Fine Art File - Edition 41 (2016)

WATERHOUSE & DODD LONDON |

THE THE

NEW YORK

FINE ART ART FILE FILE FINE Edition 41 2016 Edition 40 Spring 2014

WRITTEN AND PUBLISHED BY

W R I T T E N A N D P U B L I S WATERHOUSE HED BY

WATERHOUSE & DODD

ALEXANDER CALDER

American (1898-1976)

Black stars, 1953

See page 31

PAUL SIGNAC

& DODD

French (1882-1960)

Port d’Antibes, 1917

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Rudolf Agostino Georges Alexander Salvador Giorgio Willem Georges Terry

BAUER BONALUMI BRAQUE CALDER DALI DE CHIRICO DE KOONING FOLMER FROST

Alberto Eva George Henri Auguste Hans Henri Henri Gustave

GIACOMETTI GONZALES GROSZ HAYDEN HERBIN HOFMANN LEBASQUE LE SIDANER LOISEAU

Henri Henri Henry Henry Francis Arnaldo Paul Andy Tom

MARTIN MATISSE MOORE MORET PICABIA POMODORO SIGNAC WARHOL WESSELMANN

see page 4

EMILE CLAUS Belgian (1849-1924) Bateaux à vapeur sur la Tamise Signed & dated 1916 Oil on canvas 36 x 36 in / 92 x 92 cm Provenance: Estate of the artist (thence by descent); Private collection, USA Exhibited: London, Goupil Gallery, Réverbérations sur la Thamise: A Series of Paintings by Emile Claus, May-June 1917, no. 48; Brussels, Galerie Georges Giroux, Solo exhibition, March 1921, no. 3; Waregem, Kultuurcentrum de Schakel, Retrospektieve Emile Claus, 1985; Pontoise, Musée Tavet / Musée Pissarro, Éxposition Néo-Belge, 1990, no. 11; Oostend, Provinciaal Museum voor Moderne Kunst, Retrospektieve Emile Claus, 1997, no. 140, illustrated

The Rue de Clignancourt was one of Loiseau’s favourite Parisian subjects. On the border of Montmartre, the area changed from being a suburb to being part of Paris in 1860, and in its rapid development many artists’ studios were built on the top floors of new apartments. It is from one such

GUSTAVE LOISEAU French (1865-1935) Rue de Clignancourt, Paris Signed Painted circa 1924 Oil on canvas 25.5 x 21 in / 65 x 54 cm

studio that Loiseau often depicted the bustling activity of the streets of Montmartre, with the flaneurs, cafes and carousels,

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

using the elevated viewpoint to give a panorama of urban life.

One exceptional aspect of this work is the quality of the brushwork and the thick impasto. Loiseau’s greatest works all have lavishly applied paint and wonderful criss-crossed

He acknowledged the inspiration of Turner in these London

Thames whilst in London during the First World War. The

scenes, but they more clearly echo the work of his

present composition is both a particularly large format and

contemporary Claude Monet, who painted similar views

especially dramatic, contrasting the grey blue eddying swirls

during the previous decade from his room at the nearby

of the river with the light pastel tints of the sky; the emphatic

Savoy Hotel. However, while Monet’s views were

horizontality of old Waterloo Bridge with the stark verticals

atmospheric and seem somewhat abstract, Claus retained

of the smoke stacks, and the dark billowing smoke pluming

the sense of structure and depth, with buildings, boats, and

upwards from the tugs plying the river with the light scudding

even traffic on the bridge still clearly recognisable.

clouds in the sky that catch the morning sun. Claus esteemed Provenance: Sale, Christie’s, London, 9 December 1998, lot 165; Private collection, New York (purchased at the above sale); Thence by descent to the above’s Estate, on whose behalf this work is being offered

brushstrokes, and here it is seen to great effect. The highest price at auction for a work by Loiseau is $604,000, with one

Emile Claus painted a series of remarkable views of the

this painting highly, as it was one of the few works he

The twelfth of thirteen children, Claus’s father was a grocer-

reworked in lithography.

cum-publican; his mother was the daughter of a Brabant

Full of movement and incident, Claus painted his Thames

father’s wishes, Claus paid his own way to attend the

skipper. Brought up on the banks of the River Lys, against his views looking out from his studio on the fourth floor of

Antwerp Academy of Fine Art. Settling in East Flanders to

He also learnt a great deal first hand from Paul Gauguin.

Mowbray House, on the corner of the former Norfolk Street

paint, the house that he would make his own also

and the Embankment at Temple. He called the works from

overlooked the River Lys. In the 1890s he made several visits

We advised a client (for whose estate we are offering it) to

this series of views his Réverbérations sur la Tamise. In his

to Paris, where he became acquainted with the French

Parisian view making $353,000 in 2015.

In 1887 Loiseau received a legacy from his grandmother

buy this work in 1998, saying at the time that it could hang

article ‘The Thames from my Tower Windows’ Claus

Impressionists, including Monet, and other the years

which enabled him to give up his job as a decorator and

alongside works by more celebrated Impressionists. In fact

described what he saw: ‘…on my left is Blackfriars Bridge; to

attracted a wide circle of friends, amongst them such writers

devote his life to painting. He did not appreciate the

our client hung it in a prominent position in his collection

the right, I see Waterloo bridge and the silhouette of

as Maurice Maeterlinck and Emile Zola, and the sculptor

academic tendencies of his teachers and it was not until a

which went on to include major works by Cézanne, Renoir,

Westminster. These are the views which day after day these

Auguste Rodin. In 1904 he founded the society ‘Vie et

move to Pont-Aven in 1890 and his meeting with Henry

Manet and Degas. The Thyssen-Bornemisza Collection has an

past months, have provided me with varying and ravishing

Lumière’, and became widely acknowledged as the great ‘sun

Moret and Maxime Maufra that he found his individual style.

example similar in subject and quality to ours.

impressions of the River.’ (The Studio, May 1917).

painter’ and ‘painter of the Lys’.

EMILE CLAUS Belgian (1849-1924) Bateaux à vapeur sur la Tamise Signed & dated 1916 Oil on canvas 36 x 36 in / 92 x 92 cm Provenance: Estate of the artist (thence by descent); Private collection, USA Exhibited: London, Goupil Gallery, Réverbérations sur la Thamise: A Series of Paintings by Emile Claus, May-June 1917, no. 48; Brussels, Galerie Georges Giroux, Solo exhibition, March 1921, no. 3; Waregem, Kultuurcentrum de Schakel, Retrospektieve Emile Claus, 1985; Pontoise, Musée Tavet / Musée Pissarro, Éxposition Néo-Belge, 1990, no. 11; Oostend, Provinciaal Museum voor Moderne Kunst, Retrospektieve Emile Claus, 1997, no. 140, illustrated

The Rue de Clignancourt was one of Loiseau’s favourite Parisian subjects. On the border of Montmartre, the area changed from being a suburb to being part of Paris in 1860, and in its rapid development many artists’ studios were built on the top floors of new apartments. It is from one such

GUSTAVE LOISEAU French (1865-1935) Rue de Clignancourt, Paris Signed Painted circa 1924 Oil on canvas 25.5 x 21 in / 65 x 54 cm

studio that Loiseau often depicted the bustling activity of the streets of Montmartre, with the flaneurs, cafes and carousels,

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

using the elevated viewpoint to give a panorama of urban life.

One exceptional aspect of this work is the quality of the brushwork and the thick impasto. Loiseau’s greatest works all have lavishly applied paint and wonderful criss-crossed

He acknowledged the inspiration of Turner in these London

Thames whilst in London during the First World War. The

scenes, but they more clearly echo the work of his

present composition is both a particularly large format and

contemporary Claude Monet, who painted similar views

especially dramatic, contrasting the grey blue eddying swirls

during the previous decade from his room at the nearby

of the river with the light pastel tints of the sky; the emphatic

Savoy Hotel. However, while Monet’s views were

horizontality of old Waterloo Bridge with the stark verticals

atmospheric and seem somewhat abstract, Claus retained

of the smoke stacks, and the dark billowing smoke pluming

the sense of structure and depth, with buildings, boats, and

upwards from the tugs plying the river with the light scudding

even traffic on the bridge still clearly recognisable.

clouds in the sky that catch the morning sun. Claus esteemed Provenance: Sale, Christie’s, London, 9 December 1998, lot 165; Private collection, New York (purchased at the above sale); Thence by descent to the above’s Estate, on whose behalf this work is being offered

brushstrokes, and here it is seen to great effect. The highest price at auction for a work by Loiseau is $604,000, with one

Emile Claus painted a series of remarkable views of the

this painting highly, as it was one of the few works he

The twelfth of thirteen children, Claus’s father was a grocer-

reworked in lithography.

cum-publican; his mother was the daughter of a Brabant

Full of movement and incident, Claus painted his Thames

father’s wishes, Claus paid his own way to attend the

skipper. Brought up on the banks of the River Lys, against his views looking out from his studio on the fourth floor of

Antwerp Academy of Fine Art. Settling in East Flanders to

He also learnt a great deal first hand from Paul Gauguin.

Mowbray House, on the corner of the former Norfolk Street

paint, the house that he would make his own also

and the Embankment at Temple. He called the works from

overlooked the River Lys. In the 1890s he made several visits

We advised a client (for whose estate we are offering it) to

this series of views his Réverbérations sur la Tamise. In his

to Paris, where he became acquainted with the French

Parisian view making $353,000 in 2015.

In 1887 Loiseau received a legacy from his grandmother

buy this work in 1998, saying at the time that it could hang

article ‘The Thames from my Tower Windows’ Claus

Impressionists, including Monet, and other the years

which enabled him to give up his job as a decorator and

alongside works by more celebrated Impressionists. In fact

described what he saw: ‘…on my left is Blackfriars Bridge; to

attracted a wide circle of friends, amongst them such writers

devote his life to painting. He did not appreciate the

our client hung it in a prominent position in his collection

the right, I see Waterloo bridge and the silhouette of

as Maurice Maeterlinck and Emile Zola, and the sculptor

academic tendencies of his teachers and it was not until a

which went on to include major works by Cézanne, Renoir,

Westminster. These are the views which day after day these

Auguste Rodin. In 1904 he founded the society ‘Vie et

move to Pont-Aven in 1890 and his meeting with Henry

Manet and Degas. The Thyssen-Bornemisza Collection has an

past months, have provided me with varying and ravishing

Lumière’, and became widely acknowledged as the great ‘sun

Moret and Maxime Maufra that he found his individual style.

example similar in subject and quality to ours.

impressions of the River.’ (The Studio, May 1917).

painter’ and ‘painter of the Lys’.

The present view of the port of St Tropez is one of three

PAUL SIGNAC

canvases that Signac painted of this size and subject in 1917.

Port d’Antibes

Of the other two oils, one has long been in the collection of the Ateneum, Helsinki while the other was recently offered at auction by Sotheby’s in London where it realised $2.98 million. A masterclass in compositional control and chromatic harmony, this sun drenched evening view is arguably the best

French (1863-1935)

Signed & dated 1917 Oil on canvas 21.25 x 25.5 in / 54 x 65 cm This work will be included in the forthcoming supplement to the catalogue raisonné being prepared by Françoise Cachin and Marina Ferretti

of the three, and perfectly illustrates Signac’s lifelong fascination with Neo-Impressionism in which colour is mixed not on the artist’s palette but on the viewer’s retina.

The view looks across to the port of Antibes and the distinctive towers of the old town and the Château Grimaldi.

A scene of quiet human endeavour set within a majestic landscape, the picture surface shimmers with the characteristic dabs and dashes of the contrasting colours of Signac’s distinctive style and the warm glow of the Mediterranean light at the close of day. At a time when Europe was ravaged and exhausted by war, Signac’s idyllic vision of Man in harmony with a bountiful Nature seems

Provenance: Galerie Bernheim-Jeune et Cie, Paris; Galerie André Weil, Paris; Achim Moeller Ltd., London; Private collection (acquired from the above in 1982); Sale, Christie’s, New York, 3 November 2010, lot 57; Private collection Exhibited: Paris, Galerie Bernheim-Jeune et Cie., Exposition Signac; Prague, Alsove Exhibition Rooms, May-June 1934, no. 17; New Jersey, The Montclair Art Museum, Late XIX and Early XX Century French Masters: The John C. Whitehead Collection, April-June 1989, no. 69, illustrated; Portland Museum of Art, Neo-Impressionism: Artists on the Edge, June-October 2002, p. 40, no. 25, illustrated

strikingly at odds with the political reality of the day. Its very

proto fauve painting ‘Luxe Calme et Volupté’. Signac was

contrariness, however, reflects the particular blend of Old

appointed the Society’s president in 1908, a position that he

World privilege and active concern for society that typified

held for the rest of his life.

the artist’s approach to life.

Signac was keenly aware of politics, and for a time gave his From a monied background, early on Signac started to train

support to the anarchist movement, but he was shocked by

as an architect, and it is tempting to see the vestiges of this

the escalation of events that precipitated the declaration of

formal education in the sense of order and structure that

war between the European powers in 1914. He wrote to his

seems so often to underpin his compositions. But it was

wife Berthe: “I really think that I shall never be able to

exhibitions of Claude Monet’s work that inspired him to

recover from the appalling distress in which I am sinking,

paint, and his introduction to Georges Seurat that led him to

despite my efforts.” Now in his fifties and officially too old to

pursue the analytical style that would define his work

fight, he closed the doors of the annual Salon des

throughout his life. A keen sailor, in the early 1890s he began

Indépendents. In 1917 Signac lamented in a letter to a friend

exploring the ports of France in his yacht, and sailed around

that on account of the hostilities wracking Europe he had

the Mediterranean as far as Constantinople. Married in 1892

been unable to paint for the previous three years.

to Berthe Robles, the Signacs kept an apartment in Paris and acquired a large property in St Tropez, where Signac

However, despite the unsettled times he found solace in his

constructed a sizeable studio. Yet beneath the veneer of a life

burgeoning relationship with fellow painter Jeanne

of ease and influence smouldered a strong will for change.

Selmersheim-Desgrange. Leaving both his house in St Tropez and his apartment in Paris to his wife Berthe, and with whom

In 1884, together with Georges Seurat and Odilon Redon,

he remained on friendly terms, he settled with Selmersheim-

Signac became a founder member of the influential exhibiting

Desgrange in Antibes where she gave birth to their daughter

body the Société des Artistes Indépendents. Its purpose was

in 1913. It is this new chapter of happy vitality that perhaps

to offer an alternative to the hide-bound annual Paris Salon.

most sustained him throughout the pain he felt during the

Thus, unlike the controversial and partisan entry process

war years. Meanwhile it is not inconceivable that it was the

artists had to submit to for the Salon, the Society advocated

arrival of his daughter, Ginnette, that played some part in his

‘Sans jury ni récompense’ (No jury nor rewards). It quickly

declared inability to paint in the three years prior to this

became the most influential platform for the exhibiting of

work, just as she must have helped the renewed optimism

contemporary art. It was, for example, at the Society’s

with which Signac embarked on this vibrant and uplifting

exhibition in 1905 that Matisse exhibited his seminal and

series of views of Antibes.

The present view of the port of St Tropez is one of three

PAUL SIGNAC

canvases that Signac painted of this size and subject in 1917.

Port d’Antibes

Of the other two oils, one has long been in the collection of the Ateneum, Helsinki while the other was recently offered at auction by Sotheby’s in London where it realised $2.98 million. A masterclass in compositional control and chromatic harmony, this sun drenched evening view is arguably the best

French (1863-1935)

Signed & dated 1917 Oil on canvas 21.25 x 25.5 in / 54 x 65 cm This work will be included in the forthcoming supplement to the catalogue raisonné being prepared by Françoise Cachin and Marina Ferretti

of the three, and perfectly illustrates Signac’s lifelong fascination with Neo-Impressionism in which colour is mixed not on the artist’s palette but on the viewer’s retina.

The view looks across to the port of Antibes and the distinctive towers of the old town and the Château Grimaldi.

A scene of quiet human endeavour set within a majestic landscape, the picture surface shimmers with the characteristic dabs and dashes of the contrasting colours of Signac’s distinctive style and the warm glow of the Mediterranean light at the close of day. At a time when Europe was ravaged and exhausted by war, Signac’s idyllic vision of Man in harmony with a bountiful Nature seems

Provenance: Galerie Bernheim-Jeune et Cie, Paris; Galerie André Weil, Paris; Achim Moeller Ltd., London; Private collection (acquired from the above in 1982); Sale, Christie’s, New York, 3 November 2010, lot 57; Private collection Exhibited: Paris, Galerie Bernheim-Jeune et Cie., Exposition Signac; Prague, Alsove Exhibition Rooms, May-June 1934, no. 17; New Jersey, The Montclair Art Museum, Late XIX and Early XX Century French Masters: The John C. Whitehead Collection, April-June 1989, no. 69, illustrated; Portland Museum of Art, Neo-Impressionism: Artists on the Edge, June-October 2002, p. 40, no. 25, illustrated

strikingly at odds with the political reality of the day. Its very

proto fauve painting ‘Luxe Calme et Volupté’. Signac was

contrariness, however, reflects the particular blend of Old

appointed the Society’s president in 1908, a position that he

World privilege and active concern for society that typified

held for the rest of his life.

the artist’s approach to life.

Signac was keenly aware of politics, and for a time gave his From a monied background, early on Signac started to train

support to the anarchist movement, but he was shocked by

as an architect, and it is tempting to see the vestiges of this

the escalation of events that precipitated the declaration of

formal education in the sense of order and structure that

war between the European powers in 1914. He wrote to his

seems so often to underpin his compositions. But it was

wife Berthe: “I really think that I shall never be able to

exhibitions of Claude Monet’s work that inspired him to

recover from the appalling distress in which I am sinking,

paint, and his introduction to Georges Seurat that led him to

despite my efforts.” Now in his fifties and officially too old to

pursue the analytical style that would define his work

fight, he closed the doors of the annual Salon des

throughout his life. A keen sailor, in the early 1890s he began

Indépendents. In 1917 Signac lamented in a letter to a friend

exploring the ports of France in his yacht, and sailed around

that on account of the hostilities wracking Europe he had

the Mediterranean as far as Constantinople. Married in 1892

been unable to paint for the previous three years.

to Berthe Robles, the Signacs kept an apartment in Paris and acquired a large property in St Tropez, where Signac

However, despite the unsettled times he found solace in his

constructed a sizeable studio. Yet beneath the veneer of a life

burgeoning relationship with fellow painter Jeanne

of ease and influence smouldered a strong will for change.

Selmersheim-Desgrange. Leaving both his house in St Tropez and his apartment in Paris to his wife Berthe, and with whom

In 1884, together with Georges Seurat and Odilon Redon,

he remained on friendly terms, he settled with Selmersheim-

Signac became a founder member of the influential exhibiting

Desgrange in Antibes where she gave birth to their daughter

body the Société des Artistes Indépendents. Its purpose was

in 1913. It is this new chapter of happy vitality that perhaps

to offer an alternative to the hide-bound annual Paris Salon.

most sustained him throughout the pain he felt during the

Thus, unlike the controversial and partisan entry process

war years. Meanwhile it is not inconceivable that it was the

artists had to submit to for the Salon, the Society advocated

arrival of his daughter, Ginnette, that played some part in his

‘Sans jury ni récompense’ (No jury nor rewards). It quickly

declared inability to paint in the three years prior to this

became the most influential platform for the exhibiting of

work, just as she must have helped the renewed optimism

contemporary art. It was, for example, at the Society’s

with which Signac embarked on this vibrant and uplifting

exhibition in 1905 that Matisse exhibited his seminal and

series of views of Antibes.

Left: HENRY MORET French (1856-1913) Ile de Groix, Pointe de l’Enfer Signed & dated 1896 Oil on canvas 29 x 24 in / 73.5 x 61 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné Provenance: Galerie Durand-Ruel, Paris (purchased from the artist on 4 September 1896); Galerie Durand-Ruel, New York; Mrs Chauncey J. Blair, Chicago (acquired from the above on 7 October 1897); Mrs M. R. Bryan

HENRY MORET French (1856-1913) Côte de Clohars, Finistère Signed & dated 1908 Oil on canvas 28.75 x 23.75 in / 73 x 60 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné Provenance: Private collection, France

These three views of Brittany by Henry Moret perfectly capture different aspects of the isolated life to be found in North West France at the end of the 19th century: the

Below: HENRY MORET French (1856-1913) Lande Bretonne Signed Painted in 1903 Oil on canvas 18 x 24 in / 46 x 61 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné

overwhelming power of nature as two diminutive figures stare out at the tumultuous waves crashing on to the rocks below; the immutable serenity of the coastline as a craggy cliff-face drops down to meet an azure and placid sea; and the cyclical rhythm of peasant life as two women with pitchforks turn the cut hay drying in fields below their village.

In the second half of the 19th century Brittany attracted a

consequence, for a certain period, Moret’s compositions

host of different artists. Their arrival coincided with the

became simpler, his picture surfaces flatter as his depiction of

recently completed construction of the train line to the

local Breton subjects gained a greater resonance and

region, and their desire to escape increasing urbanisation in

profundity. This new-found edge to his work thereafter never

search of a simpler more ‘authentic’ life. It was Gauguin of

entirely left him, and goes to the heart of both the isolated

course who is the painter most readily associated with the

majesty and underlying poetry that he evokes in such

Pont Aven and Le Pouldu. He arrived in the area for the first

compositions as ‘Isle de Groix, La Pointe de L’Enfer’.

time in 1886, and returned intermittently over the following eight years. But unlike Gauguin and others who came and

With Gauguin’s final departure for the South Pacific in 1894,

went, Moret was the artist who stayed, remaining in the

and Moret’s introduction to Paul Durand-Ruel the following

region all his life. Introduced to Brittany when he was posted

year, Moret’s style altered once again to embrace

as a soldier to Lorient, it was his commanding officer who

Impressionism. Durand-Ruel had been the making of the

encouraged his artistic talents. In 1876 he attended the Ecole

Impressionists in the 1870s and 80s, but was ever on the

des Beaux Arts in Paris, where he studied under the leading

lookout for their natural heirs. Encouraged by the dealer to

Academic painter of the day Jean-Leon Gerome, and in 1880

submit works to him for sale, and be promoted as one of the

he made his first submission to the annual Paris Salon, which

next generation of Impressionist painters, Moret developed a

appropriately enough was of a Breton coastal view.

more feathery Impressionistic technique - Monet-like in style

Later that decade Moret came under the influence of

decades of his life, agreeing in the process an advantageous

- that would come to define his work during the last two Gauguin in Pont Aven, moving with him and his acolytes to

arrangement to supply the dealer with a rich vein of local and

nearby Le Pouldu during the winter of 1889-90. As a

quintessentially Breton subject matter.

