55
§ ANDRÉ BRASILIER (FRENCH 1929-)
In MODERN MADE
1/4
Description
ANDRÉ BRASILIER (FRENCH 1929-)
PIANO À NEW YORK, 2013
signed (lower right), signed, inscribed and dated (to stretcher to reverse), oil on canvas
47cm x 55.5cm (18 ½in x 21 ¾in)
with Opera Gallery, London, from whom acquired by the present owner.
These two paintings by André Brasilier (lots 54 and 55) speak to a number of important themes in the renowned, nonagenarian French artist’s work – nature (here in the form of flowers), music, musicians and the female figure in an interior (usually a stylised ‘portrait’ of his wife and muse Chantal). Chantal is often depicted arranging flowers and the present works are linked by the joyous floral presentations that vie for our attention equally with the figures, to the point that they become counterpart expressions of their emotional state. Rêverie Bleue and Pianiste à New York are painted in Brasilier’s signature soft tones, dominated by blue, which lends them a dreamlike quality and a sensual coolness. Blue was, of course, the colour beloved by Matisse, whose influence on Brasilier is clear and unabashed. He deliberately aims for the romanticism, the lightness of touch of Matisse’s later years on the Côte d’Azur, as well as some of the calme, luxe et volupté of the Post-Impressionists in general – although in Brasilier the luxe et volupté are held in check a little more. There is a quiet restraint to his romanticism, which finds expression in the thin, almost dry application of paint in a work such as Rêverie Bleue. Pianiste à New York has a heavier weighting of paint, a little more luxe appropriate to the energy of the city. Through the inspiration of Matisse and other Post-Impressionists, there is also a strong element of Japonisme to Brasilier’s style – especially in his printmaking, of which he is a master. Like Hokusai or Hiroshige, he plays with clean, sinuous outlines that enclose areas of flat colour, where space and depth are described more by juxtaposing light and dark shapes than through shadow. He also uses the classic ukiyo-e technique of pushing the composition to the edges of the picture plane, with unusual crops, to create the sense of a world glimpsed (although a world that has arranged itself ‘accidentally’ into beautiful proportion and harmony).Brasilier was born in Saumur, France in 1929, into a family of painters. Saumur is on the edge of the countryside, which was to become a lifelong source of inspiration – alongside that of the city, these two seemingly opposite sites of enquiry seamlessly interwoven in his art. Brasilier studied at the Ecole des Beaux-Arts in Paris. In 1952, he received the Florence Blumenthal Award and in 1953 the Prix de Rome, which led him to stay in Italy from 1954 to 1957, before returning to Paris where he still lives and works. Brasilier had his first retrospective at Château de Chenonceau in 1980, with further retrospectives at the Musée Picasso-Château Grimaldi in Antibes in 1988, the State Hermitage Museum in Saint Petersburg in 2005 and the Museum Haus Ludwig für Kunstausstellungen in Saarlois, Germany, in 2007.
PIANO À NEW YORK, 2013
signed (lower right), signed, inscribed and dated (to stretcher to reverse), oil on canvas
47cm x 55.5cm (18 ½in x 21 ¾in)
with Opera Gallery, London, from whom acquired by the present owner.
These two paintings by André Brasilier (lots 54 and 55) speak to a number of important themes in the renowned, nonagenarian French artist’s work – nature (here in the form of flowers), music, musicians and the female figure in an interior (usually a stylised ‘portrait’ of his wife and muse Chantal). Chantal is often depicted arranging flowers and the present works are linked by the joyous floral presentations that vie for our attention equally with the figures, to the point that they become counterpart expressions of their emotional state. Rêverie Bleue and Pianiste à New York are painted in Brasilier’s signature soft tones, dominated by blue, which lends them a dreamlike quality and a sensual coolness. Blue was, of course, the colour beloved by Matisse, whose influence on Brasilier is clear and unabashed. He deliberately aims for the romanticism, the lightness of touch of Matisse’s later years on the Côte d’Azur, as well as some of the calme, luxe et volupté of the Post-Impressionists in general – although in Brasilier the luxe et volupté are held in check a little more. There is a quiet restraint to his romanticism, which finds expression in the thin, almost dry application of paint in a work such as Rêverie Bleue. Pianiste à New York has a heavier weighting of paint, a little more luxe appropriate to the energy of the city. Through the inspiration of Matisse and other Post-Impressionists, there is also a strong element of Japonisme to Brasilier’s style – especially in his printmaking, of which he is a master. Like Hokusai or Hiroshige, he plays with clean, sinuous outlines that enclose areas of flat colour, where space and depth are described more by juxtaposing light and dark shapes than through shadow. He also uses the classic ukiyo-e technique of pushing the composition to the edges of the picture plane, with unusual crops, to create the sense of a world glimpsed (although a world that has arranged itself ‘accidentally’ into beautiful proportion and harmony).Brasilier was born in Saumur, France in 1929, into a family of painters. Saumur is on the edge of the countryside, which was to become a lifelong source of inspiration – alongside that of the city, these two seemingly opposite sites of enquiry seamlessly interwoven in his art. Brasilier studied at the Ecole des Beaux-Arts in Paris. In 1952, he received the Florence Blumenthal Award and in 1953 the Prix de Rome, which led him to stay in Italy from 1954 to 1957, before returning to Paris where he still lives and works. Brasilier had his first retrospective at Château de Chenonceau in 1980, with further retrospectives at the Musée Picasso-Château Grimaldi in Antibes in 1988, the State Hermitage Museum in Saint Petersburg in 2005 and the Museum Haus Ludwig für Kunstausstellungen in Saarlois, Germany, in 2007.
