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Click here to subscribeMatisse (Henri) Jazz, original black cloth, dust-jacket, rubbed at extremities, a couple of tears to lower panel edges, New York, 1983 § Avedon (Richard) and Truman Capote. Observations, photographic illustrations, original white glazed boards, light spotting to upper cover edges, rubbing to hinges and spine ends, New York, 1959, light water-staining to spines; and 4 others, similar, 4to and folio (6)
Louis Valtat, 1869 Dieppe – 1952 ParisLE QUAIS À BERCY – 1894Öl auf Leinwand.46 x 55 cm.Rechts unten monogrammiert.Der französische Maler wird dem Kreis der Fauves zugeordnet und zählt zu den bedeutenden Neuerern der Kunst des 20. Jahrhunderts. Das Gemälde entstand in der Blütezeit seines Schaffens. Trotz der für damals ungewöhnlichen Farbwahl strahlt die Komposition Ruhe aus. 1888 trat Valtat in Paris in die Acadèmie Julian ein, um daraufhin im Atelier von Gustave Moreau kurzzeitig zu wirken. Zusammen mit Toulouse-Lautrec war er an der Fertigung von Bühnenbildern für „Le Chariot de terre coute“ am Théâtre de l´Oeuvre beschäftigt. Ab 1903 regte sich im Salon d´Automne bereits eine Bewegung gegen diese Art der Moderne, jene Fauves genannte Gruppierung, die im „Saal der Wilden“ einen Skandal ausgelöst hatten. Mit Beginn des Weltkrieges zog Valtat für immer nach Paris. Bereits jener Vertrag, den er 1900 mit dem bedeutenden Verleger und Kunsthändler Ambroise Vollard geschlossen hatte, und der bis 1912 gültig war, sorgte dafür, dass Bilder seiner Hand in große und bedeutende Sammlungen kamen. Der namhafte russische Kunstmäzen Iwan Abramowitsch Morosow etwa erwarb für seine Sammlung etliche Werke Valtats. 1948 erblindet, musste der Maler seine Tätigkeit einstellen. Werke seiner Hand befinden sich u. a. im: Musée du Petit Palais, Genf sowie in der Stiftung Oscar Ghez, Genf.Der Künstler wurde bereits im Alter von 17 Jahren Mitglied der École des Beaux-Arts und studierte zusammen mit Malern wie Gustave Boulanger (1824-1888) und Jules Joseph Lefebvre (1836-1911/12). Zahlreiche zeitgenössische Künstler beeinflussten ihn, wie Henri Matisse (1869-1954), Jean Édouard Vuillard (1868-1940), Pierre Bonnard (1867-1947) und besonders Pierre-Auguste Renoir (1841-1919), mit dem ihn eine lebenslange Freundschaft verband. Seine Werke sind in bedeutenden Sammlungen der ganzen Welt zu sehen, etwa im Metropolitan Museum of Art, New York und in der Eremitage, Sankt Petersburg.Literatur:Vgl. Ulrich Schneider, Valtat, Louis, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker (AKL), Bd. 112, Berlin 2021.Vgl. Jean-Louis Ferrier, Fauvismus – Die Wilden in Paris, Paris 1992.Vgl. Raymond Cogniat, Lous Valtat, Neuchatel. (1391772) (11)Louis Valtat,1869 Dieppe – 1952 ParisLE QUAIS À BERCY – 1894Oil on canvas.46 x 55 cm.Monogrammed lower right.
Yvonne Canu (French, 1921-2008). Oil on canvas painting titled "St. Tropez" depicting ships in a harbor in pastel pointillism. Signed along the lower right; further signed and titled along the verso.Provenance: Private Minnesota Collection.Lot Essay:Yvonne Canu spent her early years in Morocco before attending the Ecole des Arts Decoratifs in Paris. After serving as a military nurse in World War II, she returned to Paris to join the group of Montmartre artists including Francois Gall, Elisee Maclet, and Tsuguharu Fouijta. Additionally, she studied at the Acadmie de la Grand Chaumiere alongside Ossip Zadkine. While she studied plein-air landscape painting, impressionism, and cubism, her greatest influence would prove to be Georges Seurat. From 1955 onwards she devoted her works to Pointillism.Following the steps of Paul Signac, she moved to St. Tropez where she found inspiration just as Matisse, Bonnard, and Marquet had. While she occasionally visited Paris as well as other Mediterranean ports, she spent the majority of the remainder of her life painting in St. Tropez.Unframed; height: 18 in x width: 21 3/4 in. Framed; height: 24 3/4 in x width: 28 1/4 in.