Left: HENRY MORET French (1856-1913) Ile de Groix, Pointe de l’Enfer Signed & dated 1896 Oil on canvas 29 x 24 in / 73.5 x 61 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné Provenance: Galerie Durand-Ruel, Paris (purchased from the artist on 4 September 1896); Galerie Durand-Ruel, New York; Mrs Chauncey J. Blair, Chicago (acquired from the above on 7 October 1897); Mrs M. R. Bryan

HENRY MORET French (1856-1913) Côte de Clohars, Finistère Signed & dated 1908 Oil on canvas 28.75 x 23.75 in / 73 x 60 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné Provenance: Private collection, France

These three views of Brittany by Henry Moret perfectly capture different aspects of the isolated life to be found in North West France at the end of the 19th century: the

Below: HENRY MORET French (1856-1913) Lande Bretonne Signed Painted in 1903 Oil on canvas 18 x 24 in / 46 x 61 cm This work is accompanied by a certificate of authenticity from Jean-Yves Rolland and will be included in the forthcoming catalogue raisonné

overwhelming power of nature as two diminutive figures stare out at the tumultuous waves crashing on to the rocks below; the immutable serenity of the coastline as a craggy cliff-face drops down to meet an azure and placid sea; and the cyclical rhythm of peasant life as two women with pitchforks turn the cut hay drying in fields below their village.

In the second half of the 19th century Brittany attracted a

consequence, for a certain period, Moret’s compositions

host of different artists. Their arrival coincided with the

became simpler, his picture surfaces flatter as his depiction of

recently completed construction of the train line to the

local Breton subjects gained a greater resonance and

region, and their desire to escape increasing urbanisation in

profundity. This new-found edge to his work thereafter never

search of a simpler more ‘authentic’ life. It was Gauguin of

entirely left him, and goes to the heart of both the isolated

course who is the painter most readily associated with the

majesty and underlying poetry that he evokes in such

Pont Aven and Le Pouldu. He arrived in the area for the first

compositions as ‘Isle de Groix, La Pointe de L’Enfer’.

time in 1886, and returned intermittently over the following eight years. But unlike Gauguin and others who came and

With Gauguin’s final departure for the South Pacific in 1894,

went, Moret was the artist who stayed, remaining in the

and Moret’s introduction to Paul Durand-Ruel the following

region all his life. Introduced to Brittany when he was posted

year, Moret’s style altered once again to embrace

as a soldier to Lorient, it was his commanding officer who

Impressionism. Durand-Ruel had been the making of the

encouraged his artistic talents. In 1876 he attended the Ecole

Impressionists in the 1870s and 80s, but was ever on the

des Beaux Arts in Paris, where he studied under the leading

lookout for their natural heirs. Encouraged by the dealer to

Academic painter of the day Jean-Leon Gerome, and in 1880

submit works to him for sale, and be promoted as one of the

he made his first submission to the annual Paris Salon, which

next generation of Impressionist painters, Moret developed a

appropriately enough was of a Breton coastal view.

more feathery Impressionistic technique - Monet-like in style

Later that decade Moret came under the influence of

decades of his life, agreeing in the process an advantageous

- that would come to define his work during the last two Gauguin in Pont Aven, moving with him and his acolytes to

arrangement to supply the dealer with a rich vein of local and

nearby Le Pouldu during the winter of 1889-90. As a

quintessentially Breton subject matter.

HENRI LEBASQUE French (1865-1937) Promenade en bord de Marne à Lagny Signed Painted circa 1905-7 Oil on canvas 25.5 x 32 in / 65.5 x 81.5 cm This work is accompanied by a certificate of authenticity from Denise Bazetoux and will be included in the forthcoming supplement to the catalogue raisonné Provenance: Private collection, France

Lebasque’s time in Pomponne, a Parisian suburb that lies

and 1907, he never truly belonged to the movement, painting

along the River Marne to the east of the capital, was one of

instead in delicate colours and with a lightness of touch that

his most successful and prolific creative periods. He moved

was contrary to the more confrontational and forcefully

to 18 Quai Bizeau in 1904, facing Lagny from the opposite

expressive nature of Fauvism.

side of the river. Between then and his return to Paris in 1907, the stretch of river in the immediate vicinity of his

One is tempted to think that in today’s art market such

home became his favourite subject. He began to paint ‘en

lightness of touch and sheer prettiness is no longer in vogue,

plein air’, realising in exquisitely coloured paintings such as

but that is not borne out by recent auction prices for

the one illustrated the holiday mood that infused the town:

Lebasque’s works. For instance, in the past two years, seven

the essence of a Sunday on the river, a brief respite from the

paintings by Lebasque have sold at auction for more than

nearby city.

$300,000, with relatively few unsold. A small painting of

A particularly insightful description of Lebasque’s work

of the riverbank shown in our painting, was sold at Christie’s

comes from Louis Vauxcelles in the catalogue of the

Paris in 2014 for just over $300,000.

children playing on the quayside, effectively a close-up of part

exhibition held at the Galerie Pétridès in 1938: “Lebasque was as intelligent as he was sensitive, impulsive, with his own

Lebasque was introduced to the Midi by his friend Albert

personal culture, and he never ceased to reflect upon the

Manguin and for the next few years he painted throughout

principles and conditions of his art. Technique, the study of

France: in the Vendée, Brittany, Normandy, Sanary (near

form, the concern for balance and rhythm obsessed him.

Toulon), at Les Andelys and Nice. For more than thirty years

Nevertheless, he had kept the divine gift of childhood,

he used members of his own family as models in his paintings

marvelling at the vast spectacle of Nature, and he knew that,

and the artefacts, interiors, houses, gardens, riverbanks and

according to Nietzsche’s words, for a poet, “to say no to

beaches in his pictures were drawn from places where he

nature is madness.” He painted as a bird sings, when it sings

stayed for long periods. After spending a few seasons in

well - a smooth and expressive drawing, elegance of lines,

Saint-Tropez and Saint-Maxime, he finally made his permanent

freshness and haziness, transparency of shadows [...]”

home at Le Cannet in 1924.

Lebasque met Camille Pissarro during his time in Pomponne,

Henri Lebasque died at Le Cannet in 1937. Twenty years after

and the latter’s teachings on luminosity, form and colour

his death, the Musée des Ponchettes in Nice presented the

influenced him more than his lessons with Bonnat, under

first retrospective of the works of Henri Lebasque. Today his

whom he had studied in 1886. Lebasque made his début at

works can be found in private and public collections

the Salon des Indépendants in 1896 and also participated in

worldwide, including the Metropolitan Museum, the Musée

the Salon des Artistes Français.

d’Orsay, Paris, the Petit Palais in Geneva, the Museum of Modern Art in New York, the National Gallery of Art in

He was a founding member of the Salon d’Automne in 1903

Washington, the National Museum of Western Art in Tokyo,

with his friend Henri Matisse, but while he exhibited

the Chimei Museum in Taipei, the Hungarian National Gallery

alongside the Fauves at the Salon d’Automne between 1904

in Budapest, and the Indianapolis Museum of Art.

HENRI LEBASQUE French (1865-1937) Promenade en bord de Marne à Lagny Signed Painted circa 1905-7 Oil on canvas 25.5 x 32 in / 65.5 x 81.5 cm This work is accompanied by a certificate of authenticity from Denise Bazetoux and will be included in the forthcoming supplement to the catalogue raisonné Provenance: Private collection, France

Lebasque’s time in Pomponne, a Parisian suburb that lies

and 1907, he never truly belonged to the movement, painting

along the River Marne to the east of the capital, was one of

instead in delicate colours and with a lightness of touch that

his most successful and prolific creative periods. He moved

was contrary to the more confrontational and forcefully

to 18 Quai Bizeau in 1904, facing Lagny from the opposite

expressive nature of Fauvism.

side of the river. Between then and his return to Paris in 1907, the stretch of river in the immediate vicinity of his

One is tempted to think that in today’s art market such

home became his favourite subject. He began to paint ‘en

lightness of touch and sheer prettiness is no longer in vogue,

plein air’, realising in exquisitely coloured paintings such as

but that is not borne out by recent auction prices for

the one illustrated the holiday mood that infused the town:

Lebasque’s works. For instance, in the past two years, seven

the essence of a Sunday on the river, a brief respite from the

paintings by Lebasque have sold at auction for more than

nearby city.

$300,000, with relatively few unsold. A small painting of

A particularly insightful description of Lebasque’s work

of the riverbank shown in our painting, was sold at Christie’s

comes from Louis Vauxcelles in the catalogue of the

Paris in 2014 for just over $300,000.

children playing on the quayside, effectively a close-up of part

exhibition held at the Galerie Pétridès in 1938: “Lebasque was as intelligent as he was sensitive, impulsive, with his own

Lebasque was introduced to the Midi by his friend Albert

personal culture, and he never ceased to reflect upon the

Manguin and for the next few years he painted throughout

principles and conditions of his art. Technique, the study of

France: in the Vendée, Brittany, Normandy, Sanary (near

form, the concern for balance and rhythm obsessed him.

Toulon), at Les Andelys and Nice. For more than thirty years

Nevertheless, he had kept the divine gift of childhood,

he used members of his own family as models in his paintings

marvelling at the vast spectacle of Nature, and he knew that,

and the artefacts, interiors, houses, gardens, riverbanks and

according to Nietzsche’s words, for a poet, “to say no to

beaches in his pictures were drawn from places where he

nature is madness.” He painted as a bird sings, when it sings

stayed for long periods. After spending a few seasons in

well - a smooth and expressive drawing, elegance of lines,

Saint-Tropez and Saint-Maxime, he finally made his permanent

freshness and haziness, transparency of shadows [...]”

home at Le Cannet in 1924.

Lebasque met Camille Pissarro during his time in Pomponne,

Henri Lebasque died at Le Cannet in 1937. Twenty years after

and the latter’s teachings on luminosity, form and colour

his death, the Musée des Ponchettes in Nice presented the

influenced him more than his lessons with Bonnat, under

first retrospective of the works of Henri Lebasque. Today his

whom he had studied in 1886. Lebasque made his début at

works can be found in private and public collections

the Salon des Indépendants in 1896 and also participated in

worldwide, including the Metropolitan Museum, the Musée

the Salon des Artistes Français.

d’Orsay, Paris, the Petit Palais in Geneva, the Museum of Modern Art in New York, the National Gallery of Art in

He was a founding member of the Salon d’Automne in 1903

Washington, the National Museum of Western Art in Tokyo,

with his friend Henri Matisse, but while he exhibited

the Chimei Museum in Taipei, the Hungarian National Gallery

alongside the Fauves at the Salon d’Automne between 1904

in Budapest, and the Indianapolis Museum of Art.

HENRI LE SIDANER French (1862-1939) Les Marches de marbre rose, Versailles Signed Painted in 1921 Oil on canvas 25.5 x 31.75 in / 65 x 81 cm Provenance: Galerie Georges Petit, Paris; Private collection, France Exhibited: Paris, Galerie Georges Petit, Exhibition des Douze (ancienne Société Nouvelle), March 1921 Literature: Yann Farinaux-Le Sidaner, Le Sidaner, l’oeuvre peint et gravé, Paris, 1989, p.183, no.46, illustrated in colour

The quaint village of Moret, on the edge of the forest of

Galerie Georges Petit, supplying them with twenty to thirty

Fontainbleau, had long been a magnet for artists keen to live

pictures a year for the next three decades. In 1901 he moved

a simple rural existence, drawing Carl Larsson and a thriving

to Gerberoy and began to winter at Versailles. ‘Les Marches

Scandinavian community and Impressionists such as Alfred

de Marbre Rose’ of 1921 is the first of two large sweeping

Sisley. Le Sidaner’s view of the village takes in its principal

views that Le Sidaner painted of the celebrated feature of the

Garden, Monet to Matisse’ at the Royal Academy in London

Versailles gardens. Seen in the crisp clean light of morning,

includes six oil paintings by Max Liebermann of his garden on

landmarks: the bridge striding across the river Loing; the

The current blockbuster exhibition ‘Painting the Modern

massive form of the ancient fortified Porte de Bourgogne

the light dappled colours of Le Sidaner’s palette sensitively

the Wannsee near Berlin. They have been lent by private and

that guards the river crossing, and the imposing presence of

capture the worn ancient warmth of the pink marble steps as

public collections, including the Thyssen-Bornemisza Museum

the church of Notre-Dame that fills the upper left of the

they rise up to the expansive terrace beyond.

in Madrid, the Museum Behnhaus Drägerhaus in Lübeck, the Galerie Neue Meister in Dresden, and the Lower Saxony

composition. Painted in a light pastel palette, the oil is one of a handful of views that Le Sidaner captured of the distinctive

By the time of its execution, palaces had become a recurring

State Museum in Hanover. Hanging alongside major works by

features of Moret in 1917-18.

theme in his work, featuring in his views of London’s

Monet, Renoir, Van Gogh and Matisse, they show Liebermann

Hampton Court, palazzos along Venice’s Grand Canal and, of

to be an artist of unique flair and vision.

Le Sidaner’s high work rate coincided with his growing

course, Versailles’s La Cour de Marbre, Le Trianon, and Le

commercial success. In 1899 he signed an agreement with

Pavillon de Musique.

HENRI LE SIDANER

In 1909 Liebermann purchased a property in the Berlin suburbs, on the shore of Lake Wannsee, but it was not until French (1862-1939)

L’Église et le pont, Moret Painted in 1918 Signed & dedicated ‘à M. Manaut’ Oil on panel 10.5 x 13.75 in / 27 x 35 cm Provenance: M. Manaut, France (acquired from the artist); M. Bernardeau, France; Sale, Palais Galliéra, Paris, 18 June 1969, lot 100; Private collection Exhibited: Musée Fournaise, Chatou Literature: Yann Farinaux-Le Sidaner, Le Sidaner: L’Oeuvre peint et gravé, Paris, 1989, p. 353, no. 1094, illustrated

MAX LIEBERMANN German (1847-1935) Blumenstauden im Nutzgarten nach Südwesten Signed Painted circa 1928 Oil on canvas 21.25 by 29.75 in / 54.5 cm by 75.5 cm.

Provenance: Galerie Thannhauser, Berlin & Luzern; Private Collection, Frankfurt (acquired in the 1960s); Acquired from the above by the present owner (circa 1997); Sale, Sotheby’s London, 5 February 2007, lot 1; Private Collection, UK The authenticity of this work has been confirmed by Prof. Dr. Matthias Eberle

the outbreak of the First World War that he took up residency there. Almost immediately he embarked upon the series of paintings of his garden that was to occupy him for

washes to thick gobbets of paint, is applied with a rhythm

the rest of his life. Having attained considerable recognition

that rises to a tumultuous crescendo as the gladioli shoot

as an artist, he spared no expense on his garden with formal

skywards. The remarkably fresh condition of the paint surface

flower beds, exotic shrubs and thick hedges. It was designed

and canvas allows one, even today, to fully appreciate this

in collaboration with his friend Alfred Litwark, director of the

painterly tour de force.

Hamburger Kunsthalle, who was also an expert in garden design, and was based upon a geometric plan that gave the

As Heather Lemonedes wrote in the RA exhibition

impression of a series of rooms extending from the house.

catalogue: “Liebermann attempted to represent the deeply

Thus, Liebermann was provided with a variety of vistas, each

personal feelings that nature inspired. For [him] the garden

quite different from the next. ‘Blumenstauden im Nutzgarten

was not simply a motif to be painted; his paintings of the

nach Südwesten’ is one of the most dynamic and successful

garden were intended to re-create the art of nature itself,

paintings of the entire series. The varied impasto, from thin

and to interpret and intensify its timelessness.”

HENRI LE SIDANER French (1862-1939) Les Marches de marbre rose, Versailles Signed Painted in 1921 Oil on canvas 25.5 x 31.75 in / 65 x 81 cm Provenance: Galerie Georges Petit, Paris; Private collection, France Exhibited: Paris, Galerie Georges Petit, Exhibition des Douze (ancienne Société Nouvelle), March 1921 Literature: Yann Farinaux-Le Sidaner, Le Sidaner, l’oeuvre peint et gravé, Paris, 1989, p.183, no.46, illustrated in colour

The quaint village of Moret, on the edge of the forest of

Galerie Georges Petit, supplying them with twenty to thirty

Fontainbleau, had long been a magnet for artists keen to live

pictures a year for the next three decades. In 1901 he moved

a simple rural existence, drawing Carl Larsson and a thriving

to Gerberoy and began to winter at Versailles. ‘Les Marches

Scandinavian community and Impressionists such as Alfred

de Marbre Rose’ of 1921 is the first of two large sweeping

Sisley. Le Sidaner’s view of the village takes in its principal

views that Le Sidaner painted of the celebrated feature of the

Garden, Monet to Matisse’ at the Royal Academy in London

Versailles gardens. Seen in the crisp clean light of morning,

includes six oil paintings by Max Liebermann of his garden on

landmarks: the bridge striding across the river Loing; the

The current blockbuster exhibition ‘Painting the Modern

massive form of the ancient fortified Porte de Bourgogne

the light dappled colours of Le Sidaner’s palette sensitively

the Wannsee near Berlin. They have been lent by private and

that guards the river crossing, and the imposing presence of

capture the worn ancient warmth of the pink marble steps as

public collections, including the Thyssen-Bornemisza Museum

the church of Notre-Dame that fills the upper left of the

they rise up to the expansive terrace beyond.

in Madrid, the Museum Behnhaus Drägerhaus in Lübeck, the Galerie Neue Meister in Dresden, and the Lower Saxony

composition. Painted in a light pastel palette, the oil is one of a handful of views that Le Sidaner captured of the distinctive

By the time of its execution, palaces had become a recurring

State Museum in Hanover. Hanging alongside major works by

features of Moret in 1917-18.

theme in his work, featuring in his views of London’s

Monet, Renoir, Van Gogh and Matisse, they show Liebermann

Hampton Court, palazzos along Venice’s Grand Canal and, of

to be an artist of unique flair and vision.

Le Sidaner’s high work rate coincided with his growing

course, Versailles’s La Cour de Marbre, Le Trianon, and Le

commercial success. In 1899 he signed an agreement with

Pavillon de Musique.

HENRI LE SIDANER

In 1909 Liebermann purchased a property in the Berlin suburbs, on the shore of Lake Wannsee, but it was not until French (1862-1939)

L’Église et le pont, Moret Painted in 1918 Signed & dedicated ‘à M. Manaut’ Oil on panel 10.5 x 13.75 in / 27 x 35 cm Provenance: M. Manaut, France (acquired from the artist); M. Bernardeau, France; Sale, Palais Galliéra, Paris, 18 June 1969, lot 100; Private collection Exhibited: Musée Fournaise, Chatou Literature: Yann Farinaux-Le Sidaner, Le Sidaner: L’Oeuvre peint et gravé, Paris, 1989, p. 353, no. 1094, illustrated

MAX LIEBERMANN German (1847-1935) Blumenstauden im Nutzgarten nach Südwesten Signed Painted circa 1928 Oil on canvas 21.25 by 29.75 in / 54.5 cm by 75.5 cm.

Provenance: Galerie Thannhauser, Berlin & Luzern; Private Collection, Frankfurt (acquired in the 1960s); Acquired from the above by the present owner (circa 1997); Sale, Sotheby’s London, 5 February 2007, lot 1; Private Collection, UK The authenticity of this work has been confirmed by Prof. Dr. Matthias Eberle

the outbreak of the First World War that he took up residency there. Almost immediately he embarked upon the series of paintings of his garden that was to occupy him for

washes to thick gobbets of paint, is applied with a rhythm

the rest of his life. Having attained considerable recognition

that rises to a tumultuous crescendo as the gladioli shoot

as an artist, he spared no expense on his garden with formal

skywards. The remarkably fresh condition of the paint surface

flower beds, exotic shrubs and thick hedges. It was designed

and canvas allows one, even today, to fully appreciate this

in collaboration with his friend Alfred Litwark, director of the

painterly tour de force.

Hamburger Kunsthalle, who was also an expert in garden design, and was based upon a geometric plan that gave the

As Heather Lemonedes wrote in the RA exhibition

impression of a series of rooms extending from the house.

catalogue: “Liebermann attempted to represent the deeply

Thus, Liebermann was provided with a variety of vistas, each

personal feelings that nature inspired. For [him] the garden

quite different from the next. ‘Blumenstauden im Nutzgarten

was not simply a motif to be painted; his paintings of the

nach Südwesten’ is one of the most dynamic and successful

garden were intended to re-create the art of nature itself,

paintings of the entire series. The varied impasto, from thin

and to interpret and intensify its timelessness.”

