 24 ¾ x 20 in / 80 x 64. 5 cm Frame size: 33  x 28  in / 84.5 x 72.4 cm PROVENANCE:

Sale on the premises of the collection of the late Monsieur Panchet, nos.5 and 319 rue des Fossés-Montmartre, 12th October 1802, lot 4 (Vue d’une Basse-Cour, où une jeune lle jette du grain à des Poulets; 31 francs to Jacques-Nicholas Brunot)1 Jacques-Nicolas Brunot Lord Hillingdon, London M Krikor A Bergamali M Jean Chaquiriand David M Koetser, 1939 AF Mondschein, New York, 1940 The Hallsborough Gallery, London, circa 1942 – circa 1954 Christie’s London, 8th December 1972, lot 93, illus. (26,000 gns to Julian) Private collection, Germany LITERATURE:

The Connoisseur, August 1954, illus. in colour on the cover Alexander Ananoff and Daniel Wildenstein, François Boucher, Lausanne and Paris 1976, vol. II, p.296, no.672, g. 1723 Alexander Ananoff and Daniel Wildenstein, L’opera completa di Boucher, Milan 1980, p.142, no.710

with the productions of the Opéra Comique, for which Boucher designed sets. In this charming painting of 1769, the young peasant girl feeds her chickens with the graceful gesture of a dancer. She wears colourful country-girl’s clothing which swirls and eddies with the uid brushwork and rich impasto of Boucher’s later manner. The girl’s youthfulness is echoed in the energy of the landscape which embowers her and the clouds which spiral above the pristine, sunlit farmhouse and dovecote. This idealised view of the wholesomeness and innocence of rural life is in the spirit of the Hameau at Versailles where Marie-Antoinette and her ladies played at the lives of shepherdesses.

A man of astonishing energy, Boucher produced large-scale decorative schemes, etchings, exquisite drawings, tapestry cartoons and stage sets for most of his career. A young girl feeding poultry is a ne example of the smaller-scale cabinet pictures much in demand from aristocratic and high-bourgeois collectors. It is rst recorded in the 1802 estate sale of Monsieur Panchet and might even been acquired directly from the artist’s studio. Alastair Laing notes that the subject may also have served as an addition to the Enfants de Boucher for the Gobelins tapestry works, to be woven as a chair-back or re-screen.

In the opinion of Edmond de Goncourt, François Boucher was ‘one of those men who signify the taste of a century, who express it, personify it and embody it’. It is impossible to imagine the era of Louis XV without Boucher’s mythologies, playful putti or delicate pastoral landscapes, or see Madame de Pompadour except through Boucher’s eyes.

Most of Boucher’s Salon exhibits of the 1760s were landscapes and pastorals; taste was moving away from ‘decadent’ mythological works as the tide of neoclassicism owed in. Boucher was a keen collector of Dutch and Flemish landscapes and had visited the Netherlands in 1766 with his friend and patron, the nancier Randon de Boisset. His own pastorals, however, evoke a specically French, lighthearted picturesque which had much in common

1 Lugt no.6502. Annotated copy in the Hermitage, St Petersburg. See Getty Provenance Index Databases.

8 JAN FRANS VAN DAEL Antwerp 1764 – 1840 Paris

A still life of roses, a tulip, an iris, morning glory, apple blossom, harebells, auriculas and narcissi in a vase on a stone ledge, with a bird’s nest Signed and dated lower left: Van dael / 1820 Oil on canvas: 16 x 12 ¾ in / 40.5 x 32.5 cm Frame size: 24  x 21 in / 62.2 x 53.3 in PROVENANCE:

MEH Collection, France; Hôtel Drouot, 9th March 1951, lot 53, illus.

Private Collection, France Richard Green, London, 2000 Private collection, USA

Jan Frans van Dael was one of the most highly regarded painters of still lifes of owers and fruit in Paris during the late eighteenth and early nineteenth centuries. He moved to Paris from Antwerp at the age of twenty-two, after studying architectural draughtsmanship at the Antwerp Academy. In the French capital, however, he established himself as an artist and received important commissions for decorative paintings, among others at the castles of Saint Cloud, Bellevue and Chantilly. From the 1790s he established himself as a painter of still lifes of owers and fruit, encouraged by the leading painter of this genre, Gerard van Spaendonck (1746–1822). In 1793 van Dael was given a studio in the Louvre. He exhibited paintings at the annual Paris Salons and received many medals and distinctions over the years, in France and Belgium, as well as Holland. He also presided over a studio at the Sorbonne University, where he trained several pupils, including Christiaan van Pol, Elise Bruyère and Adèle Riché. After his death in March 1840, van Dael was buried at the Père Lachaise cemetery, next to van Spaendonck.

This delicate painting is among the more restrained of van Dael’s compositions, depicting spring and early summer owers with a light palette to give a delightful impression of freshness. The presence of the bird’s nest on the ledge, its clutch of pale blue eggs resting against a superbly painted, feathered lining, further emphasises the theme of spring. Van Dael lights the bouquet fairly evenly and softly, emphasising his mastery of structure and textures. He has a preference for rounded forms: the heavy-headed roses, auriculas, morning glory and daisies echo the ovals of

the eggs and the bird’s nest. The auriculas, roses and showy iris were very fashionable in 1820. Among van Dael’s patrons was the Empress Joséphine, creator of the famed rose garden at Malmaison.

Like his mentor Gerard van Spaendonck, van Dael preferred light backgrounds and his palette is bright but never strident. In this painting, the tones are predominantly cool: clear blue for the iris and morning glory, light green for the rose leaves, offset by the pale pink and the lemony yellow of the roses and narcissi. Flowers and leaves are studded with dewdrops, as if just picked and artlessly placed in the vase in homage to the glories of spring. Van Dael’s output is relatively small, reecting a perfectionist nature that strives to attain an exquisite balance of colour, texture, composition and light.

Detail of Corot, cat. no. 9

NINE TEENTH CENTURY EUROPE AN PAINTINGS

9 JEAN-BAPTISTE-CAMILLE COROT Paris 1796 – 1875 Ville d’Avray

Les étangs de Ville d’Avray

Signed lower left: COROT .

Canvas: 20 ½ x 31  in / 52 x 81 cm Frame size: 31  x 43 in / 80 x 109.2 cm Painted circa 1865–70 PROVENANCE:

Etienne-Edmond Martin, Baron de Beurnonville (1825–1906); his sale, Hôtel Drouot, Paris, 29th April 1880, lot 2 (FFr. 9,200 to Lange) M Lange Private collection, USA EXHIBITED:

Paris, Galerie Schmit, Jean-Baptiste-Camille Corot dans les collections privées, 24th April–9th June 1996, no.36 LITERATURE:

Alfred Robaut, L’Oeuvre de Corot: catalogue raisonné et illustré, Paris 1905, vol. III, pp.174–5, no.1714, illus.

