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T H E G A L L E RY C O L L ECT I O N Impressionist | Modern | Contemporary Stern Pissarro Gallery


front cover (detail)

A U G U S T E H E R B I N (1882 – 1960) Composition sur les Noms Communs: Ange, Lion, Fauvette Oil on canvas 160 × 80 cm (63 × 311 ⁄ 2 inches) Signed and dated lower right, Herbin 1942 Illustrated on page 47

back cover (detail)

P I E R R E - A U G U S T E R E N O I R (1841 – 1919) Bord de Riviere, Rameur dans une Barque Oil on canvas 32.7 × 40.6 cm (127⁄8 × 311⁄2 inches) Signed with Estate stamp lower right Illustrated on page 2


T H E G A L L E RY C O L L ECT I O N Impressionist | Modern | Contemporary

Stern Pissarro Gallery 6 6 S T. J A M ES ’ S S T R E E T, LO N D O N S W 1 A 1 N E , U K TEL: +44 (0)20 7629 6662  EMAIL: STERN@PISSARRO.COM www.pissarro.art


P I E R R E - A U G U S T E R E N O I R (1841 – 1919)

Bord de Rivière, Rameur dans une Barque Oil on canvas 32.7 × 40.6 cm (127 ⁄ 8 × 16 inches) Signed with Estate stamp lower right

Christie’s, New York, 7th December 2002 Bought by a French gallery, acquired from the above Private collection, UK, acquired in 2003

Provenance

Literature

Estate of the artist, M.Dubourg, Paris Galerie Durand-Ruel, Paris, acquired from the above, 1936 J.Guerlain, Paris, acquired from the above, 1940 Waring Hopkins, Paris O’Hara Gallery, New York, acquired from the above Richard L.Feigen & Co., New York, acquired from the above Sarina Tang Fine Arts, New York, acquired from the above Christie’s, New York, 12th November 1997 Private collection, acquired from the above

A.Vollard, Pierre-Auguste Renoir, Tableaux, pastels et dessins, Paris, 1918, Vol.1, p.165, No.653 (illustrated; titled Paysage)

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This work is accompanied by a letter of authenticity from the Wildenstein Institute, confirming its inclusion in the forthcoming catalogue raisonné of Pierre-Auguste Renoir being prepared by the Wildenstein Institute established from Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein.


P I E R R E - A U G U S T E R E N O I R (1841 – 1919)

Femme à la Rose, Andrée Oil on canvas 36.5 × 29.8 cm (143 ⁄8 × 113 ⁄4 inches) Signed with Estate stamp upper right, Renoir Provenance Private collection Private collection, acquired from the above in 1993

Literature Bernheim-Jeune (ed.), L’Atelier de Pierre-Auguste Renoir, Paris, 1931, Vol. II, No. 656, illustrated pl. 205 (with incorrect dimensions)

This work is accompanied by a letter from the Wildenstein Institute, confirming its inclusion in the forthcoming catalogue raisonné of Pierre-Auguste Renoir being prepared by the Wildenstein Institute established from the archives of Daulte, Durand-Ruel, Venturi, Vollard and Wildenstein.

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C A M I L L E P I S S A R R O (1830 – 1903)

Bords de l’Oise, Environs de Pontoise Oil on canvas 32.4 × 40.9 cm (123⁄4 × 161⁄8 inches) Signed and dated lower right, C. Pissarro 1872

Provenance

Exhibited

Hector Brame, Paris Galerie Durand-Ruel, Paris, acquired from the above on 24th October 1921 Terves, acquired from the above on 1st March 1924 Bruno Stahl, Berlin, placed in storage at the Wildenstein Gallery, Paris Confiscated with other artworks belonging to Georges Wildenstein from the gallery by the Einsatzstab Reichsleiter Rosenberg (ERR) in occupied Paris and transferred to the Jeu de Paume, Paris Transferred to Lager Peter in Altaussee, Austria on 15th January 1943 Transferred to the Central Collecting Point, Munich on 20th June 1945 (inv. No. 212/21) Repatriated to France on 18th April 1946 Restituted to Georges Wildenstein on 21st March 1947 and returned to Bruno Stahl Wildenstein & Co., Inc., New York, acquired from the above in January 1949 Jacques Guerlain, Paris, acquired from the above in 1951 Private collection, France, acquired from the above

Paris, Galerie Durand-Ruel, Pissarro (1830-1903), 1956, No. 11

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Literature A. Tabarant, Pissarro, Paris, 1924, pl. 13 L-R. Pissarro & L. Venturi, Camille Pissarro son art-son oeuvre, Paris, 1939, Vol. I, No. 161, catalogued p. 102; Vol. II, No. 161, pl. 32 G. Jedlicka, Pissarro, Bern, 1950, pl. 8 T. Natanson, Pissarro, Lausanne, 1950, pl. 8 R. Brettell, Pissarro and Pontoise, the Painter in a Landscape, London & New Haven, 1990, mentioned p. 158 J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Vol. II, Paris, 2005, p. 218, No. 274 (illustrated)


C A M I L L E P I S S A R R O (1830 – 1903)

Le Ru de Montbuisson, Louveciennes Oil on canvas 46 × 55.5 cm (181 ⁄ 8 × 217 ⁄ 8 inches) Signed lower right, C. Pissarro Executed circa1869 Provenance

Literature

Alfred Daber, Paris The Lefevre Gallery (Alex Reid & Lefevre), London, acquired from the above in 1950 Robert Morley, London, acquired from the above in 1951 Annabel Morley, London Dr. W. Eisenbeiss, Zürich Private collection, USA

C. Lloyd, Pissarro, London, 1992, No. 8 J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Vol. II, Paris, 2005, p. 12, No. 136 (illustrated)

Exhibited London, The Lefevre Gallery (Alex Reid & Lefevre), Géricault to Renoir, 1951, No. 23 London, The Lefevre Gallery (Alex Reid & Lefevre), XIX and XX Century French Paintings and Drawings, 1960, No. 29

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C A M I L L E P I S S A R R O (1830 – 1903)

Lisière du Bois Oil on canvas 25.5 × 37 cm (10 × 141 ⁄1 6 inches) Signed and dated lower left, C. Pissarro 67 Provenance Simon Barbey, Geneva before 1960 Versailles, Hôtel Rameau, 9th June 1960 Simon Barbey, Geneva, who was still the owner in 1976, acquired again from the above