• HENRIK INGVAR SØRENSEN (NORWEGIAN 1882-1962) PORTRAIT OF THE ARTIST MICHALOFF WIGDEHLsigned with monogram, dedicated Tu HØ and dated 09 lower right; bears the inscription Michaloff Wigdehl / Tegning av / Henrik Soørensen / 1909 on a label stuck to the backboard black chalk on buff paper21.5 x 15cm; 8 1/2 x 6in 45 x 39cm; 17 3/4 x 15 1/4in (framed)Property of a Private CollectionProvenanceMadeleine Thomas, Oslo (a gift from the artist in the 1950s)By descent from the above to the present owner It has been suggested that Sørensen's inscription Tu HØ above his monogram is most likely a dedication to his fellow painter Hans Ødegaard (Norwegian 1876-1943). The two painters were close; a portrait in oil by Ødegaard of Sørensen is in the National Museum, Oslo.Sørensen's sitter in the present work is the painter Michaloff Wigdehl (Norwegian1856-1921), who grew up in Gildeskål on the remote west coast of Norway, midway between Tromsøe and Trondheim. In the 1890s he attended the Royal Drawing School in Kristiania (modern day Oslo), was taught by Harriet Backer (1898-1901) and befriended Nicolai Astrup (1880-1928). A pupil of Lauritz Tuxen in Copenhagen 1904-05, he visited Berlin, returning thereafter to settle back in Gildeskål. His work is in the Rasmus Meyer Collection, Bergen and the National Gallery, Oslo.Henrik Sørensen was twenty-five years Wigdehl's junior. He studied in Kristiania, Copenhagen and in Paris, first at the Académie Colarossi and subsequently with Matisse (1908-10) alongside Alf Lundeby (see lot 208). He first came to public attention when his painting Varietéartist was purchased by the influential Swedish painter, collector and socialite Prince Eugen. His work is in the National Gallery, Olso and a large wall mural by him is in Oslo City Hall. offered for sale without reserve
• ALF LUNDEBY (NORWEGIAN 1870-1961) SELF PORTRAIT signed Alf Lundeby lower rightoil on canvas39 x31cm; 15 1/4 x 12 1/4in (unframed)Property of a Private CollectionProvenanceMadeleine Thomas, Oslo (a gift from the artist in the 1950s)By descent from the above to the present owner Lundeby grew up in Solør to the north east of Kristiania (modern-day Olso), studied with Harriet backer (1896-97) and travelled in his late 'twenties through Germany and Italy, visiting Munich, Florence, Rome and Siena before wintering in Rome. In 1909 he studied with Matisse in Paris alongside fellow Norwegian painters Axel Revold (1887-1962) and Henrik Sørensen (see lot 201). But it was Italy that drew him back to paint time and again, visiting and staying for extended periods, often years at a time, on at least six different occasions between 1923 and 1952. In Italy he completed his most celebrated works, including From the Palantine (1898) and View towards the Palantine (1899), both in the National Museum, Oslo. Other examples of his work are in public collections in Bergen and Lillehammer. offered for sale without reserve
LAWRENCE (D.H.)Bay. A Book of Poems, FIRST EDITION, ONE OF 30 COPIES PRINTED ON JAPANESE VELLUM AND SIGNED BY THE AUTHOR AND ILLUSTRATOR on the half-title, from an overall edition of 200, this copy not numbered, 10 woodcut illustrations (of which 6 hand-coloured) by Anne Estelle Rice, publisher's vellum-backed patterned boards designed by Rice, gilt lettered on spine [Roberts A12c], 8vo, [Printed by Hand at the Press of C.W. Beaumont, 1919]Footnotes:ONE OF THIRTY COPIES SIGNED BY THE AUTHOR. The poems in Bay 'comprise the greater part of Lawrence's literary reaction to the war... Bay was the first of many Lawrence books to be issued in an expensive format from a private press... [it was] illustrated by Anne Estelle Rice, an American, who Lawrence said, belonged to the 'Matisse' crowd in Paris' (Roberts).Provenance: Anne Estelle Rice; thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Six framed prints, comprising after Henri Matisse The Goldfish, 61cm x 41cm, after Russo, The Walk, 43.5cm x 53.5cm, after Renoir, The Artist's Son, 43cm x 54cm, after Matisse Utrillo Christmas in Montmartre, 35cm x 44.5cm, Edouard Manet, A Bar at the Folies Bergere, 34cm x 77cm, and after Rembrandt, A Girl with a Broom, 64.5cm x 55cm, each in painted white frame. (6)