‘Beauty in art consists of a truthfulness in the impression we have received from an aspect of nature...the real is one part of art; the sentiment completes it’, Corot declared in 1856. Just as Boudin was revered by the Impressionists for his experiments in capturing coastal light and atmosphere, so Corot was regarded by them as the supreme exponent of naturalistic, plein-air landscape painting.

Corot spent from 1825 to 1828 in Italy, returning there in 1834 and 1843. He followed the precept of his teacher Achille-Etna Michallon to make oil studies out of doors, directly from the motif. Returning to France, Corot travelled during the summer, making direct, delicate oil sketches, which were then used as the inspiration for larger Salon pieces, often with a Classical, narrative element.

Ville d’Avray, near Sèvres, was an inspiration throughout Corot’s career: the painter and collector Moreau-Nelaton noted that ‘Providence created Ville-d’Avray for Corot, and Corot for Villed’Avray’. His father, a prosperous milliner, bought a handsome eighteenth century villa there in 1817, the same year that Corot began painting classes at the Académie Suisse in Paris. His

third-oor room looked down on l’étang neuf. Corot’s favourite view, however, was the villas seen from across the pond through a lattice of feathery branches, giving them a timeless air. In Les étangs de Ville d’Avray two countrywomen gather mushrooms or perhaps herbs in a sack. The leaves are painted with shimmering dabs of paint which give the sense that the branches are in motion, while touches of red and blue in the foreground evoke nodding wildowers. It was this allusive freedom of brushwork which opened out such possibilities to Corot’s Impressionist followers.

Alfred Robaut dates this painting circa 1865–70; it can be compared to a Ville d’Avray landscape of the same date in the Metropolitan Museum of Art, New York, inv. no.87.15.141. Corot inherited the villa after his father’s death and loved to immerse himself in the familiar scene of gentle, wooded hills, ponds and meandering streams.

His restrained palette of soft blue, green, grey and violet recalls the coolly poetic tonalities of the later works of Claude, such as The enchanted castle, 1664 (National Gallery, London). Although Corot’s paintings are grounded in plein-air observation, he seeks in his mature works to transform Ville d’Avray, the paradise of his youth, into a timeless Arcadian world. The present composition, with its generalized groups of distant villas and smokily soft reections, echoes those of Claude. Looking at this pure and beautiful landscape, it is scarcely credible that the booming industrial metropolis of nineteenth century Paris was only ten miles away.

This work was formerly in the collection of Etienne-Edmond Martin, Baron de Beurnonville (1825–1906). He amassed an important group of over a thousand paintings, drawings and sculptures, dispersed in sales between 1872 and 1906. It included works by Rembrandt, Hals, Chardin, Greuze, La Tour, Drouais and Delacroix.

10 HENRI FANTIN-L ATOUR Grenoble 1836 – 1904 Buré

Vase de roses, pêches et raisins

Signed and dated upper left: Fantin 94 Oil on canvas: 23  x 20 ½ in / 59.8 x 52.1 cm Frame size: 31 x 28 in / 78.7 x 71.1 cm PROVENANCE:

Mrs Edwin Edwards (c.1833–1907), London CHT Hawkins; Christie’s London, 2nd November 1936, lot 100, bt. Tooth Arthur Tooth & Sons, London Lockett Thomson, Barbizon House, London Chester Beatty, London, 1937 The Lefevre Gallery (Alex Reid and Lefevre Ltd), London, 1977; from whom purchased by Mr and Mrs Elbridge H Stuart, El Paso, Texas; by descent to Elisabeth Stuart Nelson, Los Angeles; by descent in an American private collection EXHIBITED:

London, Royal Academy of Arts, The One Hundred and Twenty-Sixth Exhibition of the Royal Academy of Arts, May–August 1894, no.261 (Roses) LITERATURE:

Madame Fantin-Latour, Catalogue de l’oeuvre complet de FantinLatour, Paris 1911, p.164, no.1549 (Roses) To be included in the forthcoming Catalogue de l’oeuvre de FantinLatour Peintures et Pastels being prepared by Galerie Brame & Lorenceau

Henri Fantin-Latour was renowned for his still lifes of owers, which he painted from the 1860s until his death in 1904. Calm and contemplative, they expressed his shy and retiring nature. Although he was on good terms with the Impressionist painters, Fantin’s approach to art was fundamentally different from them. He once remarked that he had ‘a horror of movement, of animated scenes, and the difficulty of painting in the open air with sun and shade’1.

Fantin-Latour painted his owers in the studio, usually against a simple piece of grey cloth or cardboard, which emphasised the delicate balance of his compositions.

From the latter part of the nineteenth century Fantin was especially celebrated for his paintings of roses, often gathering them from the garden created by his wife, the painter Victoria Dubourg, at Buré in Normandy. He moved from elaborate compositions with owers of many species and hues to more restrained groups which explore the subtly shifting textures, shapes and colour harmonies of roses alone. The artist-dandy Jacques-Emile Blanche commented: ‘it is in his roses that Fantin has no equal. The rose – so complicated in its design, contours, and colour, in its rolls and curls, now uted like the decoration of a fashionable hat, round and smooth, now like a

button or a woman’s breast – no-one understood them better than Fantin. He confers a kind of nobility on the rose’2.

In the present painting Fantin combines the vase of roses with a superb still life of fruit, echoing the lavish still lifes of Dutch masters such as Jan van Huysum (1682–1749). Fantin was steeped in the study of Old Masters from his academic training. His uid, sensual use of paint, typical of his works of the 1890s, can be compared with Chardin’s velvety softness of handling, while the dazzling, allusive brushwork describing the rose stems in the water has parallels with Manet’s ower still lifes. Harmonies of colour combine with a naturalistic appreciation of shapes, textures and structure to translate the essence of owers and fruit into paint.

This painting belonged to Ruth Edwards (c.1833–1907), widow of Edwin Edwards (1823–1879), one of Fantin-Latour’s staunchest patrons. Fantin-Latour had met Edwards while staying with the sister of his friend James McNeill Whistler in London in 1859.

Edwards, a former King’s Proctor and keen amateur painter, shared with Fantin-Latour a passion for music; Ruth was a gifted pianist.

Fantin showed his rst ower piece at the Royal Academy in 1862 and continued to show there until 1900; this Nature morte was shown at the RA in 1894.

Edwin Edwards bought many of Fantin-Latour’s still lifes and became in effect his English dealer, in 1871 clearing the artist’s studio of sketches, still life and ower pieces after the privations of the Franco-Prussian War and establishing a buoyant market for his work in England. Fantin’s paintings of roses struck a particular chord in England, which from the 1850s had superseded France as the centre of rose breeding. Around 1900 the artist was given the ultimate accolade of having a rose named after him: the lush pink, highly fragrant centifolia rose ‘Fantin-Latour’.