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ANDRÉ BRASILIER (FRENCH 1929-)
PIANO À NEW YORK, 2013
signed (lower right), signed, inscribed and dated (to stretcher to reverse), oil on canvas
47cm x 55.5cm (18 ½in x 21 ¾in)
with Opera Gallery, London, from whom acquired by the present owner.
These two paintings by André Brasilier (lots 54 and 55) speak to a number of important themes in the renowned, nonagenarian French artist’s work – nature (here in the form of flowers), music, musicians and the female figure in an interior (usually a stylised ‘portrait’ of his wife and muse Chantal). Chantal is often depicted arranging flowers and the present works are linked by the joyous floral presentations that vie for our attention equally with the figures, to the point that they become counterpart expressions of their emotional state. Rêverie Bleue and Pianiste à New York are painted in Brasilier’s signature soft tones, dominated by blue, which lends them a dreamlike quality and a sensual coolness. Blue was, of course, the colour beloved by Matisse, whose influence on Brasilier is clear and unabashed. He deliberately aims for the romanticism, the lightness of touch of Matisse’s later years on the Côte d’Azur, as well as some of the calme, luxe et volupté of the Post-Impressionists in general – although in Brasilier the luxe et volupté are held in check a little more. There is a quiet restraint to his romanticism, which finds expression in the thin, almost dry application of paint in a work such as Rêverie Bleue. Pianiste à New York has a heavier weighting of paint, a little more luxe appropriate to the energy of the city. Through the inspiration of Matisse and other Post-Impressionists, there is also a strong element of Japonisme to Brasilier’s style – especially in his printmaking, of which he is a master. Like Hokusai or Hiroshige, he plays with clean, sinuous outlines that enclose areas of flat colour, where space and depth are described more by juxtaposing light and dark shapes than through shadow. He also uses the classic ukiyo-e technique of pushing the composition to the edges of the picture plane, with unusual crops, to create the sense of a world glimpsed (although a world that has arranged itself ‘accidentally’ into beautiful proportion and harmony).Brasilier was born in Saumur, France in 1929, into a family of painters. Saumur is on the edge of the countryside, which was to become a lifelong source of inspiration – alongside that of the city, these two seemingly opposite sites of enquiry seamlessly interwoven in his art. Brasilier studied at the Ecole des Beaux-Arts in Paris. In 1952, he received the Florence Blumenthal Award and in 1953 the Prix de Rome, which led him to stay in Italy from 1954 to 1957, before returning to Paris where he still lives and works. Brasilier had his first retrospective at Château de Chenonceau in 1980, with further retrospectives at the Musée Picasso-Château Grimaldi in Antibes in 1988, the State Hermitage Museum in Saint Petersburg in 2005 and the Museum Haus Ludwig für Kunstausstellungen in Saarlois, Germany, in 2007.
PIANO À NEW YORK, 2013
signed (lower right), signed, inscribed and dated (to stretcher to reverse), oil on canvas
47cm x 55.5cm (18 ½in x 21 ¾in)
with Opera Gallery, London, from whom acquired by the present owner.
These two paintings by André Brasilier (lots 54 and 55) speak to a number of important themes in the renowned, nonagenarian French artist’s work – nature (here in the form of flowers), music, musicians and the female figure in an interior (usually a stylised ‘portrait’ of his wife and muse Chantal). Chantal is often depicted arranging flowers and the present works are linked by the joyous floral presentations that vie for our attention equally with the figures, to the point that they become counterpart expressions of their emotional state. Rêverie Bleue and Pianiste à New York are painted in Brasilier’s signature soft tones, dominated by blue, which lends them a dreamlike quality and a sensual coolness. Blue was, of course, the colour beloved by Matisse, whose influence on Brasilier is clear and unabashed. He deliberately aims for the romanticism, the lightness of touch of Matisse’s later years on the Côte d’Azur, as well as some of the calme, luxe et volupté of the Post-Impressionists in general – although in Brasilier the luxe et volupté are held in check a little more. There is a quiet restraint to his romanticism, which finds expression in the thin, almost dry application of paint in a work such as Rêverie Bleue. Pianiste à New York has a heavier weighting of paint, a little more luxe appropriate to the energy of the city. Through the inspiration of Matisse and other Post-Impressionists, there is also a strong element of Japonisme to Brasilier’s style – especially in his printmaking, of which he is a master. Like Hokusai or Hiroshige, he plays with clean, sinuous outlines that enclose areas of flat colour, where space and depth are described more by juxtaposing light and dark shapes than through shadow. He also uses the classic ukiyo-e technique of pushing the composition to the edges of the picture plane, with unusual crops, to create the sense of a world glimpsed (although a world that has arranged itself ‘accidentally’ into beautiful proportion and harmony).Brasilier was born in Saumur, France in 1929, into a family of painters. Saumur is on the edge of the countryside, which was to become a lifelong source of inspiration – alongside that of the city, these two seemingly opposite sites of enquiry seamlessly interwoven in his art. Brasilier studied at the Ecole des Beaux-Arts in Paris. In 1952, he received the Florence Blumenthal Award and in 1953 the Prix de Rome, which led him to stay in Italy from 1954 to 1957, before returning to Paris where he still lives and works. Brasilier had his first retrospective at Château de Chenonceau in 1980, with further retrospectives at the Musée Picasso-Château Grimaldi in Antibes in 1988, the State Hermitage Museum in Saint Petersburg in 2005 and the Museum Haus Ludwig für Kunstausstellungen in Saarlois, Germany, in 2007.