HENRI MATISSEVerve. 3 Hefte der Reihe. Paris 1940- 48. 35,5 x 26,5 cm. Mit zus. 6 OrFarblithos von Matisse. OrPp. mit illustr. OrUmschlägen.(Umschl. mit l. Bereibungen, t. l. Gebrauchsspuren, Gelenke meist gelockert.)1) Vol. II, N° 8. Paris 1940. Mit 1 OrFarbLitho auf dem Umschl. von H. Matisse sowie 1 doppelblattgr. OrFarbLitho von P. Bonnard. 2) Vol. IV, N° 13. De la couleur. Paris 1945. Mit 3 OrLithos (inkl. Titel und Umschl.) von H. Matisse sowie zahlr. Abb. 56 SS. 3) Vol. VI, N° 21 et 22. (in 1 Bd.). Vence 1944-48 u. Paris 1948. Mit 2 OrFarblithos (1 Umschl., 1 Frontispiz) von H. Matisse und zahlr. farb. Abb.
WELTAUSSTELLUNG PARIS 1937Paris: J.-G. Daragnès 1937. 34,6 x 27 cm. Mit 62 (31 ganzs.) OrRadierungen von A. Derain, R. Dufy, M. Gromaire, J. Laboureur, A. Lhote, H. Matisse, A. Dunoyer de Segonzac, M. de Vlaminck, E. Vuillard u. a. 10 Bll., 294 SS., 3 Bll. Lose Bogen in illustr. OrUmschlag und OrPp.-Kassette.(Kassette an Kanten und Ecken berieben und leicht gebrauchsfleckig. Innen stellenweise minimal stockfleckig und leicht gebräunt.)Nr. 11 von 300 Ex. (GA 500). Monod 8849. Vgl. The Artist and the Book 319. - Die ersten 200 Exemplare wurden von der Stadt Paris an die Teilnehmerländer der Weltausstellung verschenkt, so auch dieses Exemplar. - Enthält den Erstabdruck der berühmten Radierung Vuillards „Le Square Ventimille“. Außerdem im Erstdruck Texte von P. Valéry, R. Escholier, A. Suarès u. a.
MOURLOT PRESSPrints from the Mourlot Press. Exhibition in the Smithonian Institution 1964-65. Paris: Imprimerie Nationale, Mourlot 1964. 30 x 22 cm. Mit 19 meist farb. OrLithos. OrPp. in illustr. OrUmschlag.(Umschlag gering fleckig, einzelne Textblätter wenig altersfleckig.)1 von 2000 Ex. (GA 2200). Mit OrGraphiken v. Chagall, Beaudin, Calder, Cathelin, Cocteau, Estève, Giacometti, Matisse, Menessier, Miró, Picasso, etc.
FERNAND MOURLOTSouvenirs et portraits d’artistes. Jacques Prévert: Le coeur á l’ouvrage. Paris/New York: Mazo/Amiel 1972. 32,3 x 25,3 cm. Mit 25 (19 farb., 1 doppelblattgr.) OrLithographien verschiedener Künstler. 245 SS., 1 nn. S., 3 Bll. Lose Bogen in OrUmschlag und OrLn.-Kassette mit Rt.(Kassette gering berieben und gebräunt. Umschlag gering gebräunt. Die Lithographien meist mit Abklatsch. Minimal gebräunt.)Eines von 800 Ex. auf Vélin d'Arches. Sauberes Exemplar des Freundschaftsbuches der bedeutendsten französischen lithographischen Anstalt des 20. Jahrhunderts. - Mit OrLithographien von Maurice Brianchon (L’Arlequin), André Masson (Le départ), André Beaudin (Feuilles évadées), Apel·les Fenosa (Tramontane), Maurice Estève (Alalito), Henri Matisse (Studie für das Buch „La Religieuse Portugaise“), Paul Guiramand (Intérieur), Kostia Terechkovitch (Cavalier tunisien), Georges Braque (Profil de femme [M. 25]), André Derain (Buste de femme [1950]), Pablo Picasso (Le seigneur et la dame [M. 322]), Paul Jenkins (Composition pour Eric; doppelblattgr.), Joan Miró (Jaille du calcaire), Jean Cocteau (Manuscrit), André Minaux (La femme et l’oiseau), Jacques Villon (Portrait d’une jeune fille), Marc Chagall (Bouquet pour Fernand), Giacometti (Fleurs), Bernard Buffet (Les ombelles), Paul Wunderlich (Torso sur une pierre bleue), Paul Delvaux (Confidences), Victor Vasarely (Beryll), Alfred Manessier (La tache rouge), Charles Lapicque (Le chant des oiseaux) und Graham Sutherland (Hybrid).