1 Quoted in Edward Lucie-Smith, Fantin-Latour, Oxford 1977, p.22.

2 Quoted in Ottawa, National Gallery of Canada, Fantin-Latour, 1983, pp.265–66.

11 JEAN BÉRAUD St Petersburg 149 – 195 Paris

Boulevard Poissonière

Signed lower right: Jean Béraud Oil on canvas: 15 38 x 21 ¾ in / 9.1 x 55.2 cm Frame size: 24 x 0 in / 61 x 76.2 cm

streets and required to be of uniform height. Ground oors provided retail space for a burgeoning consumer economy, while the upper oors were apartments.

Painted circa 15

The fulcrum of the painting is Béraud’s fashionably-dressed young woman who is poised on the pavement, about to breast the dangers of the chaotic traffic. She merits a concerned (or merely lustful?) glance from the middle-aged man who hurries behind her.

In the boulevard, a man drags a cart, a postboy saunters insouciantly across and an elderly man is almost knocked down by a carriage. The ow of vehicles and clopping hooves, the mix of social classes evoke the spirit of the modern city: barely, but necessarily, contained chaos. This is a place of exchange, of dynamism, of money-making. The young woman’s exquisitely-cut, brown velvet jacket and dark skirt are winter wear, but the slender trees above her are just breaking into green leaf, emphasizing her youth and hopefulness. The trees, a careful part of Haussmann’s planning, soften the relentless urban lines.

PROVENANCE:

Newman Gallery, London, 1975 H Terry-Engell Gallery, New York, 19 Private collection, USA Richard Green, London, 1996 Private collection, UK EXHIBITED:

London, Newman Gallery, 100 Years of Art 1830–1930, 1975, no.1, illus. (wrongly titled Boulevard Montmartre) New York, H Terry-Engell Gallery, Paris Visits New York. La Belle Époque, 19, no.2 (as Boulevard Montmartre) LITERATURE:

Patrick Offenstadt, Jean Béraud, 1849–1935: The Belle Epoque: A Dream of Times Gone By, Paris 1999, no.29, p.102, illus. in colour

Marcel Proust, a friend and fellow scholar at the Lycée Bonaparte, praised Jean Béraud for ‘his fame, his talent, his inuence, his charm, his heart and his intelligence’. Chronicler of Paris par excellence, Béraud followed in the tradition of Louis-Léopold Boilly (1761–145) in depicting the social groups, fashions, foibles, pastimes and architecture of Baron Haussmann’s dazzling modern city. A superlative draughtsman, Béraud studied his Parisians from the windows of hansom cabs, incorporating them in works which are vivid pieces of street theatre, painted in a style which combines an Impressionist virtuosity of brushwork with precise and witty observation.

The scene shows the Boulevard Poissonière, one of the Grands Boulevards cut through Paris in Baron Haussmann’s urban regeneration of 15–70. The street had originally been named after the sh carts which trundled into medieval Paris from Boulogne. Under Haussmann’s plans, buildings were set well back from the wide

To the left of the painting, on the corner of Boulevard Poissonière and the Rue du Faubourg-Montmartre, one can make out the name of the Hôtel Brébant, which survives to this day. The costume of the young woman indicates a date in the mid-10s: see, for example, a similar silhouette in a summer outt worn by a lady in The enclosure at Auteuil (private collection), which is dated 11.

Béraud made two later views of Boulevard Poissonière from this viewpoint, Boulevard Poissonière in autumn (private collection; Offenstadt no.0) and Boulevard Poissonière in the rain (Musée Carnavalet, Paris; Offenstadt no.1).

1 Offenstadt, op.cit., p.164, no.175, illus. in colour.

Detail of Le Sidaner, cat. no. 1

IMPRESSIONISTS AND POST- IMPRESSIONISTS

12 EUGÈNE BOUDIN Honeur 124 – 19 Deauville

Scène de plage à Trouville

Signed and dated lower right: E. Boudin 64 Oil on panel: 13 ¼ x 21 58 in / 33.7 x 4.9 cm Frame size: 19 x 29 in / 4.3 x 73.7 cm PROVENANCE:

Galerie Cadart et Luquet, Paris Borniche Collection, Paris; sale Drouot, Paris, 3rd–4th December 13, lot 14 Private collection, France; by descent EXHIBITED:

Paris, Galerie Raphaël Gérard, Retrospective Eugène Boudin, April 1937, no.19 Paris, Galerie Schmit, Eugène Boudin, th–2th May 196, no.11, illus.

LITERATURE:

Robert Schmit, Eugène Boudin, 1824–1898, Paris 1973, vol. I, p.100, no.297, illus.

The son of an Honeur harbour pilot and largely self-taught as a painter, Eugène Boudin was an important precursor of Impressionism with his insistence on painting en plein air. He encouraged Monet’s rst artistic efforts in the late 10s and took part in the First Impressionist Exhibition of 174.

A man of the sea through and through, Boudin took much of his inspiration from the ocean and coastline of Normandy, where he grew up. He is most celebrated for his ‘Crinolines’, oil on panel views of fashionable ladies on the beach, of which Scène de plage à Trouville, 164, is a superb, early example. Boudin rst visited Trouville in 161 or 162 and returned there every summer for the rest of his life, wintering in Paris, which he disliked. Over forty years he saw the place develop from a quiet shing village into a busy port which attracted chic visitors from the metropolis, drawn to its Casino and ne hotels.

Boudin wrote in his notebooks: ‘Three strokes of the brush in front of nature are worth more than two days of work at the easel [in the studio]’. Yet he also commented: ‘One can count as direct painting things done on the spot or when the impression is fresh’ and urged himself to ‘elaborate his studies, whether in front of nature or under the impression of nature’1. Scène de plage is just such a work done

‘under the impression of nature’, both seemingly spontaneous and highly organized. In this painting Boudin explores the impressions on the eye and the contrast between the elegant artice of the ladies’ costume and the myriad natural hues of the sunset above them. As often in his work, the holidaymakers are arranged on the sand in a frieze and the gaze is led across the composition by harmonized groups of colours. Individual gures are evoked by broad patterns of light and shade on deft details of dress, such as the black sashes and edging on white dresses (a technique that Monet would exploit on a much larger scale in Le déjeuner sur l’herbe, 166 (Musée Marmottan, Paris). This is Baudelaire’s ‘painting of modern life’, but there is no anecdotal element, only an examination of visual sensations. The strong, clear pink, blue and red aniline dyes of the fashionable crinolines are echoed in the skyscape’s far more subtle hues. At this period in the mid-160s, Boudin’s gure groups are rather distinct and crisp. Later beach scenes adopt more broken brushwork and a more subdued palette as he experiments further with the breezy atmosphere and with visual sensations.

