TEFAF MAASTRICHT 2023

OLD MASTER AND IMPRESSIONIST PAINTINGS

9TH-19TH MARCH 2023

MECC MAASTRICHT FORUM 100

6229 GV MAASTRICHT THE NETHERLANDS

STAND NUMBER 300

FOLLOWING THE FAIR, THESE PAINTINGS WILL BE ON VIEW AT 147 NEW BOND STREET, LONDON W1S 2TS

PENNY MARKS Director

+44(0)7720 848 586

pennymarks@richardgreen.com

RICHARD GREEN Chairman

+44(0)20 7493 3939 richardgreen@richardgreen.com

www.richardgreen.com

JONATHAN GREEN CEO

+44(0)7768 818 182

jonathangreen@richardgreen.com

Cover detail: WILLEM VAN MIERIS, A trumpeter at a window, with a man holding an upturned wine glass

FOREWORD

We are excited to be coming back to TEFAF Maastricht in March, the fair’s traditional month, for the first time since the pandemic. On the edge of spring, the venerable town on the Maas presents a delightful scene. Huge barges make their stately way down the broad river; daffodils bloom beneath the seventeenth century ramparts; tables appear outside the cafés to welcome the sunshine.

The Maas (Meuse) has long been a major trading artery of Europe, passing through 575 miles of France, Belgium and the Netherlands on its journey to the North Sea. Our selection of paintings takes us across Europe over four centuries. It spans from a Flemish peasant scene by Pieter Brueghel the Younger, to outstanding examples of key themes in Dutch Golden Age painting: still life, flowerpieces, riverscapes and genre. Lacroix de Marseille and Vernet waft us to the golden Mediterranean. English Rococo is represented by Thomas Gainsborough’s pastoral landscape, French Rococo by Jean-Baptiste Greuze’s charming portrait of a young girl.

Corot and Boudin, forerunners and inspirers of Impressionism, can be viewed alongside tender flower portraits by Henri Fantin-Latour and examples of those artists who built on the lessons of Impressionism for a new century: Loiseau, Picabia and Marquet. Like the flow of the Maas, like the currents of art history, TEFAF Maastricht is a meeting place for connoisseurs from across Europe and the world beyond.

JONATHAN GREEN

PIETER BRUEGHEL THE YOUNGER

The Swan Inn: peasants feasting and merrymaking in a village street

Signed lower right: P BREVGHEL Oil on panel: 17 ¼ x 24 in / 43.7 x 62.7 cm Painted circa 1625

Pieter Brueghel the Younger was the elder son of the famed Pieter Bruegel the Elder (c.1525/30-1569), the hugely innovative creator of peasant scenes and landscapes. Pieter II became the conduit for the dissemination of his father’s oeuvre through his copies of many of his father’s most celebrated works.

In his later career Pieter II developed his own lively compositions of peasant life. With wry humour, Brueghel here depicts a village feast which is spiralling gently out of control. The tipsy revellers call for more beer: as fast as it is produced from the inn cellar, an empty jug is sent back to be refilled. The foreground drama is provided by

a pair of couples. A man and a woman lock eyes in an expression of woozy affection, while their more sober partners restrain them, arousing curiosity about the true relationships of these neighbours and friends. Down the long village street are more incidents – an escaped pig, a remonstrating couple and a fight breaking out. The village dogs are having no end of a good time, running about and barking at all this chaos. The village church in the background is a reminder that the licence of Carnival and other feasts was an exception to the everyday world of hard work and piety, a necessary letting-off of steam in the ordered agricultural year. However, as always with Pieter II, enjoyment of peasant joie de vivre softens any moral overtones.

A still life of a rummer of white wine, a silver-gilt-mounted knife, a gilt-brass clockwatch with a blue ribbon and pewter plates with olives and a peeled lemon on a ledge

Signed and dated lower left: HEDA 1629 . Oil on panel: 13 ¼ x 21 ¾ in / 33.7 x 55.2 cm

The Haarlem painter Heda transformed the Dutch still life from the widely spaced arrangements and bright local colours of exponents such as Floris van Dijck (1575-1651), to develop the ‘monochrome ontbijtje’ or ‘breakfast piece’. Heda began painting still lifes in the mid-1620s, but it was only at the end of the decade that he adopted a lower, more intimate viewpoint in his compositions, unifying the objects by means of tonal affinities. Set against a plain, gentlyshadowed grey-green background, a meal is placed on a stone ledge. Grey, silver and pewter tones ripple across the panel, intercut with touches of gold: the reflection of sunlight through the studio window in the rummer, the gilt-brass clockwatch and the curl of the cut lemon peel. The blue ribbon of the clockwatch’s winding key provides a bright element of contrasting colour in the foreground.

Heda often included high-status objects in his still lifes, here the clockwatch and knife. The clockwatch dates from c.1600-1620: its stackfreed movement, visible in Heda’s meticulous delineation, indicates that it was made in south Germany, probably Nuremberg or Augsburg. Clockwatches of this date would have cost multiples of a workman’s annual wage. They were showy toys for the rich, striking the hours, but woefully inaccurate. Heda lavishes painterly care on the intricate steel and gilt-brass case, the most glamorous object in the still life. Also of German origin is the elegant, agate-handled knife, mounted with silver-gilt, used to peel the lemon.

WILLEM CLAESZ. HEDA

SALOMON VAN RUYSDAEL

A wijdschip and other small Dutch vessels on an estuary, with a church in the distance

Signed with initials lower right: SvR Oil on panel: 8 x 12 in / 21.9 x 31.4 cm Painted circa 1642

Salomon van Ruysdael was one of the greatest of Dutch landscapists, whose career, spanning from the 1620s to the 1660s, covered a period in which, after eighty years’ struggle, the United Provinces were finally freed from Spanish Habsburg control. Van Ruysdael’s extraordinarily inventive depictions of dunescapes, river views, country inns, marines and winter scenes captured the spirit of a country where hard-won identity was bound up with a deep love of the unique local landscape.

Living in a land fissured by large and small waterways, the Dutch became expert sailors. This view of an estuary is a superb example of one of the poetic, small views in which Ruysdael shows a shimmering expanse of water meeting a vast sky of moving clouds which rip asunder to reveal snatches of blue sky. The predominant tonality is blue and grey-blue, giving the scene a dreamlike tranquillity and the small ships a ghostlike beauty. The most prominent vessel is a wijdschip, the dependable cargo-carrying vessel used on the Zuider Zee and the delta of South Holland.

JAN VAN GOYEN

A view of Rupelmonde Castle on the Scheldt, with boats in the foreground

Signed with initials and dated lower centre: VG 1651 Oil on panel: 26 ¼ x 35 in / 66.7 x 90.5 cm

Few artists have captured the spirit of the Netherlands, with its waterways mirroring huge skies, as well as Jan van Goyen. He could work effortlessly on every scale from small cabinet paintings to the expansive size employed here. Van Goyen was master of the ‘tonal’ landscape, using soft, gradated hues of brown and pale blue to conjure up the moisture-laden, wind-ruffled terrain. His works of the 1630s have a golden-brown hue. He returned to ‘tonal’ landscapes at the start of the 1650s, the era in which this view of Rupelmonde Castle was made. Strong, horizontal compositions are also characteristic of this phase, giving an airy sense of panorama.

Van Goyen travelled the length and breadth of the Netherlands throughout his career, making brilliantly atmospheric sketches in

black chalk, which he used as inspiration for his oil paintings. The deep love of the unassuming Dutch landscape sprang from a sense of national identity: the northern Netherlands had revolted against its Spanish Habsburg overlords in the 1580s. The conflict, although sporadic, was not resolved until the Treaty of Münster in 1648, three years before this painting was made. Van Goyen travelled south to Antwerp and Brussels, the most important towns of the Spanish Netherlands, at the end of the 1640s. Rupelmonde Castle guarded the confluence of the rivers Rupel and Scheldt. The Scheldt, a river of crucial strategic importance for centuries, is the key artery leading to Antwerp, then the Spanish Netherlands’s chief port.

JAN DAVIDSZ. DE HEEM

Still life with apricots on a pewter plate, a cut lemon and other fruit, with a rummer of white wine and a Venetian-style wine glass on a table covered with a green cloth, wreathed with a vine branch

Signed and dated lower left: JD. De heem. ƒ. A° 1652

Oil on panel: 14 x 21 ½ in / 36.2 x 53.7 cm

Jan Davidsz. de Heem was one of most important and innovative still life painters of the seventeenth century, with a career that straddled both the northern and southern Netherlands. He was born in Utrecht, part of the United Provinces, the son of a musician from Spanish-controlled Antwerp. By 1652, when this painting was made, de Heem had a flourishing career in Antwerp with an international clientele, in addition to the wealthy Antwerp bourgeoisie and Flemish nobility.