HENRI JEAN GUILLAUME MARTIN French (1860-1943) La pergola sud-ouest de Marquayrol à l’automne Signed Painted circa 1910 Oil on canvas 28 x 35 in / 71 x 88.5 cm This work is accompanied by a certificate of authenticity from Cyrille Martin and will be included in the forthcoming catalogue raisonné being prepared by Marie-Anne Destrebecq Martin Provenance: Private collection, France

While his early works are of poetic subjects, in 1899 Martin

of Martin’s body of work. During the first decade of the

turned his attention to Neo-Impressionist methods,

twentieth century, he painted a series of monumental panels

developing a distinct Pointillist technique that sought to

for the Salle Martin in the Capitole, Toulouse, which illustrate

capture the depth and movement of colour and light. Aside

the cycle of the seasons in Labastide-du-Vert. This grand

from the occasional experiment, he was never interested in

public commission echoes Martin’s intimate studies of the

systematic Divisionism, which sought luminosity through the

changing seasons at his own Marquayrol, of which the present

application of current scientific theories, juxtaposing strokes

work is an excellent example.

of pure colour that could then be made to dance on the retina and create new hues. Influenced by Ernest Laurent and

Martin found success early in his career – he won the Grand

the Italian master Segantini, Martin developed a language of

Prix aged 19 and left Toulouse for Paris shortly after, where

feathery brustrokes and intuitively layered colours that lacked

he studied at the École des Beaux-Arts under Jean-Paul

the systematic coldness of orthodox Divisionism.

Laurens. He exhibited at the Salon des Artistes Français from 1880, winning a medal in 1883, and won the grand prize at

It was at Marquayrol, Martin’s retreat in South-Western

the 1900 Exposition Universelle. In 1899 he completed the

France, that the artist’s unique style reached maturity. He

monumental ‘Serenité’, which now hangs at the Musée

purchased the seventeenth-century manor in 1900, which

d’Orsay. Original and exquisite, the painting prompted Puvis

was set on a hilltop and afforded sweeping views of the

de Chavannes to hail Martin as his heir and successor: “celui-

picturesque village of Labastide-du-Vert. Marquayrol was to

la sera mon héritier, il me continuera”.

Martin what Giverny was to Claude Monet – a retreat, return to nature and continuous source of inspiration.

He was, however, not without his critics. In 1897 Paul Signac

Captivated by the region’s distinct intensities of light and

wrote that “Henri Martin and Cladel have looted us ... they

seasonal colour, he explored how Pointillist dashes and daubs

now pass as the inventors of ‘Pointillism’”. Meanwhile in

could reflect natural tonal and geometric harmonies. To this

1899, in reference to the stunning painting ‘Serenité’ noted

end he cultivated an idyllic Italianate garden, filled with

above, both D S MacColl and Paul Desjardins declared the

cypress lined paths, a circular pool with a statue, and a

use of pointillist technique as inappropriate for a monumental

terrace with a vine-draped pergola, pictured here and one of

painting. But there is no denying the startling originality of

his most recognisable motifs.

this work, a “private fantasy (turned) into a public mural”. As one of the catalogues to the museum suggests: “Even today,

Animated by ever-shifting colours and the south-western sun,

as in 1899, spectators may rub their eyes in confusion before

the pergola became one of Martin’s favourite subjects,

this monumental painting.”

inspiring sumptuous and contemplative canvases, such as the present work. The painting’s delicately layered colours and

The rural seclusion into which Martin threw himself to

sensitive rendition of light and space conjure a scene that is

concentrate on his conversion to more naturalistic

both fleeting and outside of time. Autumn’s fiery reds and

landscapes did not affect his standing in the art world. No

bright, cool blues appear in symphonious daubs and

doubt his earlier body of work had established his reputation

brushstrokes, while carefully rendered patches of shadow and

very firmly, and he continued to receive official recognition. In

light suggest the late afternoon sun. Yet as in many of Martin’s

1905 he received the Cross of the Legion of Honour and five

works, a quiet stillness transcends the painting’s immediate

year later he held his first retrospective exhibition at the

setting and evokes a state of mind.

Galerie Georges Petit in Paris. In 1914 he became a Commander of the Legion of Honour and four years later

The shifts and nuances of every season form an integral part

was elected a Member of the Institut Français.

HENRI JEAN GUILLAUME MARTIN French (1860-1943) La pergola sud-ouest de Marquayrol à l’automne Signed Painted circa 1910 Oil on canvas 28 x 35 in / 71 x 88.5 cm This work is accompanied by a certificate of authenticity from Cyrille Martin and will be included in the forthcoming catalogue raisonné being prepared by Marie-Anne Destrebecq Martin Provenance: Private collection, France

While his early works are of poetic subjects, in 1899 Martin

of Martin’s body of work. During the first decade of the

turned his attention to Neo-Impressionist methods,

twentieth century, he painted a series of monumental panels

developing a distinct Pointillist technique that sought to

for the Salle Martin in the Capitole, Toulouse, which illustrate

capture the depth and movement of colour and light. Aside

the cycle of the seasons in Labastide-du-Vert. This grand

from the occasional experiment, he was never interested in

public commission echoes Martin’s intimate studies of the

systematic Divisionism, which sought luminosity through the

changing seasons at his own Marquayrol, of which the present

application of current scientific theories, juxtaposing strokes

work is an excellent example.

of pure colour that could then be made to dance on the retina and create new hues. Influenced by Ernest Laurent and

Martin found success early in his career – he won the Grand

the Italian master Segantini, Martin developed a language of

Prix aged 19 and left Toulouse for Paris shortly after, where

feathery brustrokes and intuitively layered colours that lacked

he studied at the École des Beaux-Arts under Jean-Paul

the systematic coldness of orthodox Divisionism.

Laurens. He exhibited at the Salon des Artistes Français from 1880, winning a medal in 1883, and won the grand prize at

It was at Marquayrol, Martin’s retreat in South-Western

the 1900 Exposition Universelle. In 1899 he completed the

France, that the artist’s unique style reached maturity. He

monumental ‘Serenité’, which now hangs at the Musée

purchased the seventeenth-century manor in 1900, which

d’Orsay. Original and exquisite, the painting prompted Puvis

was set on a hilltop and afforded sweeping views of the

de Chavannes to hail Martin as his heir and successor: “celui-

picturesque village of Labastide-du-Vert. Marquayrol was to

la sera mon héritier, il me continuera”.

Martin what Giverny was to Claude Monet – a retreat, return to nature and continuous source of inspiration.

He was, however, not without his critics. In 1897 Paul Signac

Captivated by the region’s distinct intensities of light and

wrote that “Henri Martin and Cladel have looted us ... they

seasonal colour, he explored how Pointillist dashes and daubs

now pass as the inventors of ‘Pointillism’”. Meanwhile in

could reflect natural tonal and geometric harmonies. To this

1899, in reference to the stunning painting ‘Serenité’ noted

end he cultivated an idyllic Italianate garden, filled with

above, both D S MacColl and Paul Desjardins declared the

cypress lined paths, a circular pool with a statue, and a

use of pointillist technique as inappropriate for a monumental

terrace with a vine-draped pergola, pictured here and one of

painting. But there is no denying the startling originality of

his most recognisable motifs.

this work, a “private fantasy (turned) into a public mural”. As one of the catalogues to the museum suggests: “Even today,

Animated by ever-shifting colours and the south-western sun,

as in 1899, spectators may rub their eyes in confusion before

the pergola became one of Martin’s favourite subjects,

this monumental painting.”

inspiring sumptuous and contemplative canvases, such as the present work. The painting’s delicately layered colours and

The rural seclusion into which Martin threw himself to

sensitive rendition of light and space conjure a scene that is

concentrate on his conversion to more naturalistic

both fleeting and outside of time. Autumn’s fiery reds and

landscapes did not affect his standing in the art world. No

bright, cool blues appear in symphonious daubs and

doubt his earlier body of work had established his reputation

brushstrokes, while carefully rendered patches of shadow and

very firmly, and he continued to receive official recognition. In

light suggest the late afternoon sun. Yet as in many of Martin’s

1905 he received the Cross of the Legion of Honour and five

works, a quiet stillness transcends the painting’s immediate

year later he held his first retrospective exhibition at the

setting and evokes a state of mind.

Galerie Georges Petit in Paris. In 1914 he became a Commander of the Legion of Honour and four years later

The shifts and nuances of every season form an integral part

was elected a Member of the Institut Français.

ALBERT MARQUET

French (1875-1947)

Vue d’Alger Signed Painted circa 1942 Oil on canvas 10 x 18 in / 25.5 x 46 cm This work is accompanied by a certificate of authenticity from Daniel Malingue and is included in the catalogue raisonné prepared

by Jean-Claude Martinet

Marquet painted this sweeping view of the bay of Bab-el-Oud in Algiers from his home in Montplaisant, which afforded stunning views of the Algerian capital. Forced to leave France during the Second World War, Marquet and his wife Marcelle remained at Djenan Sidi Saïd, their villa in Montplaisant, from 1941 to 1945. Growing tired of exile and anxious to return to France, Marquet immersed himself in painting and captured the city in varying lights and moods from atop his

Provenance: Galerie Alex Maguy, Paris; Private collection; Galerie Daniel Malingue, Paris; Private collection, France (1993)

terrace. Painted in warm shades of blue, green, orange and apricot, the present work captures the heat emanating from sun-drenched hilltops and stucco buildings.

HENRI MANGUIN French (1874-1949) Le port de Saint Tropez, été-automne 1924,Vue de la ferme Olivier

Degouve de Nuncques arrived in Mallorca in August 1899, where over the following two and a half years he painted some of his most expansive and colourful landscapes. In the present work, painted in the summer of 1900, Degouve captured the extraordinary pink and white rock limestone formations found in the north of the island at Cala San Vicente. In the composition the distinctive rocks emerge majestically from a gloriously placid and inviting sea, while young cedars cling tenaciously to the bare ground above.

During his time in Mallorca de Nuncques struck up close ties with some of the leading Catalan artists of the day, including shared Degouve’s love of the area and he, like Degouve, painted some of his most significant works there. Degouve’s

Signed with initials & dated 1900 Oil on panel 8 x 18.5 in / 20 x 47 cm This work is included in the online catalogue raisonné prepared by Hans Wijgergangs, Ronald Feltkamp and Théo Galle under no. 3.1900.006 Provenance: Suzanne Degouve de Nuncques (the artist’s widow); By descent from the above to the present owner, grandson of Adrien de Gerlache Exhibited: Namur, Musée Félicien Rops and Otterlo, Kröller-Müller Museum, William Degouve de Nuncques, maître du mystère, 2012

friendship with Rusiñol, Mir and other artists from Barcelona ensured a lively dialogue of ideas and exchanges of paintings between Spanish and Belgian artists in the years thereafter.

This work is accompanied by a certificate of authenticity from Jean-Pierre Manguin and is included in the catalogue raisonné prepared

by Lucile and Claude Manguin under no. 801

sojourn on Mallorca Degouve’s work was characterised by a

Exhibited: San Francisco, Montgomery Gallery, 11 October - 22 December 1990

Côte aux Baléares (Majorque, Cala San Vicente)

Santiago Rusiñol and Joaquím Mir. The latter in particular

Signed Painted in 1924 Oil on board 13 x 16 in / 33 x 41 cm

Provenance: Charles Vildrac, Paris; Galerie Barbizon, Paris; Private collection, France (1975); Atelier Matignon, Paris; Private collection, France (1993)

WILLIAM DEGOUVE DE NUNCQUES Belgian (1867-1935)

Literature: Hans Wijgergangs, Ronald Feltkamp and Théo Galle, William Degouve de Nuncques online catalogue raisonné, no. 3.1900.006, illustrated

A leading figure amongst the Belgian Symbolists, before his restrained, sometimes monochrome palette, and typified by nocturnal moonlit subjects. His time in Spain (1899 – 1902), however, transformed his appreciation of colour, his subsequent work characterised by clear and vibrant hues. the Royal Museums of Fine Arts of Belgium, and the Museum Degouve exhibited widely in his lifetime and displayed his

of Modern and Contemporary Art, Palma. The most

work at La Libre Esthétique alongside other Belgian

substantial collection of his paintings is in the Kröller-Müller

Symbolists. His work can be found in numerous public and

Museum, Otterlo, which held a retrospective of his work in

private collections worldwide, including the Musée d’Orsay,

2012, and in which the present work was featured.

ALBERT MARQUET

French (1875-1947)

Vue d’Alger Signed Painted circa 1942 Oil on canvas 10 x 18 in / 25.5 x 46 cm This work is accompanied by a certificate of authenticity from Daniel Malingue and is included in the catalogue raisonné prepared

by Jean-Claude Martinet

Marquet painted this sweeping view of the bay of Bab-el-Oud in Algiers from his home in Montplaisant, which afforded stunning views of the Algerian capital. Forced to leave France during the Second World War, Marquet and his wife Marcelle remained at Djenan Sidi Saïd, their villa in Montplaisant, from 1941 to 1945. Growing tired of exile and anxious to return to France, Marquet immersed himself in painting and captured the city in varying lights and moods from atop his

Provenance: Galerie Alex Maguy, Paris; Private collection; Galerie Daniel Malingue, Paris; Private collection, France (1993)

terrace. Painted in warm shades of blue, green, orange and apricot, the present work captures the heat emanating from sun-drenched hilltops and stucco buildings.

HENRI MANGUIN French (1874-1949) Le port de Saint Tropez, été-automne 1924,Vue de la ferme Olivier

Degouve de Nuncques arrived in Mallorca in August 1899, where over the following two and a half years he painted some of his most expansive and colourful landscapes. In the present work, painted in the summer of 1900, Degouve captured the extraordinary pink and white rock limestone formations found in the north of the island at Cala San Vicente. In the composition the distinctive rocks emerge majestically from a gloriously placid and inviting sea, while young cedars cling tenaciously to the bare ground above.

During his time in Mallorca de Nuncques struck up close ties with some of the leading Catalan artists of the day, including shared Degouve’s love of the area and he, like Degouve, painted some of his most significant works there. Degouve’s

Signed with initials & dated 1900 Oil on panel 8 x 18.5 in / 20 x 47 cm This work is included in the online catalogue raisonné prepared by Hans Wijgergangs, Ronald Feltkamp and Théo Galle under no. 3.1900.006 Provenance: Suzanne Degouve de Nuncques (the artist’s widow); By descent from the above to the present owner, grandson of Adrien de Gerlache Exhibited: Namur, Musée Félicien Rops and Otterlo, Kröller-Müller Museum, William Degouve de Nuncques, maître du mystère, 2012

friendship with Rusiñol, Mir and other artists from Barcelona ensured a lively dialogue of ideas and exchanges of paintings between Spanish and Belgian artists in the years thereafter.

This work is accompanied by a certificate of authenticity from Jean-Pierre Manguin and is included in the catalogue raisonné prepared

by Lucile and Claude Manguin under no. 801

sojourn on Mallorca Degouve’s work was characterised by a

Exhibited: San Francisco, Montgomery Gallery, 11 October - 22 December 1990

Côte aux Baléares (Majorque, Cala San Vicente)

Santiago Rusiñol and Joaquím Mir. The latter in particular

Signed Painted in 1924 Oil on board 13 x 16 in / 33 x 41 cm

Provenance: Charles Vildrac, Paris; Galerie Barbizon, Paris; Private collection, France (1975); Atelier Matignon, Paris; Private collection, France (1993)

WILLIAM DEGOUVE DE NUNCQUES Belgian (1867-1935)

Literature: Hans Wijgergangs, Ronald Feltkamp and Théo Galle, William Degouve de Nuncques online catalogue raisonné, no. 3.1900.006, illustrated

A leading figure amongst the Belgian Symbolists, before his restrained, sometimes monochrome palette, and typified by nocturnal moonlit subjects. His time in Spain (1899 – 1902), however, transformed his appreciation of colour, his subsequent work characterised by clear and vibrant hues. the Royal Museums of Fine Arts of Belgium, and the Museum Degouve exhibited widely in his lifetime and displayed his

of Modern and Contemporary Art, Palma. The most

work at La Libre Esthétique alongside other Belgian

substantial collection of his paintings is in the Kröller-Müller

Symbolists. His work can be found in numerous public and

Museum, Otterlo, which held a retrospective of his work in

private collections worldwide, including the Musée d’Orsay,

2012, and in which the present work was featured.

This incisive and exquisitely painted portrait depicts Jeanne

EVA GONZALES

Gonzalès, the artist’s younger sister and favourite model, who

L’Indolence

was also a painter. Perhaps because of its psychological immediacy, impressionistic brushwork and the rarity of major paintings by Gonzalès, who died in childbirth aged 34, this painting has become a pivotal piece in the artist’s oeuvre. It has been featured in numerous publications on Impressionism and retrospectives of Gonzalès’s work, including the 1914 retrospective at Galerie Bernheim-Jeune and the 1900 Exposition Universelle Centennale de l’art français.

Titled L’Indolence, the painting proclaims a state of mind that is reflected in its subject’s forlorn expression. The woman gazes languidly at the world outside her window, the uncaged parakeet to her left emphasizing her own confinement. A violet bouquet of forget-me-nots, seemingly just laid down by her loosely painted fingers, suggests a narrative of love lost.

With a keen eye for composition and insightful understanding of painterly effect, Gonzalès conjures layers of narrative and feeling through a simple pose and soft, balanced palette.

The painting was first exhibited at the Salon of 1872, where it drew the attention of the writer and critic Emile Zola: “I would like to point out an adorable painting depicting a

French (1849-1883)

Signed Painted circa 1871-72 Oil on canvas 39 x 32 in / 100 x 81 cm This work is included in the catalogue raisonné prepared by Marie-Caroline Sainsaulieu and Jacques de Mons under no. 39 Provenance: Moniard (1872); Henri Guérard (the artist’s husband, circa 24 May 1897); Jeanne Guérard-Gonzalès, Paris (the artist’s sister, 1897); Jean-Raymond Guérard, Paris (the artist’s son, circa 1924); André Watteau, Paris; Private collection, Paris; Sale, Sotheby’s, New York, 11 November 1999, lot 104; Acquired at the above sale by the estate of the present owner Exhibited: Paris, Palais des Champs-Elysées, Salon, 1872, no. 723; Paris, Salons de la Vie Moderne, Eva Gonzalès, 1885, no. 17; Paris, Grand Palais, Exposition Universelle Centennale de l’art Français 1800-1889, 1900, no. 330; Vienna, Die Kunst der Frau, 1910, no. 94 (titled Die Ruhende); Paris, Galerie Bernheim-Jeune, Eva Gonzalès, 1914, no. 2; Paris, Galerie Marcel Bernheim, Eva Gonzalès, 1932, no. 2; Paris, Alfred Daber, Eva Gonzalès, 1950, no. 2; Monaco, Sporting de Monaco, Eva Gonzalès, 1952, no. 2; Paris, Galerie Daber, Eva Gonzalès, 1959, no. 3; Bilbao, El museo de Bellas Artes de Bilbao, Edad Media y Moderna, Edad Contemporanea I y Edad Contemporanea II

Gonzalès. Now in the National Gallery in London, the

Selected Literature: Jules Castagnary, “Le Salon de 1872”, Le Siècle, 1 June 1872, discussed p. 2; Emile Zola, “Lettres Parisiennes”, La Cloche, 12 May 1872, discussed p. 2; Jules Clarétie, Peintres et sculpteurs contemporains, Paris, 1874, discussed p. 263; Philippe Burty, “Eva Gonzalès”, La République Française, 24 January 1985, discussed p. 3; Firmin Javel, “Nos illustrations”, L’Art Français, 3 January 1891, dicussed p. 1; François Monod, “L’Impressionnisme féminin”, Art et Décoration, May 1914, discussed p. 2; Paule Bayle, “Eva Gonzalès”, La Renaissance, June 1932, discussed p. 114; Claude Roger-Marx, Eva Gonzalès, Saint-Germain-en-Laye, 1950, discussed pp. 13-14, 16, illustrated pl. IV; Patrick Brady, ‘L’oeuvre’ de Emile Zola, Geneva, 1958, p. 101; Dictionnaire universel de la peinture, vol. 3, Paris, 1975, p. 137; Sophie Monneret, L’impressionnisme et son époque, vol. I, Paris, 1978, illustrated p. 252

painting is one of Manet’s best-known portraits and depicts

While Manet was unable to capture Gonzalès’s expression,

young child, a naive figure dressed in pink with a muslin scarf chastely knotted around her neck. It is simply a sketch of freshness, of whiteness; it is a virgin fallen from a stained-glass window and painted by a naturalist artist of our times” (‘La Cloche’, 12 May 1872). The critic Jules Clarétie also greatly admired the work, writing that the “charming Indolence is the work of an artist of rare talent, who takes the brush after having handled pastel like Rosalba” (‘Peintres et Sculpteurs Contemporains’, 1874, p. 263).

This was a time of great recognition for the young Gonzalès, who first garnered critical attention at the 1870 Paris Salon, when she exhibited three paintings and was herself the subject of Edouard Manet’s celebrated Portrait d’Eva

Gonzalès completing a still life at her easel. Intrigued by her

her own portraits of women depict the sitters’ inner life with

dark looks and Spanish heritage, Manet invited Gonzalès to

startling immediacy. Our image of Gonzalès has long been

sit for him in 1869. Impressed by her obvious talent, he took

defined by Manet’s depiction of her, but the rare examples

her on as a pupil that same year and the two maintained a

that we do have of her work reveal an artist of unique talent

lifelong friendship. The portrait took many sittings to

and extraordinary insight. Her works rarely appear on the

complete and so consumed Manet that it invited the scorn of

market, but given that a painting fetched five times mid-

Berthe Morisot, who wrote in a letter to her sister Edma:

estimate at $2.5m in 2013 and another fetched four and a

“As of now, all his admiration is concentrated on Mlle

half times mid-estimate at $1.5m in 2014, there might be an

Gonzalès, but her portrait does not progress; he says that he

upwards adjustment imminent, and offered at under $1m our

is at the fortieth sitting and that the head is again effaced.”

painting represents a good opportunity.