Edvard Frank1909 Korschenbroich/Rheinland - 1972 Saarlouis - Zwei weibliche Akte - Farbige Kreiden/Papier. 38 x 31 cm. Rückseitig mit weiteren Skizzen und Nachlass-Stempel des Künstlers. Passepartout. Voll ansichtig unter Glas gerahmt. Leichte Randmängel. Frank machte seine Ausbildung an der Kunstgewerbeschule in Trier bei Prof. A. Trümper und wurde nach seinem Abschluss an der Akademie in Berlin bei Karl Hofer zugelassen. Später trat er mehreren Künstlervereinigungen bei. Frank wurde von Vertretern der Klassischen Moderne, wie z.B. Matisse oder den Brücke-Malern, stark beeinflusst.
Edvard Frank1909 Korschenbroich/Rheinland - 1972 Saarlouis - Weiblicher Akt und zwei Frauen - Tusche und Aquarell/Papier. 32 x 22,5 cm (Passepartoutausschnitt). Rückseitig mit dem Stempel: Nachlaß / Edvard Frank (...) / Sammlung Hellenbrand-Frank. Passepartout. Unter Glas gerahmt. Frank machte seine Ausbildung an der Kunstgewerbeschule in Trier bei Prof. A. Trümper und wurde nach seinem Abschluss an der Akademie in Berlin bei Karl Hofer zugelassen. Später trat er mehreren Künstlervereinigungen bei. Frank wurde von Vertretern der Klassischen Moderne, wie z.B. Matisse oder den Brücke-Malern, stark beeinflusst.
‡ SAMUEL JOHN PEPLOE (SCOTTISH 1871-1935) CASSIS, LOOKING INLAND Oil on panel Signed (lower left) 32 x 41cm (12½ x 16 in.)Painted circa 1913.Provenance: Lefevre Gallery, London Acquired from the above circa 1950 and thence by descent to the present ownerPeploe had firmly established himself on the Scottish art scene in the early years of the twentieth century with his traditional Edwardian style of painting. He found success with a series of carefully observed interiors, still lives, portraits and landscapes. However, regular trips to northern France and Paris from the mid-1900s saw him come into contact with the likes of Matisse and Picasso and the latest artistic trends that avant garde Paris had to offer. He began to adopt a bolder, more vibrant palette, influenced by the art of Vincent Van Gogh, the Fauves and their raw expressionism, he pared down his compositions to the barest, yet most striking elements - the black line contrasted with the brightest, richest colours. This new department was not approved of by his usual Edinburgh dealers who refused to exhibit Peploe's new paintings on his return in 1912. It was one year later that Peploe visited the bustling harbour town of Cassis in the south of France. It was to be the first of many trips and prove instrumental in the development of the artist's mature style. Like so many before and after him, Peploe was enraptured by the iridescent light of the region, the sparkling seas and sun-drenched hills. The colourist journey begun by the Fauves ten years earlier now encompassed a new group of painters who would go on to be known collectively as the Scottish Colourists. This tight-knit group comprised Peploe along with Francis Cadell, Leslie Hunter and J.D. Fergusson and they were Scotland's first Modernists.The present work was most probably painted during Peploe's first trip to Cassis in the summer of 1913. He had been invited by J.D. Fergusson and the American artist and illustrator Anne Estelle Rice. Whilst he produced many views of the port at Cassis, he was also fascinated by the area around the town with its wooded hills and jumble of typically Mediterranean tiled houses. Cassis Looking Inland is one such example with the salmon pink rooftops juxtaposed by lemon-yellow highlights and Peploe's quintessential bold black outlines. Condition Report: Light surface dirt throughout. Some rubbing, very light scuffs and marks to the edges. Inspection under UV reveals some associated retouching to the edges. Couple of small dark marks to the upper and lower left corners. Otherwise appears to be in good original condition. Condition Report Disclaimer
Joan Miro (1893-1983)Cartones (Mourlot 385)Lithograph printed in colours, 1965, signed in pencil, numbered from the edition of 75, printed by Mourlot, published by Pierre Matisse Éditeur, Paris, on the occasion of the artist's exhibition, on Arches wove paper, with full margins, sheet 545 x 705mm (21 1/2 x 27 3/4in)