Still lifes of fruit are prominent in de Heem’s oeuvre in the first half of the 1650s. The artist and writer Joachim von Sandrart claimed that around 1636 de Heem moved to Antwerp, the major port of the southern Netherlands, because ‘there one could have rare fruit of all

kinds and sizes, plums, peaches, cherries, oranges, lemons, grapes and others in fine condition and state of ripeness to portray from life’.

This painting shows the exquisite balance of de Heem’s compositions and his rich use of colour, influenced by the Flemish tradition which inspired Peter Paul Rubens (1577-1640) and Frans Snyders (1579-1657). De Heem had an extraordinary, painterly command of textures, from the glistening ruby flesh of the cut fig, to the complex reflections on the rummer’s shiny surface, to the bloom on the plums and apricots. The trompe l’oeil effect is enhanced by the pewter plate which juts out from the edge of the table and the insects which hover around the glorious assemblage of fruit.

JEAN-BAPTISTE MONNOYER

Still life of flowers in a gilt urn with fruit on a ledge

Signed lower right: Baptiste.p. Oil on canvas: 51 x 41 in / 129.5 x 104.1 cm Painted circa 1670

Jean-Baptiste Monnoyer worked for Louis XIV, collaborating with Charles Le Brun, the Court painter, on decorations for the Grand Trianon at Versailles and the châteaux at Meudon and Marly. He was celebrated for his lavish, baroque still lifes of flowers and fruit. Monnoyer here places his bouquet in a gilt urn on a table top. The serpentine composition leads the eye from top right to bottom left and down through the swags of fruit to the orange blossom at centre right. The flowers and fruit are dramatically lit, emerging out of the gloom so that the brightest blooms, such as the pale pink and white roses, apple blossom and viburnum, seem to pulsate with light. The texture of the fruit is exquisitely rendered. Monnoyer is particularly

skilled in depicting complex, delicate flowers such as the twisting, yellow-and-pink honeysuckle blossom, which is detailed down to the feathery stamens.

Like most seventeenth century flower painters, Monnoyer places flowers that bloom at different seasons into a pleasing ensemble. To do so, he must have relied on drawn studies or perhaps oil sketches kept in the studio as reference. The three pale pink roses almost at the centre of the composition are Damask roses (Rosa damascena), so called because they were thought to have been introduced to England by Crusaders returning from Syria.

GODFRIED SCHALCKEN

Portrait of a young lady as the goddess Diana attended by her nymphs, in a forest with a hunting dog

Signed lower left: G. Schalcken

Oil on canvas: 20 ¾ x 17 in / 52.7 by 44.1 cm

Painted circa 1680-85

This painting is a portrait historié, with the sitter presented as the goddess Diana, the chaste huntress: a fitting analogy for a young girl who would soon be launched on the marriage market. The work subtly balances fierceness with softness. ‘Diana’s’ steely nature is indicated by the arrow-head which she holds and the brilliantly realistic hunting dog. In the distance is a tiny male figure, a reference to Actaeon, who in Ovid’s Metamorphoses was changed by Diana into a stag and slaughtered by his own hounds for the sin of stumbling upon the goddess while she was bathing. This rather forbidding presentation of the goddess-sitter is gently undercut by the shimmering, sensuous composition, by her pearly, luminescent skin and the palette of soft gold, rose, blue and white in the trailing draperies.

A pupil of the Leiden fijnschilder Gerrit Dou, Godfried Schalcken became the most fashionable portrait painter in Dordrecht. This work, with its Classical references, would have appealed to the élite of that city. Schalcken was highly educated and certainly knew Ovid’s poetry in the original, being the son of Cornelius Schalckius, Rector of the Latin School. First intended for the Church, Godfried originally studied theology, which demanded knowledge of Latin and Greek. However, in the words of his fellow townsman, Arnold Houbraken, Schalcken’s ‘love of art made him bid farewell to the study of languages, even though he was far advanced in them’.

WILLEM VAN MIERIS

A trumpeter at a window, with a man holding an upturned wine glass

Signed and dated lower right: W van Mieris. Fe. 1689 Oil on panel: 9 ½ x 7 in / 24.1 x 19.4 cm

Willem van Mieris worked in the tradition of the Leiden fijnschilders (fine painters), artists who executed small-scale genre works with a high degree of elegance and finish. The pioneer was Rembrandt’s pupil Gerrit Dou (1613-1675). Willem was trained by his father Frans van Mieris the Elder (1635-1681), an internationally renowned and highlypaid artist. Leiden was famed for its textiles and one of the major patrons of Willem’s later career was the cloth magnate Pieter de la Court van der Voort.

This work, painted when Willem was in his twenties, echoes the rich baroque palette employed by his father, while the composition set in

a niche for trompe l’oeil effect was of a type first introduced by Dou. The archaic dress and military accoutrements of the two men look back to an earlier age, the swaggering, fashionable part-time militia soldiers of Rembrandt’s Night Watch. While Willem pokes gentle fun at the pretentiousness and louche lifestyle of his protagonists, he lavishes all his genius as a fijnschilder upon them. The textures of the satin and lace costumes, rich silk banner and colourful Oriental carpet are superbly delineated. The white feather dangling in front of the bas-relief of tumbling putti is so convincing that one could almost reach out and touch it.

RACHEL RUYSCH

Still life of a bouquet of pink and white roses, poppy anemones, primroses, forget-me-nots, jonquils, daffodils, snowballs, honeysuckle and a tulip in a glass vase, with a bird’s nest

Signed and dated upper left: Rachel Ruysch / 1738

Oil on canvas: 17 ¼ x 15 ¼ in / 44 x 39 cm

Rachel Ruysch was the most successful Dutch woman artist of the late seventeenth and early eighteenth centuries. Like her rival Jan van Huysum (1682-1749), she regularly sold her flowerpieces for more than 1,000 florins - almost three times the annual wage of a tradesman. Daughter of the anatomist and botanist Dr Frederik Ruysch, Rachel grew up in an atmosphere of intellectual ferment and gained her exquisite understanding of flowers from studying them in the Amsterdam botanic garden, which her father directed.

Ruysch produced paintings with undiminished skill into her eighties. This work was made in 1738, when she was seventy-four. The shift from a dark, to a lighter, greenish background and the massing of

pastel pink flowers at the centre of bouquet show Ruysch responding to the lighter palette made fashionable by the Rococo. Also characteristic of Rococo taste are the delicate blue forget-me-nots and double hyacinth at the left. The prevalence of blue in the Rococo palette can be attributed to the availability of a new pigment, Prussian blue, which was discovered in Germany early in the eighteenth century. Ruysch seems to have been the first Dutch artist to use it, probably obtaining it from her sister (and fellow painter) Anna and brother-in-law Isaac Hellenbroeck, who were dealers in artists’ pigments in Amsterdam. Ruysch’s scientific background and quest for modernity, combined with her artistic genius, give this bouquet its vitality and beauty.

CHARLES-FRANÇOIS

GRENIER DE LACROIX called LACROIX DE MARSEILLE

Sunrise: Levantine merchants on a quay below a castle, a Dutch man-of-war at anchor beyond

One of a pair, signed lower right: De Lacroix / 1766 and inscribed R / W / FA on the packages and barrels Oil on copper: 9 x 15 in / 23.8 x 39.7 cm

Sunset: fishermen preparing their nets, a port and a Dutch man-of-war beyond

Lacroix de Marseille was strongly influenced by the paintings of Claude-Joseph Vernet (1714-1789), whom he encountered in Rome in the 1750s. Like Vernet, he often executed landscapes in pairs which evoke the atmosphere of different times of day, typically sunrises and sunsets. This pair of paintings on copper is a fine example of his accomplished and decorative work with its clear, delicate colouring. The copper support provides a smooth surface which enhances Lacroix’s exquisite brushwork, seen in the modulations of the clouds and in the picturesque, elegant figures. Lacroix may have been born in the brutal, bustling port of Marseilles, but his views are of an idealized Mediterranean, perfect souvenirs for Grand Tourists remembering its glorious light in chillier, greyer northern Europe.