Exhibited Pavia, Italy, Visconti Castle Stables, Pissarro, February - June, 2014, cat. no. 7

Literature J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Vol. II, Paris, 2005, p.105, no. 113

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C A M I L L E P I S S A R R O (1830 – 1903)

Personnages Discutant au Bord d’un Chemin Oil on canvas 32.7 × 45.7 cm (127 ⁄8 × 18 inches) Signed and dated lower left, C. Pizarro 1856 Provenance Private collection, Denmark Private collection, USA

Exhibited New York, The Jewish Museum, Camille Pissarro, Impressions of City and Country, September 2007 - February 2008, p. 78 (illustrated, p. 33, pl. 3) Charlottenlund (Denmark), Ordrupgaard Museum, Pissarro. A Meeting on St. Thomas, March – July 2017, p. 156, no. 151 (illustrated)

Literature J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Vol. II, Paris, 2005, p. 50, No. 19 (illustrated)

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C A M I L L E P I S S A R R O (1830 – 1903)

Entrance to a Village Charcoal on paper 26.7 × 43.2 cm (101 ⁄2 × 17 inches) Signed with Estate stamp lower right, C.P. Executed circa1860 Provenance Mme. Rodo Pissarro (daughter-in-law of Camille Pissarro) Arbit Blatas (acquired from the above) Estate of Arbit Blatas Regina Resnick This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro.

Paysage avec deux Personnages Ink on paper 16.2 × 21.6 cm (63 ⁄8 × 81 ⁄2 inches)  Signed with Estate stamp, C.P. Executed between 1855 and 1860

Provenance Estate of the artist Schoneman Galleries, Inc., New York Estate of Margo Schoneman

Exhibited West Palm Beach, Florida, Norton Gallery & School of Art, Pissarro Drawings: From the Collection Mr. and Mrs. F.L. Schoneman, 5th December 1976 - January 1977 This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro.

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C A M I L L E P I S S A R R O (1830 – 1903)

Arbres au bord d’une rivière Watercolour and pencil on tinted paper 41 × 30.5 cm (161 ⁄8 × 12 inches) Signed, inscribed and dated lower right, C. Pissarro Chantemile 1859 Provenance Galerie Salis, Salzbourg The Baroness Zerilli-Marimò Collection, acquired from the above in 1984

Exhibited Melbourne, Tolarno Galleries, Pissarro: Painting, Pastel, Watercolour,Drawing, July 1983, p. 15 (illustrated) London, J.P.L Fine Arts, Camille Pissarro: Drawings, Watercolours, and Pastels, March – April 1984, p. 15 (illustrated) This work is accompanied by a letter of authenticity from Dr. Joachim Pissarro.

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H E N R I M A R T I N (1860 – 1943)

Le Vert à l’entrée de Labastide du Vert Oil on canvas 65.4 × 81.5 cm (253 ⁄4 × 321 ⁄8 inches) Signed lower right, Henri Martin Provenance

Exhibited

Galerie Bernheim-Jeune et Cie., Paris André J. Kahn-Wolf, San Francisco (by 1958) The Fine Arts Museum of San Francisco, San Francisco, gifted from the above in 1961 The Mayor’s Office, San Francisco Butterfield and Butterfield, San Francisco, 9th June 1999 Private collection, Los Angeles Anderson Galleries, Beverly Hills Private collection, San Francisco, acquired from the above in 2002 Private collection, USA

California, Stanford University, Stanford Museum Beverly Hills, Anderson Galleries New York, Hammer Galleries, Eden Close at Hand, The Paintings of Henri Martin 18601943, 2005, p. 82-3, no. 21 (illustrated)

Literature P. Chu, Eden Close at Hand: The Paintings of Henri Martin 1960-1943, California, 2005, p. 31 This work is accompanied by a certificate of authenticity issued by Cyrille Martin.

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H E N R I M A R T I N (1860 – 1943)

L’Heure du Thé sur la Terrasse de Marquayrol Oil on canvas 80 × 129.5 cm (311 ⁄2 × 51 inches) Signed lower left, Henri Martin Provenance Eugénie Esbelin, Labastide-du-Vert, a gift from the artist Private collection, France, by descent from the above Sylvie Dagot, Montluçon, 1991 Richard Green Fine Paintings, London, acquired at the above sale Private collection, acquired from the above in 1991 This work is accompanied by a certificate of authenticity issued by Cyrille Martin.

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M A X I M I L I E N L U C E (1858 – 1941)

Printemps Saint-Ay de la Loire Oil on canvas 64.8 × 50.5 cm (251 ⁄ 2 × 197 ⁄8 inches) Signed lower right, Luce Titled on the stretcher Executed circa 1910

Exhibited Paris, Galerie Dru, M. Luce, Apr. 11-30, 1921, No. 36 (as La Loire à Saint-Ay), (possibly)

Literature Provenance Hammer Galleries, New York Private collection, New York

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J. Bouin-Luce, D. Bazetoux, Maximilien Luce: Catalogue Raisonné de L’Œuvre Peint, Paris, 1995, Vol. 3, p. 177, No. 745 (illustrated)


A R M A N D G U I L L A U M I N (1841 – 1927)

La Route des Chintres à Jouy Oil on canvas 60.5 × 73.5 cm (237 ⁄ 8 × 283 ⁄ 4 inches) Signed lower right, Guillaumin Executed circa 1900 Provenance

Literature

Private collection, Paris Maxwell Galleries, San Francisco Butterfields, San Francisco, 16th February 1984 Private collection, Dallas Roughton Galleries, Dallas

G. Serret and D. Fabiani, Armand Guillaumin, 1841-1927: catalogue raisonné de l’œuvre peint, Paris, 1971, no. 473

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A L B E R T L E B O U R G (1849 – 1928)

Bord de Seine à la Bouille Oil on canvas 46 × 85 cm (181 ⁄8 × 331 ⁄2 inches) Signed and inscribed lower left, a. Lebourg la Bouille Provenance Private collection, France

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A L B E R T L E B O U R G (1849 – 1928)

Village et Promeneurs en Bord de Seine Oil on canvas 39.5 × 72.5 cm (151 ⁄2 × 281 ⁄2 inches) Signed lower left, a. Lebourg Executed circa 1870s Provenance Private collection, France