1 Quoted by John House in the essay ‘Boudin’s Modernity’ in Vivien Hamilton, Boudin at Trouville, p.16.

13 CAMILLE PISSARRO Saint Thomas 130 – 1903 Paris

La gardeuse d’oies

Signed and dated lower left: C. Pissarro . 1888 Gouache, watercolour and pencil on silk: 10 ½ x 1 8 in / 26.6 x 40.4 cm Frame size: 1 x 21  in / 3.1 x 4.6 cm PROVENANCE:

Jeanne and Fernand Moch, Paris; by descent LITERATURE:

LR Pissarro and L Venturi, Camille Pissarro, son art-son oeuvre, Paris 193, vol. 1, p.27, no.1424; illus. vol. II, pl.277 To be included in the Catalogue Critique des Pastels et Gouaches de Camille Pissarro being prepared by the Wildenstein Institute Claire Durand-Ruel Snollaerts has conrmed that this gouache is an autograph work by Camille Pissarro

In 14 Camille Pissarro moved with his family to Eragny, a small village on the river Epte about seventy-two kilometres north-west of Paris. He stayed there for the rest of his life, buying his spacious, comfortable house in 192 after eight years renting it. Pissarro painted about 30 oils and many pastels, gouaches and watercolours of the countryside around Eragny and its people. Although he travelled from the village looking for new motifs and undertook painting campaigns in urban areas such as Rouen, London and Paris, the paintings of Eragny give a sustained, intense and affectionate portrait of Pissarro’s environment.

La gardeuse d’oies reects a theme which preoccupied Pissarro in the 10s and 190s: countrywomen going about their daily lives. The goose girl sits tranquilly under a tree as the morning sun casts a glorious haze over the meadows and irradiates the outline of each of her charges. In 1 Pissarro was at the height of his enthusiasm for Pointillism. Although already in his fties, his open, enquiring mind had led him to seek instruction from Signac and Seurat, both three decades his junior. La gardeuse d’oies is organised in a modied Pointillist technique, with touches of complementary colour – blue and red, for example, in the skirt of the goose girl – juxtaposed to create mass and contrast. Whereas the

distant landscape dissolves in sunlight, through the interweaving of gold, green, apricot and blue, the girl herself has a calm, sculptural quality, created as she is through bolder, cooler hues, reinforced by the velvet shadows of the overarching tree. The movement is all in the cackling geese and the eddies of the pond, described in more uid strokes. Pissarro is masterly in his admixture of the textures of gouache and watercolour; the silk ground that he sometimes favoured gives an extra luminosity to the painting.

Richard Brettell has noted ‘a kind of relaxed beauty in eldwork’ in Pissarro’s paintings of rural tasks1. Unlike Realist painters such as Millet, Pissarro did not see agricultural work as ‘difficult, demeaning, and without leisure’2. His goose girl – healthy, sturdy, beautiful and self-contained – is the serene centre of her world.

A respect for the lives of countryfolk and the importance of rural life was implicit in Pissarro’s Anarchist beliefs. Writers such as Peter Kropotkin had argued that progress in agriculture would feed burgeoning populations without the need for unending, backbreaking labour. Brettell comments: ‘With fertilizers, crop rotations, and fallow periods, the land in areas such as Normandy and the region surrounding Paris could be made to produce more than enough food to feed not only the rural community but all French citizens’3.

La gardeuse d’oies, like most of Pissarro’s Eragny paintings, proclaims the dignity of countryfolk as well as the unsullied beauty of their landscape.

1 Williamstown, Sterling and Francine Clark Art Institute/San Francisco, Legion of Honour, Pissarro’s People, exh. cat. by Richard R Brettell, p.171; essay on ‘Rural Leisure’, pp.171–11.

2 Brettell op. cit., p.172.

3 Ibid., p.172.

14 CAMILLE PISSARRO Saint Thomas 130 – 1903 Paris

Le marché Saint-Honoré

Signed and dated lower left: C. Pissarro . 1889 Watercolour on paper: 11 ½ x 9 in / 29. x 23 cm Frame size: 19  x 17 in / 49. x 43.1 cm PROVENANCE:

Mme Briere, 1946 Mrs Gertrude Meyer, New York Perls Galleries, New York and Hollywood Hazlitt, Gooden & Fox, London, 193; from whom bought by a private UK collector EXHIBITED:

London, Hazlitt, Gooden & Fox, Nineteenth Century French Drawings, 1th June–1th July 193, no.32 London, Hayward Gallery, Camille Pissarro: Impressionism, Landscape and Rural Labour, 1990, no.49 To be included in the Catalogue Raisonné of Drawings by Camille Pissarro being prepared by Dr Joachim Pissarro

Markets were a consistent theme in Camille Pissarro’s oeuvre from the 170s, becoming especially important from the mid-10s, when he made more compositions with large-scale gures. He produced market scenes in a variety of media: oils, gouaches, watercolours, pastels, drawings and prints, exploring the rich interaction of human relationships that they afforded1. In the early 10s Pissarro’s dealer Paul Durand-Ruel found it harder to sell Impressionist landscapes and encouraged his stable of artists to tackle genre scenes in less expensive media such as watercolour and gouache, something to which the brilliantly versatile Pissarro responded without any loss of inspiration. Of all his market scenes, only one is a large-scale oil, the Poultry market at Pontoise, 12, in the Norton Simon Art Foundation, Pasadena, . The majority are oils of a modest scale, or works on paper.

As a sympathiser with the philosophy of Anarchism, Pissarro despised the machinations of Capital that brought poverty and misery, but approved of food markets, where the peasant producers sold to consumers at a fair price determined by haggling. Shopping at the market was part of the rhythm of family life; Richard Brettell comments that to this day ‘the intimacy of food shopping’ is a

treasured part of French culture, even in cities2. Pissarro’s wife Julie, of sturdy Burgundian country stock, was a skilled housekeeper and a shrewd market-bargainer, as well she needed to be, given her large family’s precarious nancial position. Pissarro painted the markets at Pontoise, where the family lived from 174 to 14, and at Gisors, the nearest town to Eragny, where they settled in 14.

Although he revelled in country life, Pissarro also searched for urban settings to full his restless desire for new motifs. Meetings with his dealer Durand-Ruel and faithful attendance at the Impressionist and other exhibitions brought him regularly to Paris. Le marché Saint-Honoré depicts the market in the rst arrondissement, near the Place Vendôme. Like most of Pissarro’s market paintings, it employs a vertical format and moves close to the densely-packed, bustling gures. In the foreground, a stallholder presides over an array of vegetables. The market woman’s Junoesque gure, snowy white apron and air of magisterial condence contrast with the sharp-boned, smartly-dressed Parisienne who eyes her wares: a contrast between the healthy countrywoman and the neurasthenic city dweller. The comfortable curves of an adjacent market woman reinforce this impression of peasant wellbeing.

The watercolour is organised around tones of blue and green, which convey the idea of cool morning light and emphasise the freshness of the fruits of the earth. Pissarro’s use of watercolour is subtle and allusive, from the intricacies of the goods on the market stall to the coloured shadows on the white apron which give such animation to the foreground gure. Despite the apparent chaos of the crowded market, Pissarro’s draughtsmanship leads the eye surely through the throng into the far distance. Animated humanity is kept in check by the severe lines of the Parisian apartment blocks which tower over the shoppers, allowing a brief glimpse of a cloud-ecked sky.