MODERN MADE
Sale Date(s)
Lots: 1-79
Lots: 80-444
Venue Address
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SW1Y 5AS
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COLLECTION OF PURCHASED LOTS
Items will be available for collection from the Mall Galleries on Saturday 2nd November 10am - 3:30pm.
Following this, the works will be divided, with works belonging to Scottish buyers/vendors being stored at Lyon & Turnbull, 33 Broughton Place, Edinburgh EH1 3RR, and works belonging to international or rest-of-UK buyers/vendors moving to Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am-5pm by prior appointment only.
Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our office - details will be shown on your invoice. Please note we are unable to take payments over the phone, and we are unable to accept payments in cash.
LONDON LOT COLLECTION
Items will be available for collection from the Mall Galleries on Saturday 2nd November 10am - 3:30pm.
Following this, items will be available to collect from Wednesday 6th November at 9am from Stephen Morris Shipping,
15 Ockham Drive,
Greenford, UB6 0FD.
Tel 0208 832 2222
They will be stored free of charge until Wednesday 20th November. From Thursday 21st November, clients will be charged by our storage partners. Insurance 0.25% (all items) | Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.
EDINBURGH LOT COLLECTION
Scottish buyers and vendors items will be available to collect from Thursday 14th November at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book appointments by email at info@lyonandturnbull.com or telephone 0131 557 8844.
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Important Information
BUYER’S PREMIUM
The buyer shall pay the hammer price together with a premium, at the following rate, thereon:
26% up to £20,000
25% from £20,001 to £500,000
20% thereafter.
VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
ADDITIONAL VAT
† VAT at the standard rate payable on the hammer price
‡ Reduced rate of 5% import VAT payable on the hammer price
Ω Standard rate of import VAT on the hammer price
Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.
No VAT is payable on the hammer price or premium for books bought at auction.
DROIT DE SUITE
§ indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than £1,000. The charge for works of art sold at and above £1,000 and below £50,000 is 4%. For items selling above £50,000, charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT.
More information on Droit de Suite is available at www.dacs.org.uk
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CATALOGUE DESCRIPTIONS
All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
IMPORT/EXPORT
Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.
ENDANGERED SPECIES
Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites
COLLECTION OF PURCHASED LOTS
Items will be available for collection from the Mall Galleries on Saturday 2nd November 10am - 3:30pm.
Following this, the works will be divided, with works belonging to Scottish buyers/vendors being stored at Lyon & Turnbull, 33 Broughton Place, Edinburgh EH1 3RR, and works belonging to international or rest-of-UK buyers/vendors moving to Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am-5pm by prior appointment only.
Please ensure payment has been made prior to collection. This can be done online, by cheque, bank transfer or in person at our office - details will be shown on your invoice. Please note we are unable to take payments over the phone, and we are unable to accept payments in cash.
LONDON LOT COLLECTION
Items will be available for collection from the Mall Galleries on Saturday 2nd November 10am - 3:30pm.
Following this, items will be available to collect from Wednesday 6th November at 9am from Stephen Morris Shipping,
15 Ockham Drive,
Greenford, UB6 0FD.
Tel 0208 832 2222
They will be stored free of charge until Wednesday 20th November. From Thursday 21st November, clients will be charged by our storage partners. Insurance 0.25% (all items) | Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day. Large or furniture pieces - £5.50 admin fee then £2.50 per day. Stephen Morris Shipping, 15 Ockham Drive, Greenford, UB6 0FD. Tel 0208 832 2222. Open 9am – 5pm by prior appointment only.
EDINBURGH LOT COLLECTION
Scottish buyers and vendors items will be available to collect from Thursday 14th November at 9am from Lyon & Turnbull, 33 Broughton Place Edinburgh EH1 3RR. All collections must be by appointment only (this applies to both carriers and personal collections). Please book appointments by email at info@lyonandturnbull.com or telephone 0131 557 8844.
Terms & Conditions
UK - Conditions Of Sale For Buyers
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.
In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer.
Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (