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A U G U S T E H E R B I N (1882 – 1960)

Comparative image​(early 1900 postcard) Bruges, Quai Vert, Maison du Pélican

Auguste Herbin stayed in Bruges during part of the year 1906. At this point Herbin adopted a Post-Impressionist style and vibrant colour palette, which are similar with works by Fauvist painters who were contemporaries to Auguste Herbin. The present work compares with three oil paintings executed in the same year and illustrated by Geneviève Claisse (Herbin: Catalogue Raisonné de L’Oeuvre Peint, Paris 1993, p.292), titled Quai de la Poterie, à Bruges; Le Canal, Bruges, and Maisons du Quai de la Porterie (Catalogue number 74-76). Groenerei (​literally Green Bank, or Quai Vert) i​s a tree-lined bank i​n the heart of romantic Bruges, the Venice of the North. At no. 8​stands the​House of the Pelican (De Pelikaan)​. This 1714​building bears the emblem of the pelican, and was once an almshouse​, offering accommodation for the poor. ​All along the canal are historic buildings and bridges, framed by tall green trees, and colourful flowers in the summer. Auguste Herbin was seduced by the beauty of Groenerei which offers equally charming colours every season.

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Maisons au Quai Vert, Bruges Oil on canvas 53 × 64 cm (207 ⁄ 8 × 251 ⁄4 inches) Signed lower left, Herbin Executed 1906 Provenance Ernest Brown & Phillips, The Leicester Galleries, London, circa 1920s Turner Estate, Northampton Private collection, Northampton

This work is accompanied by a certificate of authenticity issued by Genevieve Claisse.

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G U S TA V E LO I S E A U (1865 – 1935)

Les Falaises (Normandie) Oil on canvas 46 × 65 cm (181 ⁄8 × 255 ⁄ 8 inches) Signed lower left, G. Loiseau Provenance Private collection, England Christie's, London, 21st February 1989 Millon Jutheau, Paris, 9th December 1989 Private collection, acquired from the above

This work is accompanied by a certificate of authenticity from Didier Imbert, and will be included in the forthcoming catalogue raisonné.

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G U S TA V E C A R I OT (1872 – 1950)

Les Meules Oil on canvas mounted on panel 29 × 47 cm (113 ⁄8 × 181 ⁄2 inches) Signed and dated lower right, G. Cariot 1927 Provenance Private collection, France

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M A U R I C E D E V L A M I N C K (1876 – 1958)

Fleurs Oil on canvas 66 × 55 cm (26 × 215 ⁄8 inches) Signed lower left, Vlaminck Provenance Private collection, Germany

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This work is accompanied by a letter of authenticity from the Wildenstein Institute, confirming its inclusion in the forthcoming catalogue raisonné of Maurice de Vlaminck being prepared by the Wildenstein Institute.


M A U R I C E U T R I L LO (1883 – 1955)

Vase de Fleurs sur une Table Oil on board on cradled panel 82.4 × 62.2 cm (3211 ⁄2 × 241 ⁄ 2 inches) Signed lower right, Maurice. Utrillo. U. Executed circa 1940 Provenance Galerie Pétridès Galerie Charpentier, Me. Rheims, 19th March 1958

Galerie Waring Hopkins et Alain Thomas, Paris M. Gangel Collection, New York This work is accompanied by a certificate of authenticity issued by the Comité Utrillo confirming its inclusion in the forthcoming catalogue raisonné.

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M A U R I C E D E V L A M I N C K (1876 – 1958)

Le Village Watercolour, gouache and ink on paper 45 × 54.7 cm (173 ⁄ 4 × 215 ⁄ 8 inches) Signed lower left, Vlaminck Provenance Private collection, Germany This work is accompanied by a letter of authenticity from the Wildenstein Institute, confirming its inclusion in the forthcoming catalogue raisonné of Maurice de Vlaminck being prepared by the Wildenstein Institute.

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M A U R I C E D E V L A M I N C K (1876 – 1958)

Marine Oil on canvas 73.5 × 92 cm (287 ⁄8 × 361 ⁄4 inches) Signed lower left, Vlaminck Provenance Private collection, Japan Nukaga Gallery, Japan This work is accompanied by a letter of authenticity from the Wildenstein Institute, confirming its inclusion in the forthcoming catalogue raisonné of Maurice de Vlaminck being prepared by the Wildenstein Institute.

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L É O P O L D S U R V A G E (1879 – 1968)

Composition Surréaliste Pigment and casein on carton laid on canvas 41.8 × 57 cm (161 ⁄2 × 221 ⁄2 inches) Signed, LS and dated, 17/11/50 lower right Provenance Private collection, France

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V I C TO R B R A U N E R (1903 – 1966)

Le Matin Oil on canvas 92 × 73 cm (361 ⁄ 4 × 283 ⁄ 4 inches) Signed and dated lower right, Victor Brauner 1962.

Private collection, France Artcurial, Briest, 3rd June 2002 Private collection, New York, acquired from the above sale

Literature

Provenance

Quotrum no. 15, Brussels, 1963, p. 67 (illustrated) Galerie de France, Collection Particulière, Paris, 1994, p. 155 (illustrated) D. Semin, Victor Brauner, Paris, 1990, p. 206 (illustrated)

Galerie Iolas, Paris Galerie Di Meo, Paris Alvarez de Toledo, Madrid

Samy Kinge has confirmed the authenticity of this work which will be included in the forthcoming catalogue raisonné.

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M A R C C H A G A L L (1887 – 1985)

David et Goliath Gouache, pencil and Indian ink on paper 35.5 × 26.4 cm (141 ⁄ 8 × 101 ⁄ 8 inches) Signed with Estate stamp lower left Executed in 1955-56 This was a preliminary work for the 1960 Verve Bible publication.

Provenance Collection of David McNeil, the artist’s son Private collection, Switzerland, acquired from the above, 1986

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Exhibited Bundeskanzleramt Bonn (Federal Chancellery), Marc Chagall, Die Bibel: Gouachen, Aquarelle, Pastelle und Zeichungen, November 1989 – January 1990, later travelled to Landesmuseum Mainz (State Museum), February – April 1990, no. 59, p. 85 (illustrated) London, Stern Pissarro Gallery, Marc Chagall: Master of Colour, June – July 2016, pp 38-39 (illustrated) This work is accompanied by a photo-certificate of authenticity from the Comité Chagall.


M A R C C H A G A L L (1887 – 1985)

Fête au Village Gouache and crayon on Japon paper 56.7 × 76.8 cm (223 ⁄ 8 × 301 ⁄ 4 inches) Signed lower right, Marc Chagall Executed 1969 Provenance A Centro Arte Internazionale, Milan Private collection, Italy This work is accompanied by a photo-certificate of authenticity from the Comité Chagall.

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M A R C C H A G A L L (1887 – 1985)

David à la Harpe Gouache on paper 39.8 × 59.5 cm (137 ⁄8 × 101 ⁄2 inches) Signed with Estate stamp lower left Executed in 1955-56 This was a preliminary work for the front cover of the 1956 Verve Bible publication.

Provenance Collection of David McNeil, the artist’s son Private collection, Switzerland, acquired from the above, 1986

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Exhibition Bundeskanzleramt Bonn (Federal Chancellery), Marc Chagall, Die Bibel: Gouachen, Aquarelle, Pastelle und Zeichungen, November 1989 – January 1990, later travelled to Landesmuseum Mainz (State Museum), February – April 1990, no. 5, p. 30 (illustrated) London, Stern Pissarro Gallery, Marc Chagall: Master of Colour, June – July 2016, pp 60-61 (illustrated) This work is accompanied by a photo-certificate of authenticity from the Comité Chagall.


M A R C C H A G A L L (1887 – 1985)

Violoniste Devant la Forêt Gouache, pen, brown ink and graphite on paper 28.5 × 27.3 cm (111 ⁄4 × 101 ⁄2 inches) Signed lower left, Chagall. Marc Executed circa 1923 Provenance Robert Rau, New York Private collection, New York, thence by descent The Comité Marc Chagall has confirmed the authenticity of this work.

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M A R C C H A G A L L (1887 – 1985)

Cantique des Cantiques Ink wash, Indian ink and pencil on paper 35.5 × 26.8 cm (14 × 101 ⁄ 2 inches) Signed with Estate stamp lower centre Executed in 1958-59 This was a preliminary work for Plate 71, for the 1960 Verve Bible publication. This image relates directly to the lower left hand portion of the first canvas (“I am my beloved’s, and his desire is toward me”) in the Song of Songs series housed in the Museum of the Biblical Message, Nice.

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Provenance Collection of David McNeil, the artist’s son Private collection, Switzerland, acquired from the above, 1986

Exhibited Bundeskanzleramt Bonn (Federal Chancellery), Marc Chagall, Die Bibel: Gouachen, Aquarelle, Pastelle und Zeichungen, November 1989 – January 1990, later travelled to Landesmuseum Mainz (State Museum), February – April 1990, no. 13, p. 38 (illustrated) London, Stern Pissarro Gallery, Marc Chagall: Master of Colour, June – July 2016, pp 52-53 (illustrated) This work is accompanied by a photo-certificate of authenticity from the Comité Chagall.


M A R C C H A G A L L (1887 – 1985)

David et Absalom Gouache, Indian ink and pencil on paper 35.9 × 25.7 cm (141 ⁄ 8 × 101 ⁄ 8 inches) Signed with Estate stamp lower centre left Executed in 1955-56 This was a preliminary work for the 1956 Verve Bible publication.

Provenance Collection of David McNeil, the artist’s son Private collection, Switzerland, acquired from the above, 1986

Exhibited Bundeskanzleramt Bonn (Federal Chancellery), Marc Chagall, Die Bibel: Gouachen, Aquarelle, Pastelle und Zeichungen, November 1989 – January 1990, later travelled to Landesmuseum Mainz (State Museum), February – April 1990, no. 65, p. 91 (illustrated) London, Stern Pissarro Gallery, Marc Chagall: Master of Colour, June – July 2016, pp 46-47 (illustrated) This work is accompanied by a photo-certificate of authenticity from the Comité Chagall.

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B E R N A R D B U F F E T (1928 – 1999)

Poires, Verre et Raisins Oil and pencil on canvas 46 × 65.4 cm (181 ⁄ 8 × 253 ⁄ 4 ) Signed and dated upper right, Bernard Buffet 50 Provenance Private collection, Japan Private collection, Japan, acquired from the above The authenticity of this work has been confirmed by Maurice & Ida Garnier.

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F E R N A N D L É G E R (1881 – 1955)

Composition Mécanique Pen, ink and pencil on paper 27.1 × 21.2 cm (103 ⁄ 4 × 81 ⁄ 4 inches) Signed with initial and dated lower right, F.L. 1918 Provenance

Exhibited

Galerie Louise Leiris, Paris Kunsthalle, Basel Saidenberg Gallery, New York B.C. Holland, Chicago Richard Grey Gallery, Chicago James Francis Trezza, New York

Paris, Galerie Louis Leiris, F. Léger, Dessins et gouaches 1909-1955, 1958, No. 11 (illustrated) This work is accompanied by a certificate of authenticity from Mrs Irus Hansma, confirming its inclusion in the forthcoming catalogue raisonné of works by Fernand Léger.

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M A R I N O M A R I N I (1901 – 1980)

Cavallo e Cavaliere Gouache and ink on paper 25.4 × 33.6 cm (10 × 131 ⁄ 4 inches) Signed lower right, Marino Executed mid 1940s Provenance Sotheby’s New York, 16th November 1989 Gallery Umeda, Osaka, Japan Private collection, Japan This work is accompanied by a certificate of authenticity from Maria Teresa Tosi of the Fondazione Marino Marini.

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G E O R G E S B R A Q U E (1882 – 1963)

Thèiére et Citron Oil on panel 22.5 × 25 cm (87 ⁄ 8 × 97 ⁄ 8 inches) Signed lower left, G. Braque Executed in 1947 Provenance

Literature

Perls Galleries, New York Fujikawa Galleries, Osaka, Japan  Private collection, Spain 

N. S. Mangin, Catalogue de l’œuvre de Georges Braque: peintures 1924-1927, p. 116 (illustrated)

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L U D O V I C - R O D O P I S S A R R O (1878 – 1952)

Nu de Face Oil on canvas 73 × 60 cm (283 ⁄ 4 × 235 ⁄ 8 inches) Signed lower left, Ludovic Rodo Executed circa 1908 Provenance Private collection, France This work is accompanied by a certificate of authenticity from Lélia Pissarro.