In Sunrise, a Dutch man-of-war lies at anchor as she takes on stores in the flat calm. In the foreground, a boat prepares to ferry barrels and chests across, idly watched by two Levantine merchants. These turbanned figures are also a staple of Vernet’s port scenes: they serve as a reminder of the rich cultural mix of the Mediterranean trade routes. Towering behind them is a massive fortress reminiscent of Castel Nuovo in Naples, while the castle in Sunset is not unlike the Castel Sant’Elmo which guards the Bay of Naples. Lacroix visited Naples, then the second-largest city in Europe and an essential stop on the Grand Tour, in 1757.

CHARLES-FRANÇOIS GRENIER DE LACROIX called LACROIX DE MARSEILLE

One of a pair, signed lower left: De Lix / + / 1766 Oil on copper: 9 x 15 in / 23.8 x 39.7 cm

THOMAS GAINSBOROUGH

Open landscape with a peasant, a milkmaid, four cows and a cottage

Oil on canvas: 22 x 43 ¼ in / 55.9 x 109.9 cm

Painted circa 1772-4

Gainsborough made this painting when, after stellar years as a society portrait painter in Bath, he was about to leave for the grander arena of London. Portraits brought him fame and fortune, but he always declared that landscape was closest to his heart. ‘I’m sick of Portraits and wish very much to take my viols-da-gamba and walk off to some sweet village, where I can paint landskips and enjoy the fag-end of life in quietness and ease’, he complained to a friend.

Landscapes such as this one reminded Gainsborough of his boyhood in Sudbury, Suffolk, roaming the gently-undulating terrain with its

fields of ripe wheat and peaceable cattle. A pale gold shimmer lights up the huge sky and casts a radiance around the contours of the cows as they wait patiently to be milked. Gainsborough casts an idealized, Rococo glow over this scene of humble rural life. He often employed milking scenes in his landscapes: the graceful milkmaid echoes the rustic beauties found in novels and plays of the era. Earlier in his career, Gainsborough had painted a milkmaid being wooed by a woodcutter for an overmantel in a room at Woburn Abbey. The elongated shape of the present work suggests that it may have been intended for a similar architectural purpose.

CLAUDE-JOSEPH VERNET

A Mediterranean port at sunset with fishermen landing their catch and a British man-of-war at anchor

Signed and dated lower right: J. Vernet . / f. 1780 Oil on copper: 16 x 19 ¼ in / 41 x 48.9 cm

Claude-Joseph Vernet was born in Avignon in the South of France and spent almost twenty years in Italy, from 1734 to 1753, before returning to his homeland. His idealized views, which found favour with Louis XV and an international clientele, are informed by his intense observation of Mediterranean architecture, nature and light. This work is the more exquisite for being painted on copper, the smooth surface of which is ideal for Vernet’s delicately nuanced cloudscapes and beautifully-observed figure groups. Vernet discovered copper supports – favoured by Dutch painters and introduced from Holland – around 1757, but used copper panels particularly in the later part of his career. This work from 1780 is a superb example of his smaller-scale cabinet paintings. It was probably commissioned by the Abbé Aleaume, Secretary to the Comte de Provence, Louis XV’s

grandson (the future Louis XVIII). In 1773 Aleaume wrote a poem entitled ‘Les Quatre Parties du Jour’, an interest in the qualities of different times of day that is reflected in Vernet’s work.

The painting shows Vernet’s ability to harmonize a panoramic landscape with lively human drama. Local fisherfolk contrast with three exotic, Oriental figures standing to the left, observing a British man-of-war and a lateen-rigged Mediterranean craft. Vernet, who painted a great series of The ports of France for Louis XV (1755-65), was a meticulous observer of shipping and often uses men-of-war as important elements in his compositions. (His wife was the daughter of an Irish Captain in the Papal Navy).

JEAN-BAPTISTE GREUZE

Jeune fille au ruban bleu dans les cheveux

Oil on canvas: 16 x 13 ¾ in / 41 x 35 cm Painted in the 1780s

Jean-Baptiste Greuze sprang to fame with sentimental, moralizing paintings such as L’Accordée de village (Musée du Louvre, Paris), which caused a sensation at the Salon of 1761. In his later career he was admired for his ability to capture expression in his single ‘heads’, often of young women with wistful, ambiguous expressions: the viewer is invited to guess the thoughts beyond the languorous eyes. Joseph Taillasson commented in his 1805 obituary of Greuze: ‘What won him the highest place in the opinion of artists and refined connoisseurs, were the beautiful heads spread throughout all the cabinets of Europe and which are there admired as masterpieces’.

Jeune fille au ruban bleu is remarkable for its directness and vitality. Here is no simpering maiden, but a cheerful Parisian child, full of the

exuberance which must have eddied round the Greuze household when his three beloved daughters were young. The girl’s creamy skin and rosy cheeks are painted with the fluidity and softness which Greuze had refined by this period. Her lovely chestnut hair waves in baroque curves, echoed by the exquisitely painted, translucent black scarf at her throat. Luminous grey eyes cast a tender glance. Greuze eschews his characteristic subdued or pearlescent tones in favour of stronger colours. The yellow dress points up the brightness of the child’s hair and contrasts with the black scarf and blue sleeve. An ebullient blue background gives a sense of breezy outdoors. This painting is both a subtle, complex portrait of a particular child and a celebration of youth itself.

ALFRED DE DREUX

Amazone à la robe rouge dans un paysage

Signed lower left: alfred de dreux

Oil on canvas: 18 x 14 in / 46 x 37.1 cm Painted circa 1845-48

A beautiful woman rides to hounds as the field tears into a dense forest. Fashionably dressed in a red habit, she effortlessly commands her spirited mount, whose arched neck and dish face betray his Arab bloodline. De Dreux matched his portraits of equestrian dandies with their counterpart, the amazone, the haughty, daring and accomplished female rider. To ride well was an important accomplishment for a lady in the age of Emperor Napoleon III. Hunting, a privilege of the aristocracy before the French Revolution, was democratized in the following years. It was avidly pursued by the wealthy bourgeoisie, the bankers and industrialists making fortunes in a rapidly commercializing France, sensible of the social cachet afforded to any human perched atop a fine mount.

De Dreux, the son of an architect, moved in the heady heights of French society, painting the horses of the duc d’Orléans and undertaking commissions for Napoleon III. Passionate about horses from an early age, he studied them on the racetracks at Longchamp and Auteuil. De Dreux evokes the straining muscles and glossy, dark brown coat of the amazone’s steed with a painterly brio that recalls the work of his artistic hero Théodore Géricault (1791-1824), a close friend of his uncle, the painter Dedreux-Dorcey. Alas, all this thoroughbred fire drew de Dreux too close to the sun: he was killed in a duel in 1860 by Comte Fleury, Napoleon’s III principal aide-decamp, after a dispute about an equestrian portrait of the Emperor.

JEAN-BAPTISTE-CAMILLE COROT Le rappel des vaches

Signed lower left: Corot Oil on canvas: 19 ¾ x 29 ¼ in / 50.2 x 74.3 cm Painted circa 1870

‘Beauty in art consists of a truthfulness in the impression we have received from an aspect of nature...the real is one part of art; the sentiment completes it’, Corot declared in 1856. This painting is a classic example of Corot’s mature work: a silvery evocation of timeless rural life. As the light of a summer afternoon declines gently towards sunset, village women call the cows home for milking. Sunlight filters through the two magnificent trees at the centre of the work, flicks and dabs of gold paint depicting the rustling leaves catching the rays. By balancing areas of sunlight and shadow, Corot creates a dreamy mood of benevolent calm.

Corot observed nature closely before creating idealized landscapes that he called souvenirs, nostalgic distillations of his visual experience.

As a young man in the 1820s he had made his first visit to Italy. He was influenced by the landscapes of the Rome-based Frenchman Claude Lorrain (1600-1682), who found in the countryside of the Roman Campagna a timeless, Arcadian world. Paintings such as Le rappel des vaches are modern explorations of Claude’s Arcadia, echoing the seventeenth century artist’s soft, harmonious palette of gentle blues and greens. As George Bazin comments, ‘Human toil is for Corot to be kept at arm’s length, and the nature that he paints is a kind of Golden Age, where man lives, without too much effort, from the fruits of the field or the milk of his livestock’. Corot’s rich, allusive handling of paint had profound effects on the younger artists – the future Impressionist generation - to whom he gave advice, including Camille Pissarro and Claude Monet.