1 See Williamstown, Sterling and Francine Clark Art Institute/San Francisco, Legion of Honour, Pissarro’s People, exh. cat. by Richard R Brettell, pp.219–239, Chapter 10 ‘The Market Economy’.

2 Brettell op. cit., p.222.

15 CL AUDE MONET Paris 140 – 1926 Giverny

Bateaux devant les falaises de Pourville

Signed and dated lower left: Claude Monet 82 Oil on canvas: 23 58 x 2 8 in / 60 x 1 cm Frame size: 34 x 42 in / 6.3 x 106.6 cm PROVENANCE:

Dr & Mrs Friedrich-Salzburg, by 1941 M Scapula, San Francisco F&P Nathan, Zurich J Ferrer-Fort, Louisiana Osaka Department Store, Japan National Gallery, Osaka, Japan Royal Art Ltd, New Orleans, 196 Private collection, USA, since circa 1990 EXHIBITED:

San Francisco, MH de Young Memorial Museum, on loan th March 1941 to 2nd February 1943 (lent by Dr & Mrs Friedrich-Salzburg) LITERATURE:

Daniel Wildenstein, Claude Monet, Biographie et Catalogue Raisonné, vol. II, 1882–1886, Lausanne 1979, p.6, no.73, illus.

Daniel Wildenstein, Claude Monet, Catalogue Raisonné, vol. V, Supplément aux peintures, dessins, pastels, index, Lausanne 1991, p.40, no.73 Daniel Wildenstein, Claude Monet, Catalogue Raisonné, vol. II, Nos. 1–968, Taschen/Wildenstein Institute, Cologne 1996, pp.292, no.73, illus.

Claude Monet was fascinated by the mystery and power of the sea all his life. He grew up in Le Havre on the Normandy coast and was inspired to paint en plein air by Eugène Boudin, the son of an Honeur harbour pilot.

Bateaux devant les falaises de Pourville was painted in the summer of 12. From the early 10s Monet embarked upon a series of painting expeditions to the Normandy seaside villages of Fécamp, Pourville and Étretat, depicting the sparkling light and rugged coastline. In February 12 he set off for a painting campaign in Dieppe, but found it too busy, and moved on to Pourville, about two miles west. Pourville was still a quiet shing village and ‘only an embryonic bathing place’, as Guy de Maupassant commented

in 131. Monet was enraptured, writing to his mistress Alice Hoschedé�at their rented house in Poissy: ‘The countryside is very beautiful and I only regret not having come here sooner….one could not be closer to the sea than I am�; the waves beat against the foundations of the house’2.

Monet portrayed the cliffs sweeping westward towards Varengeville from Pourville beach in different lights and weather; gures gazing from the vertiginous cliff tops; cottages tucked into the folds of the land. Exploring Pourville’s ‘delicious nooks and crannies’, Monet stayed until April, painting ‘like a fanatic’3.

The brilliant summer light of Bateaux devant les falaises de Pourville suggests that it was made on Monet’s second visit to Pourville in June, when he rented the Villa Juliette for himself, Alice, her six young children from her marriage to Ernest Hoschedé and Monet’s two children by his wife Camille, who had died in 179. Monet’s works at the seventh Impressionist exhibition, a third of which were marines, had been well received, and Durand-Ruel had sold a number of them. Monet’s optimism is reected in the energy with which he approached the Pourville landscape over the long summer’s painting campaign.

For the present work, Monet has set up his easel on Pourville beach looking westward along the jagged chalk cliffs towards Varengeville. There is a simplicity and directness in the composition of interlocking wedges, with the sand in the foreground broadly brushed in, the shimmering water composed of myriad interlocking strokes, and the afternoon light on the cliffs pulsating with colour. The composition is unied by touches of pink – the sails of the yachts – in the turquoise sea, and by shadows of blue on the pale pink sand.

Modifying textures for different areas of the canvas, Monet vividly evokes the experience of space, breeze, dazzling light and majestic cliff forms on a perfect summer’s day.

1 In his short story ‘Enragée?’, Gil Blas, 7th August 13; see E d’Auriac, quoted in John House, Impressionists by the Sea, exh. cat. London 2007, p.137.

2 1th February 12, quoted in Daniel Wildenstein, Claude Monet, Biographie et Catalogue Raisonné, vol. II, 12–16, Lausanne 1979, p.214, no.242.

3 Letter to Durand-Ruel, 6th April 12, quoted in Wildenstein 1979, op. cit., p.21, no.26.

16 GUSTAVE CAILLEBOT TE Paris 14 – 194 Gennevilliers

Argenteuil, fête foraine

Signed and dated lower left: G Caillebotte / 1883 Oil on canvas: 26 x 32 in / 66 x 1.3 cm Frame size: 36 x 42 in / 91.4 x 106.6 in PROVENANCE:

Jules Froyez, Paris, probably acquired directly from the artist; his sale, Drouot Paris, 1th December 196, lot 6 Eugène Blot, Paris; his sale, Drouot Paris, 9th–10th May 1900, lot 11 Ambroise Vollard, Paris by descent for two generations in a Swiss private collection LITERATURE:

Marie Berhaut, La vie et l’oeuvre de Gustave Caillebotte, Paris 191, no.19 Marie Berhaut, Caillebotte, sa vie et son oeuvre, La Bibliothèque des Arts, Paris 197, p.16, no. 247, illus.

Marie Berhaut, Caillebotte, sa vie et son oeuvre, Catalogue raisonné des peintures et pastels, Paris 1994, p.172, no.264, illus.

Born into a wealthy Normandy family, Gustave Caillebotte was a lynchpin of Impressionism, exhibiting with the group from 176 to 12. He inherited a fortune from his father in 174 and had no need to sell his paintings, but was a generous benefactor to fellow artists. Caillebotte amassed a superb group of Impressionist works which he bequeathed to the French nation in 194; today they form the core collection of the Musée d’Orsay. Because he had no need of promotion by a dealer such as Durand-Ruel, who spread the gospel of Monet and his circle, many of Caillebotte’s own paintings remained in the collection of his family and friends. It was not until the 1970s that his work attracted serious scholarly attention and he was revealed as one of the most innovative and original painters of the Impressionist group.

Tiring of the squabbles among the Impressionists, in 11 Caillebotte bought a small estate at Petit-Gennevilliers near Argenteuil.

There he indulged his passion for boating, took part in regattas and developed a beautiful garden which provided rich inspiration for his later works. This painting depicts the annual spring fair held on the promenade at Argenteuil between Ascension Day and Whitsun.

