PETER FINDLAY GALLERY - SELECTIONS

Selected Works

CHARLES

DUBUFFET

LAURENS

FERNAND LEGER

MATISSE

NOLDE

PICASSO

HANS REICHEL (1892

de Fiennes

Fiennes

NASH (b. 1945)

CHARLES ANGRAND (1854 1923)

Motherhood 1895 1900

stamped with initials 'CH. A' (lower right); stamped again with initials 'CH. A' (on the reverse) black Conté crayon on paper 24 x 18 3/8 in. (61.4 x 46.8 cm.)

Provenance:

Estate of the artist.

Private collection, Paris. Anon. sale, Hôtel Rameau, Versailles, 12 June 1985, lot 63. Anon. sale, Hôtel Drouot, Paris, 24 November 1988, lot 4. Acquired at the above sale by the previous owner.

Literature:

C. Duvivier, A. and F. Lespinasse, Charles Angrand, exh. cat., Musée Tavet Delacour, Pontoise, 2006, p. 65 (illustrated).

Exhibited:

Paris, Galerie Art Moderne Jaubert, Charles Angrand, no. 13

A close friend and follower of Georges Seurat and a founding member of the Neo Impressionist movement, Angrand was a master of Conté crayon, preferring to work in its limited palette of black, white, and gray. Here Angrand presents himself, not at all as an artist, but as a bourgeois dandy, impeccably dressed and smoking a cigar. Angrand’s technical ability in this self portrait is stunning. In the words of an early critic, Angrand’s image seems to emerge from a “luminous mist.”

Fellow Neo Impressionist P aul Signac praised Angrand's crayon drawings: "his drawings are masterpieces. It would be impossible to imagine a better use of white and black. These are the most beautiful drawings, poems of light, of fine composition and execution." Many of the Neo Impr essionists were friends, as evidenced by the numerous extant Conté crayon depictions they made of themselves and of one another

Coll: Metropolitan Museum

The Lady 1961

Mixed Media on Canvas 92 x 73 cm, 36 ¼ x 28 ¾ inches

Signed and dated on the back

PROVENANCE

GalerieRaymond Cordier, Paris Rene de Montaigu, Paris Galerie Arditti, Paris, Acquired from the above by the previous owner

EXHIBITION

Paris, Galerie Raymond Cordier et Cie, EnricoBaj, 1961, catalogue, illustrated Saint Etinne, Musee d’Art et d’Industrie, Cinquanteansde“collages”:papierscolles,assemblages,collages,du cubismanosjours , 1964, Catalogue # 299, illustrated

LITERATURE

Mexico en la Cultura, 1961, illustrated Andre Breton, Surrealism and Painting , Paris, 1977, p. 397, illustrated Enrico Crispolti, CatalogogeneraleBolaffidell’operadiBaj , Turin, 1973, p. 94, no. 600, illustrated Fondazione Marconi, DameeGenerali, Milan, 2008, catalog, illustrated

Enrico Baj was born in Milan on October 31, 1924, and studied at the Accademia di Brera. In 1951 he, along with Sergio Dangelo and Gianni Dova, became a proponet of the Nuclear Movement, and he had his first solo exhibition in Milan at the Galleria San Fedele. Upon meeting Asger Jorn in 1953, the two founded the International Movement for an Imaginist Bauhaus, which reacted against the forced rationalization and geometry of art, and the following year organized the International Ceramics Meetings at Albisola in Liguria, Italy

Baj’s artistic experiments resulted in multicolored collages made from many different materials. On one hand, his work emphasises the joyful experience of painting with diverse materials; however, it also provides a social commentary and strong criticism of the contemporary world. This is evident in his Generali and Parate militari of the 1960s, and even more so in works dating from the 1970s, such as I funerali dell’anarchico Pinelli (1972) and Apocalisse (1979).

In the 1980s he abandoned collage temporarily and made a series of works called Metamorfosi e Metafore (1988) in which his images were based on imagination and fantasy. In 1993 he started his Maschere tribalicycle, which consisted of assemblages that used waste materials of modern civilization to create ironic and brightly colored masks.

Throughout his life Baj was in close contact with poets and intellectuals, both in Italy and abroad, and collaborated on numerous occasions to produce prints or original multiples for several artist books. In 1999 the artist once again reconfirmed his strong links to literature by producing a series of 164 portraits inspired by the Guermantes of Marcel Proust. He also collaborated with many artists, including Lucio Fontana and Piero Manzoni. In 2001 he started a series dedicated to the history of Gilgamesh, the King of the Sumers.

Enrico Baj died in Vergiate (Varese), Italy, on June 16, 2003.

Lista,

Eddy/Whirlpool

Galleria

LITERATURE

THOMAS SOLLEY

Thomas Solley was a legendary museum director. Under his leadership, the Indiana University Museum greatly expanded its collections gaining special excellence in Ancient, African, Oceanic, and Pre Columbian art, as well as works on paper and photography. Solley's interest in Early Modernism and Surrealism led to further strengths in European art from 1900 to 1930. He also gave generously of his own collections. Solley came from the Indiana family perhaps most renowned for its visionary philanthropy and its art collections, the Lillys. His great uncle, Josiah K. Lilly, founded IU's Lilly Library. In addition to numerous major gifts during his tenure at the museum, in 1996 Solley established the Thomas T. Solley Endowed Fund for the Curator of Ancient Art, followed four years later by his endowment of the Pamela Buell Curatorship of Asian Art.

Coll: Guggenheim Museum

In late 1912 to early 1913 Giacomo Balla turned from a depiction of the splintering of light to the exploration of movement and, more specifically, the speed of racing automobiles. This led to an important series of studies in 1913 14. The choice of automobile as symbol of abstract speed recalls Filippo Tommaso Marinetti’s notorious statement in his first Futurist manifesto, published on February 20, 1909, in Le Figaro in Paris, only a decade after the first Italian car was manufactured: “The world’s splendor has been enriched by a new beauty: the beauty of speed. . A roaring automobile . . that seems to run on shrapnel, is more beautiful than the Victory of Samothrace.”

NORMAN BLUHM

Norman Bluhm was an American Abstract Expressionist painter. Though he never achieved the same fame as his peers Joan Mitchell and Sam Francis , Bluhm was an influential figure in American art and is widely revered as a “painter’s painter.” His work employs a repetition of organic forms and semi figurative moments within pure abstraction to create a rhythmic language with paint. Inspired by the Impressionist masters, he once cited Jean Baptiste Camillie Corot and Gustave Courbet as major sources of influence: “Not in painting, in their style or in the style of their period, but in the spiritual and the light of them and certain crystal elements which Corot or Courbet each different in another way,” he said. “I tried to paint big landscapes with this kind of feeling about light." Born on March 28, 1921 in Chicago, IL, Bluhm went on to study architecture at the Ar mour Institute of Technology in Illinois under Mies van der Rohe . After serving in World War II, Bluhm moved to Paris in 1948 where he studied at the Ecole des Beaux Arts, returning to New York in 1956.

Bluhm exhibited twice in the 1950s with Leo Castelli and subsequently with Martha Jackson, one of the great dealers of her time until h er premature death in 1969. It has often seemed that many of the artists she showed did their best work when with her. One senses that Bluhm was cast free and somewhat lost after Jackson’s death. As a man who was already an individualist, his work could evolve at its own pace. It is one of the most extraordinary evolutions on record. His late work isn’t easy as in forces us into unknown visual territory, perhaps most closely related to De Kooning, but with a palette that is unique only to him.

Today, his works are in the collections of The Metropolitan Museum of Art in New York, the Cleveland Mus eum of Art, and the Smithsonian American Art Museum in Washington, D.C., among others. Bluhm died on February 3, 1999 in East Wallingford

“ Bluhm is an excellent example of a vastly undervalued talent. His best painting here, a wall spanning triptychtitled"Acheron,"waspaintedin1971.Thiswouldseemtotakeitoutoftherelevanttimeframe, andyetwithitsswirlingloopsofcreamycolor,itssplashesofpaint,itssure firemanipulationsofspace, itisagesturalpaintingofresplendentbeautyandimprobableauthority.ScantwonderthatBluhmwent inforclassictitleswithtragicimplications(Acheron,curatorHarryRandtellsusinthecatalogue,derives fromtheGreekrootforaffliction),forhewaspracticingatthehighestlevelakindofpaintingthathad longbeenoutoffashion.Consequently,hisachievementwentlargelyunnoticed

Benjamin Forgey, June 22, 1985, Washington Post, review of an exhibiton at the National Museum of American Art

Untitled 1958 Watercolor on Paper 22 ½ x 31 inches

REFERENCE

FullBluhm, Art and Antiques, November 2012, page 65, reproduced

Untitled 1960 Oil on paper mounted on canvas 26 x 24 ½ inches Signed and dated lower right

COLLECTIONS

Scott White Contemporary Art, San Diego Acquired by the previous owner, 2006

Scene (Arcachon) 1929

Oil on canvas

25 1/4 by 26 1/4 in.

64 by 66 cm

Signed Bonnard (lower left)

NB: Bonnard selected this painting as his entry for the Salon d’Automne in 1929

PROVENANCE

Galerie Bernheim Jeune, Paris (acquired directly from the artist in 1929)

Alphonse Kann, St. Germain en Laye

Seized from the above by the Einsatzstab Reichsleiter Rosenberg in November 1940 and transferred to the Jeu de Paume, Paris as Menschen auf der Straße (reference Ka1054)

Restituted to Alphonse Kann, July 11, 1947

Sam Salz, New York

Mary & Leigh B. Block, Chicago (acquired by 1966)

Private Collection, Tokyo

EXHIBITED

Paris, Salond'Automne, 1929

Washington, D.C., National Gallery of Art & Los Angeles, Los Angeles County Museum of Art, 100European PaintingsandDrawingsfromtheCollectionofLeighB.Block , 1967, no. 26, illustrated in the catalogue (titled Street in Arcachon)

LITERATURE

Francine du Plessix Gray, "Collectors: Mary and Leigh Block" in Art in America, 1966, illustrated in color p. 73 Jean Lipman, ed., The Collectors in America, 1969, illustrated in color p. 110 Jean & Henry Dauberville, BonnardCatalogueRaisonnédel'OeuvrePeint , 1920 1939, vol. III, Paris, 1973, no. 1413, illustrated p. 330

Pierre Bonnard Cinq Personnages, 1915 22 x 25 inches Sold Sothebys Coll. Alfred Taubman 2015 $1,138,000

EMILE ANTOINE BOURDELLE (1861 1929)

Grande Baigneuse Accroupie 1906 07

Bronze

Height 40 1/8 inches, 105cm

Inscribed with the monogram and © byMuseeBourdelle and numbered N. 4

Conceived in plaster in 1906 07 and cast in bronze in four sizes: 26cm., 49cm., 52cm and 105cm. This example was cast by Coubertin, in 1988 in an edition of 8 plus 2 artist's proofs

PROVENANCE

Bruton Gallery, New York

Acquired from the above by the previous owner in 1989

EXHIBITED:

Tokyo, Musée National d'Art Occidental & Kyoto, Musée National de Kyoto, Bourdelle 1968, no. 45, illustrated in the catalogue

LITERATURE:

Lonel Jianou & Michel Dufet, Bourdelle, Paris, 1978, p. 102, no. 348, Peter Cannon Brookes, Emile Antoine Bourdelle, London, 1983, p. 38, no. 55, illustration of the plaster; p. 39, nos. 56 & 57, illustrations of another cast

Rhodia Dufet Bourdelle has confirmed the authenticity of this work.

The sculpture of Emile Antoine Bourdelle displays a dramatic theatricality and expressive power that was rooted in the public monument convention of central Europe. His early academic training taught him to adhere to truth and purity of form. Working with Dalou and Auguste Rodin at the Ecole des Beaux Arts in Paris he developed a sense of passion while maintaining his loyalty to classicism. Jean Cassou articulated this Style when he wrote: 'Bourdelle's art, then, is that of a classicist; his is a Latin mind that aims to see clearly; that of a perfect and accomplished workman who understands the laws that govern his material, the rules of his craft. But all this is swept up by a fiery vehemence, by an irresistible urge to use verbs action words to make his material say things with breadth of spirit and nobility' (AntoineBourdelle (exhibition catalogue), Charles E. Slatkin Galleries, NewYork. 1961, p. 19).

The sitter for this monumental sculpture by Bourdelle was an Italian teenage girl, one of the artist's favorite models.

Peter Cannon Brookes writes:

'The very firm, full forms of the young girl and the total innocence of the pose do not detract from the strong sense of structure and its rhythmic clarity. It is at this moment that the outward forms of Bourdelle and Maillol are at their closest, but the inner strength on which Bourdelle builds his forms is totally different from the static, contemplative mood sought by Maillol in his deliberate reduction of sculpture to two profiles only, as in primitive Greek sculpture.”

(P. Cannon Brookes, op.cit, pp. 42 & 43).

Signed with the artist's monogrammed initials CEB, dated 1917and inscribed To Dr. & Mrs. Ritchie. l.r.; also titled Window by the Alley and dated Sept 5, 1917 on the reverse prior to mounting.

An inscription on the reverse prior to mounting reads: Thecottagewasnextdoortomyhome inSalem,Ohio.Theladyinthe window is 'Grandma Weaver' Itwasafavoritespotofhers, tosit.Thevineinthewindowisthewildcucumber,highlyconventionalized."

PROVENANCE

Dr. and Mrs. Andrew Ritchie, New York and New Haven, Connecticut. Sale: Christies, New York, December 7, 1984, lot 328, illustrated in color. Andrew Crispo Gallery, New York Suzanne and Stanely S. Arkin , New York

EXHIBITED

Cleveland, Ohio, Cleveland School of Art, CharlesBurchfield,1917 illustrated. New York, Montross Gallery, ExhibitionofRecentPaintingsbyCharlesBurchfield . March April 1928, illustrated.

New York, The Museum of Modern Art, CharlesBurchfieldEarlyWatercolors1916 1918, April 1930, no. 20, illustrated New York, Whitney Museum of American Art; Baltimore, Maryland, The Baltimore Museum of Art; Boston, Massachusetts, Museum of Fine Arts San Francisco, California, San Francisco Museum of Art Los Angeles, California, Los Angeles County Museum of Art Cleveland, Ohio, The Cleveland Museum of Art CharlesBurchfield, 1956 57, no.6, illustrated.

Utica, New York, Munson Williams Proctor Institute Museum of Art,TheNatureof Charles Burchfield: A Memorial Exhibition , April May 1970, no. 98. Burchfield Penny Art Center, Buffalo, NY, August 11 November 26, 2017

LITERATURE

Joseph S. Trovato, Charles Burchfield: Catalogue of Paintings in Public and Private Collections, Utica, New York, 1970, no. 358, p.66

(Dr. Ritchie was Director of the Albright Art Gallery July 1, 1942 January 1, 1949. Burchfield served two terms as a member of the Board of Directors 1948 51 and 1952 55.)

The Windowby theAlley (September 5, 1917) exemplifies the comic twist Burchfield occasionally instilled in some of his favorite places. The wild cucumber curlicue over the window, sad faced petunias, and zigzag cricket chirps make an enchanted sight of Mrs. Weaver and her home next door. She raised her sons alone, so Burchfield often played with the younger Weaver boys. He was a sympathetic neighbor, since he was only five years old when his father died.. Her quaint cottage appeared in many paintings, distinctive because its tall chimney seems out of proportion for such a small, low dwelling. The Weaver home became a nostalgic symbol of childhood hopes and fear

CHARLES BURCHFIELD

Autumn to Winter pencil on paper, 13 ½ x 19 ½ inches

Last week I started on the Autumn to Winter transition. Four days spent in correction of last year’s tentative compositions Finally started on the largest (with misgivings on account of its size

Even after I had made a good start, I still worried about the size (It has now grown to 50” x 75”) I had Bertha look at it As usual her faith in my art, and her good sense prevailed “So what if it is larger than anything you’ve done yet? the subject demands space and size and what you’ve done is beautiful ”

My mind is on fire now with the other three transitions Winter Spring, Spring to Summer and Summer to Autumn

A note to Posterity What I want is a circular museum, large enough to house these four season transitions and six month transitions (1) December to January (2) February to March (3) April to May (4) June to July (5) August to September (6) November to December (No. 5 already painted )

These, with the Genesis or And the Spirit of God” are the projected work for the next ten years or whatever time God grants to me. The long drought is ended my mind is on fire again The “Winter to Spring” transition now inflames my mind and ideas crowd tumultuously upon each other Charles E. Burchfield, December 10, 1964

COLLECTION

The Estate of Robert and Sylvia Olnick, New York

Deborah Butterfield is today known internationally for her images of horses. She first began creating her sculpture in the 1970’s using mud, clay and sticks. In 1977, she moved to a ranch in Montana and in 1979 began using scrap metal and found steel. For the past decade, she has been making bronze work, cast from “stray, downed pieces of wood.”

We are particularly interested in her early work. This extraordinary piece could be placed in any Museum collection.

EDGAR DEGAS (1834 1917)

Bather Taken Unaware c 1896

Bronze

inscribed Degas , numbered 42/K and with the foundry mark Cire PerdueA.A. Hébrard

height: 41cm. 15 7/8 in.

Cast by the Hébrard Foundry, Paris after 1919 in an edition of 20 numbered A to T plus 2 casts inscribed HER and HER.D and 1 cast inscribed AP .

PROVENANCE

Private Collection, Sweden (acquired in Paris in the 1950s)

Thence by descent to the previous owner

NB: There are 19 known casts 10 of which in Museum permanentcollections

Coll: Princetown Art Museum

Woman Washing Her Left Leg c 1890

Stamped with signature ‘Degas’ (Lugt 658; on the top);

Numbered and stamped with foundry mark ‘61/M A.A. HEBRARD CIRE PERDUE (on the back)

Bronze with brown and red patina Height: 8 in. (20.2 cm.) Length: 7 in. (19 cm.)

Original wax model executed in the 1890s; this bronze version cast at a later date in an edition numbered A to T, plus two casts reserved for the Degas heirs and the founder Hébrard marked HER.D and HER respectively

PROVENANCE:

Anon. sale, Sotheby & Co., London, 11 April 1962, lot 41a. Anon. sale, Parke Bernet Galleries, New York, 13 October 1965, lot 44. Acquired at the above sale by Adele

To create Femme se Lavant La Jambe Gauche, Degas modeled wax over wire and incorporated a found or ready made object, making it one of a handful of his sculptures that offer context in an authentic and tangible setting.

At once illusory and real, it anticipates the central role that the objettrouvé would play in twentieth century sculpture. Ann Dumas has written that “Degas’ sculpture was crucial to the development of cubist sculpture and collages and the surrealists’ magical concoctions,”. Degas’ experiments even touched artists in the late twentieth century such as Robert Rauschenberg and others who conjure poetry from everyday items” (op.cit., 2002, p. 47).

The original wax version of this sculpture is in the the collection of the National Gallery of Art, Washington, D.C.,and the bronze modèle in the Norton Simon Art Museum, Pasadena

Other bronze casts are in the collections of:

The Metropolitan Museum of Art, New York, HirshhornMuseum and Sculpture Garden,Washington, D.C., Ny Carlsberg Glyptotek, Copenhagen, Museu de Arte de São Paolo, Musée d’Orsay, Paris

It is known that there were 16 casts made of which 15 have been located

Trois Pèlerins 1947. gouache on paper mounted to linen 12 x 16 inches

LITERATURE

Max Loreau, ed., Catalogue des Travaux de Jean Dubuffet, Fascicule IV: Roses d'Allah, clowns du désert, Lausanne, 1967, no. 26, pp. 29 and 212, illustrated

EXHIBITION

Paris, Musée des Arts Décoratifs, Jean Dubuffet 1942 1960, 1960 1961, cat. no. 258

New York, The Pace Gallery, Dubuffet: Works on Paper, 1971, cat. no. 5 London, Achim Moeller, Selected Paintings, Drawings, and Graphics of the 19th and 20th Centuries, 1973, p. 21, Paris, Galerie Boulakia, Jean Dubuffet, 2007, p. 37, illustrated in color

JEAN DUBUFFET 1901 1985

JEAN DUBUFFET (1901 1985)

Le Soleil les Decolore (TheSunDiscolorsThem) 1947

Oil on canvas 51.18 x 38.27 inches

COLLECTIONS

Galerie René Drouin, Paris Carl van Bogaert Collection, Antwerp Jos Janssens Collection, Liere

Her sale, Christie's New York, 15 November 1988, lot 57 $528,000 Andy Williams, USA (acquired at the above sale). sale, Christie's New York, 11 November 2003, lot 39 $1,183,500 acquired at the above sale by the previous owner.

EXHIBITIONS

Galerie René Drouin, Paris, Portraits à ressemblance extraite, à ressemblance cuite et confite dans la mémoire, à ressemblance éclatée dans la mémoire de Mr. Jean Dubuffet, 1947, no. 75.

Musée des Arts Décoratifs, Paris, Rétrospective Jean Dubuffet 1942 1960, 1960 1961, no. 46, p. 212. Musée des Beaux Arts, Ghent, de Menselijke figuur sedert Picasso, 1964, pl. LX, no. 88 (illustrated, p. 96). Stedelijk Museum, Amsterdam, Jean Dubuffet, 1966, no. 21 (illustrated, unpaged).; Les Galeries Nationales du Grand Palais, Paris, Jean Paulhan à Travers ses Peintres, 1974, no. 537, p. 215 ; Musée National d'art Moderne Centre National d'Art et de Culture Georges Pompidou, Paris Paris: Créations en France 1937 1957, 1981, no. 197, p. 510 ;

LITERATURE

M. Loreau (ed.), Catalogue des Travaux de Jean Dubuffet, Roses d'Allah, Clowns du Désert, fascicule IV Lausanne 1967, no. 17 (illustrated, p. 21) ; M. Paquet, Dubuffet, Paris 1993, no. 74 (illustrated in color, p. 67) ;

Between 1947 and 1949, Dubuffet took three separate trips to Algeria a French colony at the time in order to find further artistic inspiration.

In this sense, Dubuffet is very similar to other artists such as Delacroix, Matisse, and Fromentin. However, the art that Dubuffet produced while he was there was very specific insofar as it recalled Post War French ethnography in light of decolonization. Dubuffet was fascinated by the nomadic nature of the tribes in Algeria he admired the ephemeral quality of their existence, in that they did not stay in one place

JEAN DUBUFFET 1901 1985

Le Mal Assure

oil on Masonite 32½ by 26⅛ in. signed and dated 51; signed, titled and dated Août 51 on the reverse

PROVENANCE

Pierre Matisse Gallery, New York (acquired directly from the artist) Acquired by the previous owner from the above

LITERATURE:

Max Loreau, Catalogue des Travaux de Jean Dubuffet, FasciculeVII:TablesPaysagées,PaysagesduMental,PierresPhilosophiques , Lausanne, 1967, p. 54, no. 74, illustrated

CAFETIÈRE, TASSE ET SUCRIER (Coffee pot, Cup and Sugar Bowl") is undoubtedly one of the most emblematic works of the longest and most fertile cycle of Jean Dubuffet's oeuvre known as the Hourloupe .

Created in the fall of 1965, when the artist, at the height of his career, was mastering his palette, here accentuating the arbitrary nature of color to draw the viewer into a fourth dimension, Cafetière,Tasseet Sucrier echoes Dubuffet's fascination with the alchemical dynamics of creation.

Determined to take a singular approach to the creative act, Dubuffet here explores the weave of a complex web of preferential options and artistic priorities to "probe elasticity, to the point of making this enterprise the raison d'être and the linchpin of his artistic itinerary," as Gloria Moure wrote in the preface to the JeanDubuffet,expositionducentenaire ("Jean Dubuffet, Centenary Exhibition") at the Centre Pompidou in 2001.

Through Cafetière,TasseetSucrier , Dubuffet also delivers a unique interpretation of a subject that is, after all, relatively classic in painting: still life, while preserving an extraordinary independence of spirit. It must be said that in 1965, Dubuffet was more than ever aware of the importance of the mission he had set himself: to open a new path by making the very principle of the work visible.

In another respect, the all over design of Cafetière,TasseetSucrier , a juxtaposition of blue, red and white industrial colored cells enhanced with black, creates a graphic and stylized universe. A universe From the collection of the Solomon R. Guggenheim Foundation in New York, Cafetière,Tasseet "antagonistic to culture", lively, radical, wild, endemic but also poetic and sensitive, which will forever mark the history of art and thought. This is the great example of Dubuffet's work, driven by a passion that leads him to "replace the data of reality with a fictional world, both real and mental" in the words of art historian Daniel Abadie.

Thomas Messer Iconic director of the Solomon R. Guggenheim Foundation and Museum for 27 years, his stewardship of the Guggenheim began in 1961, following directorships at the Roswell Museum of History and Art, the American Federation of the Arts, and the Institute of Contemporary Art in Boston.

Mr Messer continued to expand and grow the museum's exhibition program with important shows as well as continuous retrospectives of work by artists such as Alexander Calder, Jean Dubuffet and Alberto Giacometti. But it was the transformative acquisition of two important collections largely secured by Mr. Messer the Thannhauser Collection, including Impressionist, Post Impressionist and early modern masterpieces, and the Peggy Guggenheim Collection, as well as the Venice palazzo that housed it which indelibly changed the scope of the Guggenheim and secured its international reputation.The Guggenheim retains robust holdings from the estate of Thomas and Remi Messer, including significant gifts of art by Chryssa, Joseph Cornell, Jean Dubuffet, and Jesús Rafael Soto, among others.

Paysage

Chateaux

titled and dated Janvier

masonite

Rochers

New York on the reverse

by

in.

by

cm.

JEAN DUBUFFET

JEAN DUBUFFET

Utensile Forme de Poire 1970

signed with the initials JD and dated 70 on the base Epoxy paint on polyurethane 15 5/8 by 11 by 10 5/8 in. 39.7 by 27.9 by 27 cm.

PROVENANCE

Galerie Jeanne Bucher, Paris

Galerie Beyeler, Basel Private Collection, New York Sotheby's Parke Bernet New York, 22 October 1975

The Collection of Jay I. Kislak

LITERATURE

Max Loreau, ed., Catalogue des travaux de Jean Dubuffet. Fascicule XXIV:

Tour aux Figures, Amoncellements, Cabinet Logologique, Paris, 1989, no. 64, p . 75, illustrated

JEAN DUBUFFET

"Site avec 6 personnages"

February 24, 1981

Acrylic on paper mounted on canvas 51 x 35cm 20 x 13 3/4 inches

PROVENANCE

Pace gallery, New York

Private collection, New York Private collection, Tokyo

LITERATURE

Fascicule XXXIV #33 page 18.

EXHIBITIONS:

“Dubuffet”, Centre Georges Pompidou,, 23 September 23 November 1981

JEAN DUBUFFET (1901 1985)

Original gouache and graphite on paper for The Museum of Modern Art Exhibition poster: Dubuffet February 21 to April 8, 1962 20 x 15 in. (51 x 38 cm)

PROVENANCE

Peter Selz (curator at MOMA) gift of the artist

LITERATURE

Max Loreau, Ed., Catalogue des Travaux de Jean Dubuffet, Fascicule XIX: Paris Circus , Lausanne1967, Page 216, illustrated

EDWARD HOPPER

The Capezzera Drawings May, 2005

Brian O’Doherty, who knew Edward Hopper well and was one of eight people to attend his funeral, summed up Hopper’s artistic career:

“It has come down to this: some two score master images, stamped into the popular imagination. Their iconic status, to which the work offers a mild and steady resistance, is reinforced with each generation. Hopper’s images now voyage across the decades, cultures and geographies …easily accessible referents that frequently project themselves on everyday experience…Better to say that Hopper was one of the twentieth century’s greatest artists, great in terms of the rewards he promises and delivers.”

Edward Hopper died in 1967. When Jo Hopper died eight months later she left the entire contents of the New York Studio to the Whitney Museum and their Cape Cod home in Truro to her friend Mary Schiffenhaus.

In drawers and cupboards Mrs. Schiffenhaus found studies for many of Hoppers great late works. The twenty two drawings in this exhibition were given to her close friend Frank Capezerra in 1969.

Hopper always drew and up until 1945, in addition to painting, he did watercolors, which provided some income. But he never sold his drawings, even in the last twenty years of his life when his painting production was very limited and he could have certainly used the money. Most of Hopper’s drawings have been tucked away at the Whitney since his death and have not been fully studied.

The drawings in this exhibition show an essential part of this hidden Hopper. They are not studies in the true sense, as Hopper, particularly on his later works, had essentially solved the structural and compositional issues of a new painting in his mind. They reflect the clarity of Hopper’s imagination and his vision of the final composition of some of his greatest paintings.

At their best they are more than studies and stand alone as works of art.

Study for “High Noon” 1949

Charcoal on Paper 10 1/2 x 11” inches

REPRODUCED

Gail Levin, Edward Hopper, A Catalogue Raisonne, Norton, 1995 figure 340.2, pg. 328

The drawing shows a figure standing beside the house speaking with a person in the window. It is noted that there are five existing studies on four sheets. Another, showing Jo standing in the doorway would be the final drawing.

On August 25, 1949 Hopper began his first painting of the year. In the months that followed he made four paintings: High Noon, Conference At Night, Summer In The City, and Stairway. In her diary entry for September 1 Jo notes that:

E. has definitely started a canvas the front of an old house with 2 figures i doorway & two dormer windows on 2nd floor.

HighNoon 1949 Coll: Dayton Art Institute

Car and Road 1962

LITERATURE

Hopper Drawing, Foster, Carter et al., Yale University Press, 2013, Reproduced in color page 172, # 317:

EXHIBITED

Whitney Museum, New York , Hopper Drawing, May 23 October 6, 2013 Dallas Museum of Art, Hopper Drawing, November 17, 2013 February 16, 2014 Walker Art Center, Hopper Drawing , Minneapolis, Minn., March 15 June 22, 2014

Edward Hopper’s small charcoal drawing “Landscape With Automobile” has a measure of velocity uncommon in the artist’s body of work, which is so often marked by a deliberate stillness. …..In its speed and fugitive quality, the process of making the drawing matches the landscape it records: the side of a road seen in an instant out of the window of an automobile. This drawing has been interpreted as a study for Hopper’s late painting Road and Trees of 1962, a canvas that stills the seemingly moving world into (a) taut, vital composition and is the culmination of a long series of works Hopper made of the road and the roadside landscape. Nicholas Robbins Hopper Drawing op. cit

In 1962 Hopper made two paintings Road and Trees and Office In a Small City. This is Hopper’s fifth to last painting.. It seems probable that this drawing is an early idea for Road and Trees, with the car as the traditional narrative element. He pares it down to an empty landscape. Ahead next year is Sun In An Empty Room which he said had been originally conceived with a figure which he eliminated because it was too

ExcursionIntoPhilosoph

In SummerInTheCity , painted in 1949, the sun streams into a room where a man lies nude against the wall, face down on a bed, in the right portion of the composition. A woman in a pink shift sits on the edge of the bed, her arms crossed on her knees. Ten years later Hopper searches through his motif collection and paints ExcursionIntoPhilosophy .

Too much has been made of Jo Hopper’s remark that the “open book is Plato, reread too late.” Once paintings were completed, the Hoppers liked to make up stories about them, like naming the woman “Toots” in SecondStorySunlight .

Although Gail Levin has catalogued this drawing as a study for “ExcursionIntoPhilosophy”, careful consideration would indicate that it is clearly a non related self portrait. Hopper was tall, always wore a jacket and knit tie and was notoriously silent. Here, we think, he sits with Joe, who jabbers as he looks silently out the window.

House and Road c. 1940 45

Charcoal on Paper 10 1/2 x 16 inch

EDWARD HOPPER (1882 1967)

Study for' Portrait of Orleans' 1950 (PartofGroupof3)

Charcoal on Paper 10 1/2 x 16 inches

REPRODUCED

Gail Levin, EdwardHopper,aCatalogueRaisonne, Norton, 1995 figure 342.1 pg 332

It is noted that there are seven preparatory drawings

Hopper completed two paintings in 1950: CapeCodMorning and Portrait or Orleans

IwishIcouldpaintmore. Igetsickofreadingandgoing to the movies.OfcourseI’drathwebepaintingbutIdon’thavethe impulse. I do dozens of sketchs for oils justafewlinesonyellow paper andIalmostalwaysburnthem. If I do one that interests me,Igoonandmakeapainting.Butthathappensonlytwoorthree times

HENRI LAURENS (1885 1954)

“La Nuit”

signed with the initials, numbered and stamped with the foundry mark 'HL 2/6 Valsuani Cire Perdue' (on the back) bronze with brown patina Height: 9¼ in. (23.5 cm.) Length: 13 in. (33 cm.) Conceived in 1943 and cast in bronze in an edition of 7, numbered 0/6 to 6/6 plus an artist’s proof

COLLECTION

Galerie Louise Leiris, Paris

Galerie Svensk Franska, Stockholm

Jan Runnqvist , Galerie Bonnier, Geneva

His Estate

EXHIBITED

Galerie Svensk Franska, Stockholm, HenriLaurens, #21, 1952

LITERATURE

W. Hofmann, TheSculpture of HenriLaurens, New York, 1970, p. 219 (another cast illustrated p. 191).

Svensk Franska Konstgalleriet, Stockholm was founded in 1918 by Gosta Olsen. It later merged with Galerie Bonnier, Geneva, Switzerland in 1973. Galerie Bonnier was founded in 1961 in Lausanne, Switzerland by Jan Runnqvist, son of Harry Runnqvist who was Olsen's partner in Stockholm. It later moved to Geneva, Switzerland in 1969. Between 1964 and 1973, when his father died, Jan Runnqvist directed both galleries until closing Svensk Franska in 1973 and moving all business records to Geneva. These records are now archived at the Getty Museum

FERNAND LEGER (1881 1955)

Dessin de Mains et Baton 1951

Pencil, brush, ink and wash on paper 12 3/4 x 19 3/8 inches (32 x 49.2 cm) signed F.L and dated 51 on lower right

PROVENANCE

Maison de la Pensee Francaise, Paris (a gift from the artist in 1951) Daniel Varenne, Geneva, 1960 Jacques Valmont, Paris Gilles Valmont, Paris (by desce

signed

FELIX LABISSE (1905 1982)

Don Quichette et la Lune 1930 oil on canvas

LABISSE and dated

(lower left) PROVENANCE

Private collection, Belgium (acquired directly from the artist) Thence by the descent to the previous owner EXHIBITED

Ostende, Kursaal, Peintresd'Ostende, 1930 LITERATURE

Jean Cassou, Labisse:CataloguedeL’OeuvrePeint,1927

Brussels,

no.

listed p.

The

Charcoal

Interior Scene

estompe

Signed HenriMatisse,

been

PROVENANCE

The artist

Galerie Paul

Robert

LITERATURE

Alfred

The

EXHIBITED

Guebriant

A group of 1923 1924 works portray Henriette making music and art, two activities central to Matisse own personal life.

Reminiscent of Matisse’s Painter’sFamily(1912, now in the Hermitage) Pianiste et Joueurs de Dames shows the new home of the artist with the “family” of Henriette and her two brothers.

The Moorish screen, his recently acquired cast of Michelaangelo’s DyingSlave, violins hanging on the end of the armoir, the checker board, the upright piano, and the panoply of other patterns assault the eye with their relentless play of patterns and colors. These works were Matisse’s last explicit depictions of music.

Considering the figures as decorative elements, he treated them as such, dressing them with patterned fabrics stripes for the boys, diamonds for the woman that he could have used for a rug or a screen. Nevertheless at this stage of his artistic research, everything revolves around the theme of a constructed, theatrical fantasy. The presence of these figures is not to be mistaken as Matisse’s return to the role of the bourgeois head of family. On the contrary, they are part of this fantasy, a simulation of family, serving the artist’s purpose by both participating in his artistic masquerade and addressing his underlying need to link pure decoration with a sense of reality in his compositions. In Nice he abandoned his own grand style, for, had he continued with it, he told an interviewer in 1919, ‘I would have finally become a mannerist. One must always guard one’s freshness… Besides, I am finding a new synthesis.’ Previously, sacrifices had been made: of ‘substance, spatial depth and richness of detail. Now, I want to reunite all that, and think I am capable of it in the course of time.” Once Matisse was firmly settled in Nice, the synthesis was formed. The great charcoal and estompe studies that dominate the years 1922 to 1924 reveal the character of that synthesis, at least in its first fully realized state. This particular medium allowed him, he said, ‘to consider simultaneously the character of the model, the human expression, the quality of surrounding light, atmosphere, and all that can only be expressed by drawing.’ The theme of these studies, then, is the synthesis of form in light. Time and again Matisse would say that drawings should generate light. In the paintings made at Nice, color was submitted to light: rather than producing light in the contrasts of color, as previously, his canvases were dosed with white and the colors were joined and organized within this luminous substance. This was why charcoal and estompe as well as lithography, which Matisse took up again in 1922 after eight years’ absence from it were especially attractive to him. Both media were particularly suited to investigation of how tonal modeling could be reconciled with his longstanding concern for the decorative flatness of the picture surface. They permitted him to create an extraordinarily wide range of soft, closely graded tones, ranging from transparent, aerated greys to dense and sooty blacks, that appear to adhere to the flatness of the sheet, and to release especially subtle effects of light from the luminous whiteness of the paper. What is more, the volumes thus created stay ‘light’ in feeling despite their solidity, and it was this ‘light’, disembodied sense of volume that he sought in his painting too.”

Pianist et Joueursde Dames 1924 National Gallery Bequest of Paul Mellon

John

FAUSTO MELOTTI (1901 1986)

LeStreghe(Witches) 1966

Brass 210 x 110 x 110 cm

Signed on the top right “leaf”

PROVENANCE

Collection of Christian Stein (cod. 66004 SO)

EXHIBITED

Milan, Toninelli Arte Moderna, Fausto Melotti , March 23 April 10, 1967 Villeurbanne, Institut d’Art Contemporain, TheCollectionofChristianStein:TripintoItalian Art , June October , 1992

Toulouse, Centre Regional d’Art Contemporain Midi Pyrenees, The Collection of Christian Stein:TripintoItalianArt , Jan 19 March 28, 1993

LITERATURE

Germano Celant, Fausto Melotti : CatalogRaisonee,Sculpture1929 1972 , Milan, p. 172, no. 1966 5, vol.I

Catherine Francblin, The Collection of Christian Stein:TripintoItalianArt , Villeurbanne, The New Museum Institute of Art Edition, 1992

1956)

PortraitEinerFraumitGeschlossenenAugen 1920/25

Watercolor on thin Japan paper 18.5 x 13.8 inches

Signed lower left

PROVENANCE

Private collection, North Germany

EXHIBITION

Galerie Commeter, Hamburg, 1926 (purchased by the family of the previous owner in 1926)

Aaccompanied by an expertise signed by Prof. Dr. Martin Urban, Stiftung Ada und Emil Nolde, from October 8th 1986.

In 1902 Emil Nolde married Ada Vilstup, a Danish theatre student who was the daughter of a pastor in Jutland. She was Nolde’s muse, remaining his emotional mainstay and close companion for the rest of her life.

The subject of this watercolor, painted by the artist ca 1920/25, is a woman, portrayed in profile, who, the viewer may conclude, was Ada Nolde. The previous owner’s father bought the work at the Galerie Commeter in Hamburg in 1926. On visiting this family at their home, Nolde saw the portrait and spoke ‘of my Ada.’ Since, for conservation reasons, the watercolor only hung until ca 1933, the brilliant colors are in their original state. Nolde has built up the representation entirely from color; line plays virtually no role in this portrait. It is the uninhibited flow of color glowing with vitality and devoid of calculated effect which has so aptly caught the artist’s feelings for this woman. With consummate virtuosity he makes almost pure color sing, achieving an unsurpassable intensity. This rapturous yet dreamy portrait reveals the visionary powers of an ardent nature striving to translate mood into art. In this sense Nolde was a Great Romantic, virtually untouched by the realities of life, as this painterly tribute so eloquently shows.

Emil Hansen was born near the German Danish border on August 7th 1867. He adopted the name of his birth town as his artist name at a later date. Nolde completed his apprenticeship as a furniture designer and wood carver in Flensburg between 1884 and 1888, and then worked for various furniture factories in Munich, Karlsruhe and Berlin. He was employed as a teacher of industrial drawing at the Gewerbermuseum (Industrial Museum) in St. Gallen in 1892. He continued teaching in St. Gallen until 1898, a period during which he became an enthusiastic mountain climber. Postcards with his images of the Swiss Alps were printed in large editions and were a lucrative source of income. Nolde finally moved to Munich after deciding to become a painter. He joined Adolph Holzel in Dachau in 1899 to become his pupil, studied independently at the Munich Pinakothek and went to Paris in 1900 to increase his knowledge at the Académie Julian. Nolde studied the Neo Impressionists, Vincent Van Gogh, Edvard Munch, and James Ensor, which, around 1905, gradually led him away from his early Romantic Naturalism and to the discovery of his own style with a strong emphasis on color. A primeval, eruptive urge of expression determined his use of color, which ignores any formal criteria. In the following years he intensified his colors to an utmost brilliance in his colorful and glowing flower pictures. During a sojourn in Alsen in 1906 Nolde met the painters of ‘Die Brucke,’ a group he joined briefly in the same year. A series of portrait studies marks the artist’s discovery of the watercolor. Nolde’s first attempts in 1909 at painting in this technique on non absorbent paper, leaving large areas of paper uncovered became increasingly important in the artist’s work in 1918, but Nolde also continued in painting and graphic art. His graphic oeuvre includes not only lithographs and engravings, but, above all numerous woodcuts. Defamed during the war, and banned from exhibiting his works since 1941, Nolde spent the years 1939 to 1945 in Seebull painting his ‘unpainted paintings,’ more than 1000 small watercolors. His expressive, flat compositions and his powerful color intensive style considerably influenced German Expressionism.

EMILE NOLDE (1867 1956 ) Yellow and Red Sunflowers

signed 'Nolde.' (lower center); signed again 'Nold' (lower right) gouache and watercolor on Japan paper 13 ½ x 17 5/8 in. (34.3 x 44.6 cm.)

Painted circa 1930 1940

PROVENANCE

Nolde Stiftung, Seebüll Marlborough Fine Art, Ltd., London Harry and Margaret Anderson, acquired from the above, 1967

EXHIBITED

London, Marlborough Fine Art, Ltd., Recent Acquisitions, July August 1967, no. 40. San Francisco, Legion of Honor, Graphics from Four Bay Area Collections, 1973. Stanford University Museum of Art, Twentieth Century Drawings from the Anderson Collection: Auguste Rodin to Elizabeth Murray, November 1988 February 1989, pp. 6 and 29, San Francisco Museum of Modern Art, Celebrating Modern Art: The Anderson Collection, October 2000 January 2001, pp. 308 and 378, no. 211, pl. 172 (illustrated).

Dr. Manfred Reuther has confirmed the authenticity

PABLO PICASSO (1881-1973)

Seated Man 1915

Pencil on paper

13 1/4 by 9 1/4 in. 33.6 by 23.4 cm.

Executed in Paris in summer 1915.

PROVENANCE

Estate of the artist

Marina Picasso (the artist’s granddaughter)

Acquired from the above

EXHIBITED

Eine Ausstellung zum hundertsten Geburtstag. Werke aus de rKunsthaus Sammlung Marina Picasso Munich, Haus der Kunst; Cologne, Josef Haubrich Kunsthalle; Frankfurt, Städtische Galerie im Städelschen Kunstinstitut & Zurich, 1981 82, no. 99 (with incorrect Zervos number); Picasso Cubista 1907 1920, Colección Marina Picasso, Barcelona, 1987, no. 45 Fundacio Caixa de Barcelona; Picasso and Braque, Pioneering Cubism, New York, Museum of Modern Art 1989 90, n.n., illustrated in the catalogue;

Picasso, La Provence et Jacqueline Arles, Espace van Gogh, 1991, no. 13, illustrated in the catalogue; Picasso Cézanne Aix en Provence, Musée Granet, 2009,

LITERATURE

Zervos, Pablo Picasso, Supplément aux volumes 1 à 5, vol. VI, Paris, 1954, no. 1191, illustrated p. 143 (dated 1916);

Josep Palau i Fabre, Picasso, Cubisme 1907 1914, Paris, 1990, no. 1284, illustrated p. 430; John Richardson, A Life of Picasso, vol. II, 1907 1917: The Painter of Modern Life, London, 1996, illustrated p. 409; Picasso and Braque, Pioneering Cubism, New York, Museum of Modern Art 1989 90, n.n., illustrated in the catalog

Left

Homme Accoude sur Une Table 1915 33 x 24 cm Private Collection Chicago

PABLO PICASSO (1881 1973)

Garcon et Dormeuse a la Chandelle Nov 18, 1934 (B. 226; Ba. 440) etching with aquatint, 1934, on laid Montval

watermark Picasso , signed in pencil, from the edition of 260 (there were also 50 with wide margins), published by Ambroise Vollard, Paris, 1939

P. 9¼ x 11 5/8 in. (237 x 297 mm.)

S. 13¾ x 17¾ in. (348 x 450 mm.)

LEOPOLD SURVAGE (1878 1968)

Le Soleil 1938

Signed and dated ‘Survage. 38.’ (lower right) oil on canvas 28 x 36 in. (72.9 x 92.1 cm.)

PROVENANCE: Estate of the artist

Acquired from the above by the previous owner, 1968.

EXHIBITED:

Minneapolis Art Institute, 1946 (on loan). New York, Greer Gallery, Survage, April May 1970, no. 17 (illustrated).

LEON L’HERMITTE

Paysans dans l'Eglise Notre Dame de la Charette

fusain, pastel et crayon sur papier Dim. 60 x 42,5 cm signed lwer right

PROVENANCE: Shepherd Gallery, New York Private Colelction, New York

To be included in the catalogue raisonné of L’Hermitte in preparation by Mme Monique Le Pelley Fonteny: Léon Augustin L’Hermitte, Editions Cercle d'Art

HANS REICHEL (1892 1958)

Seeschnecken (Sea Snails) 1940

Watercolor and Pastel on Paper 7 1/4 x 10 1/2 inches (18.5 x 26.6cm)

Signed with initials and dated "1940"

PROVENANCE

Galerie Jeanne Bucher, Paris Dr. Helmut Beck, Stuttgart (acquired from the above circa 1941)

Hans Reichel was born in Würzburg on August 9, 1892, at a time marked by artistic revolutions, war and social unrest. Reichel was attracted both to painting and writing. He earned his living by writing small feature articles and became acquainted with Rilke, whose poetic mysticism impressed him. In 1918 Reichel attended a school of modern art for a short time. His encounter with Paul Klee in 1919, when both artists had a studio at castle Werneck in Munich, was very decisive and until 1927 they were inseparable, sharing their love of music, and often discussing its relevance to painting.

Following the death of the love of his life, he moved in grief to Paris and lived the rest of his life in a small cheap hotel room. He was known for his mercurial personality. Sensitive and gentle when sober, he was prone to violent, deranged outbursts when drunk. His close friend Henry Miller dreaded the alcoholic rages, but admired Reichel’s talent and devotion to his art. He would later regard the watercolor lessons Reichel gave him as “life therapy”. A description of Reichel’s ground floor studio appears in “The Cosmological Eye”: ……..whenyouenterhisroom,whichisinacheaphotelwherehedoeshiswork,thesanctityoftheplacebreaksyoudown. Itisnotquiteahovel,hislittleden,butitisperilouslyclosetobeingone.Youcastyoureyeabouttheroomandyousee that the wallsarecoveredwithhispaintings.Thepaintingsthemselvesareholy.Thisisaman,youcannothelpthinking, whohasneverdoneanythingforgain.

The association of Reichel with a “cosmological eye” is due to the frequent inclusion of eye like designs in his paintings, of which he said, “I want that the pictures should look back at me; if I look at them and they don’t look at me too then they are no good.” Miller also wrote movingly of Reichel in the “Henry Miler Reader”, page 307.

Compared to Klee's work, Reichel's work was less influenced by academically elaborated experiments, anything objective, calculating, ironic and all caricature were alien to him. The artist's stayed in contact even when Klee went to the Bauhaus.

From 1939 onwards, Hans Reichel was interned in various camps until he managed to escape and return to Paris in 1944. After the end of the war the artist continued to develop his art.

Hans Reichel died in Paris on December 7, 1958. Rilke spoke at his funeral. His work was honored in a comprehensive exhibition shown in Cologne and at the Hanover "Kestner Gesellschaft" in 1960. In 2005 the "Museum im Kulturspeicher" in Wuerzburg showed a retrospective entitled "Ordnung und Chaos”

AUGUSTE RODIN Jean de Fiennes Nu 1886

Bronze with brown patina

79 ½ inches height

Stamped#4/8withtheCoubertinfoundry mark (fromtheeditioncastbytheMuseeRodinfromtheoriginalplaster eightbronzesmarked1 8/8plusfourmarkedI IVreservedforculturalinstitutions)

PROVENANCE

Acquired from the Musee Rodin , Paris (inventory # 3823), by the present owner. Accompagnied by a certificate from Monique Laurent, conservator of the Musee Rodin, dated June 18, 1985

EXHIBITED

“Les Bourgeois de Calais”, Musee Rodin, 1991 another cast; “Statues pour un Jardin”, Donjon de Vez, June 13 September 25, 1994;”Les Champs de la Sculpture Paris Luxembourg, Luxembourg, 6/22 10/5/97; “La Gran Via de la Erculturas” Valence, 11/15/97 1/30/98, Solange Auzlas de Turenne; Fundacio Cabza, Cstella, Spain, “Exhibition of Monumental Sculptures”, autumn 2001;

LITERATURE

Reproduced in all of the major books on Rodin

Late in 1884, Rodin received the commission from a committee in Calais for a proposed major monument commemorating the self sacrifice of six of the town’s citizens during the Hundred Years’ War (1347)

The individual large study figures in plaster for the Burgers were done in 1885/86. According to Rodin’s practice, the individual Burgers were modeled in the nude before being clothed. Rodin exhibited the entire finished group in plaster in 1889 with Claude Monet at Galerie Georges Petit

The final monument was installed, after various delays, in 1895.

These pieces were never cast in bronze prior to the Musee Rodin edition in the 1980s.

The entire story of the commission is fascinating and is beautifully told in John Tancocks

TheSculptureofAugusteRodin.

Jean de Fiennes

Bronze with brown patina 81 ½ inches height

Vetu 1886

Stamped#8/8withtheCoubertinfoundry mark(fromtheeditioncastbytheMuseeRodinfromtheoriginalplaster eightbronzesmarked1 8/8plusfourmarkedI IV reserved for cultural institutions)

PROVENANCE

Acquired from the Musee Rodin , Paris (inventory # 3948), by the present owner. Accompagnied by a certificate from Monique Laurent, conservator of the Musee Rodin, Dated March 17,1987

The individual large study figures in plaster for the Burgers were done in 1885/86. According to Rodin’s practice, the individual Burgers were modeled in the nude before being clothed. Rodin exhibited the entire finished group in plaster in 1889 with Claude Monet at Galerie Georges Petit

The final monument was installed, after various delays, in 1895. These pieces were never cast in bronze prior to the Musee Rodin edition in the 1980s.

TheSculptureofAugusteRodin. Jean de Fiennes is one of six separately cast figures included in Rodin's monumental work The Burghers of Calais, commissioned by the town of Calais in 1884 and completed in 1895. The work memorializes the actions of six leading French citizens of Calais who volunteered to surrender and to be put to death in order to end a siege of the town by the English King, Edward III, during the early years of the Hundred Years' War (1337 1453).

In 1347, Jean de Fiennes was the captain of the town of Calais, which had been under siege for more than six months. In order to save the town from annihilation, Jean opened the gates, and with a rope around his neck, came into the presence of the English King. Five other knights and burghers followed, bare headed, bare legged, bare footed, and in their shirts, also having ropes around their necks. These six burghers believed that God would be merciful to them in return for their sacrifice. Jean offered the King a warrior's sword, the keys to the city, and a request for mercy and pardon for the citizens of Calais.

Edward's acceptance of their heroic offer is one of the earliest recorded negotiated peace settlements in modern history. Intercession by the English queen ultimately spared the lives of the Burghers. This event was recorded by two contemporary chroniclers, Geoffrey le Baker, an Englishman, and Jean de Froissart, a Frenchman. From 1767 to 1884, several attempts were made by the town of Calais to commemorate this historic event, but no lasting memorial was established. Finally, in 1884, the city of Calais approached Auguste Rodin, a French sculptor, to make a permanent memorial

DAVID NASH (b. 1945)

DeepCutColumn 2003

Partially Charred Sycamore 134 x 45 x 50 cm, 52.2 x 17.55 x 19.5 in

EXHIBITIONS

David Nash, Galeria Metta, Madrid, February 2004, Illustrated in catalogue p. 40

PUBLIC COLLECTIONS

AUSTRALIA

Art Gallery of New South Wales, Sydney Art Gallery of Western Australia, Perth Heide Art Gallery, Melbourne Sherman Contemporary Art Foundation, Sydney AUSTRIA Albertina Museum, Vienna BELGIUM

Stedelijk Museum, Aalst, Belgium Museum van Hedendaagse Kunst, Antwerp Palais des Beaux Arts, Brussels CANADA McMaster Museum of Art, Hamilton, Ontario University of Lethbridge, Alberta

DENMARK

Louisiana Museum, Humlebaek Museumim Prediger, Scwabish Gmund Tickon Environmental Sculpture Park, Langeland ENGLAND

Abbot Hall Art Gallery & Museum, Kendal Arts Council of Great Britain, London Bristol Museum and Art Gallery, Bristol British Council, London British Library, London Camden Library, London Contemporary Art Society, London Dorset Hospital, Dorset Forest of Dean Sculpture Trail Government Art Collection, London Grizedale Forest, Cumbria Leeds City Art Gallery, Leeds Leicester Museum and Art Gallery, Leicester Manchester City Council Mappin Art Gallery, Shefeld Portsmouth City Museums & Record Services, Portsmouth Royal Academy of Arts, London Shefeld Development Corporation, Shefeld Southampton City Art Gallery, Southampton University of Southampton, Southampton Tate Gallery, London Towner Art Gallery, Eastbourne Victoria and Albert Museum, London Yorkshire Sculpture Park, Wakefield Diamond Wood, University of Warwick, Coventry, England

FRANCE Centre Pompidou, Paris Fonds Regional d’Art Contemporain, Corsica Fonds Regional d’Art Contemporain, Limousin Centre d’Art Contemporain de Vassiviére en Limousin L’Ecomusée de Pierre de Bresse, Macon Métrobus de l’Agglomération Rouennaise, Rouen Musée des Beaux Arts, Calais Musée Greuze, Tournus

GERMANY Museum Art.Plus, Donaueschingen Kunsthalle Emdem, Emdem Museum Folkwang, Essen Stiftung Nantesbuch Kunsthalle Recklinghausen, Recklinghausen Museum im Prediger, Schwäbisch Gmünd

IRELAND

National Museum, Dublin

ITALY

Ufzi Gallery, Florence

JAPAN

Ashiya City Museum of Art and History, Ashiya Asahikawa Museum of Art, Hokkaido Fukuoka Art Museum, Fukuoka Hiroshima City Museum of Contemporary Art, Hiroshima Ichikawa Museum of Art Ishiya City Museum of Art and History Isikawa Prefectural Museum of Art, Kanazawa Iwaki City Museum, Fukushima Museum of Modern Art, Kamakura Museum of Contemporary Art, Tokyo Nagoya City Museum, Nagoya Nikko City Setagaya Art Museum, Tokyo Shimane Art Museum Tochigi Prefectural Museum of Fine Arts, Utsunomiya Tokyo Metropolitan Museum, Tokyo Tokyo International Forum, Tokyo

LUXEMBOURG

Banque de Luxembourg, Luxembourg Dexia/Banque Internationale, Luxembourg

UNITED STATES OF AMERICA

Albright Knox Art Gallery, New York San Francisco Museum of Modern Art de Young Museum, San Francisco Djerassi Resident Artists Program, California General Mills, Minneapolis, Minnesota Honolulu Airport, Hawaii Indianapolis Museum of Art, Indiana Joslyn Art Museum, Omaha, Nebraska Laumeier Sculpture Park, St. Louis Madison Art Center, Wisconsin Metropolitan Museum of Art, New York Morris Museum, Morristown, New Jersey Museum of Contemporary Art, Los Angeles The Museum of Fine Arts, Houston National Museum of Washington dc San Diego Museum of Art, California San Jose Museum of Art, California St Louis Art Museum, St Louis, Missouri Solomon R. Guggenheim Museum, New York The Contemporary Museum, Honolulu Walker Art Center, Minneapolis Yale University, New Haven

MOTHERWELL, MELOTTI, BALLA, MOORE, FONTANA

DUBUFFET, MELOTTI, DAUMIER, SEURAT,