This incisive and exquisitely painted portrait depicts Jeanne

EVA GONZALES

Gonzalès, the artist’s younger sister and favourite model, who

L’Indolence

was also a painter. Perhaps because of its psychological immediacy, impressionistic brushwork and the rarity of major paintings by Gonzalès, who died in childbirth aged 34, this painting has become a pivotal piece in the artist’s oeuvre. It has been featured in numerous publications on Impressionism and retrospectives of Gonzalès’s work, including the 1914 retrospective at Galerie Bernheim-Jeune and the 1900 Exposition Universelle Centennale de l’art français.

Titled L’Indolence, the painting proclaims a state of mind that is reflected in its subject’s forlorn expression. The woman gazes languidly at the world outside her window, the uncaged parakeet to her left emphasizing her own confinement. A violet bouquet of forget-me-nots, seemingly just laid down by her loosely painted fingers, suggests a narrative of love lost.

With a keen eye for composition and insightful understanding of painterly effect, Gonzalès conjures layers of narrative and feeling through a simple pose and soft, balanced palette.

The painting was first exhibited at the Salon of 1872, where it drew the attention of the writer and critic Emile Zola: “I would like to point out an adorable painting depicting a

French (1849-1883)

Signed Painted circa 1871-72 Oil on canvas 39 x 32 in / 100 x 81 cm This work is included in the catalogue raisonné prepared by Marie-Caroline Sainsaulieu and Jacques de Mons under no. 39 Provenance: Moniard (1872); Henri Guérard (the artist’s husband, circa 24 May 1897); Jeanne Guérard-Gonzalès, Paris (the artist’s sister, 1897); Jean-Raymond Guérard, Paris (the artist’s son, circa 1924); André Watteau, Paris; Private collection, Paris; Sale, Sotheby’s, New York, 11 November 1999, lot 104; Acquired at the above sale by the estate of the present owner Exhibited: Paris, Palais des Champs-Elysées, Salon, 1872, no. 723; Paris, Salons de la Vie Moderne, Eva Gonzalès, 1885, no. 17; Paris, Grand Palais, Exposition Universelle Centennale de l’art Français 1800-1889, 1900, no. 330; Vienna, Die Kunst der Frau, 1910, no. 94 (titled Die Ruhende); Paris, Galerie Bernheim-Jeune, Eva Gonzalès, 1914, no. 2; Paris, Galerie Marcel Bernheim, Eva Gonzalès, 1932, no. 2; Paris, Alfred Daber, Eva Gonzalès, 1950, no. 2; Monaco, Sporting de Monaco, Eva Gonzalès, 1952, no. 2; Paris, Galerie Daber, Eva Gonzalès, 1959, no. 3; Bilbao, El museo de Bellas Artes de Bilbao, Edad Media y Moderna, Edad Contemporanea I y Edad Contemporanea II

Gonzalès. Now in the National Gallery in London, the

Selected Literature: Jules Castagnary, “Le Salon de 1872”, Le Siècle, 1 June 1872, discussed p. 2; Emile Zola, “Lettres Parisiennes”, La Cloche, 12 May 1872, discussed p. 2; Jules Clarétie, Peintres et sculpteurs contemporains, Paris, 1874, discussed p. 263; Philippe Burty, “Eva Gonzalès”, La République Française, 24 January 1985, discussed p. 3; Firmin Javel, “Nos illustrations”, L’Art Français, 3 January 1891, dicussed p. 1; François Monod, “L’Impressionnisme féminin”, Art et Décoration, May 1914, discussed p. 2; Paule Bayle, “Eva Gonzalès”, La Renaissance, June 1932, discussed p. 114; Claude Roger-Marx, Eva Gonzalès, Saint-Germain-en-Laye, 1950, discussed pp. 13-14, 16, illustrated pl. IV; Patrick Brady, ‘L’oeuvre’ de Emile Zola, Geneva, 1958, p. 101; Dictionnaire universel de la peinture, vol. 3, Paris, 1975, p. 137; Sophie Monneret, L’impressionnisme et son époque, vol. I, Paris, 1978, illustrated p. 252

painting is one of Manet’s best-known portraits and depicts

While Manet was unable to capture Gonzalès’s expression,

young child, a naive figure dressed in pink with a muslin scarf chastely knotted around her neck. It is simply a sketch of freshness, of whiteness; it is a virgin fallen from a stained-glass window and painted by a naturalist artist of our times” (‘La Cloche’, 12 May 1872). The critic Jules Clarétie also greatly admired the work, writing that the “charming Indolence is the work of an artist of rare talent, who takes the brush after having handled pastel like Rosalba” (‘Peintres et Sculpteurs Contemporains’, 1874, p. 263).

This was a time of great recognition for the young Gonzalès, who first garnered critical attention at the 1870 Paris Salon, when she exhibited three paintings and was herself the subject of Edouard Manet’s celebrated Portrait d’Eva

Gonzalès completing a still life at her easel. Intrigued by her

her own portraits of women depict the sitters’ inner life with

dark looks and Spanish heritage, Manet invited Gonzalès to

startling immediacy. Our image of Gonzalès has long been

sit for him in 1869. Impressed by her obvious talent, he took

defined by Manet’s depiction of her, but the rare examples

her on as a pupil that same year and the two maintained a

that we do have of her work reveal an artist of unique talent

lifelong friendship. The portrait took many sittings to

and extraordinary insight. Her works rarely appear on the

complete and so consumed Manet that it invited the scorn of

market, but given that a painting fetched five times mid-

Berthe Morisot, who wrote in a letter to her sister Edma:

estimate at $2.5m in 2013 and another fetched four and a

“As of now, all his admiration is concentrated on Mlle

half times mid-estimate at $1.5m in 2014, there might be an

Gonzalès, but her portrait does not progress; he says that he

upwards adjustment imminent, and offered at under $1m our

is at the fortieth sitting and that the head is again effaced.”

painting represents a good opportunity.

AUGUSTE HERBIN French (1882-1960) Nature morte aux pots de fleurs Signed Painted in 1918 Oil on canvas 39.25 x 28.75 in / 100.5 x 73 cm This work is included in the catalogue raisonné prepared by Geneviève Claisse under no. 359 Provenance: Galerie L'Effort Moderne (Léonce Rosenberg), Paris; Galerie Michel Haas, Berlin; Sale, Francis Briest, Drouot-Montaigne, Paris, 15 June 1991, lot 27; Private collection, Paris (acquired at the above sale); Private collection, USA Literature: "Parade 1925", Connaissance des Arts, May 1959, p. 106-15, illustrated p. 111; Geneviève Claisse, Herbin: Catalogue raisonné de l'oeuvre peint, Paris, 1993, no. 359, illustrated p. 343

With its vibrantly coloured interlocking planes and rhythmic

January 1918. Painted the following month, the present work

ornamental motifs, this painting is amongst Herbin’s most

was one of Rosenberg’s first acquisitions for his burgeoning

complex and arresting Cubist compositions. Painted in 1918,

gallery. He launched his exhibition programme with a solo

it belongs to a pivotal point in the evolution of Herbin’s

show of Herbin’s work and reserved the highest praise for

unique Cubist aesthetic, which is characterised by bright

the artist in his Bulletin, writing that “the perfection of all

tonalities and intricate decorative forms.

perfections, the absolute of all idealism is always Herbin” (Bulletin, 1918, p. 21).

Herbin began to experiment with Cubism in 1909, when he moved to the Bateau-Lavoir and became acquainted with

Wilhelm Uhde and Alfred Flechtheim, both amongst the

Picasso, Braque and Gris. Intrigued by their interrogation of

greatest dealers and collectors of the time, also took an

perspective, he began to paint compositions that dissect

interest in Herbin’s work during this period, acquiring pieces

objects into multiple facets, though he did not adopt the

directly from the artist’s studio. The importance of Herbin’s

near-monochromatic tones of Analytic Cubism.

mature Cubist work is increasingly reflected in the current market, with two such works recently ranking amongst the

He developed his unique approach in 1917, when he returned

artist’s top twenty sales, the first selling for €481,500 at

to painting following a three-year placement at an airplane

Christie’s in October 2015 and another fetching £314,500 at

factory during the First World War. By this time his style had

Christie’s in June of that same year. While the artist’s top

become more abstract and geometrical, evident in this

prices have hitherto been dominated by his early Fauvist

painting’s kaleidoscopic floral arrangement and highly stylised,

work, these recent sales suggest a reappraisal of his more

background. This was a unique period in Herbin’s career, who

abstract, analytical compositions.

would briefly return to representation in the 1920s with his New Objectivity works and move towards pure abstraction

Indeed Herbin’s ornate abstraction and radical use of vibrant

in the 1930s. Revelling in colour and ornament, while still

colour established his considerable international reputation

embracing the historically charged still life format, this

and held the most profound influence on a generation of

painting is a rare example from a brief and highly original

younger artists. He went on to develop his unique reading of

period in Herbin’s work.

colour in 1942, creating the ‘alphabet plastique’, which relates colours, shapes, musical notes and letters. These associations

Herbin’s innovative abstract style drew the attention of the

developed into a unique visual language that he continued to

prominent art dealer Léonce Rosenberg, who invited him to

refine until his death in 1960, leaving his last work, entitled

exhibit at his new venture, Galerie de l’Effort Moderne, in

‘Fin’, unfinished.

AUGUSTE HERBIN French (1882-1960) Nature morte aux pots de fleurs Signed Painted in 1918 Oil on canvas 39.25 x 28.75 in / 100.5 x 73 cm This work is included in the catalogue raisonné prepared by Geneviève Claisse under no. 359 Provenance: Galerie L'Effort Moderne (Léonce Rosenberg), Paris; Galerie Michel Haas, Berlin; Sale, Francis Briest, Drouot-Montaigne, Paris, 15 June 1991, lot 27; Private collection, Paris (acquired at the above sale); Private collection, USA Literature: "Parade 1925", Connaissance des Arts, May 1959, p. 106-15, illustrated p. 111; Geneviève Claisse, Herbin: Catalogue raisonné de l'oeuvre peint, Paris, 1993, no. 359, illustrated p. 343

With its vibrantly coloured interlocking planes and rhythmic

January 1918. Painted the following month, the present work

ornamental motifs, this painting is amongst Herbin’s most

was one of Rosenberg’s first acquisitions for his burgeoning

complex and arresting Cubist compositions. Painted in 1918,

gallery. He launched his exhibition programme with a solo

it belongs to a pivotal point in the evolution of Herbin’s

show of Herbin’s work and reserved the highest praise for

unique Cubist aesthetic, which is characterised by bright

the artist in his Bulletin, writing that “the perfection of all

tonalities and intricate decorative forms.

perfections, the absolute of all idealism is always Herbin” (Bulletin, 1918, p. 21).

Herbin began to experiment with Cubism in 1909, when he moved to the Bateau-Lavoir and became acquainted with

Wilhelm Uhde and Alfred Flechtheim, both amongst the

Picasso, Braque and Gris. Intrigued by their interrogation of

greatest dealers and collectors of the time, also took an

perspective, he began to paint compositions that dissect

interest in Herbin’s work during this period, acquiring pieces

objects into multiple facets, though he did not adopt the

directly from the artist’s studio. The importance of Herbin’s

near-monochromatic tones of Analytic Cubism.

mature Cubist work is increasingly reflected in the current market, with two such works recently ranking amongst the

He developed his unique approach in 1917, when he returned

artist’s top twenty sales, the first selling for €481,500 at

to painting following a three-year placement at an airplane

Christie’s in October 2015 and another fetching £314,500 at

factory during the First World War. By this time his style had

Christie’s in June of that same year. While the artist’s top

become more abstract and geometrical, evident in this

prices have hitherto been dominated by his early Fauvist

painting’s kaleidoscopic floral arrangement and highly stylised,

work, these recent sales suggest a reappraisal of his more

background. This was a unique period in Herbin’s career, who

abstract, analytical compositions.

would briefly return to representation in the 1920s with his New Objectivity works and move towards pure abstraction

Indeed Herbin’s ornate abstraction and radical use of vibrant

in the 1930s. Revelling in colour and ornament, while still

colour established his considerable international reputation

embracing the historically charged still life format, this

and held the most profound influence on a generation of

painting is a rare example from a brief and highly original

younger artists. He went on to develop his unique reading of

period in Herbin’s work.

colour in 1942, creating the ‘alphabet plastique’, which relates colours, shapes, musical notes and letters. These associations

Herbin’s innovative abstract style drew the attention of the

developed into a unique visual language that he continued to

prominent art dealer Léonce Rosenberg, who invited him to

refine until his death in 1960, leaving his last work, entitled

exhibit at his new venture, Galerie de l’Effort Moderne, in

‘Fin’, unfinished.

ALBERT ANDRÉ French (1869-1954) Intérieur Signed Painted circa 1893 Oil on canvas 18 x 21.5 in / 46 x 55 cm Provenance: Private collection of Léon Brami (1901-1983), owner of Galerie Vendôme and Galerie Sélection, Paris; Private collection (acquired from the above’s widow in 2015)

Painted circa 1893, this contemplative, sun-dappled interior is

JEAN-FRANCOIS RAFFAELLI

a wonderful example of the intimiste works for which André

Le violoniste des rues

is best known. It was produced when the artist was forging his reputation, which was solidified after 1894, when the great Impressionist dealer Paul Durand-Ruel began to sell his work on Renoir’s recommendation. Having studied at the Académie Julian along with Louis Valtat, Maurice Denis and

French (1850-1924)

Signed Painted in 1890 Oil on panel 22 x 15 in / 54 x 38 cm Provenance: Dickinson Roundell, London; Private collection, USA (2000)

Pierre Bonnard, André developed a distinct PostImpressionist style that combines dazzling light with a keen eye for colour and pattern, illustrated in this painting’s ornate curtains and wallpaper and the striking juxtaposition of dashes of red and deep green. It depicts a candid, domestic moment, as two women pore over their sewing, their work illuminated by the streaming sunlight. Painted in the intimiste style, it leaves the impression that the viewer has chanced upon this scene, seemingly unnoticed.

During the 1920s and early 1930s Henri Lebasque turned to

HENRI LEBASQUE

painting a series of intimate female nudes. Surrounded by

Nu assis sur un tapis

While his subjects and technique differ greatly from those of

richly decorated fabrics they show an obvious debt to his

André, Jean-François Raffaelli similarly found inspiration in

friend Henri Matisse, with whom he had founded the Salon

those moments that are often overlooked. His Realist

d’Automne two decades before. Yet the figures are not the

paintings were championed by Edgar Degas and influential

exotic Odalisques of the master, with their sultry sexuality

critics such as J.K. Huysmans, who saw him as a ‘un Millet

that harps back to the nudes of Gerome and the 19th

Parisien’. Returning to Paris after an 1876 trip to Brittany, he

century Orientalists. Instead there is something more

took Paris’s unfashionable back streets and suburbs as his

domestic and, perhaps, wholsesome. The poses, as here, owe

main subject. The present work is an excellent example of

something more to Degas - the unguarded moment, the pose

French (1865-1937)

Signed Oil on canvas Painted circa 1928 25.5 x 21.25 in / 65 x 54 cm Provenance: Private collection, France Literature: Denise Bazetoux, Henri Lebasque: catalogue raisonné, vol. 1, Paris, 2008, p. 266, no. 1062, illustrated

what Raffaelli termed caractérisme, which found beauty in

that at first seems awkward and ungainly but has a natural

oeuvre. They appear regularly at auction where they have

character and called on the Realist artist to reveal the

elegance, the sense of unconsidered immediacy and the

sold for more than $500,000, and examples of Lebasque’s

essence of his subject and of society in all its aspects. Painted

feeling of intimacy.

in Raffaelli’s characteristic muted palette, it depicts an elderly

paintings of female nudes are in the Musée d’Orsay, Paris, the Chimei Museum in Taipei, the Magyar Nemzeti Galéria

street violinist in an indistinct setting, focusing on the man’s

Lebasques nudes come from quite a short period of his

(Hungarian National Gallery) in Budapest, and the

posture, expression and instrument.

career, but they occupy a relatively important part of his

Indianapolis Museum of Art.

ALBERT ANDRÉ French (1869-1954) Intérieur Signed Painted circa 1893 Oil on canvas 18 x 21.5 in / 46 x 55 cm Provenance: Private collection of Léon Brami (1901-1983), owner of Galerie Vendôme and Galerie Sélection, Paris; Private collection (acquired from the above’s widow in 2015)

Painted circa 1893, this contemplative, sun-dappled interior is

JEAN-FRANCOIS RAFFAELLI

a wonderful example of the intimiste works for which André

Le violoniste des rues

is best known. It was produced when the artist was forging his reputation, which was solidified after 1894, when the great Impressionist dealer Paul Durand-Ruel began to sell his work on Renoir’s recommendation. Having studied at the Académie Julian along with Louis Valtat, Maurice Denis and

French (1850-1924)

Signed Painted in 1890 Oil on panel 22 x 15 in / 54 x 38 cm Provenance: Dickinson Roundell, London; Private collection, USA (2000)

Pierre Bonnard, André developed a distinct PostImpressionist style that combines dazzling light with a keen eye for colour and pattern, illustrated in this painting’s ornate curtains and wallpaper and the striking juxtaposition of dashes of red and deep green. It depicts a candid, domestic moment, as two women pore over their sewing, their work illuminated by the streaming sunlight. Painted in the intimiste style, it leaves the impression that the viewer has chanced upon this scene, seemingly unnoticed.

During the 1920s and early 1930s Henri Lebasque turned to

HENRI LEBASQUE

painting a series of intimate female nudes. Surrounded by

Nu assis sur un tapis

While his subjects and technique differ greatly from those of

richly decorated fabrics they show an obvious debt to his

André, Jean-François Raffaelli similarly found inspiration in

friend Henri Matisse, with whom he had founded the Salon

those moments that are often overlooked. His Realist

d’Automne two decades before. Yet the figures are not the

paintings were championed by Edgar Degas and influential

exotic Odalisques of the master, with their sultry sexuality

critics such as J.K. Huysmans, who saw him as a ‘un Millet

that harps back to the nudes of Gerome and the 19th

Parisien’. Returning to Paris after an 1876 trip to Brittany, he

century Orientalists. Instead there is something more

took Paris’s unfashionable back streets and suburbs as his

domestic and, perhaps, wholsesome. The poses, as here, owe

main subject. The present work is an excellent example of

something more to Degas - the unguarded moment, the pose

French (1865-1937)

Signed Oil on canvas Painted circa 1928 25.5 x 21.25 in / 65 x 54 cm Provenance: Private collection, France Literature: Denise Bazetoux, Henri Lebasque: catalogue raisonné, vol. 1, Paris, 2008, p. 266, no. 1062, illustrated

what Raffaelli termed caractérisme, which found beauty in

that at first seems awkward and ungainly but has a natural

oeuvre. They appear regularly at auction where they have

character and called on the Realist artist to reveal the

elegance, the sense of unconsidered immediacy and the

sold for more than $500,000, and examples of Lebasque’s

essence of his subject and of society in all its aspects. Painted

feeling of intimacy.

in Raffaelli’s characteristic muted palette, it depicts an elderly

paintings of female nudes are in the Musée d’Orsay, Paris, the Chimei Museum in Taipei, the Magyar Nemzeti Galéria

street violinist in an indistinct setting, focusing on the man’s

Lebasques nudes come from quite a short period of his

(Hungarian National Gallery) in Budapest, and the

posture, expression and instrument.

career, but they occupy a relatively important part of his

Indianapolis Museum of Art.

RUDOLF BAUER German (1889-1953) Rote Form Signed Painted in 1919 Oil on board 24 x 34 in / 61 x 86 cm

This painting is an exceptionally rare example of Bauer’s early expressionistic style, possessing the raw energy, daring palette and compositional harmony for which he gained acclaim.

Provenance: Das Geistreich (R. Bauer), Berlin; Solomon R. Guggenheim, New York; Fischer Fine Art Ltd, London; Sale, Kunsthaus Lempertz, Cologne, 1975, lot 30; Acquired from the above by the father of the previous owner

Painted in 1919, it was realised when Bauer was represented

by Der Sturm, the avant-garde gallery that defined Berlin’s modern art scene in the years surrounding the First World War. In contrast to the more geometric constructions that Bauer realised after 1925, in ‘Rote Form’ each shape, line and burst of colour convey remarkable emotional intensity. Bauer expounded this aspect of his work in a 1918 essay ‘The

Exhibited: Der Sturm (Herwarth Walden), Berlin; Caracas, Museo de Bellas Artes, Arte Aleman en Venezuela, 1979, Inventory Number: 005P Literature: The Art of Tomorrow: Fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings, New York, 1939, p. 76, no. 21

Cosmic Movement’, written for Herwarth Walden’s ‘Expressionism: The Turning Point’. The article explores the primacy of feeling in the act of creation, illustrating through a

This complex trajectory began in 1917, when Bauer met his

series of images the ways in which emotions such as calm,

one-time lover and most fervent supporter, Hilla Rebay.

restlessness, anger and doubt can be captured by line and

Rebay moved to New York in 1927, where she met Solomon

colour.

Guggenheim, introducing him to non-objective art and Bauer’s work. Guggenheim became Bauer’s most important

With its rhythmic, flowing composition and dynamic colours

patron and proponent; he amassed over 300 of his works and

and light, the painting is imbued with a sense of harmony and

Bauer’s vibrant, abstract paintings were vital to his

movement that reflects Bauer’s belief in the equivalence of

Foundation’s first exhibitions. Their relationship deteriorated

music and art. Comparing his work with that of Kandinsky,

when Bauer, urged by Rebay, signed a contract that left all of

Bauer’s most important influence, the poet and critic

his current and future output to the Guggenheim Foundation

Theodor Däubler wrote: “Kandinsky is the first artist, after a

in exchange for a monthly stipend. Having signed a contract

long struggle, to discard the object. Bauer was able to

in a language that he did not understand, Bauer felt

instantly produce compositions of painterly-musical feeling...

despondent and betrayed. He never painted again. His work

Bauer is close to Cubism and transforms his musical dreams

was relegated to the museum’s basement following

into colour. . . . Compared to Kandinsky, his work is more

Guggenheim’s death in 1949.

tactile, almost sculptural in character.”

The present work once formed part of Guggenheim’s One of the first and most influential abstract artists, Rudolf

collection. He had acquired it from Das Geistreich (The

Bauer’s sudden fall into obscurity is amongst the most

Realm of the Spirit), an art salon that Bauer established in

complex and tragic stories in twentieth century art. As

Berlin in 1930, having made a substantial amount of money

evidenced by ‘Rudolf Bauer: Tomorrow Today’ (Sotheby’s 2014

from earlier sales to his patron. Bauer conceived of it as a

selling exhibition) today Bauer’s works are being

‘temple of non-objectivity,’ a haven for Guggenheim and other

rediscovered, though they still remain exceptionally affordable

collectors with a taste for abstraction. Showing primarily his

for their historic and aesthetic significance. In the first half of

own paintings and those of Wassily Kandinsky, it was the first

the twentieth century, Bauer belonged to the leading

museum dedicated to Non-Objective art. Indeed as Susanne

vanguard, exhibiting alongside the likes of Picasso, Kandinsky,

Neuburger has noted, “it was the first germ of the idea that

Mondrian and Miró. His ‘non-objective’ abstract style would

was to become the Solomon R. Guggenheim Museum.” ‘Rote

profoundly influence modern art, inspiring painters from

Form’ held a prominent place in Guggenheim’s collection and

Jackson Pollock to the Abstract Expressionists. Yet by the end

was illustrated in The Art of Tomorrow, the fifth catalogue of

of the Second World War he had stopped painting and fallen

the Solomon R. Guggenheim collection of non-objective

into obscurity.

paintings.

RUDOLF BAUER German (1889-1953) Rote Form Signed Painted in 1919 Oil on board 24 x 34 in / 61 x 86 cm

This painting is an exceptionally rare example of Bauer’s early expressionistic style, possessing the raw energy, daring palette and compositional harmony for which he gained acclaim.

Provenance: Das Geistreich (R. Bauer), Berlin; Solomon R. Guggenheim, New York; Fischer Fine Art Ltd, London; Sale, Kunsthaus Lempertz, Cologne, 1975, lot 30; Acquired from the above by the father of the previous owner

Painted in 1919, it was realised when Bauer was represented

by Der Sturm, the avant-garde gallery that defined Berlin’s modern art scene in the years surrounding the First World War. In contrast to the more geometric constructions that Bauer realised after 1925, in ‘Rote Form’ each shape, line and burst of colour convey remarkable emotional intensity. Bauer expounded this aspect of his work in a 1918 essay ‘The

Exhibited: Der Sturm (Herwarth Walden), Berlin; Caracas, Museo de Bellas Artes, Arte Aleman en Venezuela, 1979, Inventory Number: 005P Literature: The Art of Tomorrow: Fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings, New York, 1939, p. 76, no. 21

Cosmic Movement’, written for Herwarth Walden’s ‘Expressionism: The Turning Point’. The article explores the primacy of feeling in the act of creation, illustrating through a

This complex trajectory began in 1917, when Bauer met his

series of images the ways in which emotions such as calm,

one-time lover and most fervent supporter, Hilla Rebay.

restlessness, anger and doubt can be captured by line and

Rebay moved to New York in 1927, where she met Solomon

colour.

Guggenheim, introducing him to non-objective art and Bauer’s work. Guggenheim became Bauer’s most important

With its rhythmic, flowing composition and dynamic colours

patron and proponent; he amassed over 300 of his works and

and light, the painting is imbued with a sense of harmony and

Bauer’s vibrant, abstract paintings were vital to his

movement that reflects Bauer’s belief in the equivalence of

Foundation’s first exhibitions. Their relationship deteriorated

music and art. Comparing his work with that of Kandinsky,

when Bauer, urged by Rebay, signed a contract that left all of

Bauer’s most important influence, the poet and critic

his current and future output to the Guggenheim Foundation

Theodor Däubler wrote: “Kandinsky is the first artist, after a

in exchange for a monthly stipend. Having signed a contract

long struggle, to discard the object. Bauer was able to

in a language that he did not understand, Bauer felt

instantly produce compositions of painterly-musical feeling...

despondent and betrayed. He never painted again. His work

Bauer is close to Cubism and transforms his musical dreams

was relegated to the museum’s basement following

into colour. . . . Compared to Kandinsky, his work is more

Guggenheim’s death in 1949.

tactile, almost sculptural in character.”

The present work once formed part of Guggenheim’s One of the first and most influential abstract artists, Rudolf

collection. He had acquired it from Das Geistreich (The

Bauer’s sudden fall into obscurity is amongst the most

Realm of the Spirit), an art salon that Bauer established in

complex and tragic stories in twentieth century art. As

Berlin in 1930, having made a substantial amount of money

evidenced by ‘Rudolf Bauer: Tomorrow Today’ (Sotheby’s 2014

from earlier sales to his patron. Bauer conceived of it as a

selling exhibition) today Bauer’s works are being

‘temple of non-objectivity,’ a haven for Guggenheim and other

rediscovered, though they still remain exceptionally affordable

collectors with a taste for abstraction. Showing primarily his

for their historic and aesthetic significance. In the first half of

own paintings and those of Wassily Kandinsky, it was the first

the twentieth century, Bauer belonged to the leading

museum dedicated to Non-Objective art. Indeed as Susanne

vanguard, exhibiting alongside the likes of Picasso, Kandinsky,

Neuburger has noted, “it was the first germ of the idea that

Mondrian and Miró. His ‘non-objective’ abstract style would

was to become the Solomon R. Guggenheim Museum.” ‘Rote

profoundly influence modern art, inspiring painters from

Form’ held a prominent place in Guggenheim’s collection and

Jackson Pollock to the Abstract Expressionists. Yet by the end

was illustrated in The Art of Tomorrow, the fifth catalogue of

of the Second World War he had stopped painting and fallen

the Solomon R. Guggenheim collection of non-objective

into obscurity.

paintings.

The above work forms part of the storyboard for the animated film Destino, which was billed as ‘a collaboration between two of the greatest artists of the century – Salvador

SALVADOR DALI Spanish (1904-1989) Sans titre, tête monolithe, rochers, cycliste à l’envers

Dali and Walt Disney’. Destino imagines a love story between Chronos, the personification of time, and his ill-fated love for the mortal Dahlia. The story unfolds within a surrealist landscape inspired by Dali’s paintings and incorporates many of the classic motifs that formed part of his highly distinctive

In a deliberately cropped composition, in which the scale and

GIORGIO DE CHIRICO Italian (1888-1978)

substance of the forms is left unclear, two horses stand side

Cavalli sulla Spiaggia

by side, their sleek coats contrasting with their elaborately sculpted tails, and the flowing mane of the albino. A mound of pink earth and rock rises behind them, half obscuring the façade of a classical temple. In many respects it is as difficult

Executed circa 1947 India ink, pen, black ink & pencil on paper 8 x 9 in / 20.5 x 23 cm

Enigmatic is an adjective that customarily describes his

This work is accompanied by a certificate of authenticity from Robert Descharnes

canvases, including his first: ‘Enigma of an autumn afternoon’

visual vocabulary, developed during the heyday of Surrealism

to fathom the artist de Chirico as it is to interpret his art.

Signed Painted in 1938 Oil on canvas 21.5 x 25.5 in / 54 x 65 cm Provenance: Private collection, Italy Exhibited: Chiavenna, “Giorgio De Chirico”, 25 July - 31 August, 2003, p. 27, illustrated in in the catalogue in colour

paintings, and ‘enigma’ is a word often used in the titles of his painted in 1909 (Peggy Guggenheim Museum, Venice).

in the 1930s and early 1940s. This particular image depicts the immortal stone-faced Chronos, still undisturbed from his

In many respects de Chirico was a unique talent, a lone voice

eternal slumber. It features several figures that appear in Dali’s paintings, including the inexorable cyclist and the man

Roy E. Disney, and was completed and released in 2003.

championing the logical extension of Symbolism in the 20th

After the War De Chirico acrimoniously parted company

century. His fellow artists were preoccupied with the

with André Breton and the Surrealists, and advocated a

who struggles against his own shadow, which pushes against

While Dali and Disney never saw Destino to completion,

development of ‘form’, in the guise of Cubism and

renewed attention to craftsmanship, publishing a book on the

him as if to suggest the weight of time.

their friendship endured a lifetime. Vastly different in their art

Abstraction, while he saw himself as single-handedly

subject calling for a return to order, entitled ‘Valori Plastici’

and characters, these two icons were united by their

overhauling art’s ‘soul’, to make it fit for 20th century

(‘The Return of Craftsmanship’). The long shadows and

Destino bears testament to Dali’s remarkable versatility as an

extraordinary imaginations and pursuit of an art form that

purpose. His artistic training was largely spent in Munich

improbable juxtapositions of old and new were replaced by a

artist and his interest in film as a medium for his Surrealist

merges dreams with reality.

imagery, which he first explored with Luis Buñuel in the 1929

where he developed an early interest in Symbolism. From

disquieting rationality that evoked a Romantic vision rooted

1909-19 he practised what is known as his metaphysical

in Classical order. But in fact, although de Chirico’s post-War

silent film ‘Un Chien Andalou’. He worked on Destino on and

Other examples from Destino are currently on display at The

period in which he drew upon his profound interest in

work drew consciously on Academic precepts, the visual

off between 1945 and 1950, though the film was put on

Dali Museum in St Petersburg, Florida as part of Disney and

history, mythology and philosophy, combined with his

effect was in many ways every bit as unsettling on the viewer

indefinite hiatus due to Walt Disney Studios’s poor financial

Dali: Architects of the Imagination - a multimedia exhibition

experience of the piazzas, palaces, churches and arcades that

as his Metaphysical work, a truth borne out by the enigmatic

standing after the war. It was unearthed by Disney’s nephew,

that explores their years of friendship and collaboration.

conjure up images of isolation, melancholy, mystery and loss.

but coolly stylish ‘Cavalli sulla Spiaggia’.

Left: HENRI HAYDEN Polish / French (1883-1970) Nature morte Signed; signed & dated 1918 verso Gouache on board 13 x 16 in / 32.5 x 41 cm This work is accompanied by a certificate of authenticity from Pierre Célice and will be included in the forthcoming catalogue raisonné Provenance: Roland, Browse and Delbanco, London; Malcolm Bendon, New York; Sale, Sotheby’s, London, 25 June 1997, lot 277; Private collection, USA (purchased at the above sale) Below: JEAN DUFY French (1888-1964) La Fenêtre de l’Atelier

Painted in 1918, this Cubist still life is from Hayden’s most sought after period, 1917-1922, when he was working at his most analytical. From Poland, Hayden settled in Paris, arriving in the French capital in 1907, the year of Cézanne’s posthumous retrospective, an exhibition that proved hugely influential to the development of Modernism and Cubism in particular. As for many other painters, Cézanne sparked Hayden’s interest in simplifying his compositions, which from 1912 began to develop a Cubist idiom.

During the First World War Hayden became well acquainted with Jean Metzinger, Gino Severini and Pablo Picasso. His circle also included the composers of the group Les Six. In 1915 he met Juan Gris, and through Gris was introduced to the art dealer Léonce Rosenberg whose Galerie de l’Effort Moderne championed the Cubist cause. In 1917 Hayden painted his first truly Cubist works, the present work being completed just a year later. As well as still lifes Hayden painted landscapes and figure studies, such as ‘Three Musicians’ (1920; Centre Pompidou, Paris).

Like Picasso, Braque and Gris before him, Hayden composed using simple everyday objects. In the present work he incorporates a goblet and vase full of water, a pipe, a packet of Elégantes cigarettes and books into a cohesive whole, placing them on a table on which is spread a brightly patterned table cloth and a green napkin. Rearranging the individual elements into a dynamically constructed Cubistic whole, Hayden creates a complex composition of overlapping edges and planes seen from multiple angles.

Signed Painted in 1919 Oil on card mounted on wood panel 21 x 14.5 in / 53 x 37 cm

No other artist at the forefront of Modernism explored still

GEORGES BRAQUE

life painting so thoroughly as Georges Braque. His constant

Les oeufs dans la poêle

analysis, revision and reinvention of the subject lies at the heart of his creative spirit. Always thoughtful in approaching

This work is accompanied by a certificate of authenticity from Galerie Jacques Bailly

the theme, always completely thorough in his interpretation, Braque embarked on still life painting in the way a master

Provenance: Germaine Dufy, younger sister of Raoul and Jean Dufy; Comtesse Françoise de Faramond; By descent from the above to the present owner

sculptor might chisel a block of stone, considering it minutely from every angle, weighing up carefully every element and crafting it assiduously brush stroke by brush stroke as he roughed out the composition and conscientiously built up the paint surface tone by tone, hue by hue.

Sometimes markedly monochrome and austere, such as his early Cubist works of circa 1910, other times large, joyful and jubilant such as his large late still lifes of the 1940s, Les Oeufs dans la poele was painted at a moment of conscience for Braque. In 1940, when France was invaded by Germany, officers in Paris pandered to him on account of his being a leading cultural figure. However at no point did Braque fall

French (1882-1963)

Signed Painted in 1941 Oil on canvas 15 x 30.75 in / 38 x 78 cm This work is included in vol. III of the catalogue raisonné prepared by Nicole Worms de Romilly Provenance: Galerie Louise Leiris (Daniel Kahnweiler), Paris; Galerie Simon, Paris; Private collection, Bern; Sale, Sotheby’s, London, 25 June 1997, lot 212; Private collection, USA Exhibited: Bern, Kunsthalle and Zurich, Kunsthaus, ‘Braque’, 1953; Bern, Kunsthalle, ‘Europäische Kunst aus Berner Privatbesitz’, 1955, no. 14, illustrated Literature: ‘Schweiz’, no. 4, April 1953, illustrated; Nicole Worms de Romilly, Catalogue raisonné de l’oeuvre de Georges Braque. Peintures 1936-1941, Paris, Maeght, 1961, vol. III, p. 89, illustrated

for their flattery or acquiesce to their entreaties.

But as well as reflective of the limited choice and bleak Braque’s still lifes of the War years reflect his essential

outlook of the day, the large oversized forms of the still life

integrity. In Paris in particular, even the bare essentials were

also suggest a more existential aspect to the way he

scarce and simple fare was the order of the day. Les oeufs

approached his work. Describing this after the War he

dans la poêle, like many of his other still lifes of the period,

commented: ‘Objects don’t exist for me except in so far as a

captures this austerity. Composing his subject on an

rapport between them or between them and myself. When

emphatically horizontal canvas in different degrees of black

one attains this harmony, one reaches a sort of intellectual

and earthen tones a plain repast is presented: cheese on a

non-existence – what I can only describe as a state of peace

plate, fried eggs in a skillet, a kitchen knife and napkin

– which makes everything possible and right.’ This underlying

arranged over a simple table. Only the bright yellow of the

balance is clear in Les oeufs dans la poêle, where each

egg yolks interrupt the restrained palette.

element is abstracted yet remains in harmony with the next.

Giacometti’s drawing describes a corner of the artist’s studio at 46 rue Hippolyte-Maindron in Montparnasse, Paris. A bust, apparently a work in progress, sits sphynx-like on the sculptor’s table. In the lower right corner of the composition part of a painting by Giacometti leans against the wall. The background is indeterminate, the suggestion of reflections on glass, perhaps a window or a mirror, walls are sketched in beyond. As the art critic David Sylvester spoke of Giacometti’s sculpture, so in the sculptor’s drawings his skill was “to present life as it is perceived while time passes.”

Certainly Giacometti passed a lot of time in his studio. Part of a building complex off the rue d’Alésia, Giacometti worked there all his life – forty years – moving in in 1926, and remaining there until he died. In 1932 his brother Diego joined him as his assistant, Alberto renting a studio for him opposite. Conditions were cramped and poor – Giacometti’s studio measured just 15 by 16 feet – and the roof leaked. But the space became the aggregation of his life, and silent witness to his work. In 1946 he was joined at no 46 by Annette Arm. He had met Annette in 1942 while in Switzerland and they were reunited after the War. Annette rented a room adjacent to his studio, which, after marrying in 1949 (the year of the present work) became their bedroom.

Above: ALBERTO GIACOMETTI

Swiss (1901-1966)

Vue de l’atelier de l’artiste

Giacometti had arrived in Montparnasse in the early 1920s, where he associated with artists in the Cubist and Surrealist groups, - André Breton and Pablo Picasso amongst them -

Signed Drawn in 1949 Pen & India ink on paper 20.25 x 13.25 in / 51.5 x 33 cm

and established himself as the leading sculptor among the Surrealists. Post-War he became best known for his

Provenance: Sidney Janis Gallery, New York; Alan Frumkin Gallery, New York; Milton D. Ratner, Fort Lee, NJ; Christie’s, 14 November 1996, lot 356; Private collection, New York; Private collection, New York

sculptures of elongated, representational figures.

Recalling his beginnings as an artist, Matisse recounted to his

HENRI MATISSE

friend the writer Louis Aragon: “For several years I thought

Corbeille d’ananas et fruits

that I would paint only still lifes. It was after having depicted

French (1869-1954)

still life objects that I was able to depict the human figure.”

Signed Drawn in 1926 Charcoal on paper 19 x 25 in / 48 x 62.5 cm

Matisse had first started to paint while recovering from

This work is accompanied by a certificate of authenticity from Wanda de Guébriant

appendicitis, and the still life was clearly the most convenient of themes to explore while he was confined to his bed.

However the genre continued to occupy him for the first five years of his life as a painter, forming the core of his output from 1890-95, and as his aesthetic grew so the humble still

Provenance: Pierre Matisse (thence by descent); Private collection, UK Literature: Pierre Schneider, Matisse, London, 1984, illustrated p. 38

life took on a talismanic importance in his work. to capture movement and light in the human figure in

Exhibited: Chicago, The Art Institute of Chicago; River Forest, IL, Rosary College; Omaha, Joslyn Art Museum; Indianapolis Museum of Art; Madison, University of Wisconsin, Elvehjem Art Center and Jerusalem, Israel Museum, Alberto Giacometti: The Milton D. Ratner Family Collection, 1974-1975

In his early days Matisse was inspired by the still lifes of

general and dance in particular. Instead, in still lifes he could

Northern Europe, whether 17th century Flemish painters, or

anchor the materiality of what was before him. As a result

the dark and brooding compositions of Van Gogh. But it was

the genre was never far from the surface of his work,

really Manet and Cézanne between them who exerted the

appearing either as a catalyst, central motif, foil or cameo

most influence on him, the former having breathed new life

role in some of his most ambitious compositions.

into what had become a de-valued genre, the latter offering a masterclass in compositional structure and technical rigour.

GEORGE GROSZ

Right: German (1893-1957)

Sich entkleidente Frau Stamped with Nachlass mark Drawn in 1939 Charcoal & pencil on paper 24 x 18 in / 61 x 45.5 cm Provenance: Estate of the artist; Galleria Il Fauno (Luciano Anselmino), Turin; Sale, Sotheby’s, London, 20 March 1996, lot 230; Private collection, USA (purchased at the above sale)

And, through the inclusion of still life elements Matisse

Certainly in the tentative handling of the lines that define the

created worlds in miniature over which he had sole

separate forms and the displacement of fruit, tureen and

dominion. Time and again, it was from the still life

incidental vessels and paper across the pitched surface of the

components that he selected that movement, pattern and

table in ‘Corbeille d’ananas et fruits’, the presence of

form on a grand scale evolved in equal measure. Thus

Cézanne is strongly felt.

Matisse’s arrangement of everyday objects became the decorative heart to complex works like Harmony in Red

As his style developed, still life became the physical

(1908, Hermitage Museum); the foreground accompaniment

manifestation of Matisse’s often repeated desire to record

to Still Life with ‘La Danse’ (1909, Hermitage Museum) and

‘the substance of things’. There was nothing fleeting, temporal

the central fulcrum to such major compositions as

or effervescent about a still life, unlike his other great pursuit:

Nasturtiums and La Danse I, (1912, Pushkin Museum).

Giacometti’s drawing describes a corner of the artist’s studio at 46 rue Hippolyte-Maindron in Montparnasse, Paris. A bust, apparently a work in progress, sits sphynx-like on the sculptor’s table. In the lower right corner of the composition part of a painting by Giacometti leans against the wall. The background is indeterminate, the suggestion of reflections on glass, perhaps a window or a mirror, walls are sketched in beyond. As the art critic David Sylvester spoke of Giacometti’s sculpture, so in the sculptor’s drawings his skill was “to present life as it is perceived while time passes.”

Certainly Giacometti passed a lot of time in his studio. Part of a building complex off the rue d’Alésia, Giacometti worked there all his life – forty years – moving in in 1926, and remaining there until he died. In 1932 his brother Diego joined him as his assistant, Alberto renting a studio for him opposite. Conditions were cramped and poor – Giacometti’s studio measured just 15 by 16 feet – and the roof leaked. But the space became the aggregation of his life, and silent witness to his work. In 1946 he was joined at no 46 by Annette Arm. He had met Annette in 1942 while in Switzerland and they were reunited after the War. Annette rented a room adjacent to his studio, which, after marrying in 1949 (the year of the present work) became their bedroom.

Above: ALBERTO GIACOMETTI

Swiss (1901-1966)

Vue de l’atelier de l’artiste

Giacometti had arrived in Montparnasse in the early 1920s, where he associated with artists in the Cubist and Surrealist groups, - André Breton and Pablo Picasso amongst them -

Signed Drawn in 1949 Pen & India ink on paper 20.25 x 13.25 in / 51.5 x 33 cm

and established himself as the leading sculptor among the Surrealists. Post-War he became best known for his

Provenance: Sidney Janis Gallery, New York; Alan Frumkin Gallery, New York; Milton D. Ratner, Fort Lee, NJ; Christie’s, 14 November 1996, lot 356; Private collection, New York; Private collection, New York

sculptures of elongated, representational figures.

Recalling his beginnings as an artist, Matisse recounted to his

HENRI MATISSE

friend the writer Louis Aragon: “For several years I thought

Corbeille d’ananas et fruits

that I would paint only still lifes. It was after having depicted

French (1869-1954)

still life objects that I was able to depict the human figure.”

Signed Drawn in 1926 Charcoal on paper 19 x 25 in / 48 x 62.5 cm

Matisse had first started to paint while recovering from

This work is accompanied by a certificate of authenticity from Wanda de Guébriant

appendicitis, and the still life was clearly the most convenient of themes to explore while he was confined to his bed.

However the genre continued to occupy him for the first five years of his life as a painter, forming the core of his output from 1890-95, and as his aesthetic grew so the humble still

Provenance: Pierre Matisse (thence by descent); Private collection, UK Literature: Pierre Schneider, Matisse, London, 1984, illustrated p. 38

life took on a talismanic importance in his work. to capture movement and light in the human figure in

Exhibited: Chicago, The Art Institute of Chicago; River Forest, IL, Rosary College; Omaha, Joslyn Art Museum; Indianapolis Museum of Art; Madison, University of Wisconsin, Elvehjem Art Center and Jerusalem, Israel Museum, Alberto Giacometti: The Milton D. Ratner Family Collection, 1974-1975

In his early days Matisse was inspired by the still lifes of

general and dance in particular. Instead, in still lifes he could

Northern Europe, whether 17th century Flemish painters, or

anchor the materiality of what was before him. As a result

the dark and brooding compositions of Van Gogh. But it was

the genre was never far from the surface of his work,

really Manet and Cézanne between them who exerted the

appearing either as a catalyst, central motif, foil or cameo

most influence on him, the former having breathed new life

role in some of his most ambitious compositions.

into what had become a de-valued genre, the latter offering a masterclass in compositional structure and technical rigour.

GEORGE GROSZ

Right: German (1893-1957)

Sich entkleidente Frau Stamped with Nachlass mark Drawn in 1939 Charcoal & pencil on paper 24 x 18 in / 61 x 45.5 cm Provenance: Estate of the artist; Galleria Il Fauno (Luciano Anselmino), Turin; Sale, Sotheby’s, London, 20 March 1996, lot 230; Private collection, USA (purchased at the above sale)

And, through the inclusion of still life elements Matisse

Certainly in the tentative handling of the lines that define the

created worlds in miniature over which he had sole

separate forms and the displacement of fruit, tureen and

dominion. Time and again, it was from the still life

incidental vessels and paper across the pitched surface of the

components that he selected that movement, pattern and

table in ‘Corbeille d’ananas et fruits’, the presence of

form on a grand scale evolved in equal measure. Thus

Cézanne is strongly felt.

Matisse’s arrangement of everyday objects became the decorative heart to complex works like Harmony in Red

As his style developed, still life became the physical

(1908, Hermitage Museum); the foreground accompaniment

manifestation of Matisse’s often repeated desire to record

to Still Life with ‘La Danse’ (1909, Hermitage Museum) and

‘the substance of things’. There was nothing fleeting, temporal

the central fulcrum to such major compositions as

or effervescent about a still life, unlike his other great pursuit:

Nasturtiums and La Danse I, (1912, Pushkin Museum).

ALEXANDER CALDER American (1898-1976) Composition in Red

One of the most celebrated artists of the twentieth century, Calder produced works that are both ground-breaking and light-hearted, imbuing his paintings and sculptures with humour and playfulness. His earliest sculptures were motor-

Signed & dated 1961 Gouache and watercolour on paper 29 x 42 in / 73.5 x 107 cm

contained miniature universes.

This work has been registered in the archives of the Calder Foundation and is awaiting an identification number

It was only after coming into contact with Surrealism that

Provenance: Pierre Halet, France (gifted from the artist in 1961); Private collection, France Exhibited: Tours, Château de Tours, Absence et présences, 1 April-7 May 2006; Tours, Château de Tours, Calder en Touraine, 6 June-19 October 2008 Literature: Absence et présences, Tours, 2006 Calder en Touraine, Tours, 2008, illustrated p. 154

driven – influenced by the Constructivists, they read as self-

Calder took an interest in the aesthetic and philosophical potential of organic movement, borrowing shapes and motions from the natural world, from planetary trajectories to dancing foliage. He cited Miró as an important influence and indeed his paintings and mobiles exhibit the same buoyancy, wit and whimsy, conveying a sense of movement through serpentine, unbroken lines.

His paintings were parallel to his innovative sculptures, which Marcel Duchamp first described as “mobiles”. Composed of bent and twisted wires that “draw” three-dimensional figures in space, Calder’s mobiles embody the constant motion of life, enacting our own experience of movement, temporality and chance.

His gouaches capture the kineticism of his mobiles, translating their suspended geometric shapes into organic forms, such as suns or stars. In Black Star, for instance, the

ALEXANDER CALDER American (1898-1976) Black Star

spiralling motions of Calder’s mobiles appear as sinuous brushstrokes, bleeding and fading as if to suggest the impermanence of movement. Sweeping stars appear to hover around black suns, evoking solar harmonies in a vivid palette and composition. An early example of Calder’s interrogation

Signed & dated 1953 Gouache and watercolour on paper 29 x 42 in / 73.5 x 107 cm This work is registered in the archives of the Calder Foundation under identification number A09677

of movement and space, Black Star was painted in the summer of 1953, when the artist realised numerous gouaches

Provenance : Christophe Czwiklitzer, Baden Baden

during an extended stay in Aix-en-Provence. Another example from Calder’s Aix-en-Provence gouaches, the monochromatic Black Sun, resides in Tate Modern’s permanent collection. almost graphically in geometric shapes or flat, static planes.

Painted in Touraine in 1961, Composition in red is also

Calder gifted this piece to his close friend and collaborator,

significantly earlier than the majority of pieces currently on

the writer Pierre Halet, and the work formed part of a 2006

the market. This painting is remarkable amongst Calder’s

exhibition held in Halet’s honour at the Château de Tours.

body of work for its spontaneity and unconstrained brilliant colour. Its dazzling expanse of red and broad swathes of

By the 1950s Calder had achieved international acclaim for

yellow conjure a rolling landscape that is unrestrained by

his ground-breaking and magnificent works, allowing him to

formula or painting surface. This visceral aspect stands in

expand his studios in the United States and France and

contrast to many of Calder’s gouaches, where colour appears

create works on a monumental scale.

ALEXANDER CALDER American (1898-1976) Composition in Red

One of the most celebrated artists of the twentieth century, Calder produced works that are both ground-breaking and light-hearted, imbuing his paintings and sculptures with humour and playfulness. His earliest sculptures were motor-

Signed & dated 1961 Gouache and watercolour on paper 29 x 42 in / 73.5 x 107 cm

contained miniature universes.

This work has been registered in the archives of the Calder Foundation and is awaiting an identification number

It was only after coming into contact with Surrealism that

Provenance: Pierre Halet, France (gifted from the artist in 1961); Private collection, France Exhibited: Tours, Château de Tours, Absence et présences, 1 April-7 May 2006; Tours, Château de Tours, Calder en Touraine, 6 June-19 October 2008 Literature: Absence et présences, Tours, 2006 Calder en Touraine, Tours, 2008, illustrated p. 154

driven – influenced by the Constructivists, they read as self-

Calder took an interest in the aesthetic and philosophical potential of organic movement, borrowing shapes and motions from the natural world, from planetary trajectories to dancing foliage. He cited Miró as an important influence and indeed his paintings and mobiles exhibit the same buoyancy, wit and whimsy, conveying a sense of movement through serpentine, unbroken lines.

His paintings were parallel to his innovative sculptures, which Marcel Duchamp first described as “mobiles”. Composed of bent and twisted wires that “draw” three-dimensional figures in space, Calder’s mobiles embody the constant motion of life, enacting our own experience of movement, temporality and chance.

His gouaches capture the kineticism of his mobiles, translating their suspended geometric shapes into organic forms, such as suns or stars. In Black Star, for instance, the

ALEXANDER CALDER American (1898-1976) Black Star

spiralling motions of Calder’s mobiles appear as sinuous brushstrokes, bleeding and fading as if to suggest the impermanence of movement. Sweeping stars appear to hover around black suns, evoking solar harmonies in a vivid palette and composition. An early example of Calder’s interrogation

Signed & dated 1953 Gouache and watercolour on paper 29 x 42 in / 73.5 x 107 cm This work is registered in the archives of the Calder Foundation under identification number A09677

of movement and space, Black Star was painted in the summer of 1953, when the artist realised numerous gouaches

Provenance : Christophe Czwiklitzer, Baden Baden

during an extended stay in Aix-en-Provence. Another example from Calder’s Aix-en-Provence gouaches, the monochromatic Black Sun, resides in Tate Modern’s permanent collection. almost graphically in geometric shapes or flat, static planes.

Painted in Touraine in 1961, Composition in red is also

Calder gifted this piece to his close friend and collaborator,

significantly earlier than the majority of pieces currently on

the writer Pierre Halet, and the work formed part of a 2006

the market. This painting is remarkable amongst Calder’s

exhibition held in Halet’s honour at the Château de Tours.

body of work for its spontaneity and unconstrained brilliant colour. Its dazzling expanse of red and broad swathes of

By the 1950s Calder had achieved international acclaim for

yellow conjure a rolling landscape that is unrestrained by

his ground-breaking and magnificent works, allowing him to

formula or painting surface. This visceral aspect stands in

expand his studios in the United States and France and

contrast to many of Calder’s gouaches, where colour appears

create works on a monumental scale.

TOM WESSELMANN American (1931-2004) Big Study for Smoker #26 Signed, titled & dated 1977 on the stretcher Oil on shaped canvas 21.25 x 36.5 in / 54 x 92.5 cm

ARNALDO POMODORO Italian (Born 1926)

Colonna

Incised with signature and numbered ‘Arnaldo Pomodoro ~ 02 p.a.’ on base Executed in 1982-1983 Bronze 96 x 6 x 6 in / 244 x 15 x 15 cm This work is registered in the Archivo Arnaldo Pomodoro, Milan under no. AP 446 and is included in the catalogue raisonné under no. 710 Provenance: Private collection, Palm Beach; Thence by descent to the present owner

AGOSTINO BONALUMI

Italian (1935-2013)

Blu

Signed & dated 1980 verso Shaped canvas & vinyl tempera 27.5 x 27.5 in / 70 x 70 cm This work is accompanied by a certificate of authenticity from Archivio Bonalumi, Milan and is recorded under no. 80-002 Provenance: Private collection, Italy

Bonalumi’s Blu addresses the sheer materiality of painting,

Provenance: Sidney Janis Gallery, New York; Private collection, Los Angeles (acquired from the above in 1978); Thence by descent to the present owner (2011)

In 1960 he began the Great American Nudes, which remain his best-known works, and in 1961 the Green Gallery on 57th Street offered him a contract. Until this point he

The American art historian Lucy Lippard classified

worked in isolation from other Pop artists – unaware in fact

Wesselmann as one of the five ‘hard-core’ New York pop

that similar ground was being covered by any other artists.

artists, along with Warhol, Lichtenstein, Rosenquist and Oldenburg. These artists, in varying ways, cast a light on

The smoker motif originated in 1967 and became one of the

modern society during a period of huge social and cultural

artists’ most iconic themes. It evoked some of the glamour of

change, and they did so without passing specific judgement.

Hollywood’s golden age when no screen siren was without a

Wesselmann insisted on the individuality of all the artists

smoldering cigarette, but also continued the overtly

involved in Pop art and was quick to point out their lack of a

sensualised imagery of the Great American Nudes. The use of

clear group identity.

shaped canvases in the smoker series was a major

Exhibited: Boston, Thomas Segal Gallery, Arnaldo Pomodoro, January-February 1984

specifically its most essential components: canvas and paint.

development in his work. By the mid 1970s, Wesselmann had

The right side of the canvas is delicately shaped into louvered

begun adding a hand to the composition which both added

Literature: F. Gualdoni, ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, Milan, 2007, vol. II, p. 628, no. 710

and tactile. The left side mimics this relief through paint

peaks and recesses, achieving a sense of space that is literal alone, using varying tones of brilliant blue to create illusory depth. Describing his approach, Bonalumi stated: “My work has never been about indulging a material for the sake of it.

It’s the result of an active interest in materials themselves, the intelligence of materials.” An excellent example of what Bonalumi called his Picture-Objects, he created the present

to the complexity of the imagery and also reinforced the innuendo implied.

TOM WESSELMANN

American (1931-2004)

Drawing for Bedroom Painting #14 Signed & dated c. 1969; titled & dated 1969+1975 verso Ink & Liquitex on paper 14 x 17 in / 35.6 x 43.2 cm

work through a process of ‘extroflection’ that stretched and shaped canvases by placing structures and frames behind

Provenance: Galerie Benden + Klimczak, Cologne; Private collection (acquired from the above)

them. His interest in manipulating space in his work followed his introduction to Piero Manzoni and Enrico Castellani and frequent visits to Lucio Fontana’s studio.

Exhibited: Munich, Galerie Thomas Modern, Tom Wesselmann, 2013 Literature: Tom Wesselmann, Munich, 2013, illustrated p. 40

TOM WESSELMANN American (1931-2004) Big Study for Smoker #26 Signed, titled & dated 1977 on the stretcher Oil on shaped canvas 21.25 x 36.5 in / 54 x 92.5 cm

ARNALDO POMODORO Italian (Born 1926)

Colonna

Incised with signature and numbered ‘Arnaldo Pomodoro ~ 02 p.a.’ on base Executed in 1982-1983 Bronze 96 x 6 x 6 in / 244 x 15 x 15 cm This work is registered in the Archivo Arnaldo Pomodoro, Milan under no. AP 446 and is included in the catalogue raisonné under no. 710 Provenance: Private collection, Palm Beach; Thence by descent to the present owner

AGOSTINO BONALUMI

Italian (1935-2013)

Blu

Signed & dated 1980 verso Shaped canvas & vinyl tempera 27.5 x 27.5 in / 70 x 70 cm This work is accompanied by a certificate of authenticity from Archivio Bonalumi, Milan and is recorded under no. 80-002 Provenance: Private collection, Italy

Bonalumi’s Blu addresses the sheer materiality of painting,

Provenance: Sidney Janis Gallery, New York; Private collection, Los Angeles (acquired from the above in 1978); Thence by descent to the present owner (2011)

In 1960 he began the Great American Nudes, which remain his best-known works, and in 1961 the Green Gallery on 57th Street offered him a contract. Until this point he

The American art historian Lucy Lippard classified

worked in isolation from other Pop artists – unaware in fact

Wesselmann as one of the five ‘hard-core’ New York pop

that similar ground was being covered by any other artists.

artists, along with Warhol, Lichtenstein, Rosenquist and Oldenburg. These artists, in varying ways, cast a light on

The smoker motif originated in 1967 and became one of the

modern society during a period of huge social and cultural

artists’ most iconic themes. It evoked some of the glamour of

change, and they did so without passing specific judgement.

Hollywood’s golden age when no screen siren was without a

Wesselmann insisted on the individuality of all the artists

smoldering cigarette, but also continued the overtly

involved in Pop art and was quick to point out their lack of a

sensualised imagery of the Great American Nudes. The use of

clear group identity.

shaped canvases in the smoker series was a major

Exhibited: Boston, Thomas Segal Gallery, Arnaldo Pomodoro, January-February 1984

specifically its most essential components: canvas and paint.

development in his work. By the mid 1970s, Wesselmann had

The right side of the canvas is delicately shaped into louvered

begun adding a hand to the composition which both added

Literature: F. Gualdoni, ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, Milan, 2007, vol. II, p. 628, no. 710

and tactile. The left side mimics this relief through paint

peaks and recesses, achieving a sense of space that is literal alone, using varying tones of brilliant blue to create illusory depth. Describing his approach, Bonalumi stated: “My work has never been about indulging a material for the sake of it.

It’s the result of an active interest in materials themselves, the intelligence of materials.” An excellent example of what Bonalumi called his Picture-Objects, he created the present

to the complexity of the imagery and also reinforced the innuendo implied.

TOM WESSELMANN

American (1931-2004)

Drawing for Bedroom Painting #14 Signed & dated c. 1969; titled & dated 1969+1975 verso Ink & Liquitex on paper 14 x 17 in / 35.6 x 43.2 cm

work through a process of ‘extroflection’ that stretched and shaped canvases by placing structures and frames behind

Provenance: Galerie Benden + Klimczak, Cologne; Private collection (acquired from the above)

them. His interest in manipulating space in his work followed his introduction to Piero Manzoni and Enrico Castellani and frequent visits to Lucio Fontana’s studio.

Exhibited: Munich, Galerie Thomas Modern, Tom Wesselmann, 2013 Literature: Tom Wesselmann, Munich, 2013, illustrated p. 40

WILLEM DE KOONING Dutch / American (1904-1997) Untitled Painted circa 1960 Oil on paper 24 x 19 in / 61 x 48 cm Provenance: Dr Henry Vogel, New York (gift from the artist); Private collection, New York (by decent from the above)

A leading proponent of Abstract Expressionism, Willem de Kooning is considered to be one of the most innovative and influential artists of the twentieth century. This legacy is palpable in the present work, which crystalizes the artist’s gesture in energetic, intuitive lines. Our work was sourced from the family of Dr Henry Vogel, de Kooning’s psychiatrist and long-time trusted friend. Their relationship developed following de Kooning’s breakdown and relocation from New York to the Springs of East Hampton in the early 1960s.

The light and landscape of East Hampton reminded de Kooning of his native Holland and wrought a profound influence on his work. Free from the distractions of city life and New York’s crowded spaces, De Kooning revised his approach to painting, moving towards open compositions and a lighter palette. The above work sets swathes of colour and energetic brushstrokes within a palpable open space. Paint is daubed, pulled and impressed upon the paper so that colour and light appear to shimmer across the surface.

Hans Hofmann is equally revered as a teacher and an artist.

HANS HOFMANN

His importance in shaping the development of Abstract

Untitled

A retrospective of De Kooning’s work was

Expressionism in New York cannot be overstated, and our

recently held at the Museum of Modern Art in

work dates from a key period in both Hofmann’s personal

New York. His work can be found in numerous

development and that of the movement in general. Hofmann

institutions worldwide, including the Stedelijk

was a German emigré who left Munich in 1932, initially for

Museum, Tate Modern, the National Gallery of

California before settling in New York. Hofmann brought with

Australia, the Metropolitan Museum of Art, New

him a profound understanding of the European avant-garde.

York, the Art Institute of Chicago, and the

In our work one can see both echoes of the Surrealists –

Smithsonian Institution, Washington DC.

Joan Miró, Hans Arp and André Mason in particular – and a

HANS HOFMANN

debate has raged as to the extent of Hofmann’s effect on

precedent in Pollock’s work of the late 1940s. Academic German (1880-1966)

Untitled

Pollock, but it was known that Pollock was a visitor to Hofmann’s studio as early as 1942. Pollock’s wife, Lee

Signed Painted circa 1942 Watercolor on paper 17 x 14 in / 43 x 35.5 cm

Krasner, was also a student of Hofmann’s in New York during the 1940s.

German (1880-1966)

Signed & dated 1945 Oil on panel 42.75 x 30.75 in / 108.5 x 78 cm This work is included in the catalogue raisonné of Hofmann’s paintings under no. P538 Provenance: Artist’s studio; Lillian Kiesler, Paris (c.1945-1980); Harold Diamond, New York (1980); Margo Leavin Gallery, Los Angeles (1980); John Berggruen Gallery, San Francisco (1980); Private collection; Private collection, Germany; Miriam Shiell Fine Art, Toronto (2011); Doreen and Alan Saskin, Toronto (2011) Exhibited: London, Crane Kalman Gallery, Hans Hofmann: A Selection of Paintings and Watercolours, 1990, no. 40

WILLEM DE KOONING Dutch / American (1904-1997) Untitled Painted circa 1960 Oil on paper 24 x 19 in / 61 x 48 cm Provenance: Dr Henry Vogel, New York (gift from the artist); Private collection, New York (by decent from the above)

A leading proponent of Abstract Expressionism, Willem de Kooning is considered to be one of the most innovative and influential artists of the twentieth century. This legacy is palpable in the present work, which crystalizes the artist’s gesture in energetic, intuitive lines. Our work was sourced from the family of Dr Henry Vogel, de Kooning’s psychiatrist and long-time trusted friend. Their relationship developed following de Kooning’s breakdown and relocation from New York to the Springs of East Hampton in the early 1960s.

The light and landscape of East Hampton reminded de Kooning of his native Holland and wrought a profound influence on his work. Free from the distractions of city life and New York’s crowded spaces, De Kooning revised his approach to painting, moving towards open compositions and a lighter palette. The above work sets swathes of colour and energetic brushstrokes within a palpable open space. Paint is daubed, pulled and impressed upon the paper so that colour and light appear to shimmer across the surface.

Hans Hofmann is equally revered as a teacher and an artist.

HANS HOFMANN

His importance in shaping the development of Abstract

Untitled

A retrospective of De Kooning’s work was

Expressionism in New York cannot be overstated, and our

recently held at the Museum of Modern Art in

work dates from a key period in both Hofmann’s personal

New York. His work can be found in numerous

development and that of the movement in general. Hofmann

institutions worldwide, including the Stedelijk

was a German emigré who left Munich in 1932, initially for

Museum, Tate Modern, the National Gallery of

California before settling in New York. Hofmann brought with

Australia, the Metropolitan Museum of Art, New

him a profound understanding of the European avant-garde.

York, the Art Institute of Chicago, and the

In our work one can see both echoes of the Surrealists –

Smithsonian Institution, Washington DC.

Joan Miró, Hans Arp and André Mason in particular – and a

HANS HOFMANN

debate has raged as to the extent of Hofmann’s effect on

precedent in Pollock’s work of the late 1940s. Academic German (1880-1966)

Untitled

Pollock, but it was known that Pollock was a visitor to Hofmann’s studio as early as 1942. Pollock’s wife, Lee

Signed Painted circa 1942 Watercolor on paper 17 x 14 in / 43 x 35.5 cm

Krasner, was also a student of Hofmann’s in New York during the 1940s.

German (1880-1966)

Signed & dated 1945 Oil on panel 42.75 x 30.75 in / 108.5 x 78 cm This work is included in the catalogue raisonné of Hofmann’s paintings under no. P538 Provenance: Artist’s studio; Lillian Kiesler, Paris (c.1945-1980); Harold Diamond, New York (1980); Margo Leavin Gallery, Los Angeles (1980); John Berggruen Gallery, San Francisco (1980); Private collection; Private collection, Germany; Miriam Shiell Fine Art, Toronto (2011); Doreen and Alan Saskin, Toronto (2011) Exhibited: London, Crane Kalman Gallery, Hans Hofmann: A Selection of Paintings and Watercolours, 1990, no. 40

In 1966 Galerie Raymonde Cazenave in Paris staged an exhibition ‘Folmer - Rotopeintures / Rotocorps / Interdimensional / Giration’. This extraordinary exhibition brought together 34 works of art by Georges Folmer, President of the Groupe Mesure. What took the exhibition out of the ordinary was the fact that each exhibit, whether freestanding or wall works, had a number of moving parts.

In the early 1960s Folmer had sought to push the limits of painting: to animate geometric space by inserting movement into his works. Folmer was uniquely placed as an artist to achieve this, for as well as having the techniques of a painter, he had the eye of an architect as well as abilities of an engineer. The desire to amalgamate these GEORGES FOLMER

skills was one of the central tenets of the Groupe Mesure. As R V Gindertael wrote in his preface to

French (1895-1977)

the Cazenave exhibition, Folmer created “contemporary art

Above: Noël Signed Executed in 1962 Mixed media on canvas 39.5 x 32 in / 100 x 81 cm

of monumental character that is perfectly in tune with the boldest trends of a forward-looking architecture”.

This work is included in the catalogue raisonné under no. 756 Provenance: Estate of the artist Exhibited: Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illus. p. 91

Serge Lemoine, soon to become President of the Musée d’Orsay, wrote in 1990 in the preface to an exhibition of Folmer’s work at Galerie Mikaeloff: “As a result of his experiments with forms, surfaces, shapes, colours and their

Below: Roto-peinture Signed verso Executed in 1962-65 Oil on wood 10 x 10 in / 25 x 25 cm This work is included in the catalogue raisonné under no. 827 Provenance: Estate of the artist

combinations, the integral movement in the works allows him to resolve the GEORGES FOLMER

problems posed by the French (1895-1977)

Above Top: Composition Signed & dated 1963; signed ‘no. 4 Folmer’ verso Gouache on paper 19.5 x 14 in / 50 x 35 cm This work is included in the catalogue raisonné under no. 767 Provenance: Estate of the artist; Private collection, Switzerland Exhibited: Nancy, Musée des Beaux-Arts, Folmer et l’abstraction géométrique, 1993, no. 51, illustrated; Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illustrated p. 87 Above: Sans titre Signed ‘FOL’ Executed in 1954-55 Ink & gouache on paper 15 x 18.5 in / 38 x 47 cm This work is included in the catalogue raisonné under no. 644 Provenance: Estate of the artist;

production of a series of works ... his ‘rotopeintures’ with their explicit title are as

GEORGES FOLMER French (1895-1977) Above: Roto - peinture Executed in 1962 Gouache on wood 19 x 19.5 x 1.5 in / 49 x 49.5 x 3.5 cm This work is included in the catalogue raisonné under no. 815 Exhibited: Paris, Galerie Raymonde Cazenave, Georges Folmer, 1966, fig.2, illus Below Left: Maquette de roto-corps Executed in 1960-65 Acrylic on wood and plexiglass 10.5 x 3 in / 27 x 7 cm This work is included in the catalogue raisonné under no. 809 Provenance: Estate of the artist Exhibited: Paris, Galerie Raymonde Cazenave, 1966; Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illustrated p. 106

much paintings as

not only did Folmer produce only a relatively few kinetic

sculptures that are able

works of art, but each of them is unique, not just in form and

to present multiple

colour but (apart from a single series) each one is different in

aspects starting from

its fundamental structure and in the way that it moves. Some

the same basic

were produced as maquettes for larger works that were

structure.”

never made, some of the simpler series of Roto-Peintures such as the one illustrated on the facing page were intended

As a glance through

to be manufactured on a much larger scale. We are

Folmer’s Catalogue

priviledged to have been allowed to offer these rare and

Raisonné makes clear,

important works for sale from the estate of the artist.

In 1966 Galerie Raymonde Cazenave in Paris staged an exhibition ‘Folmer - Rotopeintures / Rotocorps / Interdimensional / Giration’. This extraordinary exhibition brought together 34 works of art by Georges Folmer, President of the Groupe Mesure. What took the exhibition out of the ordinary was the fact that each exhibit, whether freestanding or wall works, had a number of moving parts.

In the early 1960s Folmer had sought to push the limits of painting: to animate geometric space by inserting movement into his works. Folmer was uniquely placed as an artist to achieve this, for as well as having the techniques of a painter, he had the eye of an architect as well as abilities of an engineer. The desire to amalgamate these GEORGES FOLMER

skills was one of the central tenets of the Groupe Mesure. As R V Gindertael wrote in his preface to

French (1895-1977)

the Cazenave exhibition, Folmer created “contemporary art

Above: Noël Signed Executed in 1962 Mixed media on canvas 39.5 x 32 in / 100 x 81 cm

of monumental character that is perfectly in tune with the boldest trends of a forward-looking architecture”.

This work is included in the catalogue raisonné under no. 756 Provenance: Estate of the artist Exhibited: Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illus. p. 91

Serge Lemoine, soon to become President of the Musée d’Orsay, wrote in 1990 in the preface to an exhibition of Folmer’s work at Galerie Mikaeloff: “As a result of his experiments with forms, surfaces, shapes, colours and their

Below: Roto-peinture Signed verso Executed in 1962-65 Oil on wood 10 x 10 in / 25 x 25 cm This work is included in the catalogue raisonné under no. 827 Provenance: Estate of the artist

combinations, the integral movement in the works allows him to resolve the GEORGES FOLMER

problems posed by the French (1895-1977)

Above Top: Composition Signed & dated 1963; signed ‘no. 4 Folmer’ verso Gouache on paper 19.5 x 14 in / 50 x 35 cm This work is included in the catalogue raisonné under no. 767 Provenance: Estate of the artist; Private collection, Switzerland Exhibited: Nancy, Musée des Beaux-Arts, Folmer et l’abstraction géométrique, 1993, no. 51, illustrated; Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illustrated p. 87 Above: Sans titre Signed ‘FOL’ Executed in 1954-55 Ink & gouache on paper 15 x 18.5 in / 38 x 47 cm This work is included in the catalogue raisonné under no. 644 Provenance: Estate of the artist;

production of a series of works ... his ‘rotopeintures’ with their explicit title are as

GEORGES FOLMER French (1895-1977) Above: Roto - peinture Executed in 1962 Gouache on wood 19 x 19.5 x 1.5 in / 49 x 49.5 x 3.5 cm This work is included in the catalogue raisonné under no. 815 Exhibited: Paris, Galerie Raymonde Cazenave, Georges Folmer, 1966, fig.2, illus Below Left: Maquette de roto-corps Executed in 1960-65 Acrylic on wood and plexiglass 10.5 x 3 in / 27 x 7 cm This work is included in the catalogue raisonné under no. 809 Provenance: Estate of the artist Exhibited: Paris, Galerie Raymonde Cazenave, 1966; Rennes, Musée des Beaux-Arts, Georges Folmer, 1895-1977, 2010, illustrated p. 106

much paintings as

not only did Folmer produce only a relatively few kinetic

sculptures that are able

works of art, but each of them is unique, not just in form and

to present multiple

colour but (apart from a single series) each one is different in

aspects starting from

its fundamental structure and in the way that it moves. Some

the same basic

were produced as maquettes for larger works that were

structure.”

never made, some of the simpler series of Roto-Peintures such as the one illustrated on the facing page were intended

As a glance through

to be manufactured on a much larger scale. We are

Folmer’s Catalogue

priviledged to have been allowed to offer these rare and

Raisonné makes clear,

important works for sale from the estate of the artist.

ANDY WARHOL American (1928-1987)

ANDY WARHOL American (1928 – 1987)

Portrait of Jock Soto

The Scream (After Munch)

Signed, dated 1987 & inscribed ‘Andy Warhol’ verso Acrylic & silkscreen ink on canvas 40 x 40 in / 101.5 x 101.5 cm

Executed in 1983 Bears Andy Warhol Art Authentication Board stamp verso Screenprint on Lenox board in a unique combination of colours 40 x 32 in / 101.5 x 81.5 cm

This work will be included in the forthcoming volume of the catalogue raisonné of Warhol’s work

This work is accompanied by a letter from the Andy Warhol Art Authentication Board and holds the identification number A185.995

Provenance: Jock Soto, New York (gifted by the artist); Private collection, USA (acquired from the above in 2015)

Provenance: Collection of Kristof Freiherr Rüdt von Collenberg, Amsterdam; Private collection, USA (1999)

Jock Soto was a

Literature: Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, IIIA.58

celebrated principal dancer of George Balanchine’s New York City Ballet. Soto was promoted to soloist in

Andy Warhol’s prints after

1984 and named

Edvard Munch were never

principal in 1985. During this time he danced principal roles in over 40 ballets, many of

and wanted to take photographs of them. Upon Warhol’s

which were created specifically for him. He retired from the

death, Soto and Watts retrieved their portraits from The

Company in 2005 and returned as an instructor to the

Factory and rode home with them on a bus.

published, and exist only in rare, unique colour variants. The series was commissioned by New York’s Galleri Bellman and reimagines

School of American Ballet.

Munch’s most celebrated works:

Jock Soto held this original silkscreen from 1987 to 2015. A Soto met Andy Warhol in 1985. Then 20 years old, Soto was

similarly sized silkscreen portrait derived from the same

instantly absorbed into the artist’s circle of intimates. Warhol

photograph rests in the collection of the Andy Warhol

was entranced by Heather Watts, the principal ballerina with

Museum in Pittsburgh, but lacks the halftone photographic

the New York City Ballet and Soto’s long-time ballet partner,

details this silkscreen possesses.

TOM WESSELMANN American (1931-2004) My Black Belt Conceived in 1983; this version executed in 1990 Incised with signature and numbered ‘Wesselman A/P’ verso Painted steel 30 x 52.5 x 30.5 in / 76 x 133.5 x 77.5 cm This work is an artist’s proof from an edition of eight plus three artist’s proofs

The Brooch (Eva Mudocci), Madonna, Self-Portrait with Skeleton Arm, and his most

TOM

iconic image, The Scream. One of the most innovative and

new life in reproduction, one that is caught between the

influential artists of American Pop, and indeed in the history

icon’s formal qualities and the collective memory that

of twentieth-century art, Warhol’s use of mass imagery and

shrouds it.

reproductive technologies destabilised accepted notions of fine art and creativity. Appropriating popular culture’s most

Warhol’s interest in Munch extended beyond the ubiquity of

ubiquitous images, from Marilyn Monroe to the Campbell’s

his work. Munch was also a prolific printmaker, reproducing

Soup can, he fashioned a language of bold lines and synthetic

his paintings as lithographs. Like Warhol, he was acutely

colours that has in itself become iconic.

aware of the power of colour, using varying shades and

By the 1980’s famous artworks had become commodities,

his 1964 Self-Portrait, Warhol echoes the same frontal pose

combinations to shift the mood and impact of each print. In taking the form of posters, fridge magnets and all species of

and red hue of Munch’s Self-Portrait with Skeleton Arm,

museum souvenirs. Munch’s work, and The Scream in

asserting his affinity with an artist who observed the peculiar

particular, are amongst modern art’s most reproduced and

angst of modern life. Another example of Warhol’s The

recognisable images. Warhol’s silkscreen reimagines Munch’s

Scream can be found in the Museum of Modern Art, New

haunting image in characteristic brilliant colour. Munch’s

York. Works from this series were also exhibited in

coursing contorted lines, so central to the painting’s sense of

Munch/Warhol, which was held at New York’s Scandinavia

disruption and angst, take on a graphic quality in Warhol’s

House in 2013 and coincided with the publication of Patricia

work. As in all of Warhol’s silkscreens, the image takes on a

Berman’s ‘Munch/Warhol and the Multiple Image’.

ANDY WARHOL American (1928-1987)

ANDY WARHOL American (1928 – 1987)

Portrait of Jock Soto

The Scream (After Munch)

Signed, dated 1987 & inscribed ‘Andy Warhol’ verso Acrylic & silkscreen ink on canvas 40 x 40 in / 101.5 x 101.5 cm

Executed in 1983 Bears Andy Warhol Art Authentication Board stamp verso Screenprint on Lenox board in a unique combination of colours 40 x 32 in / 101.5 x 81.5 cm

This work will be included in the forthcoming volume of the catalogue raisonné of Warhol’s work

This work is accompanied by a letter from the Andy Warhol Art Authentication Board and holds the identification number A185.995

Provenance: Jock Soto, New York (gifted by the artist); Private collection, USA (acquired from the above in 2015)

Provenance: Collection of Kristof Freiherr Rüdt von Collenberg, Amsterdam; Private collection, USA (1999)

Jock Soto was a

Literature: Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, IIIA.58

celebrated principal dancer of George Balanchine’s New York City Ballet. Soto was promoted to soloist in

Andy Warhol’s prints after

1984 and named

Edvard Munch were never

principal in 1985. During this time he danced principal roles in over 40 ballets, many of

and wanted to take photographs of them. Upon Warhol’s

which were created specifically for him. He retired from the

death, Soto and Watts retrieved their portraits from The

Company in 2005 and returned as an instructor to the

Factory and rode home with them on a bus.

published, and exist only in rare, unique colour variants. The series was commissioned by New York’s Galleri Bellman and reimagines

School of American Ballet.

Munch’s most celebrated works:

Jock Soto held this original silkscreen from 1987 to 2015. A Soto met Andy Warhol in 1985. Then 20 years old, Soto was

similarly sized silkscreen portrait derived from the same

instantly absorbed into the artist’s circle of intimates. Warhol

photograph rests in the collection of the Andy Warhol

was entranced by Heather Watts, the principal ballerina with

Museum in Pittsburgh, but lacks the halftone photographic

the New York City Ballet and Soto’s long-time ballet partner,

details this silkscreen possesses.

TOM WESSELMANN American (1931-2004) My Black Belt Conceived in 1983; this version executed in 1990 Incised with signature and numbered ‘Wesselman A/P’ verso Painted steel 30 x 52.5 x 30.5 in / 76 x 133.5 x 77.5 cm This work is an artist’s proof from an edition of eight plus three artist’s proofs

The Brooch (Eva Mudocci), Madonna, Self-Portrait with Skeleton Arm, and his most

TOM

iconic image, The Scream. One of the most innovative and

new life in reproduction, one that is caught between the

influential artists of American Pop, and indeed in the history

icon’s formal qualities and the collective memory that

of twentieth-century art, Warhol’s use of mass imagery and

shrouds it.

reproductive technologies destabilised accepted notions of fine art and creativity. Appropriating popular culture’s most

Warhol’s interest in Munch extended beyond the ubiquity of

ubiquitous images, from Marilyn Monroe to the Campbell’s

his work. Munch was also a prolific printmaker, reproducing

Soup can, he fashioned a language of bold lines and synthetic

his paintings as lithographs. Like Warhol, he was acutely

colours that has in itself become iconic.

aware of the power of colour, using varying shades and

By the 1980’s famous artworks had become commodities,

his 1964 Self-Portrait, Warhol echoes the same frontal pose

combinations to shift the mood and impact of each print. In taking the form of posters, fridge magnets and all species of

and red hue of Munch’s Self-Portrait with Skeleton Arm,

museum souvenirs. Munch’s work, and The Scream in

asserting his affinity with an artist who observed the peculiar

particular, are amongst modern art’s most reproduced and

angst of modern life. Another example of Warhol’s The

recognisable images. Warhol’s silkscreen reimagines Munch’s

Scream can be found in the Museum of Modern Art, New

haunting image in characteristic brilliant colour. Munch’s

York. Works from this series were also exhibited in

coursing contorted lines, so central to the painting’s sense of

Munch/Warhol, which was held at New York’s Scandinavia

disruption and angst, take on a graphic quality in Warhol’s

House in 2013 and coincided with the publication of Patricia

work. As in all of Warhol’s silkscreens, the image takes on a

Berman’s ‘Munch/Warhol and the Multiple Image’.

PAVEL TCHELITCHEW Russian (1898-1957)

HENRY MOORE British (1898-1986)

Décor de theatre

Madonna and Child Studies

Executed circa 1922 Gouache on card 15.75 x 21 in / 40 x 53 cm

Signed & dated 1943; inscribed ‘Top lighting’ Pen, India ink, brush, gray wash, coloured wax crayons & pencil on paper 7 x 7 in / 18 x 18 cm

Provenance: Estate of the artist; Richard Nathanson, London; Private collection, USA Exhibited: London, The Alpine Club, Pavel Tchelitchew: A Collection of Theatre Designs, c. 1919-1923 (arranged by Richard Nathanson), 13-22 December 1976, no. 13 Literature: Richard Nathanson, Pavel Tchelitchew: A Collection of Theatre Designs, c. 1919-1923, London, 1976, p. 14, no. 13

Executed circa 1922, the present work on paper is almost certainly a preparatory stage design for a production at Der

This work is included in vol. III of the catalogue raisonné of Moore’s drawings under no. AG 43.102 Provenance: Pierre Loeb Gallery, Paris; Lee Kolker, New York (circa 1950); Sale, Sotheby & Co., London, 16 December 1964, lot 127; Pita Kapnek, Johannesburg; Sale, Sotheby & Co., London, 13 December 1967, lot 185; Vanderwoude Tananbaum Gallery, New York; Private collection, USA (acquired from the above in January 1986)

Blaue Vogel (The Blue Bird), the Russian émigré cabaret in Charlottenburg. Thanks to Tchelitchew’s innovative designs Der Blaue Vogel quickly established itself as one of the most exciting cabaret’s in Berlin, featuring stunning sets and costumes that drew on many of the styles in vogue at the time: Futurism, Expressionism and Classicism.

Henry Moore is arguably Britain’s most globally revered artist

of that drawing was the Mother & Child, one of two iconic

Born in Russia, Tchelitchew had been attracted to ballet and

of the 20th century. He was a remarkable draughtsman and

subjects by the artist (the other being the reclining figure).

theatre from an early age. A painter throughout his life, he

the market has witnessed extremely strong interest in his

The date of our drawing is key. The subject of the mother

was forced to flee his homeland as the Russian Revolution

graphic work of late. In June 2015 a drawing by Moore took

nurturing her child can be viewed as a response to the

took hold. Journeying first to Istanbul where he produced

over £2.1 million (including premium) at auction. The subject

suffering experienced during World War Two. What was

designs for the ballet, he arrived in Germany in 1921. Home

always a tender motif took on added poignancy at this time.

to hundreds of thousands of newly displaced Russians, other leading artists and intellectuals who passed through Berlin at

In Square Forms, we are presented with a drawing more

this time included Maxim Gorky, El Lissitzky, Boris Pasternak,

directly connected to the artist’s sculptural work, and we are

Naum Gabo, Anton Pevsner and Alexander Archipenko.

able to witness the fascinating thought processes at play during the compositional development. Moore used this and related drawings to develop the models for the Time Life Above: FRANCIS PICABIA French (1878-1953) Portrait de femme Signed Executed circa 1920 Watercolour with pen & ink on paper 20.5 x 17 in / 52 x 43 cm Provenance: Private collection (purchased from the artist in the 1930s and thence by descent); Sale, Sotheby’s, London, 25 October 1995, lot 42; Private collection, USA (purchased at the above sale)

Left: JEAN FRÉDÉRIC BAZILLE French (1841-1870) Portrait presumé de Camille des Hours Signed Drawn in 1864 Pencil on paper 8.5 x 5 in / 21.5 x 12.75 cm Literature: Michel Schulman, Frédéric Bazille, Supplément au catalogue raisonné, Turin, 2006, p.24, illustrated Provenance: Waterhouse & Dodd, London (2009); Private collection, UK

Screen in London, 1951-52. The screen was a rare example of Moore’s sculpture being formally integrated into an architectural design. The Time and Life building is situated on New Bond Street in London’s Mayfair.