Typically, Caillebotte does not show the throng of people in front of

the town hall, as Monet had done in 172 (private collection, USA)1, but a quiet, sun-lled street lined with owering horse chestnuts, depicted with his usual plunging recession and boldly geometric composition. The high-key palette and richly impasted brushwork, inuenced by the 10s paintings of his friend Monet, is characteristic of Caillebotte’s landscapes at this period. Argenteuil, fête foraine however also reveals Caillebotte’s deeply personal approach to his art. The colours and textures of the owering chestnuts are superbly evoked, yellow mixed with the emerald leaves to capture the exact appearance of exuberant spring growth. As always with Caillebotte, human beings are a subtle, rather mysterious presence, locked in their private worlds, their individualism subsumed in their surroundings. The man standing under the trees to the right is enveloped in the blue shadows of the ltering leaves, while the cart abandoned by the side of the road seems to be part of some unanswered narrative. There is a pensive quality about this backstreet, towards which music from the distant fairground drifts.

This painting seems to have been acquired directly from the artist by his friend Jules Froyez. Caillebotte made two portraits of Froyez, circa 179 and in 11 (both in private collections)2. He lived in an apartment at 2 rue Laffitte, the viewpoint from which Caillebotte took one of his most successful Parisian views, Boulevard des Italiens, 10 (private collection, France)3.

1 Daniel Wildenstein, Claude Monet, Catalogue Raisonné, vol. II, Nos. 1–96, Taschen/Wildenstein Institute, Cologne 1996, pp.10–6, no.241, illus. in colour.

2 Berhaut 1994, op. cit., nos.130 and 11.

3 Berhaut 1994, op. cit., no.144.

17 HENRI MARTIN Toulouse 160 – 1943 Labastide-du-Vert

Barques à Collioure

Signed lower left: Henri Martin Oil and traces of charcoal on canvas: 33 8 x 36 8 in / 4. x 93.7 cm Frame size: 42  x 46 in / 107.9 x 116. cm PROVENANCE:

The artist’s studio; by descent in a French private collection Cyrille Martin has conrmed the authenticity of this painting, which he dates circa 1930

From 1900 Henri Martin lived at Marquayrol near Labastide-duVert in the Lot Valley, nding inspiration in its gentle green spring landscape and bright summers. In 1923 he bought another house at Collioure, a Catalan town south of Perpignan, fteen miles from the French-Spanish border. He knew the area well, as his friend Henri Marre spent part of every year there. The hot Mediterranean light, crisp shadows and monumental, golden architecture presented Martin with a new challenge. Throughout the 1920s and 30s he produced a series of views of Collioure which are among the most bold and joyful of his career.

This painting of around 1930 shows the sweep of Collioure harbour, with lateen-rigged shing boats lined up on the shore. Collioure was famous for its anchovies. In the background is the Royal Castle, carved by the sun into blocks of gold shadowed in purple-pink. As with his paintings of his classical garden at Marquayrol, Martin is fascinated by the balance of man-made and natural elements, using the verticals and horizontals of the boats, the massive structure of the castle and the shoreline buildings to set up a lattice which pulsates with colour. He employs his own modied ‘pointillist’ technique, applying paint in small, rounded touches, juxtaposing gradations of local colour. The brushstrokes depicting the sea are looser and larger, conveying its shifting, shimmering surface. The radiance of a hot afternoon, the sun-baked, wooded hills and the picturesque old port are superbly evoked.

Martin rented a studio by the shore and made a number of views of the town beach. Barques à Collioure in the Musée de Cahors HenriMartin1 is taken from a similar angle to the present work, but later in

the afternoon; the sun is less dazzling, the shadows bolder. Bateau de pêche, Collioure, 1926 (private collection, Japan) shows more of the beach, with shermen tending the nets and bustling activity on the shore; in most of the Collioure views, human presence is minimal.

Collioure, with its striking architecture and glorious setting, had been attracting artists since the 10s. Paul Signac stayed there in 17, while Derain and Matisse painted groundbreaking Fauve works in 190. For centuries Collioure was of strategic importance, squabbled over by the kingdoms of Aragon, Majorca, Spain and France, to which it was nally ceded in 169. The Royal Castle, built in the thirteenth and fourteenth centuries by the Kings of Majorca, was reinforced to its present outline by Philip II of Spain in the sixteenth century. By the nineteenth century Collioure was a modest shing port and a centre for anchovy salting and canning; its unspoiled beauty attracted increasing numbers of visitors as the twentieth century progressed.

1 Inv. no.Ni. 91; see Cahors, Musée de Cahors Henri-Martin, Henri Martin (1860–1943) Du Rêve au Quotidien, 200, p.169, no.143, illus. in colour p.61.

18 HENRI LE SIDANER Port-Louis 162 – 1939 Versailles

Les hortensias, Montreuil-Bellay

Signed lower left: LE SIDANER Oil on canvas: 3 ¾ x 37 ¼ in / 9.4 x 94.6 cm Frame size: 49 x 4 in / 124. x 121.9 cm Painted in 191 PROVENANCE:

Galerie Georges Petit, Paris, inv. no.2613 Howard Young Galleries, New York; from whom acquired by Charles M Butler, Connecticut; by descent in a US private collection; bequeathed to the Asheville Art Museum, Asheville, North Carolina EXHIBITED:

Paris, Salon de la Société Nationale des Beaux-Arts, 1919, no.1949 Brussels, Salon des Artistes Français, 1920, no.1 LITERATURE:

Victoria Pica, Nel Mondo delle Arti Belle, Milan, 1923 Yann Farinaux-Le Sidaner, Le Sidaner: l’Oeuvre Peint et Gravé, Paris 199, p.12, no.374, illus.

This poetic and harmonious work reects one of Henri Le Sidaner’s most enduring themes in the last two decades of his career: a view through a window. It shows the river Thouet at Montreuil-Belley near Saumur, which he painted a number of times from the 1910s.

Le Sidaner developed his visual language in Paris in the 190s under the inuence of Symbolism. In his mature work he uses the divided-brush technique of Post-Impressionism to play with patterns and the pulsation of light, evoking both the recession of objects in nature and the sense of the canvas as a highly decorative surface.

His palette, favouring gentle blues, turquoise, pinks, purples and lilacs shot through with a subdued gold, is always restrained and dreamlike, an echo in painting of the uid compositions of Debussy.

Increasingly, human presence is implied rather than overt in Le Sidaner’s works. The framing window and carefully placed, subtly off-centre hortensias evoke a calm and happy domestic existence, while the light ltering through the trees entices the viewer out into the beauties of nature beyond. Camille Mauclair commented that

Le Sidaner ‘considered that the silent harmony of things is enough to evoke the presence of those who live among them. Indeed, such presences are felt through his works. Deserted they may be, but never empty’ (Henri Le Sidaner, Paris 192, p.12). Paul Signac noted: ‘His entire work is inuenced by a taste for tender, soft and silent atmospheres’ (quoted by Farinaux-Le Sidaner, op. cit., p.31).