Henri Matisse (1869-1954)Pasiphaé (Duthuit 38 bis)The incomplete set of eleven linocuts, 1981, each numbered from the edition of 100 in pencil, printed by Fequet et Baudier, Paris, with the artist's blindstamp, on BFK Rives paper, with the title page, each with full margins, each 318 x 250mm (12 1/2 x 9 7/8in)
MIRO JOAN: (1893-1983) Spanish painter. An excellent, lengthy and early A.L.S., Miro, three pages, 4to, Barcelona, 7th April 1934, to [Christian] Zervos, in French. Miro states that he has received his correspondent's letter, article and photograph, explaining that he did not answer sooner 'parce que j'ai du me rendrer a Montrois pour verifier d'apres le dessins.....les dates exactes, et vous donner de la facon la plus exacte possible, les renseignments que vous m'aviez demande a Paris' (Translation: 'because I had to go to Montrois to check according to the drawings….the exact dates, and to give you in the most exact way possible, the information that you had asked me for in Paris') and continuing to write concerning Zervos's article, and offering some advice, 'Votre article est tres, tres bien, vous avez tres bien compris mes inquietudes, il est en meme temps ecrit avec un grand courage. Je l'ai lu maintes fois attentivement et en suis tres emu. Vous en remercie de tout Coeur. Il faudrait toutefois rectifer, quelques dates, il m'etait tres difficile de les preciser lors de notre entretien chez vous. J'estime que ces donnees doivent etre tres exacter, d'autant plus qu'elles seront repandues a l'etranger, ou l'on se servira de ce numero de "Cahiers d'Art" lorsque l'on voudra ecrire quelque chose d'important sur moi. a) J'ai commence l'etude de la peinture a l'age de 14 ans, mon premier professeur a ete Urgell, et plus tard Pasco. b) Je cesse de peindre de 1910 a 1912 - a partir de cette date je m'adonne entierement a la peinture et frequente a Barcelone certaines academies etc. et passe mes vacances a Montrois, je frequente les academies jusqu'a 1914, et desormais je travaillerai seul. c) arrive a Paris pour le premiere fois en mars 1919, et c'est a partir de cette date que je travaille tantot a Barcelone tantot a Montrois, tantot a Paris. d) qouique la plupart de reproductions n'auront pas de titre, il ne faudrait cependant pas negliger d'en mettre a celles que vous citez dans votre article et aux plus representatives pour mieux le comprendre. e) ces tableaux ont ete faits l'hiver et le printemps 1933. f) Je trouve aussi que c'est mieux que vous supprimiez ce passage. Comme vous voyez toutes les rectifications sont tres necessaires et tres importantes, je vous demande de faire l'impossible pour y etre a temps' (Translation: 'Your article is very, very good, you have understood my concerns very well, it is at the same time written with great courage. I have read it carefully many times and am very moved by it. Thank you wholeheartedly. However, it would be necessary to rectify a few dates, it was very difficult for me to specify them during our interview with you. I consider that this information must be very exact, especially since they will be spread abroad, where people will use this number of “Cahiers d'Art” when they want to write something important about me. a) I started studying painting at the age of 14, my first teacher was Urgell, and later Pasco. b) I stop painting from 1910 to 1912 - from this date I devote myself entirely to painting and attend certain academies etc. in Barcelona and spend my holidays in Montrois. I attended the academies until 1914 and from then on I would work alone. c) arrived in Paris for the first time in March 1919, and it was from this date that I worked sometimes in Barcelona, sometimes in Montrois, sometimes in Paris. d) although most of the reproductions will not have a title, you should not neglect to put one to those you quote in your article and to the most representative ones to better understand it. e) these paintings were made in the winter and spring of 1933. f) I also think it is better that you delete this passage. As you see all the corrections are very necessary and very important, I ask you to