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K E E S V A N D O N G E N (1877 – 1968)

Portrait de Madame Van Der Velde Oil on canvas 126 × 96.5 cm (495 ⁄ 8 × 38 inches) Signed centre left, van Dongen Executed circa 1920-23

Literature E. des Courières, Van Dongen, Paris, 1925, p. 24 (illustrated)

Exhibited

Provenance

Kees van Dongen, Fondation Pierre Gianadda, Martigny, 2002, p. 122 no. 72 (illustrated)

Phillip’s London, 29th June 1987 Drouot-Richelieu Paris, 21st June 1988 Drouot-Montaigne Paris, 31st March 1990 Private collection, France Private collection, acquired from the above in 2001

This work is accompanied by a letter from the Wildenstein Institute. It will be included in the forthcoming catalogue raisonné being prepared by Jacques Chalom des Cordes under the sponsorship of the Wildenstein Institute.

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R A O U L D U F Y (1877 – 1953)

Le Village au bord de la Mer Watercolour on Arches paper 50 × 65 cm (183 ⁄ 4 × 255 ⁄ 8 inches) Signed lower centre, Raoul Dufy Provenance Arthur Tooth Gallery, London Knoedler Gallery, New York

Literature F. Guillon-Laffaille, Raoul Dufy, Catalogue Raisonne des Aquarelles, Gouaches et Pastels, Paris, 1981, vol. I, no. 264, p. 95 (illustrated)

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R A O U L D U F Y (1877 – 1953)

Le Champ de Courses à Epsom Gouache and watercolour on paper 50.3 × 65.7 cm (193 ⁄ 4 × 257 ⁄ 8 inches) Signed lower right, Raoul Dufy Provenance Galerie de France, Paris Galerie Stiebel, Paris Sotheby’s New York, 23rd February 1984 Private collection, USA

Literature F. Guillon-Laffaille, Raoul Dufy, Catalogue Raisonné des Aquarelles, Gouaches et Pastels, Paris, 1981, Vol. 1, p. 378, No. 1040 (illustrated)

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L E S S E R U R Y (1861 – 1931)

Landscape Pastel on card 35 × 50 cm (133 ⁄ 4 × 193 ⁄ 4 inches) Signed twice, lower left and lower right, L. Ury Dr. Sibylle Gross has confirmed the authenticity of this work and its inclusion in the forthcoming catalogue raisonné of works by Lesser Ury.

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M A X L I E B E R M A N N (1847 – 1935)

Stage Setting for Gerhart Hauptmann’s Play ‘The Flight of Gabriel Schilling’ (Preparatory work for Act IV) Pastel and pencil on paper laid down on board 31.3 × 49.8 cm (123 ⁄ 8 × 195 ⁄ 8 inches) Signed lower right, M Liebermann Executed in 1912

Matthias Eberle, Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien, Munich, 1996, Vol. 2, cat. No. 1912/9, p.834 Henning Rischbieter, ed., Bühne und bildende Kunst im XX Jahrhundert, Maler und Bildauer arbeiten für das Theater, Hannover, 1968, p. 287

Provenance Max Liebermann, Berlin, 1914 Edgar Vincent, Viscount d’Abernon (British Ambassador in Berlin 1920-1926) Paul Cassirer, acquired from the above, 9th October 1926 Berlin, Paul Cassirer and Hugo Helbing, 17th May 1927 Mr. and Mrs. Ernst Eichenwald, Berlin and New York, circa 1935 Dr. Heinz F. Eichenwald Collection, Texas

Literature Erich Hancke, Max Liebermann, Sein Leben und seine Werke, Berlin, 1914, p. 546

Exhibited Mannheim, Kunsthalle, Moderne Theaterkunst. 13. Ausstellung des Freien Bundes, January-February 1913 Dusseldorf, Galerie Ludorff, Max Liebermann, SeptemberFebruary 2013 This work is accompanied by a letter of authenticity from Dr. Margaret Nouwen, confirming its inclusion in catalogue raisonné for pastels, watercolours and gouaches by Max Liebermann.

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A N D R É B R A S I L I E R (b. 1929)

Courses sur le Rivage Watercolour, pencil and pastel on paper 57 × 76 cm (221 ⁄ 2 × 30 inches) Signed lower right, André Brasilier Signed again, dated and inscribed on the reverse, Courses sur le rivage. André Brasilier. 2004 Provenance Atelier de Paris, Japan This work is accompanied by a certificate of authenticity signed by Alexis Brasilier on behalf of the Comité Brasilier.

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M A R I E L A U R E N C I N (1883 – 1956)

Suzanne au Foulard Rose Oil on canvas 33 × 24 cm (13 × 91 ⁄ 2 inches) Signed upper right, Marie Laurencin Executed in 1942 Provenance Galerie Bénézit, Paris, 1963 Palais Galliéra, Paris, 12th December 1973 A. Audry, Lyon Galerie de la Présidence, Paris Acquired from the above by the late owner in January 1978 Property from the Estate of Liliane M. Stewart

Literature D. Marchesseau, Marie Laurencin, Catalogue Raisonné de l’Œuvre Peint, Tokyo, 1986, Vol. I, p. 450, No. 1104 (illustrated)

Exhibited Düsseldorf, Kunsthalle, Marie Laurencin, 1957 Paris, Galerie Bénézit, Hommage à Marie Laurencin, June-July 1963, No. 7

43


H E N R Y M O O R E (1898 – 1986)

Maquette for Reclining Figure: Cloak Bronze 7.1 × 12.1 × 5.6 cm (23 ⁄ 4 × 43 ⁄ 4 × 21 ⁄ 4 inches) Signed and numbered on the back, Moore 9/9 Conceived in 1966 Provenance Wildenstein & Co., Inc., New York, acquired directly from the artist The Arthur and Anita Kahn Collection, acquired in 1974

Literature A. Bowness, ed., Henry Moore, Sculpture and Drawings, 1964-1973, London, 1977, Vol. 4, p. 49, No. 564 (another cast illustrated, p. 48, pl. 66b)

44


C H A N A O R LO F F (1888 – 1968)

Deux Danseuses Bronze 78.5 × 18.7 × 20 cm (307 ⁄ 8 × 73 ⁄ 8 × 77 ⁄ 8 inches) Signed and inscribed on the base, Ch.Orloff 4/8 Executed in 1914 Provenance Private collection, Japan

Literature F. Marcilhac, Chana Orloff, Les éditions de l’amateur. 1991, p. 204, pl. 11 (illustrated)

45


A U G U S T E H E R B I N (1882 – 1960)

Composition sur Fond Vert Gouache on paper 28 × 44.3 cm (11 × 171 ⁄ 2 inches) Signed and dated lower centre, herbin 1942 Provenance Galerie Melki, Marbella Private collection, Paris This work is accompanied by a certificate of authenticity issued by Madame Geneviève Claisse.