EUGENE BOUDIN

Camaret, bateaux de pêche

Signed lower left: E. Boudin - 73 Oil on canvas: 27 x 37 ½ in / 68.6 x 95.2 cm

This sparkling scene, made in 1873, perfectly demonstrates why Eugène Boudin was invited to exhibit at the first Impressionist exhibition the following year, showing his work among artists such as Monet, who was nearly two decades his junior. Boudin’s power of observation, sensitivity to light and expressive handling of paint were an inspiration to the ‘young Turks’ who wished to break the mould of nineteenth century landscape art.

Boudin visited Camaret, at the tip of the Crozon peninsula in Brittany, every year between 1869 and 1873. Camaret (called Kameled in the Breton language) was a bustling, strategic port, famed in the nineteenth century for its shipbuilding and its sardine fleet. Lying on

the channel that led to the great naval and commercial port of Brest, it was important in the line of French coastal defences (usually against the English). In this painting, Boudin depicts a line of fishing boats on a breezy day, their rust- and cream-coloured sails shimmering in the light. Boudin was particularly exhilarated by the cloudscapes of this coast notorious for its squalls and storms. In his diary of 3rd December 1856, he had mused: ‘To swim in the open sky. To achieve the tenderness of clouds. To suspend these masses in the distance… make the blue explode’. Here, a huge, sculptural cloud spirals over the warships: its brightest part is dazzling, while the louring grey below threatens rain. Boudin’s vibrant brushwork weaves sky, shipping and sea together in a way that conveys his intense response to nature.

HENRI FANTIN-LATOUR

Roses dans un verre long

Signed and dated upper right: Fantin 73 . Oil on canvas: 10 ¼ x 9 in / 26 x 22.9 cm

Henri Fantin-Latour was a shy man who loved music and hated crowds. Not for him the Impressionist passion for painting en plein air, capturing the fleeting moods of nature. He preferred to study flowers in the calm and silence of the studio. ‘Je n’ai pas l’habitude du monde’, he wrote to his English patron and agent Ruth Edwards, the first owner of this work. Roses are the leitmotifs of his art. As with this painting, he would first prepare a background of soft, textured grey, which would be left to dry overnight. The following day the blooms would be chosen, whether from Mrs Edwards’s garden on visits to England, or from Parisian florists, or, after Fantin’s marriage to the painter Victoria Dubourg in 1876, from the cottage garden of her relatives in Normandy.

Fantin’s roses are portraits of particular flowers, not simple botanical studies. The artist-dandy Jacques-Emile Blanche famously wrote: ‘Fantin studied each flower, its grain, its tissue, as if it were a human face’. The central flower here is a pale pink centifolia rose in pristine glory, with a heart enfolded with strawberry hues and threads of blue shadow. It is flanked by two tight, golden rosebuds and embowered in dark green, glossy leaves. The simple glass container is flecked with points of light. In its perfect simplicity, Roses dans un verre long echoes the contemplative floral still lifes of Jean-Baptiste-Siméon Chardin (1699-1779) and Edouard Manet (1832-1883), both artists whom Fantin greatly revered.

HENRI FANTIN-LATOUR

Fleurs, pois de senteur et nigelles dans un petit vase

Signed and dated lower right: Fantin . 86 Oil on canvas: 14 ½ x 11 ½ in / 36.8 x 29.2 cm

In 1876 Fantin-Latour married a fellow artist, Victoria Dubourg (1840-1926), whom he had met when both were copying paintings in the Louvre. After their marriage the couple spent summers at Victoria’s small country house at Buré in Lower Normandy, where many of Fantin’s later flower paintings were made. He preferred old-fashioned, rather neglected cottage gardens, full of larkspur, chrysanthemums, hollyhocks, poppies, forget-me-not and carnations.

In this painting Fantin revels in the jewelled colours and delicate shapes of sweet peas and nigella (love-in-a-mist), evoking the

corkscrew stems and butterfly-like petals of the sweet peas and the spiky, ethereal quality of the nigella. His brushwork, richly impasted and allusive, conveys the exuberance of nature while giving each bloom its considered place within the composition. The complexity of the flowers is offset by the plain glass flute vase, light brown background and the austere diagonal of the table, which concentrates the viewer’s attention on the beauty of the newly-picked bouquet.

EDMOND-GEORGES GRANDJEAN

Le Boulevard des Italiens, Paris

Signed and dated lower right: E. Grandjean / 1889 Oil on canvas: 36 ¼ x 57 ¼ in / 92.1 x 145.4 cm

Baron Haussmann was appointed Prefect of the Seine Départment by Emperor Napoleon III in 1852 and began to transform Paris, replacing what remained of the medieval streetscapes with wide, tree-lined boulevards. Grandjean became a student at the Ecole des Beaux-Arts in 1862 and studied genre subjects and portraits, before specializing in views of the capital.

This painting depicts the Boulevard des Italiens, one of the most fashionable of Haussmann’s new streets, looking eastwards on a summer’s day. The boulevard is thronged with smart equipages, including a lady in red driving two-in-hand. On the left, a man on a tricycle turns the corner from the rue de la Chaussée d’Antin. On

the right, the sturdy greys pulling the Madeleine-Bastille omnibus are bathed in sunlight. A particularly lovely vignette is provided by a lady in white leading her sailor-suited son along the pavement. Paris was a place of burgeoning capitalism, with endless entertainments and luxury goods to tempt those who could afford it. The elegant white building on the right, on the corner of rue Louis-le-Grand, was the Pavillon de Hanovre at 33 Boulevard des Italiens. Built by the Maréchal de Richelieu 1758-60 as a garden pavilion to l’Hôtel d’Antin, from 1847 it was occupied by the Orfèvrerie Christofle, maker of the finest tableware, whose sign can be seen above the window. On the adjacent building is the blue sign of the Petit Journal, one of the major daily Parisian newspapers, published from 1863 to 1944.

GUSTAVE LOISEAU

Barques, quai du Pothuis à Pontoise

Signed lower left: G. Loiseau

Oil on canvas: 23 ½ x 32 in / 59.7 x 81.2 cm Painted circa 1901-1905

Like many French artists, Gustave Loiseau divided his life between a studio in Paris, necessary for meeting dealers and colleagues and attending exhibitions, touring in search of new motifs, and spending time in a part of the country with familial associations. For Loiseau, this was Pontoise, on the river Oise about twenty-two miles northwest of Paris. Loiseau’s father, a butcher, had moved to the Ile-SaintLouis in the centre of the capital in 1870, when Gustave was five. His parents retired and moved back to Pontoise a decade later, allowing Loiseau to explore the gentle, fertile rural landscape around the town, which had provided such a rich fund of subjects for Camille Pissarro when he lived there in the 1870s and early 1880s.

In this painting Loiseau explores the relationship of predominantly blue and green tones to create a spacious, poetic composition. His subtle response to the qualities of light proclaims his love of painting en plein air, seeking to evoke an atmosphere beyond the mere observation of a fleeting moment in nature. Although Pontoise was a bustling river port, Loiseau emphasizes the beauty of its country setting: the gently-rippling Oise and the dense vegetation of the Ile de Pothuis. The factory chimney in the distance is a reminder that the age-old barge transport along the river now existed alongside industrial development.

FRANCIS PICABIA

Effet de soleil au bord de la mer à Fuentarrabia

Signed and dated lower left: Picabia 1907 ; signed, dated and inscribed on the stretcher: F. Picabia, effet de Soleil au bord de la mer à Fuentarrabia 1907…Espagne Oil on canvas: 21 ¼ x 25 in / 54 x 65.1 cm

Born in Paris into a wealthy Franco-Cuban family, Picabia brimmed with confidence. He studied at the Ecole des Beaux-Arts, but by 1904 had sloughed off the dark palette of academic painting to engage with Impressionism. Positioning himself as a student of nature, a free, instinctive painter, Picabia declared: ‘My school is the sky, the countryside, whether desolate or picturesque, the lanes, the valleys, life in the open air. The sun is the great master’.