do the impossible to there in time'). Miro also asks his correspondent if they have decided to go ahead with an exhibition, and to let him know the exact date of the opening as soon as they know it, and further enquiring if invitations will be sent, in which case Miro will provide some addresses, additionally writing 'J'ai reflechi a ce que votre femme me demande d'apporter de nouveaux tableaux. Il me semble que cette nouvelle serie faudrait la montrer ensemble, ce serait une erreur que d'en exposer quelques specimens au prealable. Ce qui serait peut-etre tres bien, ce que, du moment ou "Cahiers d'Art" est consacre a toute mon oeuvre, vous exposiez aussi, dans une piece a part quelques toiles anciennes. En etant fait simultanement a l'apparition de "Cahiers d'Art" cela n'aura nullement l'air d'une retrospective, qu'il faut a tout prix eviter.......ca restera tres intime et n'aura pas l'air pretentieux d'une exposition rue de la Boetie. Et suivrait en meme temps la trajectoire qui se termine en 1933' (Translation: 'I thought about your wife asking me to bring new paintings. It seems to me that this new series should be shown together, it would be a mistake to exhibit a few specimens beforehand. What would perhaps be very good, since “Cahiers d'Art” is devoted to all my work, you also exhibit, in a separate room, a few old paintings. By being done simultaneously with the appearance of “Cahiers d'Art” it will in no way seem like a retrospective, which must be avoided at all costs….it will remain very intimate and will not have the pretentious air of an exhibition on rue de la Boetie. And at the same time it would follow the trajectory which ends in 1933'). Miro concludes by asking if Zervos has seen Pierre Matisse, explaining 'Je lui ai ecrit deux lettres en reponse a la sienne ou'il me faisait part de l'accord avec [Henri] Matisse et il ne m'a point repondu. Je lui demandais s'il m'autorisait a ecrire a Matisse pour lui demander de s'entendre avec lui pour les mensualites de maniere a ce que ce fut Pierre qui ces versat en toute sa totalite. Je crois que du moment ou Pierre est, pour ainsi dire, le marchand officiel, pourrait trouver des moyens pour regler les mensualites…..' (Translation: 'I wrote him two letters in response to his where he informed me of the agreement with [Henri] Matisse and he did not answer me. I asked him if he would authorise me to write to Matisse to ask him to come to an agreement with him for the monthly payments so that it was Pierre who would pay them in full. I believe that since Pierre is, so to speak, the official merchant, he could find ways to settle the monthly payments….'). A letter of fine content. Some very light, extremely minor age wear, VGChristian Zervos (1889-1970) Greek-French art historian, critic, collector, writer and publisher who founded the magazine Cahiers d'art and also ran an art gallery.Pierre Matisse (1900-1989) French-American art dealer, the youngest child of Henri Matisse. The Pierre Matisse Gallery was opened in New York in 1931 and represented many European artists including Miro, Marc Chagall, Alberto Giacometti and Jean Dubuffet amongst others.
DERAIN ANDRE: (1880-1954) French Painter and Sculptor. Co-founder with Matisse of the Fauvism. A good A.L.S., `A. Derain´, one page, small 4to, Paris, 10th, n.d., in French. Derain refers to one of his paintings and explains the situation stating `Je ne me rappelle pas très bien de la toile dont vous me parlez, je l ai vu chez Carco mais comme j´en ai plusieures de cet endroit je ne sais pas au juste laquelle d´entre ces toiles la votre se trouve être. Il faudrait que je l´ai sous les yeux un instant seulement pour vous donner une réponse très précise´ (Translation: ''I don't remember very well the painting you're talking about, I saw it at Carco´s home but as I have several from that place I don't know exactly which of these paintings yours happens to be. I would have to have it in front of me for just a moment to give you a very precise answer...'') Borders very slightly uneven with little age wear to the bottom edge, otherwise GFrancis Carco (1886-1958) French Author.