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A U G U S T E H E R B I N (1882 – 1960)

Composition sur les Noms Communs: Ange, Lion, Fauvette Oil on canvas 160 × 80 cm (63 × 311 ⁄ 2 inches) Signed and dated lower right, Herbin 1942 Provenance Kunstmuseum, Basel Galerie Chalette, New York Donna Josey, Houston Private collection, Alon Zakaim Fine Art, London, acquired in 1994 Private collection, Florida

Exhibited Paris, 54th Salon des Indépendants, 1943, No. 1547 Dallas Museum of Fine Arts, Geometric Abstraction of the 1930s, 1972, No. 73

Literature L. Degand, Auguste Herbin, Privatdruck der Basler Druck und Vergsanstral, 1955, pl. 4 G. Claisse, Herbin, Catalogue Raisonné de l’Œuvre Peint, 1993, Lausanne, No. 798, p. 420 (illustrated)

47


A L E X A N D E R C A L D E R (1898 – 1976)

Spirale Gouache and ink on paper 75 × 110 cm (291 ⁄ 2 × 431 ⁄ 4 inches) Signed and dated lower right, Calder 1969 Dedicated lower middle and lower right à Anne – Marie with an illustration of a hammer Provenance Studio of the artist, Saché, France Collection Anne-Marie Marteau, Tours, France, gifted from the artist Thence by descent, private collection This work is registered in the archives of the Calder Foundation, New York.

48


A L E X A N D E R C A L D E R (1898 – 1976)

Composition Gouache On paper 75 x 109.5 cm (291 ⁄ 2 x 431 ⁄ 8 inches) Signed, dated and dedicated lower left, à Ray & Jeanne Sutter, Sandy Calder 70 Provenance Raymond & Jeanne Sutter Collection (neighbours of Calder in Saché), gifted from the artist, 1970 Private collection, Paris Galerie Carole Brimaud, Paris Private collection, acquired from the above in 1992 This work is registered in the archives of the Calder Foundation, New York.

49


A L E X A N D E R C A L D E R (1898 – 1976)

Composition Gouache on paper 57 × 77 cm (221 ⁄ 2 × 301 ⁄ 4 inches) Signed, dated and dedicated lower left, à Marie Paule et Jean Leymarie Calder 69 Provenance Studio of the artist, Saché, France Collection Marie-Paule and Jean Leymarie, France, gifted from the artist, 1969 Thence by descent, private collection This work is registered in the archives of the Calder Foundation, New York.

50


A L E X A N D E R C A L D E R (1898 – 1976)

Hanging Spirals Gouache on paper 75 × 110 cm (291 ⁄ 2 × 431 ⁄ 4 inches) Signed, dated and dedicated lower right, à Jacqueline & Daniel, Sandy Calder 69 Provenance Christie’s Paris, December 2005 Private collection, Florida, acquired from the above sale This work is registered in the archives of the Calder Foundation, New York.

51


PA U L J E N K I N S (1923 – 2012)

Phenomena Winter Harth Oil and sand on canvas 66 × 122 cm (26 × 48 inches) Signed, titled and dated on verso, Paul Jenkins “Phenomena Winter Harth” 1978 Provenance Private collection, California

52


PA U L J E N K I N S (1923 – 2012)

Phenomena Greet by Day Acrylic on canvas 146 × 114.3 cm (571 ⁄ 2 × 45 inches) Signed lower right, Paul Jenkins Executed in 1994-1996 Provenance Private collection, New York, acquired directly from the artist

53


PA U L J E N K I N S (1923 – 2012)

Phenomena Listen Listen Evermore Acrylic on canvas 100.3 × 81.3 cm (391 ⁄ 2 × 32 inches) Signed lower left, Paul Jenkins Signed, titled and dated Paul Jenkins 2004 “Phenomena Listen Listen Evermore” on the overlap Inscribed twice on the reverse Paul Jenkins 2004 “Phenomena Listen Listen Evermore” Provenance Jerald Melberg Gallery, Charlotte Private collection, acquired from the above

54


PA U L J E N K I N S (1923 – 2012)

Phenomena Time the Compass Acrylic on canvas 152.4 × 152.4 cm (60 × 60 inches) Signed lower right, Paul Jenkins Executed in 1990-1992 Provenance Private collection, New York, acquired directly from the artist

55


PA U L J E N K I N S (1923 – 2012)

Phenomena Shaman Shaman Oil on canvas 116 × 89 cm (355 ⁄ 8 × 35 inches) Signed lower left, Paul Jenkins Executed in 1970 Provenance Private collection, New York, acquired directly from the artist

56


S A M F R A N C I S (1923 – 1994)

Los Angeles Gouache on paper 121.5 × 161.5 cm (477 ⁄ 8 × 631 ⁄ 2 inches) Signed, dated 1970 and stamped by The Estate of Sam Francis on the reverse Provenance Galerie Delaive, Amsterdam Private collection, Europe Acquired from the above This work will be included in the forthcoming catalogue raisonné edited by Debra Burchett-Lere and is registered with the Sam Francis Foundation.

57


A N D R É M A S S O N (1896 – 1987)

Chute du Rêveur (Suite des Entrevisions) Oil on canvas 100 × 73 cm (393 ⁄ 8 × 283 ⁄ 4 inches) Signed lower right, André Masson Signed, titled and dated 1973 on the reverse

Exhibited Paris, Galerie Louise Leiris, André Masson, Entrevisions, 1973, no. 23 (illustrated) Parma, Palazzetto Eucherio Sanvitale, André Masson Opere dal 1925 al 1974, no. 65

Provenance Galerie Louise Leiris, Paris Arturo Schwarz, Milan Private collection, London

58

This work is accompanied by a certificate of authenticity from Diego Masson on behalf of le Comité André Masson.