Buoyed by a successful exhibition at Galerie Haussmann in 1907, Picabia, an early, enthusiastic adopter of the newfangled automobile, treated himself to a new car and set off for the land of his fathers, the Basque Country. Fuentarrabia (Hondarribia in Basque) is a border

town on the river Bidasoa, facing Hendaye in France across the harbour. The energy of Picabia’s brushwork evokes a landscape soaked in southern light. The shadowed trees to the left are a frenzy of dots and dabs: midnight blue, olive, emerald, their peaks scattered with blobs of bubblegum pink. In the middle distance, the trees in the villa garden shimmer in the noonday heat, a swirl of green, blue, violet and primrose. The sea is a skein of luscious eau-de-nil, backed by bluepurple hills. The fire of the brushwork bears out Picabia’s contention that a painter ‘should not seek craft in everything but reproduce the feeling that nature inspires in him’. The title written by him on the back of the stretcher, ‘effet de soleil’, reflects this philosophy.

ALBERT MARQUET

L’église et la village de La Frette

Signed lower left: marquet

Oil on panel: 12 x 16 ¼ in / 32.7 x 41.3 cm Painted circa 1939

Albert Marquet lived on the banks of the Seine most of his life and became celebrated for his sensitive observation of Paris and its river. Fascinated by water, ports and coastline, he was also an inveterate traveller, visiting England, the USSR and North Africa, as well as exploring his native France. Marquet forged friendships with Camoin, Rouault, Manguin and Matisse and was influenced by the vibrant colours and bold outlines of the Fauves in the early years of the twentieth century. By the time that this work was made, Marquet had developed a highly individual manner influenced by Impressionism, Cézanne and the graceful economy of Japanese landscape painting. In this work Marquet depicts the houses with bold, geometric simplicity, while using more fluid strokes for the gentle green vegetation. The reflections in the river are painted with a brilliantly allusive technique

that creates abstract patterns from the colours and shapes of the shore.

La Frette-sur-Seine, known as ‘la Perle du Val d’Oise’, lies about twelve miles north-west of Paris. Its picturesque setting attracted Paul Cézanne and Paul Signac, among many other artists. Marquet rented a house overlooking the riverbank in 1938. He spent the years of the Second World War between Paris, La Frette, the South of France and Algeria, quietly aiding the Résistance and the Forces Françaises Libres. His wife said that La Frette was where Marquet felt most at home; he is buried in the cemetery there, on the top of a hill overlooking his beloved Seine.

PIETER BRUEGHEL THE YOUNGER

Brussels 1564 – 1637/8 Antwerp

The Swan Inn: peasants feasting and merrymaking in a village street

Signed lower right: P BREVGHEL

Oil on panel: 17 ¼ x 24 in / 43.7 x 62.7 cm; the reverse incised with the panel maker’s mark of Michiel Vrient (fl.1615-1637) and branded with the coat of arms of the City of Antwerp, the mark of the Antwerp panel makers’ guild

Frame size: 23 ½ x 31 in / 59.7 x 78.7 cm In an oak and black seventeenth century Dutch style frame

Painted circa 1625

PROVENANCE:

Jacques Hynderick de Ghelcke (1891-1975), by 1905; by descent in a noble collection; Sotheby’s London, 9th March 1983, lot 10; where acquired by a private collector, Europe

LITERATURE:

Klaus Ertz, Pieter Brueghel der Jüngere (1564-1637/38): Die Gemälde mit Kritischem Oeuvrekatalog, Lingen 1988/2000, vol. II, pp.845-6, no.E1182 (as Das wirtshaus zum Schwan, with incorrect illus.)

WILLEM CLAESZ. HEDA

1594 – Haarlem – 1680

A still life of a rummer of white wine, a silver-gilt-mounted knife, a gilt-brass clockwatch with a blue ribbon and pewter plates with olives and a peeled lemon on a ledge

Signed and dated lower left: HEDA 1629 .

Oil on panel: 13 ¼ x 21 ¾ in / 33.7 x 55.2 cm

Frame size: 19 ¾ x 28 ¼ in / 50.2 x 71.8 cm

In a polished black seventeenth century Dutch style frame

PROVENANCE:

Edward Rathbone Bacon (1848-1915), New York; by inheritance to his sister-in-law, Mrs Virginia Purdy Bacon (1853-1919), Netherdale House, Turiff, Aberdeenshire; her estate sale, Christie’s London, 12th December 1919, lot 80 (290 gns to Clarke) Frits Lugt (1884-1970), Maartensdijk, from whom acquired in the 1920s by Henrij Theodoor Cox (1868-1935), Amsterdam; by descent in a private collection, Europe

SALOMON VAN RUYSDAEL

Naarden 1600/03 – 1670 Haarlem

A wijdschip and other small Dutch vessels on an estuary, with a church in the distance

Signed with initials lower right: SvR

Oil on panel: 8 x 12 in / 21.9 x 31.4 cm

Frame size: 13 ½ x 17 in / 34.3 x 43.8 cm

In a polished black seventeenth century Dutch style frame

Painted circa 1642

PROVENANCE:

Frederik Muller & Cie., Amsterdam, 25th April 1911, lot 96 (Fl.3,800)

R Page-Croft;

Christie’s London, 28th June 1974, lot 15 (£19,950 to Konig)

P de Boer, Amsterdam, 1978

Private collection, Europe

LITERATURE:

W Stechow, Salomon van Ruysdael Eine Einführung in seine Kunst , Berlin 1938, p.113, no.302

W Stechow, Salomon van Ruysdael, Berlin 1975, p.113, no.302

JAN VAN GOYEN

Leiden 1596 – 1656 The Hague

A view of Rupelmonde Castle on the Scheldt, with boats in the foreground

Signed with initials and dated lower centre: VG 1651

Oil on panel: 26 ¼ x 35 in / 66.7 x 90.5 cm

Frame size: 35 x 44 in / 88.9 x 111.8 cm

In a polished black seventeenth century Dutch style frame

PROVENANCE:

Mrs Herbert E Jones, Hove, Sussex; her sale, Christie’s London, 27th May 1921, lot 30 (£378 to Peacock)

A Buttery, London, 1924

J Goudstikker, Amsterdam, from whom purchased in 1925 by Jonkheer Christianus Theodorus Franciscus Thurkow (1882-1970), 1 Plein 1813, The Hague Christie’s London, 14th December 1990, lot 91; where acquired by a private collector, Germany

LITERATURE:

MF Hennus and C Veth (eds), ‘Tentoonstellingen’, Maandblad voor Beeldende Kunsten, vol. II, 1925, pp.318–19, illus.

W Bernt, The Netherlandish Painters of the Seventeenth Century, London 1969, vol. I, fig. 445 (as River scene , with provenance incorrectly given as private collection, Lübeck)

H-U Beck, Jan van Goyen 1596–1656, Amsterdam 1973, vol. II, p.322, no.705, illus.

JAN DAVIDSZ. DE HEEM

Utrecht 1606 – 1683/84 Antwerp

Still life with apricots on a pewter plate, a cut lemon and other fruit, with a rummer of white wine and a Venetian-style wine glass on a table covered with a green cloth, wreathed with a vine branch

Signed and dated lower left: JD. De heem. ƒ. A° 1652

Oil on panel: 14 x 21 ½ in / 36.2 x 53.7 cm Frame size: 22 ½ x 29 ¼ in / 57 x 74.2 cm In a polished black Dutch seventeenth century style ripple frame

To be included in the forthcoming catalogue raisonné of Jan Davidsz. de Heem by Fred G Meijer

PROVENANCE:

Possibly collection Widow Janssens, Antwerp; her sale, Antwerp, Mertens, 23rd August 1808, lot 12 (52 francs to Andreas Bernardus de Quertenmont [Kwartemon]) i

FW Smallpeice Collection; his deceased estate, Christie’s London, 26th March 1971, lot 59, illus. (as dated 1632; 18,000 gns. to Richard Green); Richard Green Gallery, London, 1971 (as dated 1632, advertised in The Connoisseur, July 1971, p.11, colour illus.); private collection, UK; Richard Green Gallery, 1974; private collection, UK

EXHIBITED:

Utrecht, Centraal Museum/Brunswick, Herzog Anton Ulrich-Museum, Jan Davidsz de Heem en zijn kring, 1991, cat. by S Segal, no.14, illus. in colour

London, Richard Green Gallery, The Cabinet Picture. Dutch and Flemish Masters of the Seventeenth Century, 1999, cat. by C Wright, pp.164; 165, illus. in colour; 192

LITERATURE:

Burlington Magazine , June 1971, pl. XXI

(‘Notable works of Art now on the Market’)

F Lewis, A Dictionary of Dutch and Flemish Flower Fruit and Still Life Painters 15th to 19th Century, Leigh-on-Sea 1973, pl. 20 (as dated 1632)

E Greindl, Les peintres flamands de nature morte au XVIIe siècle , Sterrebeek 1983 (2nd, revised edn.), p.361, no.80 (as dated 1632)

Orbis pictus – Natura morta in Germania, Olanda e Fiandre, XVI-XVIII secolo, Galleria Lorenzelli, Bergamo, 1986, exh. cat. by P Lorenzelli and A Veca, p.176, fig. 85 (as dated 1632)

S Segal in exh. cat. Jan Davidsz de Heem en zijn kring, Centraal Museum, Utrecht/Herzog Anton Ulrich-Museum, Brunswick, 1991, pp.17, 18, 38, 41; 83, illus. in colour; 150, 151 (cat. no.14, illus.)

