BERNARD CATALOGUE

Guarisco Gallery

Guarisco Gallery

ABOUT

G

uarisco Gallery is one of the largest and leading 19th and 20th

century galleries worldwide specializing in painting, sculpture and watercolors. Our inventory is exceptionally large and all top quality. We pride ourselves in having a wide price range yet at conservative pricing. We appeal to both the seasoned and new collector. Our excellent services attract both the corporate and private client. We believe collecting should be enjoyable, informative, and increase one’s quality of life. Guarisco Gallery has been in business for over 31 years and has once again expanded opening its second location adjacent to the Four Seasons Hotel in Georgetown.

h Services and Benefits g Expertise | Selectivity | Savings | Convenience | Commitment Appraisals | Guarantees | Private and Corporate Consultation

L. Valtat La Couturière

8 ½” x 10 ¼” fr.

É. Bernard Portrait de Madame Schuffenecker 19” x 22 1/8”

Bernard Émile

was a pivotal figure in the second half of the 19th century during the transition from Impressionism to a more expressive form of art. Post-Impressionism spawned several independent movements. One was the Pont-Aven School that included Bernard and Paul Gauguin. Their canvases were filled with broad flat areas of vibrant color outlined in black, inspired by stained glass windows of the Gothic churches. This stylistic change was so abrupt that it might be called a revolution rather than an evolution.

Provenance

• Émile Scuffenecker, France • Amedee Schuffenecker, France • René Drouet, Paris • Mr. & Mrs. Samuel Josefowitz, Lausanne, 1966 • Guarisco Gallery, Washington, D.C.

Literature

• Art Collector, London, 1968 • Wladyslawa Jaworska, Paul Gauguin et l’ecole de Pont-Aven, Neuchatel, 1971 • Jean-Jacques Luthi, Emile Bernard: Catalogue raisonne de l’oeuvre peint, Paris, 1982

Exhibited

• London, Tate Gallery, Gauguin et la Groupe Pont-Aven, 1966, no. 86 • Zurich, Kunsthaus, Gauguin et la Groupe Pont-Aven, 1966, no. 101 • Mannehim, Stadtische Kunsthalle Mannheim & Amsterdam, Van Gogh Museum, Emile Bernard, A Pioneer of Modern Art, no. 57, illustrated p. 201 • Montreal, Montreal Museum of Fine Arts & San Diego, San Diego Museum of Fine Art, Gauguin and the School of Pont-Aven, 1994-96, no. 33, illustrated in the catalogue

Symbolism Originating in France in the 1870s, Symbolism avoided naturalistic and realistic representation and subject matter, and instead drew on the imaginary, musical, and poetic for inspiration. Symbolist artwork was intended to appeal to the senses, the imagination, and emotions. Émile Bernard, along with Gustave Moreau, Odilon Redon, and Puvis de Chagannes, was one of the most famous of the French Symbolist artists. Bernard explained that “form and color are the most important elements in a work of art...the artist’s role is to reduce every form to its geometrical base in order to allow its mysterious hieroglyph to emerge more clearly...and, in contrast to the classical artist, the symbolists seek to find and emphasize the significant distortion.” Bernard was especially enamored with the luminous colors in stained glass windows and the way the opaque, flat colors are defined by the lead partitions constituting the overall design.

Rouault Carlotta, ca. 1937 25 ½” x 22” fr.

Rouault:

G. Rouault La Couturière 8 ½” x 10 ¼” fr.

Fauvism and Expressionism

Friendships with Matisse, Marquet, and Camoin heavily influenced his fauve style, but association with Van Gogh led to his most noted style of heavy black contouring and stark contrasts.

h icasso P

h

CERAMICS

Picasso, a recognizable star in the world of art, designed colorful and creative ceramics as an art form through experimentation of surface molding, glazes, paint, textures, and shapes (plates, bowls, pitchers, and vases).

P. Picasso Visage au nez noir 13” (H) x 12” (D)

Museums

• Musee Picasso Paris • The Metropolitan Museum • Museum of Modern Art NY

The recent popularity of Picasso ceramics was cemented in a blockbuster show at the Museum of Modern Art in the Autumn/ Winter season of 2015-16.

P. Picasso Tête de chèvre de profil 16” x 16”

Renoir

Renoir Nature morte aux oranges

19” x 24” fr.

81/4” x 133/8” unfr.

Provenance

Galerie Charpentier, Paris • Private collection, France, 1958 • Guarisco Gallery, Washington, D.C.

Literature

Ambroise Vollard, Tableaux Pastels et Dessins de Pierre-Auguste Renoir, Paris, 1918, vol. II, no. 1584, p. 158 To be included in the forthcoming catalogue, raisonné by the Wildenstein Institute (certificate) dated 10 February 2016

h left Renoir Vase de fleurs, Dahlias 23” x 18 ¼” fr.

Provenance

• Louis Vauxcelles, Paris • Gabriel Cognacq, Paris, 1952 • Private collection, N.Y., 1998 • Guarisco Gallery, Washington, D.C.