J E A N - PA U L R I O P E L L E (1923 – 2002)

Carros Oil on canvas 89.5 x 116 cm (351 ⁄ 4 x 455 ⁄ 8 inches) Signed and dated lower right, Riopelle 66 Signed and dated, Riopelle 66 and titled, Carros on the reverse Provenance Galerie Maeght, Paris Galerie Samuel Lallouz, Québec Private collection, USA, acquired from the above in 1987 Christie’s Paris, 5th June 2013 Private collection, Paris, acquired from the above sale

Literature P. Schneider, Riopelle signes mêlés, Paris, 1972, p. 142 & 174, no. 134 (illustrated) Vie des Arts, vol. XXXI, no. 126, Montréal, 1987, p. 75 (illustrated) Y. Riopelle and T. Riopelle, Catalogue raisonné de Jean-Paul Riopelle, vol IV, 1961-1971, Montréal, 2014, p. 98, no. 1966.031H.1966 (illustrated) This work is accompanied by a certificate of authenticity issued by Yseult Riopelle.

59


PA O LO S C H E G G I (1940 – 1971)

Struttura Modulare (Interlinea Curvo) Violet die-cut paper in plexiglass 103 × 103 × 11 cm (401 ⁄ 2 × 401 ⁄ 2 × 43 ⁄ 8 inches) Signed and dated ‘69 on a label affixed to the reverse Provenance Galleria del Naviglio, Milan VAF Stiftung Collection, Frankfurt am Main Private collection, Europe

Literature Bologna, Galleria d’Arte Moderna, Paolo Scheggi, 1976

60

Exhibited Parma, Galleria d’Arte Niccoli, La Breve e Intensa Stagione di Paolo Scheggi, 2002-03, 9.194 (illustrated) This work is registered at Archivio Paolo Scheggi, Milan, under number APSM117/0002 and is accompanied by a certificate of authenticity from Franca Scheggi Dall’Acqua, dated 7th January 2015. This work will be included in the forthcoming publication of the Catalogue Raisonné of the Works by Paolo Scheggi by Luca Massimo Barbero.


V I C TO R V A S A R E LY (1906 – 1997)

GESALT-SIN Acrylic on canvas 180 × 122 cm (707 ⁄ 8 × 48 inches) Signed, titled and dated, Vasarely - “GESALT-SIN” 1969 on the reverse Provenance Private collection, acquired directly from the artist Pierre Vasarely has confirmed the authenticity of this work which will be included in the forthcoming Catalogue Raisonné de l’Oeuvre Peint de Victor Vasarely, currently being prepared by the Fondation Vasarely, Aix-en-Provence.

61


M O S H E TA M I R (1924 – 2004)

Der Reiter Mixed media and collage on paper 101 × 72 cm (393 ⁄ 4 × 283 ⁄ 8 inches) Signed upper left, M Tamir Provenance Private collection, Switzerland

62


J E A N D U B U F F E T (1901 – 1985)

Texte Terreux Oil on paper laid down on canvas (assemblage) 49 × 57 cm (191 ⁄ 4 × 221 ⁄ 2 inches) Signed and dated upper left, J. Dubuffet 59 Signed, J. Dubuffet titled, Texte Terreux and dated on the reverse, mai 59 Provenance Galerie Daniel Cordier, Paris Private collection, Paris, acquired from the above in 1960

from 1955-1962, May - July 1989; catalogue, no. 4, n.p. (illustrated)

Exhibited

Literature

Paris, Galerie de France; Paris, Galerie Baudouin Lebon, Dubuffet: sols et terrains, 1956-1960, January - March 1988; catalogue, p. 67 (illustrated) New York, Arnold Herstand & Compagny, Dubuffet, earth and terrain: Assemblages, texturologies and materiologies: paintings and works on paper

Max Loreau, Catalogue des travaux de Jean Dubuffet, Fascicule XIV: Célébration du sol II, texturologies, topographies, Lausanne, 1969, no. 183, p. 113 (illustrated)

63


G É R A R D S C H N E I D E R (1896 – 1986)

Composition Abstraite Acrylic on paper 75 × 107 cm (291 ⁄ 2 × 421 ⁄ 8 inches) Signed and dated lower right, Schneider, 75 Provenance Collection Hélène Bokanowski Thence by descent, private collection This work is registered in the archives of the artist and is accompanied by a letter of information.

64


J I M D I N E (b. 1935)

A Smaller Fortress Oil on board 91.5 × 122.2 cm (36 × 481 ⁄ 8 inches) Titled, signed and dated on the reverse A Smaller Fortress, Jim Dine 1981 Provenance Private collection, Japan The Market Auction, Tokyo, 25th October 2007 Private collection, Hong Kong The Studio of the Artist has confirmed this work is listed in the Artist's inventory records.

65


A L B E R T G L E I Z E S (1881 – 1953)

Composition Gouache on paper laid down on cardboard 25.7 × 13 cm (101 ⁄ 8 × 51 ⁄ 8 inches) Signed and dated lower right, Albgleizes 22

66

Provenance

Literature

Collection Paul Lombard, Paris

A. Varichon, Albert Gleizes, Catalogue Raisonné, volume I, Editions Somogy, Paris, 1998, No. 1079, p. 357 (illustrated, upside down)


A N D R É L A N S KOY (1902 – 1976)

Composition Oil on canvas 81 × 54 cm (317 ⁄ 8 × 211 ⁄ 4 inches) Signed, LANSKOY, lower right Provenance Private collection, Germany This work is accompanied by a certificate of authenticity from the Comité Lanskoy confirming its inclusion in the forthcoming Catalogue Raisonné de l’Oeuvre d’André Lanskoy.

67


K A R E L A P P E L (1921 – 2006)

Personnage dans la Tempête Oil on canvas 115.9 × 88.9 cm (455 ⁄ 8 × 35 inches) Signed and dated lower centre right, k. appel ‘54

68

Exhibited

Provenance

New York, Martha Jackson Gallery, Karel Appel: First American Exhibition, 6th – 31st December 1954, no. 6 (illustrated)

Martha Jackson Gallery, New York Private collection, New York Private collection, USA, thence by decent

This work is registered in the Archive of the Karel Appel Foundation.


A N TO N I T À P I E S (1923 – 2012)

Als Mestres de Catalunya No. 6 Oil, chalk and pencil on heavy paper laid on canvas 78.7 × 60.9 cm (301 ⁄ 8 × 227 ⁄ 8 inches) Signed lower right, Tàpies Inscribed twice upper middle with a line from the Catalonian national anthem, Els Segadors (The Reapers), Bon cop de falc (Strike with your sickle) Inscribed lower middle, Homes de Catalunya Lluiten! (Men of Catalonia Fight!) Inscribed on the reverse, N° 6 E.M. Executed in 1973

Provenance Sala Joan Gaspar, Barcelona Collezione Baruffaldi – Montefiridolfi, Florence, acquired from the above, 1974

Literature Anna Agustí, Tàpies, Obra Completa, vol. 3, 1969-1975, ed., Fundació Antoni Tápies y Ediciones Poligrafa, Barcelona 1992, cat no. 2603 The present work is part of the series Al Mestres de Catalunya (To the Masters of Catalonia) and was used for the famous lithograph Al Mestres de Catalunya. After the lithograph was made from the present original work, Tàpies further revisited it by adding text.

69


J E A N - M I C H E L AT L A N (1930 – 1960)

Composition Pastel on paper 54 × 46 cm (211 ⁄ 4 × 181 ⁄ 8 inches) Signed and dated lower left, Atlan 58 Provenance Private collection, New York Artcurial, Paris, 7th December 2005 Private collection, France

Literature Jacques Polieri, Atlan, Catalogue Raisonné de l’oeuvre complet, Milan, 1996, no. 1534, p. 565 (illustrated in colour)

70


J E A N - M I C H E L AT L A N (1930 – 1960)

Composition Oil on canvas 100 × 65.3 cm (391 ⁄ 2 × 253 ⁄ 4 inches) Signed lower middle-left, Atlan Executed circa 1958

Provenance Galerie Arditti, Paris, 1958 Private collection, France This work is accompanied by a certificate of authenticity issued by Monsieur Jacques Elbaz.

71


A R M A N (1928 – 2005)

Violon Découpé et Jeté de Couleurs Acrylic paint, wood (violin) on canvas 81 x 60.5 x 8 cm (317 ⁄ 8 × 237 ⁄ 8 × 31 ⁄ 8 inches) Signed on the underside of the canvas, Arman Executed 2003 This work is recorded in the Arman Studio Archives New York.

72


A R M A N (1928 – 2005)

Accumulation Accumulation: shapes of iron and violins on panel 116 × 89.9 cm (455⁄8 × 353⁄8 inches) Signed on the underside of the canvas, arman Executed in 2003 This work is accompanied by a certificate of authenticity from the Fondation A.R.M.A.N in Geneva.

73


D A M I E N H I R S T (b. 1965)

Spin Household gloss on paper Diameter: 45.8 cm (18 inches) Signed with the Artist’s Stamp and dated 2001 on the reverse Provenance Private collection, London, employee of the artist, gifted from the artist Private collection, England, acquired from the above

74


TO M W E S S E L M A N N (1931 – 2004)

Study for Sunset Nude (1960 Judy) Crayon and pencil on transparent paper 8.5 × 9.5 cm (33 ⁄ 8 × 33 ⁄ 4 inches) Signed lower right, Wesselmann Executed in 2002 Provenance Galerie Benden & Klimczak, Viersen/Köln DJT Fine Art, New York Private collection, Switzerland

75


L É L I A P I S S A R R O (b. 1963)

Eros Acrylic, oil and resin on canvas 100 × 70 cm (391 ⁄ 4 × 271 ⁄ 4 inches) Signed lower right Lélia Pissarro and signed and titled on the reverse Provenance Studio of the Artist, London

Literature Lélia Pissarro, The Colours of Silence, London, 2010, p. 51 (illustrated) This work is accompanied by a certificate of authenticity signed by the artist.

76


C L A U D E V E N A R D (1913 – 1999)

Still Life with Montmartre Oil on canvas 130 × 97 cm (51.3 × 38.3 inches) Signed lower right, C. Venard Executed circa 1975 Provenance Galerie Felix Vercel, Paris

77


Y V E S D A N A (b. 1959)

Silence (n.452) Bronze 27 × 10 × 5 cm (​105 ⁄ 8 × 4 × 2 inches) Signed ​and inscribed ​on the base​, Yves Dana 2 ​ /8 Executed in 2010 Provenance Studio of the Artist, Switzerland

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Y V E S D A N A (b. 1959)

Passages (n.481)

Passages (n.485)

Passages (n.483)

Bronze 47 × 6 × 4 cm (​181 ⁄ 2 × 23 ⁄ 8 × 15 ⁄ 8 inches) Signed ​and inscribed o ​ n the base​, Yves Dana ​13/18 Executed in 2010

Bronze 42 × 6 × 4 cm (​105 ⁄ 8 × 23 ⁄ 8 × 15 ⁄ 8 inches) Signed ​and inscribed o ​ n the base​, Yves Dana ​14/18 Executed in 2010

Bronze 35 × 5 × 4 cm​ (​10 5 ⁄ 8 × 4 × 15 ⁄ 8 inches) Signed a ​ nd inscribed o ​ n the base​, Yves Dana ​10/18 Executed in 2010

Provenance

Provenance

Provenance

Studio of the Artist, Switzerland

Studio of the Artist, Switzerland

Studio of the Artist, Switzerland

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Z A D O K B E N - D A V I D (b. 1949)

Innerscapes – Pair of Figures Acrylic on stainless steel Figure One: 36.8 × 10.5 × 0.1 cm (141 ⁄ 2 × 41 ⁄ 8 × 1 ⁄ 1 6 inches); Figure Two: 25 × 12.4 × 0.1 cm (97 ⁄ 8 × 47 ⁄ 8 × 1 ⁄ 1 6 inches) Signed, dated and numbered on the underside of the base Zadok, 2004 12/12 Provenance Annandale Galleries, Sydney The Chappell Collection

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Stern Pissarro Gallery www.pissarro.art

The Gallery Collection, November 2017 - Stern Pissarro Gallery