C Grimm, ‘Authenticity and Authorship’, pp.28-43 in exh. cat. The Lure of Still Life , Bergamo/Düsseldorf 1995, p.32, colour detail pl. 10 (erroneously with caption of pl. 11: the correct caption is that printed with pl. 9)

S Craft-Giepmans, Hollandse Meesters. Catalogus van de schilderijen van Hollandse meesters zeventiende en achttiende eeuw, Museum Mayer van den Bergh, Collectie Smidt van Gelder, Antwerpen, Antwerp 2006, p.178, fig. 3 FG Meijer, Jan Davidsz. De Heem 16061684, Doctoral dissertation, University of Amsterdam, 2016, vol. 1, pp.176, 178, 180 (colour illus.), 181, 322 (detail of signature), 366 (colour illus.); vol. 2, p.182, cat. no A 160

To be included in FG Meijer, Jan Davidsz. De Heem (1606-1684), Zwolle, 2021 or 2022, cat. no. not yet established

Described as: ‘Des Abricots sur une assiette d’argent, un citron entamé, des figues, des prunes, une grappe de raisins blancs, des cerises, des verres à vin &c. placés sur une table couverte d’un tapis verd; des belles feuilles de vigne & des insectes achevent ce morceau qui est une imitation exacte de la nature, sur bois, height 33 centimêtres length 49 centimêtres, height 12 ½ pouces, length 18 ½ pouces [Les Cadres ne sont point partie de la Mesure]’ (sight size?). The buyer, Andreas Bernardus de Quertenmont (1750-1835), was an Antwerp artist and director of the Antwerp art academy

JEAN-BAPTISTE MONNOYER

Lille 1636 – 1699 London

Still life of flowers in a gilt urn with fruit on a ledge

Signed lower right: Baptiste.p.

Oil on canvas: 51 x 41 in / 129.5 x 104.1 cm

Frame size: 59 ½ x 49 ½ in / 151.1 x 125.7 cm

In an antique eighteenth century English carved and gilded frame

Painted circa 1670

PROVENANCE:

Harry Stephen Thompson, later Sir Harry Meysey-Thompson, 1st Bt. (1809-1874), Kirby Hall, Great Ouseburn, North Yorkshire, by 1866; by descent;

Sotheby’s London, 8th July 1987, lot 84; Richard Green, London, 1987; private collection, UK

EXHIBITED:

York, Yorkshire Fine Art and Industrial Exhibition, July 1866, p.152, no.533 (lent by Harry Stephen Thompson)

London, Richard Green, The Flowerpiece Through the Centuries , 1988, no.4, illus. in colour

GODFRIED SCHALCKEN

Made, near Dordrecht 1643 – 1706 The Hague

Portrait of a young lady as the goddess Diana attended by her nymphs, in a forest with a hunting dog

Signed lower left: G. Schalcken

Oil on canvas: 20 ¾ x 17 in / 52.7 by 44.1 cm

Frame size: 27 x 22 ½ in / 68.6 x 57.2 cm

In a polished black seventeenth century Dutch style frame

Painted circa 1680-85

PROVENANCE:

TPC Haag, The Hague, 21st December 1812, lot 4 (70 florins to Leesbergen)

Theo Stokvis, before 1938; for whom stored in the depot of the Gemeente Museum, The Hague, inv. no.4238, 1938-13th August 1948, at which date returned to the owner Schaeffer Gallery, New York, by 1956 Private collection, USA

LITERATURE:

C Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, translated and edited by EG Hawke, London 1913, vol. V, p.330, no.71a

T Beherman, Godfried Schalcken, Paris 1988, p.119, cat. no.32, illus.

G Jansen, ‘Additions to Godfried Schalcken’s oeuvre as a draftsman’, Hoogsteder Mercury, vol. 13/14, 1992, pp.77-78, fig. 8

G Jansen, in AK Wheelock (ed.), ‘Diana and Her Nymphs in a Clearing’, The Leiden Collection Catalogue , New York 2017, https://www.theleidencollection.com/archive/

WILLEM VAN MIERIS

1662 – Leiden – 1747

A trumpeter at a window, with a man holding an upturned wine glass

Signed and dated lower right: W van Mieris. Fe. 1689

Oil on panel: 9 ½ x 7 in / 24.1 x 19.4 cm

Frame size: 15 ½ x 13 ¼ in / 39.4 x 33.7 cm

In an antique Louis XIV carved and gilded frame

PROVENANCE:

Paillet, Paris, 15th December 1777, lot 286 (1405 livres)

Sluyter, Paris, 25th January 1802, lot 109 (1401 francs)

The Collection of de Sereville, Paris, 22nd January 1812, lot 41 (1500 francs)

Collection of Eppo Jurjans, The Netherlands; his sale, Schely, Amsterdam, 28th August 1817, lot 36 (701 fl. to Hulswitt)

The Collection of Grand Pensionary Schimmelpenninck, Amsterdam, 1819; his sale, Roos, Amsterdam, 12th July 1819, lot 73

Christie’s London, 3rd June 1826, lot 114

Collection of the Right Hon. Sir Charles Bagot, GCB, London, before 1834; his sale, Christie’s London, 18 June 1836, lot 29 (bt. White)

Caroline Oppenheimer (1899-1971), acquired in the 1940s; her daughter-in-law Laetitia Helen Oppenheimer (1926-2022); by descent

EXHIBITED:

London, British Institution, The Works of Ancient Masters: the Property of His Most Gracious Majesty William the Fourth, the Most Noble the Marquess of Westminster, and the Right Honourable Sir Charles Bagot , GCB, 1834, cat. no.86

LITERATURE:

J Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters , London 1829, vol. I, pp.91-2, cat. no.8 (as formerly in the cabinets of Nyman and Condé)

J Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters: Supplement , London 1842, vol IX, p.55, cat. no.6

C Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. X, London 1976, p.183, cat. no.296

RACHEL RUYSCH

The Hague 1664 – 1750 Amsterdam

Still life of a bouquet of pink and white roses, poppy anemones, primroses, forget-me-nots, jonquils, daffodils, snowballs, honeysuckle and a tulip in a glass vase, with a bird’s nest

Signed and dated upper left: Rachel Ruysch / 1738

Oil on canvas: 17 ¼ x 15 ¼ in / 44 x 39 cm

Frame size: 25 x 23 in / 63.5 x 58.4 cm

In a black and brown Dutch seventeenth century style knull frame

Provenance:

M et Mme Léon Cotnareanu, 24 avenue Raphaël, Paris (their address partially legible on a label on the reverse); private collection, Deauville, France; Guy Le Houelleur, Hôtel des Ventes, Deauville, 31st January 1999, lot 1; Richard Green, London, 1999; from whom acquired on 22nd March 1999 by Mr and Mrs Barge-Dreesmann, Brasschaat; by descent

The painting will be included in the forthcoming catalogue and monograph of Rachel Ruysch by Dr Marianne Berardi

CHARLES-FRANÇOIS GRENIER DE LACROIX called LACROIX DE MARSEILLE

Marseille circa 1700 – 1782 Berlin

Sunrise: Levantine merchants on a quay below a castle, a Dutch man-of-war at anchor beyond

Sunset: fishermen preparing their nets, a port and a Dutch man-ofwar beyond

A pair, the former signed lower right: De Lacroix / 1766 and inscribed R / W / FA on the packages and barrels; the latter signed lower left: De Lix / + / 1766 Oil on copper: 9 x 15 in / 23.8 x 39.7 cm Frame size: 14 x 20 in / 35.6 x 50.8 cm

In Louis XV style carved and gilded swept frames

PROVENANCE:

Dr Daniel McLean McDonald (1905-1991), Isle of Man; his estate sale, Christie’s London, 11th December 1992, lot 35 Private collection, UK

EXHIBITED:

London, Leggatt Brothers, Paintings from the Collection of Dr DM McDonald, 16th October6th November 1977, nos.15 and 16, illus.

THOMAS GAINSBOROUGH

Sudbury, Suffolk 1727 – 1788 London

Open landscape with a peasant, a milkmaid, four cows and a cottage

Oil on canvas: 22 x 43 ¼ in / 55.9 x 109.9 cm

Frame size: 30 x 52 cm / 76.2 x 132.1 cm

In an antique eighteenth century Carlo Maratta frame

Painted circa 1772-4

PROVENANCE:

Lawrie & Co., London, 1898; from whom purchased by Robert William Hudson (1856-1937) before 1902; by descent to his daughter-in-law, Beatrice Sabina, Lady Hudson (née Gaudenigo), Monte Carlo, Monaco

EXHIBITED:

London, Corporation of London Art Gallery, Selection of Works by French and English Painters of the Eighteenth Century, 1902, no.52 (lent by RW Hudson)

LITERATURE:

Sir Walter Armstrong, Gainsborough and His Place in English Art , London and New York 1898, pp.vii, illus.; 206

Arthur B Chamberlain, Thomas Gainsborough, London and New York 1903, pp.51, illus.; 1445, 149

Sir Walter Armstrong, Gainsborough and His Place in English Art , London 1904, facing p.16, illus.; 287

William B Boulton, Thomas Gainsborough: His Life, Work, Friends and Sitters , London 1905, pp.48, 62

Ellis Waterhouse, Gainsborough, London 1958, p.114, no.905

John Hayes, The Landscape Paintings of Thomas Gainsborough, London 1982, vol. 2, Catalogue

Raisonné , pp.457-8, no.111, illus.

CLAUDE-JOSEPH VERNET

Avignon 1714 – 1789 Paris

A Mediterranean port at sunset with fishermen landing their catch and a British man-of-war at anchor

Signed and dated lower right: J. Vernet . / f. 1780

Oil on copper: 16 x 19 ¼ in / 41 x 48.9 cm

Frame size: 22 ½ x 25 ½ in / 57.2 x 64.8 cm

In a Louis XVI style carved and gilded frame

PROVENANCE:

Commissioned by l’Abbé Alaume with another painting in March 1780 for the price of 1,200 livres (according to the entry in Vernet’s ‘Livres de raison’)

Probably collection of Prince Mikhaïl Galitzine (1804-1860)1

Baron Emmanuel Leonino (1864-1936); his estate sale, Galerie Charpentier, Paris, 18th-19th March 1937, lot 61 Private collection, France

EXHIBITED:

Copenhagen, Charlottenborg Palace, L’Art Français au XVIII siècle , 25th August-6th October 1935, no.245

LITERATURE:

Claude-Joseph Vernet’s MS ‘Livres de raison’, C. 286 (Bibliothèque Calvet, Avignon) Florence Ingersoll-Smouse, J oseph Vernet , Paris 1926, vol. II, p.33, no.1062

JEAN-BAPTISTE GREUZE

Tournus 1725 – 1805 Paris

Jeune fille au ruban bleu dans les cheveux

Oil on canvas: 16 x 13 ¾ in / 41 x 35 cm

Frame size: 21 ½ x 19 in / 54.6 x 48.3 cm

In an Empire style carved and gilded frame

Painted in the 1780s

PROVENANCE:

Drouot Montaigne, Me Ader-Picard-Tajan, Paris, 22nd November 1987, lot 12 Private collection, France

1 Inscriptions in Cyrillic Gol 8 on both paintings.

ALFRED DE DREUX

1810 – Paris – 1860

Amazone à la robe rouge dans un paysage

Signed lower left: alfred de dreux

Oil on canvas: 18 x 14 in / 46 x 37.1 cm

Frame size: 24 x 22 ½ in / 61 x 57.2 cm

In a Louis XVI style carved and gilded frame

Painted circa 1845-48

PROVENANCE:

Robert Schuhmann Collection; his sale, Galerie Charpentier, Me Baudoin, Paris, 7th December 1934, lot 62; where acquired by Madame Damblanc on behalf of Monsieur Paul Desmarais; by descent in a private collection, France

LITERATURE:

Marie-Christine Renauld, L’Univers d’Alfred de Dreux 1810-1860, Arles 2008, p.11, no.MCR 26, illus.

JEAN-BAPTISTE-CAMILLE COROT

Paris 1796 – 1875 Ville d’Avray

Le rappel des vaches

Signed lower left: Corot

Oil on canvas: 19 ¾ x 29 ¼ in / 50.2 x 74.3 cm

Frame size: 29 ½ x 39 in / 74.9 x 99.1 cm

In an antique Louis XIV carved and gilded frame

Painted circa 1870

PROVENANCE: Boussod, Valadon et Cie, Paris, by 1886 (inv. no. 18016); from whom acquired on 3rd December 1889 by John Parkinson, Boston, MA Newhouse Galleries, New York Mrs Adolph D Williams, Richmond, VA; by whom bequeathed in 1949 to the Virginia Museum of Fine Arts, Richmond (acc. no. 19.11.6)

EXHIBITED:

New York, Wildenstein and Company, Inc., Corot , 30th October-6th December 1969, no.72, illus. (loaned by the Virginia Museum of Fine Arts for the benefit of the Citizens’ Committee for Children of New York)

LITERATURE:

Alfred Robaut, L’Oeuvre de Corot , Paris 1905, vol. III, p.210, no.1877, illus.

EUGENE BOUDIN

Honfleur 1824 – 1898 Deauville

Camaret, bateaux de pêche

Signed lower left: E. Boudin - 73

Oil on canvas: 27 x 37 ½ in / 68.6 x 95.2 cm

Frame size: 36 ¼ x 47 in / 92.1 x 119.4 cm

In an antique Louis XIV carved and gilded frame

PROVENANCE:

Dr Abadie, Paris

Mme Bertrand Berthet, Paris; by whom sold to Galerie Bernheim-Jeune, Paris, 17th April 1916; Galerie Bernheim-Jeune; by whom sold to Galerie Raphaël Gerard, Paris, 20th April 1916

JG Cooper, Glasgow; his sale, Glasgow, 27th June 1956, lot 30, illus. (£4,000)

Peter Findlay Gallery, USA Richard Green, London, 1987; private collection, UK Private collection, UK, 2019

LITERATURE:

Robert Schmit, Eugène Boudin, Paris 1973, vol. I, p.316, no.894, illus.

EXHIBITED:

Paris, Ecole Nationale des Beaux-Arts, Exposition des Oeuvres d’Eugène Boudin, 1899, no.326

London, Marlborough Fine Art, Eugène Boudin 1824-1898 , 1958, no.19

HENRI FANTIN-LATOUR

Grenoble 1836 – 1904 Buré

Roses dans un verre long

Signed and dated upper right: Fantin 73 .

Oil on canvas: 10 ¼ x 9 in / 26 x 22.9 cm

Frame size: 16 x 14 ¼ in / 40.6 x 36.8 cm

In an antique Louis XIV carved and gilded frame

PROVENANCE:

Edwin Edwards, London

EJ van Wisselingh & Co, Amsterdam

Wilhelm Weinberg, Scarsdale, New York; his sale, Sotheby’s London, 10th July 1957, lot 22;

where acquired by Mr and Mrs John Hay Whitney, USA; his estate sale, Sotheby’s New York, 10th May 1999, lot 48;

where acquired by Richard Green Gallery, London; Mrs Paul Reichmann, Canada

EXHIBITED:

London, The Tate Gallery, The John Hay Whitney Collection, 1960-61, no.27

LITERATURE:

Madame Fantin-Latour, Catalogue de l’Oeuvre Complet de Fantin-Latour (1849-1904), Paris 1911, p.76, no.685

To be included in the Catalogue de l’Oeuvre de Fantin-Latour: Peintures et Pastels being prepared by Brame & Lorenceau

HENRI FANTIN-LATOUR

Grenoble 1836 – 1904 Buré

Fleurs, pois de senteur et nigelles dans un petit vase

Signed and dated lower right: Fantin . 86

Oil on canvas: 14 ½ x 11 ½ in / 36.8 x 29.2 cm

Frame size: 21 ½ x 18 ½ in / 54.6 x 47 cm In an antique Louis XIV carved and gilded frame

PROVENANCE:

JB Bennett & Sons Ltd, Glasgow; by whom sold for 400 gns (£420) on 29th March 1935 to JG Kerr, Esq., West Rountreehill, Kilmacolm, near Glasgow; DA Kerr, UK; Richard Green, London, 1985; Sir Philip (later Lord) and Lady Harris of Peckham

LITERATURE:

Madame Fantin-Latour, Catalogue de l’Oeuvre Complet de Fantin-Latour (1849-1904), Paris 1911, p.131, no.1256

To be included in the Catalogue de l’Oeuvre de Fantin-Latour: Peintures et Pastels being prepared by Messrs Brame and Lorenceau

EDMOND-GEORGES GRANDJEAN

1844 – Paris – 1909

Le Boulevard des Italiens, Paris

Signed and dated lower right: E. Grandjean / 1889

Oil on canvas: 36 ¼ x 57 ¼ in / 92.1 x 145.4 cm

Frame size: 46 x 67 in / 116.8 x 170.2 cm

In a Louis XIV style gilded composition frame

PROVENANCE:

M Newman, Ltd, London, 1958

Mrs M Lavery, 1958

KW Woolcombe-Boyce, Esq., 1961

L Martineau, 1978; his estate sale, Sotheby’s London, 22nd November 1978, lot 76; Richard Green, London; private collection, USA

Christie’s New York, 1st March 1984, lot 103; where acquired by the late Paula and Don Gaston

EXHIBITED:

Paris, Salon, 1889, no.1203

Paris, Salon, 1903, no.824

London, M Newman Ltd., 19th Century Life, Exhibition of Paintings and Drawings , 1958, no.17

LITERATURE:

Exposition des Beaux Arts, Salon de 1889, Catalogue Illustré, Peinture et Sculpture , p.212, no.1203, illus.

Connoisseur Magazine , June 1958, p.261, no.141, illus.

GUSTAVE LOISEAU

1865 – Paris – 1935

Barques, quai du Pothuis à Pontoise

Signed lower left: G. Loiseau

Oil on canvas: 23 ½ x 32 in / 59.7 x 81.2 cm

Frame size: 33 x 42 in / 83.8 x 106.7 cm

In a Louis XIV style gilded frame

Painted circa 1901-1905

PROVENANCE:

Durand-Ruel Galleries, New York

Private collection, France, since the 1980s

LITERATURE:

Jean Melas Kyriazi, Gustave Loiseau, l’Historiographe de la Seine , Athens 1979, p.40, illus. in colour (titled La réserve de l’écluse)

To be included in the catalogue raisonné of the work of Gustave Loiseau being prepared by Monsieur Didier Imbert, ref. no.C 1010

FRANCIS PICABIA

1879 – Paris – 1953

Effet de soleil au bord de la mer à Fuentarrabia

Signed and dated lower left: Picabia 1907; signed, dated and inscribed on the stretcher: F. Picabia, effet de Soleil au bord de la mer à Fuentarrabia 1907…Espagne

Oil on canvas: 21 ¼ x 25 in / 54 x 65.1 cm

Frame size: 33 x 42 in / 83.8 x 106.7 cm

In its original Louis XIV style gilded composition frame

PROVENANCE:

Jules Emmery (d. c.1956), Paris; by inheritance to a private collection, France; private collection, Paris

EXHIBITED:

Nîmes, Musée des Beaux-Arts, Francis Picabia, 11th July-30th September 1986

To be included in the catalogue raisonné of the work of Francis Picabia being prepared by the Comité Picabia

ALBERT MARQUET

Bordeaux 1875 – 1947 Paris

L’église et la village de La Frette

Signed lower left: marquet

Oil on panel: 12 x 16 ¼ in / 32.7 x 41.3 cm

Frame size: 18 ¾ x 21 ¾ in / 47.6 x 55.2 cm

In a Louis XV pastel style carved and gilded frame

Painted circa 1939

PROVENANCE:

Charles-Auguste Girard, Paris, acquired from the artist circa 1945

Etienne Adler, Palais Galliera, Paris, 21st March 1963, lot 100, pl. XXVIII Private collection, France

To be included in the forthcoming Digital Catalogue Raisonné of the work of Albert Marquet currently being prepared by the Wildenstein Plattner Institute, Inc., ref. 22.05.13/21042

MUSEUMS & NATIONAL COLLECTIONS

Richard Green has assisted in the formation and development of numerous private and public collections including the following:

UNITED KINGDOM

Aberdeen: City Art Gallery

Altrincham: Dunham Massey (NT)

Barnard Castle: Bowes Museum

Bedford: Cecil Higgins Museum

Canterbury: Royal Museum and Art Gallery

Cheltenham: Art Gallery and Museum

Chester: The Grosvenor Museum

Coventry: City Museum

Dedham: Sir Alfred Munnings Art Museum

Hampshire: County Museums Service

Hull: Ferens Art Gallery

Ipswich: Borough Council Museums and Galleries

Leeds: Leeds City Art Gallery

Lincoln: Usher Gallery

Liskeard: Thorburn Museum

London: Chiswick House (English Heritage)

Department of the Environment

The Iveagh Bequest, Kenwood

The Museum of London

National Maritime Museum

National Portrait Gallery

National Postal Museum

Tate Britain

The Wimbledon Lawn Tennis Museum

Lydiard Tregoze: Lydiard House

Malmesbury: Athelstan Museum

Norwich: Castle Museum

Plymouth: City Museum and Art Gallery

Richmond: London Borough of Richmond upon Thames and Orleans House Gallery

St Helier: States of Jersey (Office)

Southsea: Royal Marine Museum

Stirling: Stirling Smith Art Gallery and Museum

York: York City Art Gallery

CANADA

Fredericton: Beaverbrook Art Gallery

Ottawa: The National Gallery of Canada

UNITED STATES OF AMERICA

Boston, MA: Museum of Fine Arts

Cincinnati, OH: Art Museum

Dayton, OH: The Dayton Art Institute

Gainesville, FL: Harn Museum of Art

Houston, TX: Sarah Campbell Blaffer Foundation

Los Angeles, CA: J Paul Getty Museum

New Haven, CT: Yale Center for British Art

New York, NY: Dahesh Museum

Ocala, FL: The Appleton Museum of Art

Omaha, NE: Joslyn Art Museum

Pasadena, CA: Norton Simon Museum

Rochester, NY: Genessee County Museum

San Marino, CA: The Huntington Library

St Louis, MO: Missouri Historical Society

Sharon, MA: Kendall Whaling Museum

Toledo, OH: Toledo Museum of Art

Ventura County, CA: Maritime Museum

Washington, DC: The National Gallery

The White House

Williamstown, MA: Sterling and Francine

Clark Art Institute

Winona, MN: Minnesota Marine Art Museum

Worcester, MA: Worcester Art Museum

BELGIUM

Antwerp: Maisons Rockox

Courtrai: City Art Gallery

DENMARK

Troense: Maritime Museum

IRELAND

Dublin: National Gallery of Ireland

FRANCE

Compiègne: Musée National du Château

Paris: Fondation Custodia

GERMANY

Berlin: Staatliche Kunsthalle

Darmstadt: Hessisches Landesmuseum

Hannover: Niedersachsisches

Landesmuseum

Karlsruhe: Staatliche Kunsthalle

Speyer am Rhein: Historisches Museum der Pfalz

JAPAN

Kanagawa: The Pola Museum of Art, The Pola Art Foundation

HOLLAND

Amsterdam: Joods Historisch Museum

Rijksmuseum

Amersfoort: Museum Flehite

Utrecht: Centraal Museum

SOUTH AFRICA

Durban: Art Museum

SPAIN

Madrid: Real Academia de Bellas Artes de Sun Fernando

Museo Thyssen-Bornemisza

Museo Nacional del Prado

SWITZERLAND

Zurich: Schweizerisches Landesmuseum

THAILAND

Bangkok: Museum of Contemporary Art

TERMS OF SALE

Paintings are sold subject to our standard terms and conditions of sale 2023, available on our website and upon request.

Catalogue by Susan Morris. Photography by Sophie Drury. Graphic design by Gemini Patel. Published by Richard Green. © Richard Green (and any applicable image right owners/artists or their estates) 2023. Database right maker: Richard Green. All rights reserved. Paintings are sold subject to our standard terms and conditions of sale, copies of which may be obtained on request and are also available at www.richardgreen.com. Richard Green is the registered trade mark of Richard Green Master Paintings Limited registered in the EU, the USA and other countries. Printed in England by Hampton Printing (Bristol) Ltd. Event Number: 6535.

www.richardgreen.com