HENRY MOORE

British (1898-1986)

Square Forms - Eleven studies for sculptures Executed in 1936 Signed & dated (incorrectly) ‘34 Studio inventory number 546 C circled verso Pencil, crayon & wash on tissue mounted on paper 22 x 15 in / 56 x 38 cm This work is included in vol. II of the catalogue raisonné of Moore’s drawings under no. HMF 1244

PAVEL TCHELITCHEW Russian (1898-1957)

HENRY MOORE British (1898-1986)

Décor de theatre

Madonna and Child Studies

Executed circa 1922 Gouache on card 15.75 x 21 in / 40 x 53 cm

Signed & dated 1943; inscribed ‘Top lighting’ Pen, India ink, brush, gray wash, coloured wax crayons & pencil on paper 7 x 7 in / 18 x 18 cm

Provenance: Estate of the artist; Richard Nathanson, London; Private collection, USA Exhibited: London, The Alpine Club, Pavel Tchelitchew: A Collection of Theatre Designs, c. 1919-1923 (arranged by Richard Nathanson), 13-22 December 1976, no. 13 Literature: Richard Nathanson, Pavel Tchelitchew: A Collection of Theatre Designs, c. 1919-1923, London, 1976, p. 14, no. 13

Executed circa 1922, the present work on paper is almost certainly a preparatory stage design for a production at Der

This work is included in vol. III of the catalogue raisonné of Moore’s drawings under no. AG 43.102 Provenance: Pierre Loeb Gallery, Paris; Lee Kolker, New York (circa 1950); Sale, Sotheby & Co., London, 16 December 1964, lot 127; Pita Kapnek, Johannesburg; Sale, Sotheby & Co., London, 13 December 1967, lot 185; Vanderwoude Tananbaum Gallery, New York; Private collection, USA (acquired from the above in January 1986)

Blaue Vogel (The Blue Bird), the Russian émigré cabaret in Charlottenburg. Thanks to Tchelitchew’s innovative designs Der Blaue Vogel quickly established itself as one of the most exciting cabaret’s in Berlin, featuring stunning sets and costumes that drew on many of the styles in vogue at the time: Futurism, Expressionism and Classicism.

Henry Moore is arguably Britain’s most globally revered artist

of that drawing was the Mother & Child, one of two iconic

Born in Russia, Tchelitchew had been attracted to ballet and

of the 20th century. He was a remarkable draughtsman and

subjects by the artist (the other being the reclining figure).

theatre from an early age. A painter throughout his life, he

the market has witnessed extremely strong interest in his

The date of our drawing is key. The subject of the mother

was forced to flee his homeland as the Russian Revolution

graphic work of late. In June 2015 a drawing by Moore took

nurturing her child can be viewed as a response to the

took hold. Journeying first to Istanbul where he produced

over £2.1 million (including premium) at auction. The subject

suffering experienced during World War Two. What was

designs for the ballet, he arrived in Germany in 1921. Home

always a tender motif took on added poignancy at this time.

to hundreds of thousands of newly displaced Russians, other leading artists and intellectuals who passed through Berlin at

In Square Forms, we are presented with a drawing more

this time included Maxim Gorky, El Lissitzky, Boris Pasternak,

directly connected to the artist’s sculptural work, and we are

Naum Gabo, Anton Pevsner and Alexander Archipenko.

able to witness the fascinating thought processes at play during the compositional development. Moore used this and related drawings to develop the models for the Time Life Above: FRANCIS PICABIA French (1878-1953) Portrait de femme Signed Executed circa 1920 Watercolour with pen & ink on paper 20.5 x 17 in / 52 x 43 cm Provenance: Private collection (purchased from the artist in the 1930s and thence by descent); Sale, Sotheby’s, London, 25 October 1995, lot 42; Private collection, USA (purchased at the above sale)

Left: JEAN FRÉDÉRIC BAZILLE French (1841-1870) Portrait presumé de Camille des Hours Signed Drawn in 1864 Pencil on paper 8.5 x 5 in / 21.5 x 12.75 cm Literature: Michel Schulman, Frédéric Bazille, Supplément au catalogue raisonné, Turin, 2006, p.24, illustrated Provenance: Waterhouse & Dodd, London (2009); Private collection, UK

Screen in London, 1951-52. The screen was a rare example of Moore’s sculpture being formally integrated into an architectural design. The Time and Life building is situated on New Bond Street in London’s Mayfair.

HENRY MOORE

British (1898-1986)

Square Forms - Eleven studies for sculptures Executed in 1936 Signed & dated (incorrectly) ‘34 Studio inventory number 546 C circled verso Pencil, crayon & wash on tissue mounted on paper 22 x 15 in / 56 x 38 cm This work is included in vol. II of the catalogue raisonné of Moore’s drawings under no. HMF 1244

ALLAN D’ARCANGELO American (1930-1998) Landscape Signed, titled, inscribed & dated 1967 on reverse Acrylic on canvas 38 x 42 in / 96.5 x 106.5 cm Provenance: Private collection, New Jersey; By descent from the above to the previous owner

By the second half of the 1960s, D’Arcangelo began to emphasize the road sign’s formal elements in compositions that became increasingly abstract. Herein lies what Nicolas Calas described as the metaphysical aspect of his work. Calas compares D’Arcangelo to Giorgio De Chirico, who placed ancient images in a context where they lost their meaning. These paintings take contemporary images and turn them into abstracted symbols by Allan D’Arcangelo has long been recognised as a leading

removing their context. Faced with symbols that are both

figure among the first generation of American Pop Artists.

recognisable and unintelligible, the viewer’s mind is free to

These artists reacted to the relatively new and utterly

wander unobstructed by fact.

pervasive visual landscape of mid-twentieth century America – one defined by endlessly reproduced images from popular

This surreal quality is a departure from the more traditional

and consumer culture. While his early Pop work engaged

symbolism of the road as an expression of freedom and

with mass culture, by 1962 D’Arcangelo turned his attention

adventure. The brilliance of D’Arcangelo’s work lies in its

to the open road, an equally ubiquitous aspect of the post-

ability to hold so many layers in an image that is utterly

war American experience. Developed throughout the 1960s,

minimal. D’Arcangelo’s work can be found in numerous public

these landscape paintings are amongst Pop Art’s most iconic

collections, including the Metropolitan Museum of Art, the

images.

MOMA in New York, the Guggenheim Museum, the Centre Georges Pompidou, and many others.

Our canvas is a major painting from a period when Frost was experimenting with colour juxtapositions using pure abstract

D’Arcangelo’s landscapes follow the development

forms. Using combinations of colours set against contrasting

of the inter-state highway network in 1956, which

backgrounds, Frost uses colour to create pictorial space, the

replaced winding state roads with endless

effect heightened or lessened by subtle changes in tone. This

concrete ribbons. Beginning with his 1962 Full

process marks a transition away from the abstracted

Moon and subsequent US Highway #1 series,

landscape forms of previous years and a pointer towards his

D’Arcangelo captured the American landscape

later, more reductive, work.

SIR TERRY FROST British (1915-2003) Untitled Signed & dated 1971 on reverse Oil on canvas 72 x 96 in / 183 x 244 cm

Frost’s first solo exhibition was held at the Leicester Galleries, London in 1952. In 1960 he held his first solo show

through the standardised language of road signs and markers that became one of its defining

Sir Terry Frost remains to this day one of Britain’s best loved

in New York at the Barbara Schaefer Gallery and during this

features.

artists, famous both for his pioneering abstract art and his

time he met some of the leading American Abstract

ALLAN D’ARCANGELO American (1930-1998) Aspen, Colo (A-14) Signed, titled & dated 1967 on reverse Acrylic on canvas 45 x 49.5 in / 114.5 x 125.5 cm Provenance: Private collection, Virginia

gregarious character. His initial tuition in fine art came from

Expressionists. He was awarded the John Moore’s Prize in

the great fortune of meeting Adrian Heath in the most

1965, elected to the Royal Academy in 1992 and knighted in

unfortunate of circumstances - both were prisoners of war in

1998. A retrospective of his work was held at the Royal

Bavaria during the early 1940s.

Academy in 2000.

Despite his early work being figurative, by 1949 Frost had

A major exhibition marking the artist’s centenary was held at

turned entirely to abstraction, a reflection perhaps of Heath’s

the Newlyn Art Gallery / The Exchange, opening on the 10th

early influence and the predominant style of work being

October last year. The exhibition was a collaboration

produced in his adopted home of St Ives where he was for a

between the two venues together with Tate St Ives and Leeds

time Barbara Hepworth’s assistant.

City Art Gallery.

ALLAN D’ARCANGELO American (1930-1998) Landscape Signed, titled, inscribed & dated 1967 on reverse Acrylic on canvas 38 x 42 in / 96.5 x 106.5 cm Provenance: Private collection, New Jersey; By descent from the above to the previous owner

By the second half of the 1960s, D’Arcangelo began to emphasize the road sign’s formal elements in compositions that became increasingly abstract. Herein lies what Nicolas Calas described as the metaphysical aspect of his work. Calas compares D’Arcangelo to Giorgio De Chirico, who placed ancient images in a context where they lost their meaning. These paintings take contemporary images and turn them into abstracted symbols by Allan D’Arcangelo has long been recognised as a leading

removing their context. Faced with symbols that are both

figure among the first generation of American Pop Artists.

recognisable and unintelligible, the viewer’s mind is free to

These artists reacted to the relatively new and utterly

wander unobstructed by fact.

pervasive visual landscape of mid-twentieth century America – one defined by endlessly reproduced images from popular

This surreal quality is a departure from the more traditional

and consumer culture. While his early Pop work engaged

symbolism of the road as an expression of freedom and

with mass culture, by 1962 D’Arcangelo turned his attention

adventure. The brilliance of D’Arcangelo’s work lies in its

to the open road, an equally ubiquitous aspect of the post-

ability to hold so many layers in an image that is utterly

war American experience. Developed throughout the 1960s,

minimal. D’Arcangelo’s work can be found in numerous public

these landscape paintings are amongst Pop Art’s most iconic

collections, including the Metropolitan Museum of Art, the

images.

MOMA in New York, the Guggenheim Museum, the Centre Georges Pompidou, and many others.

Our canvas is a major painting from a period when Frost was experimenting with colour juxtapositions using pure abstract

D’Arcangelo’s landscapes follow the development

forms. Using combinations of colours set against contrasting

of the inter-state highway network in 1956, which

backgrounds, Frost uses colour to create pictorial space, the

replaced winding state roads with endless

effect heightened or lessened by subtle changes in tone. This

concrete ribbons. Beginning with his 1962 Full

process marks a transition away from the abstracted

Moon and subsequent US Highway #1 series,

landscape forms of previous years and a pointer towards his

D’Arcangelo captured the American landscape

later, more reductive, work.

SIR TERRY FROST British (1915-2003) Untitled Signed & dated 1971 on reverse Oil on canvas 72 x 96 in / 183 x 244 cm

Frost’s first solo exhibition was held at the Leicester Galleries, London in 1952. In 1960 he held his first solo show

through the standardised language of road signs and markers that became one of its defining

Sir Terry Frost remains to this day one of Britain’s best loved

in New York at the Barbara Schaefer Gallery and during this

features.

artists, famous both for his pioneering abstract art and his

time he met some of the leading American Abstract

ALLAN D’ARCANGELO American (1930-1998) Aspen, Colo (A-14) Signed, titled & dated 1967 on reverse Acrylic on canvas 45 x 49.5 in / 114.5 x 125.5 cm Provenance: Private collection, Virginia

gregarious character. His initial tuition in fine art came from

Expressionists. He was awarded the John Moore’s Prize in

the great fortune of meeting Adrian Heath in the most

1965, elected to the Royal Academy in 1992 and knighted in

unfortunate of circumstances - both were prisoners of war in

1998. A retrospective of his work was held at the Royal

Bavaria during the early 1940s.

Academy in 2000.

Despite his early work being figurative, by 1949 Frost had

A major exhibition marking the artist’s centenary was held at

turned entirely to abstraction, a reflection perhaps of Heath’s

the Newlyn Art Gallery / The Exchange, opening on the 10th

early influence and the predominant style of work being

October last year. The exhibition was a collaboration

produced in his adopted home of St Ives where he was for a

between the two venues together with Tate St Ives and Leeds

time Barbara Hepworth’s assistant.

City Art Gallery.

DOROTHY MEAD

British (1928-1975)

Left: Seated figure Painted in 1967 Oil on canvas 36 x 24 in / 91 x 61 cm Lower right: Life Class Signed & dated 1973 Etching (from an edition of 20) 13 x 9 in / 33 x 23 cm Below: Seated figure Dated April 1963 Gouache on paper 30 x 22 in / 76 x 56 cm

By the mid 1960s Mead was an influential presence at Goldsmith’s College. Despite her deep connection to Bomberg’s teaching, her own style had developed considerably. This did not enable her to escape the stigma that Bomberg’s association brought at the time, but her students (including Waterhouse & Dodd artist, Michael Taylor) remember her as both fiercely supportive of her artists and a passionate advocate of figurative painting at a time when most art schools were moving away from such a practice. The works displayed on this page (all from the estate) show three depictions of the figure; firstly in rather controlled oils, then in more expressive gouache and finally in the reductive style of an etching. All adhere to Bomberg’s doctrine of expressing a presence rather than describing a form, yet all are unmistakably the work of an individual artist, unswayed by contemporary art fashion and practice.

Waterhouse & Dodd have represented the Dorothy Mead estate for two years. In that time we have held a major retrospective exhibition and included a significant number of her works as part of the exhibition ‘Borough: David Bomberg and his students at Borough Polytechnic.’ A review of the latter show by Digby Warde-Aldam of

Paul Feiler is one of the most highly regarded figures

Apollo Magazine notes:

associated with the ‘St Ives Colony’ of artists who

“Best of the lot here is

congregated in the town during and immediately after World

Dorothy Mead, whose

War Two. When one considers that his peers included

tragically premature death

Barbara Hepworth, Ben Nicholson, Patrick Heron and Peter

cut short a career of

Lanyon, one can see that the benchmark for such recognition

staggering promise. Her

is rather high. Feiler’s work during the 1950s saw an

dazzling figures and

evolution from landscape towards complete abstraction. His

landscapes from the 1960s

work from the early 1960s is arguably his most sought after.

might seem at odds with the work of the British

More monochromatic than many of his peers, Feiler relied on

avant-garde of the time,

great surface texture and compositional balance rather than

but while they have a firm

bombastic use of colour. By the mid-1960s Feiler’s work had

grounding in the modernity

become less gestural and more geometric. Our work is from

of Bomberg’s vintage, they

the high water mark of his career, and is one of the best

shimmer with pop art’s

examples currently available. His long career was aptly

energy and irreverence.”

celebrated with a retrospective at Tate St Ives in 2005.

PAUL FEILER British (1915-2013) Pierced Vertical Signed, titled & dated 1963/4 verso Oil on canvas 30 x 32 in / 76 x 81 cm Provenance: Private collection, UK

DOROTHY MEAD

British (1928-1975)

Left: Seated figure Painted in 1967 Oil on canvas 36 x 24 in / 91 x 61 cm Lower right: Life Class Signed & dated 1973 Etching (from an edition of 20) 13 x 9 in / 33 x 23 cm Below: Seated figure Dated April 1963 Gouache on paper 30 x 22 in / 76 x 56 cm

By the mid 1960s Mead was an influential presence at Goldsmith’s College. Despite her deep connection to Bomberg’s teaching, her own style had developed considerably. This did not enable her to escape the stigma that Bomberg’s association brought at the time, but her students (including Waterhouse & Dodd artist, Michael Taylor) remember her as both fiercely supportive of her artists and a passionate advocate of figurative painting at a time when most art schools were moving away from such a practice. The works displayed on this page (all from the estate) show three depictions of the figure; firstly in rather controlled oils, then in more expressive gouache and finally in the reductive style of an etching. All adhere to Bomberg’s doctrine of expressing a presence rather than describing a form, yet all are unmistakably the work of an individual artist, unswayed by contemporary art fashion and practice.

Waterhouse & Dodd have represented the Dorothy Mead estate for two years. In that time we have held a major retrospective exhibition and included a significant number of her works as part of the exhibition ‘Borough: David Bomberg and his students at Borough Polytechnic.’ A review of the latter show by Digby Warde-Aldam of

Paul Feiler is one of the most highly regarded figures

Apollo Magazine notes:

associated with the ‘St Ives Colony’ of artists who

“Best of the lot here is

congregated in the town during and immediately after World

Dorothy Mead, whose

War Two. When one considers that his peers included

tragically premature death

Barbara Hepworth, Ben Nicholson, Patrick Heron and Peter

cut short a career of

Lanyon, one can see that the benchmark for such recognition

staggering promise. Her

is rather high. Feiler’s work during the 1950s saw an

dazzling figures and

evolution from landscape towards complete abstraction. His

landscapes from the 1960s

work from the early 1960s is arguably his most sought after.

might seem at odds with the work of the British

More monochromatic than many of his peers, Feiler relied on

avant-garde of the time,

great surface texture and compositional balance rather than

but while they have a firm

bombastic use of colour. By the mid-1960s Feiler’s work had

grounding in the modernity

become less gestural and more geometric. Our work is from

of Bomberg’s vintage, they

the high water mark of his career, and is one of the best

shimmer with pop art’s

examples currently available. His long career was aptly

energy and irreverence.”

celebrated with a retrospective at Tate St Ives in 2005.

PAUL FEILER British (1915-2013) Pierced Vertical Signed, titled & dated 1963/4 verso Oil on canvas 30 x 32 in / 76 x 81 cm Provenance: Private collection, UK

PETER LOWE British (born 1938) Left: Constructed perspex relief Signed & dated 1966 verso Perspex 40 x 28 x 3.5 in / 102 x 72 x 9 cm Right: Rotation of 2 layers Signed, titled & dated 1968 verso Perspex mounted on board 20 x 20 x 4 in / 50 x 50 x 10 cm Below: White relief 2 Signed & dated circa 1975 verso Painted wood 32 x 32 x 5 in / 81 x 81 x 13 cm Provenance: All artworks direct from the artist

feels that the use of simple guiding principles creates an ‘art for all’ which is the very antithesis of the rather exclusive concept of individual genius as proposed by the Abstract Expressionists. Lowe’s art Peter Lowe was born in Hackney, East London in 1938. His very early work was in a realist manner, but his experiences of studying under Kenneth and Mary Martin at Goldsmith’s College in London had a powerful effect on his development and work.

PETER LOWE British (Born 1938) Triangles in dodecagon

is a rejection of grand and overblown statements, and a return to simplicity and purity. He maintains that an understanding of the systems employed in constructing his work is not necessary to the enjoyment of the piece, although he writes and talks

Signed, titled & dated 2000 verso Oil on canvas 40 x 40 in / 101.5 x 101.5 cm

very eloquently on the subject.

From the early 1960s Lowe rejected figurative art, instead

He is also at pains to stress that without the

producing geometric abstracts in a variety of different media.

As Alistair Grieve has noted: “Scale is important. Though

decisions made by the artist as to the form and the

His compositions were always derived from rational

Lowe has made large, ground based works, most of his reliefs

system, the object would not exist as a work of art.

mathematic systems, invariably very simple yet extremely

are of a modest, domestic scale. They are reassuring objects

Mathematics and geometry are merely tools with

elegant. Lowe made use of modern materials such as Perspex

to live with, beautifully made, precisely ordered, accessible

which to construct an artwork, employed in the

and constantly intriguing.”

same way a portraitist might refer to a sitter to

wall based reliefs – the style for which he is perhaps best

compose an image. Lowe’s work can be found in

known - but he has also produced free standing sculpture,

Despite the use of mathematics and geometry, Lowe rejects

many public collections, not least Tate Britain, The

paintings, drawings and prints.

the notion of his work being cold and detached. In fact, he

Victoria & Albert Museum and The Arts Council.

and well as more traditional media. He has produced many

PETER LOWE British (born 1938) Left: Constructed perspex relief Signed & dated 1966 verso Perspex 40 x 28 x 3.5 in / 102 x 72 x 9 cm Right: Rotation of 2 layers Signed, titled & dated 1968 verso Perspex mounted on board 20 x 20 x 4 in / 50 x 50 x 10 cm Below: White relief 2 Signed & dated circa 1975 verso Painted wood 32 x 32 x 5 in / 81 x 81 x 13 cm Provenance: All artworks direct from the artist

feels that the use of simple guiding principles creates an ‘art for all’ which is the very antithesis of the rather exclusive concept of individual genius as proposed by the Abstract Expressionists. Lowe’s art Peter Lowe was born in Hackney, East London in 1938. His very early work was in a realist manner, but his experiences of studying under Kenneth and Mary Martin at Goldsmith’s College in London had a powerful effect on his development and work.

PETER LOWE British (Born 1938) Triangles in dodecagon

is a rejection of grand and overblown statements, and a return to simplicity and purity. He maintains that an understanding of the systems employed in constructing his work is not necessary to the enjoyment of the piece, although he writes and talks

Signed, titled & dated 2000 verso Oil on canvas 40 x 40 in / 101.5 x 101.5 cm

very eloquently on the subject.

From the early 1960s Lowe rejected figurative art, instead

He is also at pains to stress that without the

producing geometric abstracts in a variety of different media.

As Alistair Grieve has noted: “Scale is important. Though

decisions made by the artist as to the form and the

His compositions were always derived from rational

Lowe has made large, ground based works, most of his reliefs

system, the object would not exist as a work of art.

mathematic systems, invariably very simple yet extremely

are of a modest, domestic scale. They are reassuring objects

Mathematics and geometry are merely tools with

elegant. Lowe made use of modern materials such as Perspex

to live with, beautifully made, precisely ordered, accessible

which to construct an artwork, employed in the

and constantly intriguing.”

same way a portraitist might refer to a sitter to

wall based reliefs – the style for which he is perhaps best

compose an image. Lowe’s work can be found in

known - but he has also produced free standing sculpture,

Despite the use of mathematics and geometry, Lowe rejects

many public collections, not least Tate Britain, The

paintings, drawings and prints.

the notion of his work being cold and detached. In fact, he

Victoria & Albert Museum and The Arts Council.

and well as more traditional media. He has produced many

WATERHOUSE & DODD LONDON |

THE THE

NEW YORK

FINE ART ART FILE FILE FINE Edition 41 2016 Edition 40 Spring 2014

WRITTEN AND PUBLISHED BY

W R I T T E N A N D P U B L I S WATERHOUSE HED BY

WATERHOUSE & DODD

ALEXANDER CALDER

American (1898-1976)

Black stars, 1953

See page 31

PAUL SIGNAC

& DODD

French (1882-1960)

Port d’Antibes, 1917

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