19 GUSTAVE LOISEAU 16 – Paris – 193

Aux bords de l’Eure en été

Signed and dated lower right: G LOISEAU 1902 Oil on canvas: 2 ¾ x 31 8 in / 6.4 x 1 cm Frame size: 33  x 39  in / .1 x 100.3 cm PROVENANCE:

Galerie Durand-Ruel, Paris, inv. no.7144 and 13202 Roger Bernheim, Paris; from whom acquired by a private Swiss collector circa 194 Richard Green, London, 2001 Private collection, USA This painting will be included in the catalogue raisonné of the work of Gustave Loiseau being prepared by Monsieur Didier Imbert

Known as the ‘historiographer of the Seine’, Gustave Loiseau also drew inspiration from the other rivers of France, including the Eure: the prominence of water in his compositions is an important factor in the spaciousness and luminosity of his works. In the 190s Loiseau spent time in Pont-Aven, met Gauguin and formed a close friendship with Henry Moret and Maxime Maufra. Based intermittently in Paris and Moret-sur-Loing, Loiseau travelled constantly, often in company with Moret and Maufra. In his mature work he moved away from the Pont-Aven School towards a style that is a highly personal, poetic reinterpretation of the Impressionist landscapes pioneered by Monet and Sisley. From 197 Loiseau was represented by Paul Durand-Ruel, who organized a number of successful exhibitions for him in Paris and promoted his work internationally.

The river Eure rises at Marchainville in the Orne region and joins the Seine at Pont-de-l’Arche near Rouen. Loiseau has chosen to depict a quiet bend of the river without any human presence, exploring the shapes of the trees in high-summer leaf against the blue sky, and reected in the water. His interest in spatial patterns and textures, and the composition of interlocking diagonals, has parallels with Monet’s famous series of views of poplars on the Epte, painted in 191. Within his dominant tones of blue and green Loiseau blends myriad other colours, such as the touches of warm yellow and pale pink which give a sense of sparkling light and movement to the foreground grasses as they rustle in the breeze. Loiseau’s subtle, innitely varied brushwork conveys both the ‘impression’ of nature on the eye and his warm emotional response to the beauties of nature.

Detail of Richter, cat. no. 22

MODERN AND CONTEMPOR ARY PAINTINGS

20 PABLO PICASSO Malaga 88 – 973 Mougins

Nature morte à la pomme et au pichet bleu

Signed and dated lower left: 19.2.38. Picasso Oil on canvas: 8 1 x 9 5 in / 20.6 x 24.6 cm Frame size:  5 x 7 in / 39.6 x 43. cm Painted at Tremblay-sur-Mauldre on 9th February 938 PROVENANCE:

Acquired by Maurice Coutot, Paris in the late 940s; by descent in a Parisian private collection Claude Ruiz Picasso has conrmed that this painting is an authentic work by his father Pablo Picasso

This tranquil painting was made in 938, at a turbulent time in Picasso’s life: a year after Guernica, his harrowing evocation of the Spanish Civil War, and a year before the whole world slid into war against the Nazis. It is part of a series of a dozen small-scale but intense still lifes that he painted between 3th and 23rd February at Tremblay-sur-Mauldre near Versailles, in a house lent to him in 936

by Ambroise Vollard. The house was a haven for his lover MarieThérèse Walter and their daughter Maya, born in 93, whose existence was still a secret. While engaging with the wider political world, evidenced by his support of Republican Spain in Guernica, Picasso also turned inwards, to domestic life, making tender paintings of his little daughter and portraits of the calm, blonde and adoring Marie-Thérèse, with her classical prole. The exploration of simple, everyday objects in this Nature morte is part of this immersion in the mystical signicance of the everyday. Picasso said of his still lifes: ‘Je ne vais pas chercher un objet rare dont personne n’a jamais entendu parler….Cela n’aurait aucun sens pour moi.

L’objet le plus quotidien est un vaisseau, un véhicule da ma pensée.

Ce que la parabole était pour le Christ’.

In his restrained yet powerful Nature morte à la pomme et au pichet bleu, Picasso tests himself against Chardin and Cézanne, two great predecessors with a unique approach to still life painting.

True to Picasso’s personality, Nature morte is richly inventive in technique. Paint skims, eddies, encrusts and oats, taking on an almost sculptural complexity. The still life objects rest against a ground of richly impasted white, incised with a pattern created by the tip of the wooden brush handle. The leaves on the apple are

given vibrant life by thickly pooled meanders of paint, while the apple itself is afforded a sculptural roundness by a dab of red at its most prominent point and by leaving the canvas almost bare at its centre so that the weave creates a highlight. The curves of the apple are offset by the angularity of the jug, with its erce shadows and splodges of pattern, which have the effect of enamel colours suspended in glaze. The whole painting shimmers with ideas, colours and forms.

It is an indication of Picasso’s energy and concentration on still life at this period that he signed and dated another four paintings on 9th February 938, playing with the notions of pitchers and apples2, angular and rounded forms, shadows and recession, reality and the picture surface. As witty and as syncopated as a Shostakovich jazz suite, Nature morte à la pomme et au pichet bleu is a playful, yet truly serious, examination of the nature of things.

 Quoted in Françoise Gilot and Carlton Lake, Vivre avec Picasso, 96, p.93.

2 The Picasso Project (ed.), Picasso’s Paintings, Watercolors, Drawings and Sculpture, Spanish Civil War 1937–1939, San Francisco 997, pp.3–37, no.38–032, 38-033(a)-(c), illus.

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

Study for Homage to the Square: ‘Wet and Dry’

Signed with monogram and dated 69; signed, dated and inscribed on the reverse: ‘Study for Homage to the Square: “Wet + Dry”/Ground:| 6 coats of Liquitex (Pmt Pgmt) Gesso/ Painting:| paints used –|from center:/large Cadm. Red Hellst (Lukas)/ Vermillion francais (Lefebvre)/Extra Scarlet (Shiva)/all in one primary coat/directly from the tube/Varnish: Lucite in Xylene/ Albers 1969’ Oil on board: 16 x 16 in / 40.6 x 40.6 cm Frame size: 16 2 x 16 2 in / 41.9 x 41.9 cm PROVENANCE:

Andre Emmerich, New York Hans Werner, Stockholm, 1995 This painting will be included in the forthcoming catalogue raisonné of the work of Josef Albers currently being prepared by the Josef & Anni Albers Foundation and is registered as no.JAAF 1976.1.66

From his early days as a student at the Bauhaus in Germany, Josef Albers was fascinated by the interaction of colour. After emigrating to America with his wife Anni in 1933 he became an art teacher at the ground-breaking Black Mountain College in North Carolina and in 1950 became Head of the Department of Design at Yale University, where he taught Willem de Kooning, Robert Rauschenberg and Robert Motherwell, while continuing to pursue his exhaustive exploration of colour theory.