Literature

• Patrice and Dauberville, Renoir Catalogue Raisonné (Bernheim-Jeune, 2010), vol. 3, pg. 12, no. 1682 (as Roses dans un vase) • To be included in the forthcoming catalogue raisonné by the Wildenstein Institute (certificate)

M. Maufra Gelée blanche en automne 29 ½” x 34 ½” fr.

M. Maufra La Rance à Dinan, le soir 43 3/4” x 51”

E. Pieters Maternal Care 32 ½” x 37” fr.

Loiseau

Gustave Loiseau was known as one of the most sincere interpreters of the French

countryside. Although he was a close friend of the painters Maxime Maufra and Paul Gaugin, Loiseau most identified stylistically with the Impressionists, especially Claude Monet, both of who favored painting landscapes en plein air and directly on the canvas. Like the Impressionists, Loiseau was represented by the art dealer Paul Durand-Ruel, enabling him to travel extensively throughout the regions of Îlede-France, Normandy, Brittany, and the Dordogne, where he worked out-of-doors, producing spontaneous, light-infused landscapes. “I try to reproduce as best I can the impression I get from nature,” commented Loiseau, “I am guided only by instinct.”

G. Loiseau Les Falaises d’Yport 32 ½” x 37 ½” fr.

Lebasque Le Parasol, Baie de Douarnenez 32” x 43” fr.

h Lebasque Nu sur un divan 27” x 37 ¼” fr.

Lebasque h

G. D’Espagnat Enfant dans un berceau 25.5” x 29” fr.

G. D’Espagnat Voiliers dans la Baie 24 ¾” x 28 ¼” fr.

E. Dezaunay Le Printemps au bord de la Loire (Nantes) 21 ¼” x 24 5/8” A. Pavil At the Cafe 51 ½” x 43 ½” fr.

P. De Belay Nature morte aux poisons 23 ½” x 31” fr.

P. De Belay Le port d’Audierne, 1940 19 5/8” x 25 ¾” unfr.

N ext Generation As prices rise on the founding members of the Impressionist and Post-Impressionist school, there is great interest in collecting “the next generation.”

As the potential audience grows in appetite and awareness of this “Next“ generation grows, so will the prices.

M. Dyf Pivoines, gueules-de-loup, àntemis 37” x 32” fr.

Y. Canu Sur le port de Saint-Tropez 23” x 32” unfr.

P. Gobillard Still life with fruits 16 ¾” x 22” fr.

J. Martin-Ferrieres Le retour de la peche 24” x 27 ¼” fr.

H.C. Pissarro Le Hameau de la saliere a Montilly 30” x 34 ¼” fr.

h

Pissarro H.C.

h

LA FAMILLE DE PISSARRO

Over 4 Generations

H.C. Pissarro Le bouquet de la chamber de Jeanne 24 5/8” x 30” fr.

H.C. Pissarro Bords de Seine a Villeneuve St. Georges 31 ½” x 36” fr.

C. Vénard Still life with Red Chair and Vase 41 ½” x 41 ½” fr.

C. Vénard Nature morte a la bouteille de vin 37” x 27” fr.

énard V COLLECTION

Contact us to view our entire collection.

C. Vénard Portrait de femme a la robe jaune 16” x 14” fr.

C. Vénard Nature Morte 49 1/8” x 49 1/8” fr.

American A.H. Huntington Reaching Jaguar 6.5” (H) x 5” (W) x 3” (D)

J. Whorf 26 1/2” x 33” fr.

W. Sheppard Venice, the French Gardens 20 5/8” x 28 5/8” fr.

M. Cassatt Portrait of Master St. Pierre as a Young Boy 38” x 31” fr.

Cassatt Provenance

Literature

• Breeskin, Mary Cassatt, A Catalogue Raisonné of the Oils,

Pastels, Watercolors, and Drawings (Wash., D.C., 1970),

• Breeskin, Adelyn Dohme, Mary Cassatt: A New Catalogue

Raisonné of the Paintings, Pastels, and Watercolors

Exhibited

• The Collectors’ Collection, An Exhibition of Paintings and • Monsieur de la Motte St. Pierre, Paris Sculptures from the Private Collections of Joan and Lest (acquired from the artist) Avnet, Wilfred P. Cohen, and Alfredo Valente • Madame de la Motte St. Pierre, Paris • Mary Cassatt Among the Impressionists, Joslyn Art Museum, • M. Knoedler & Co., Paris Omaha, N.E., 1969 • Lester Francis, Joan Avnet, NY, 1965 • A Selection of Drawings, Pastels and Watercolors from the • Private collection, 1973 Collection of Mr. and Mrs. Lester Francis Avnet, 1970 • Guarisco Gallery, Washington, D.C.

F.A. Bridgman A View of an Algerian Village 20 ½” x 23 ¾” fr.

L. Kronberg Ballet Girl in Green 46 ½” x 34 ½” fr.

L. Genth Native Girl 35” x 41” fr.

L. Genth Shrine of Dreams 35” x 31” fr.

h

Genth h

An American Impressionist painter, Lillian Genth, is best known for her stunning depictions of female nudes in fantastical, serene outdoor settings. Despite the difficulties of being a woman artist in the early 20th century, Genth was greatly renowned and celebrated during her lifetime. In just the 30 years she appeared in over 230 exhibitons, and her works can now be found in prestigious museums and institutions across the United States.

Museums Metropolitan • National Gallery DC Smithsonian American Art • Carnegie Institute Brooklyn Institute

J.B. Olive Marseille, La Corniche 37” x 48” fr.

h

Gérôme h

Jean-Léon Gérôme was one of the most celebrated academic painters of the nineteenth century. He wielded enormous influence in France as a painter, a professor at the École des Beauxarts in Paris, a judge at the Salon of the Société des Artistes Français, and as a master of his own highly regarded atelier, or studio. While exhibiting the fine draftsmanship characteristic of academic painting, Gérôme’s pictures, which included mythological and Orientalist subjects, were recognized for their rich color, exact detail, and vivacious finish.

J.L. Gérôme Jeune femme et Amour 16” x 13 7/8” fr.

F. Morgan Sharing Her Lunch 22 ½” x 26 ¼” fr.

Academic G. Capone Still life with Pink Roses 26” x 20” unfr.

G.T. Ribot Floral Still Life with Fruit on a Ledge 42” x 36” fr.

h Barbizon h

The Barbizon School of painting was a major nineteenth-century art movement that was named after the small village of Barbizon in the forest of Fontainebleau, southeast of Paris. Artists who travelled to Barbizon and the surrounding forest were interested in naturalistic landscape painting en plein air (out-of-doors) and visiting the subject of rural life. The Impressionists and their desire to depict the effects of sunlight and paint out-of-doors were inspired by the artists of the Barbizon school. Barbizon painters emphasized color in their compositions, were interested in capturing various atmospheric affects, such as shimmering and dappled light, and used loose, fluid brushwork.

h

Lhermitte

h

Provenance • Acquired from Boussod, Valadon & Cie, Paris (no. 22249) • Collection of John Parkinson, Boston, MA • Museum of Fine Arts, Boston (loan 1920-1946) • Vose Galleries, Boston, MA • Collection of Jacob L. Rosenthal, New York, NY • Private Collection, New York • Guarisco Gallery, Washington, D.C.

Literature

J. Dupre Paysan et Paysanne (One of a Pair) 29” x 22” fr.

• New York Herald, March 29, 1892 • Doumic R. le Moniteur universel, May 5, 1892 • Fourtel Eugène, le Petit Marseillais, May 5, 1892 • les Petites Nouvelles, May 5, 1892 • André A. la France nouvelle, May 6, 1892 • Cardon E., le Moniteur des arts, May 6, 1892 • Correspondence Haras, May 6, 1892 • Fremine Ch., le Rappel, May 7, 1892 • l’Electeur, May 7, 1892 • Silvestre A. l’Echo de Paris, May 7, 1892 • De Fontissant M., le Télégraphe, May 9, 1892 • Dac H., le Monde, May 16, 1892 • Godin H., la Revue des Beaux-Arts, May 21, 1892 • l’Echo républicain, May 27, 1892 • De Gourcoff O., l’Avenir national, May 28, 1892

L.A. Lhermitte Départ des laveuses, le soir 38 ½” x 30 ¾” unfr.

J.P. Cassigneul Deux femmes devant le port 40 ½” x 48” fr.

C

assigneul COLLECTION

Contact us to view our entire collection.

J.P. Cassigneul Les Citrons 40.25” x 31”

A master of French contemporary figurative art,

Jean-Pierre Cassigneul is especially admired for his depiction of ethereal, mysterious women, all of whom are typically frozen in a state of limbo that transcends the concept of time.

J.P. Cassigneul Le vase de pivoines 47 ½” x 40 ½” fr.

J.P. Cassigneul Sacha au bouquet 40 ½” x 36 ½” fr.

Craig

Alan Over 20 Great Works

guariscogallery.com

C. Alan Narrative Dress: Baile de Rojo 60” x 48” fr.

C. Alan Populus Series: “For All” 53 ½” x 83 ½” fr.

C. Alan Populus Series: Marilyn “Earthbound Star” 44” x 44” fr.

C. Alan Narrative Horse: Whisper 38” x 32” fr.

A. Gazier | 76 1/2” x 38” unfr.

J. Le Bescond Amore 70” (H) x 15 ¼” (L) x 22” (W)

guariscogallery@guariscogallery.com

1120 22nd St., NW | Washington, DC 20037 2828 Pennsylvania Ave., NW | Washington, DC 20007 (202) 333-8533 • guariscogallery.com

Guarisco Gallery PAID

ANNAPOLIS, MD

PERMIT # 273

PRESORTED STANDARD U.S. POSTAGE