Albers began his most famous series ‘Homage to the Square’ in 1950 and devoted the next twenty-six years to producing more than a thousand works of art including paintings, drawings, prints and tapestries. The series provided an in-depth investigation of the chromatic relationship between concentric squares of colour, examining the optical effects produced by adjacent hues. With its rigid, geometric structure, the square provided an ideal format for Albers’s experiments, on to which he applied paint straight from the tube with a palette knife in one smooth layer. The resultant interaction of at planes of varied colour created the illusion of their advancing or receding in space. In Homage to the Square: ‘Wet and Dry’ the rich opacity of the extra scarlet pigment and the central square of Cadmium red seem to project into our eld of vision, while the lighter, more translucent vermillion appears to recede and take on the tone of the innermost form.

In 197 Josef Albers oversaw the publication of a review of work entitled Formulation: Articulation.�In the introduction, the author and curator Gerald Nordland wrote ‘The purpose of his colour studies was to prove that colour is the most relative medium in art, and that we almost never perceive what colour is physically.� He called the mutual inuencing of colours interaction.�He taught us that our optical reception can be turned inside out, so that we see opaque colours as transparent, and perceive opacity as translucence.� Albers compelled his students to learn to see again, and to be questioning of their vision.�He pointed out that colour offers uncertainties and “perceptual ambiguities” where three colours can be made to look like four or like two, by changing their colour environments’ (Josef Albers, Formulation: Articulation, New York, 197).

22 GERHARD RICHTER b. Dresden 932

Abstraktes Bild [763-5]

Signed and dated Richter ‘92 and inscribed 763-5 on the reverse Oil on canvas: 4 1 x 6 ¼ in / 36.2 x 4.3 cm Framed size: 6 ½ x 8 ½ in / 4.9 x 47 cm PROVENANCE:

Marian Goodman Gallery, New York Neuberger Berman Corporate Art Collection, 993 LITERATURE:

Gerhard Richter: Catalogue Raisonné 1962–93, vol. III, Ostldern 993, no.763–, illus. in colour

‘I’ve been doing the Abstract Pictures, properly so called, only since 976, when I quite deliberately accepted the random, wilful element and painted those fairly colourful, heterogeneous pictures.

Perhaps I was harking back to my youthful beginnings. At all events, this kind of painting still fascinates me today; it feels like a force of nature’ (Gerhard Richter, The Daily Practice of Painting, Writings and Interviews 1962–1993, Thames and Hudson, London, 99, p.230).

Abstraktes Bild [763-5] is the fth and most successful work in a series of twelve abstract paintings Richter executed in 992, demonstrating a skilful balance or interplay of opposing colours, action and erasure, chance and intention. The artist combines softly blurred vertical and aggressively scraped horizontal bands of predominantly red, yellow and black paint forming a brilliant, broadly ordered grid. The irregularity of the bands and the various textural effects the controlled movements produce (revealing previous layers and in places segments of canvas), demonstrate the potency and unpredictability of the artist’s practice. The distribution, blending and layering of wet paint is primarily achieved with a squeegee (a at, smooth rubber blade), which Richter began to use from the mid 980s to rub and smear paint across the surface of his canvases, blurring one area of colour into another.

Composed of diverse layers built up over time, the subject of these abstract works is paint itself and the process of its application on to the canvas, luxuriating in its materiality. The originally smooth, soft-edged paint surface is partially destroyed and partially recreated at intervals, reecting what the artist described in 984 as ‘a highly planned kind of spontaneity’ (Richter 99, op. cit., p.2).

Gerard Richter is one of the most important painters working today.

A major touring retrospective exhibition of his work is currently being held at the Musée National d’Art Moderne, Centre Georges Pompidou, Paris, having previously been staged at Tate Modern, London and the Neue und Alte Nationalgalerie, Berlin.

F ORT HCOMING E V ENT S

Nicholson/Hepworth/Moore Wednesday 0th October 202

Palm Beach Art & Design 6th – 0th February 203

Sir Alfred Munnings 4th November 202

Ken Howard 3th January 203

Maastricht (TEFAF) th – 24th March 203

Published by Richard Green. © 202 All rights reserved. Catalogue by Susan Morris. Photography by Sophie Drury. Graphic Design by Chris Rees. Printed in England by Hampton Printing (Bristol) Ltd. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated (without the publisher’s prior consent), in any form of binding or other cover than in which it is published, and without similar condition being imposed on another purchaser. All material contained in this catalogue is subject to the new laws of copyright, December 989.

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. DEFINITIONS OF TERMS ‘Address’ the address to which both parties have agreed in writing the Work is to be delivered; ‘Agreement’ the agreement for the sale of the Work set out on the Invoice; ‘Buyer’ the person(s) named on the Invoice; ‘Delivery’ when the Work is received by Buyer or Buyer’s agent at the Address; ‘Invoice’ the sales invoice; ‘Invoice Address’ the address which Buyer has requested on the Invoice; ‘Local Taxes’ local import taxes and duties, and local sales and use taxes, including VAT where applicable; ‘Price’ the Invoice price of the Work; ‘Seller’ Richard Green (Fine Paintings) or Richard Green & Sons Limited; ‘Terms’ the terms and conditions of sale in this document which include any special terms agreed in writing between Buyer and Seller; ‘Third Party Payer’ shall have the meaning set out at clause 2.4; ‘VAT’ United Kingdom value added tax; and ‘Work’ the work or works of art detailed on the Invoice.

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2.2 Delivery of the Work will be made following receipt by Seller of the Price in cleared funds. Buyer shall be responsible for all costs of Delivery.

2.3 Seller reserves the right to require Buyer to present such documents as Seller may require to conrm Buyer’s identity.

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3.2 Notwithstanding Delivery and passing of risk, title in the Work shall not pass to Buyer until Seller () receives in cleared funds the Price and any ot her amount owed by Buyer in connection with the sale of the Work; and (2) is satised as to the identity of Buyer and any Third Party Payer and its relationship to Buyer.

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March 2006

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RIC H A RD GR EEN Richard Green has assisted in the formation and development of numerous private and public collections.

UNITED KINGDOM Aberdeen: City Art Gallery Altrincham: Dunham Massey (NT) Barnard Castle: Bowes Museum Bedford: Cecil Higgins Museum Canterbury: Royal Museum and Art Gallery Cheltenham: Art Gallery and Museum Chester: The Grosvenor Museum Coventry: City Museum Dedham: Sir Alfred Munnings Art Museum Hampshire: County Museums Service Hull: Ferens Art Gallery Ipswich: Borough Council Museums and Galleries Leeds: Leeds City Art Gallery Lincoln: Usher Gallery Liskeard: Thorburn Museum London: Chiswick House (English Heritage) Department of the Environment The Iveagh Bequest, Kenwood The Museum of London National Maritime Museum National Portrait Gallery National Postal Museum Tate Britain The Wimbledon Lawn Tennis Museum Lydiard Tregoze: Lydiard House Norwich: Castle Museum Plymouth: City Museum and Art Gallery Richmond: London Borough of Richmond upon Thames and Orleans House Gallery St Helier: States of Jersey (Office) Southsea: Royal Marine Museum Stirling: Stirling Smith Art Gallery and Museum York: York City Art Gallery

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