MATISSE HENRI: (1869-1954) French artist. A.L.S., H. Matisse, one page, 4to, n.p., 14th November 1946, to a female friend ('Chere Madame et amie'), in French. Matisse sends his correspondent two invitations (no longer present) and continues to remark 'Vous y verrez que la seance sera tres interessante. Je souhaite que vous puissiez remettre votre rendez-vous pour y assister. Merci encore pour la peine que vous avez prise en m'envoyant les adresses' (Translation: 'You'll find the session very interesting. I hope that you will be able to reschedule your appointment to attend. Thank you again for the trouble you took in sending me the addresses'). Some very light, extremely minimal age wear, VG
Duncan Grant, British 1885-1978 - Parrot Tulips, c.1957; oil on board, signed lower right 'Duncan Grant', 56 x 38.4 cm (ARR) Provenance: with The Leicester Galleries, London (according to the label attached to the reverse); J. C. Greer, purchased from the above c.1957 (according to the label attached to the reverse); the Collection of Bernard Sheridan (1927-2007) and thence by descent Exhibited: The Leicester Galleries, London, 'Duncan Grant', 1st May 1957, no.37 (according to the label attached to the reverse) Note: this work was likely completed at Grant's home in Charleston, with a nude painting by the artist in the background. Grant used this compositional device of placing a still life in front of an image of a nude throughout his career, for example 'Mimosa, 1930' and 'Still Life with Matisse, 1971'. The wilting tulips echo the folds of the nude, creating a natural rhythmic quality to the work. The late 50s were important for the artist as a large retrospective of his work was held at the Tate in 1959. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.
Rolf Müller-Landau, Nest, Monotypie, gerahmtRolf Müller-Landau, 1903 Kia Ying Chow - 1956 Bad Bergzabern, Zwei Vögel im Nest, Monotypie, ca. 44 x 53 cm, unter P.p. und Glas gerahmtZum Künstler: Mitbegründer der Pfälzischen Sezession. 1922-29 Studium an der Staatlichen Akademie der Bildenden Künste Karlsruhe. Nach 1945 beeinflusste Rolf Müller-Landau zunehmend die bisher in Deutschland schwer zugängliche Kunst Frankreichs - vor allem die von Georges Braque, Paul Cézanne, Henri Matisse und Pablo Picasso - und sein Schaffen erreichte eine überregionale Anerkennung. Besonders hervorzuheben sind seine Farbschnittmonotypien, eine von ihm entwickelte Drucktechnik: Auf hauchdünnem chinesischem Reispapier wurden handbemalte Holz- und Linolschnitte gedruckt. Rolf Müller-Landau gelang damit eine Verschmelzung von Malerei und Druckgraphik. Jede einzelne Farbschnittmonotypie wurde so zu einem Unikat.
Hans Purrmann, Stehender weiblicher Akt, Ölgemälde von 1914, gerahmtHans Marsilius Purrmann, 1880 Speyer - 1966 Basel, deutscher Maler und Grafiker, hier S-förmig geschwungener stehender weiblicher Akt, die Arme vor der Brust verschränkt, die hellen Töne des Körpers sind vor einer Wand mit dunkelblauen Schattentönen im Kontrast gestellt, Öl/Lw., 81 x 66 cm, rechts unten signiert, kleine Retusche in der linken unteren Ecke, ansprechend gerahmt. Das Werk ist u.a. abgebildet in: Edmund Hausen, Der Maler Hans Purrmann, Berlin 1950, S. 20; WVZ Billeter 1914/01.Provenienz: Nachlass Barbara Göpel, München (wohl vom Künstler erworben)Das Gemälde war mehrfach ausgestellt: Hans Purrmann. Kaiserslautern, Pfälzische Landesgewerbeanstalt, u. a. O., 1950, Kat.-Nr. 11 / Hans Purrmann. München, Haus der Kunst, 1962, Kat.-Nr. 12 / Hans Purrmann (1880-1966) zum 100. Geburtstag. Langenargen, Museum Langenargen, 1980, Kat.-Nr. 12 / Hans Purrmann. Stilleben, Akte, Interieurs. Speyer/Lindau, 1990, Kunstverein Speyer, Kat.-Nr. 19.Zum Künstler: Hans Purrmann studierte ab 1897 an der Akademie der Bildenden Künste in München bei Franz von Stuck. Dort lernte er unter anderen Paul Klee, Wassily Kandinsky und Albert Weisgerber kennen. Mit dem letzteren verband ihn eine herzliche Freundschaft. 1905 ging Purrmann für ein halbes Jahr nach Berlin, wo er auf Vorschlag Max Liebermanns in die Berliner Secession aufgenommen wurde. Fortan vertrat Paul Cassirer sein Werk. Trotz dieser Erfolge zog es ihn 1906 nach Paris, wo er bald zum Kreis der „Domiers“, so genannt nach ihrem Stamm-Café du Dôme, gruppiert um den Kunstmäzen Wilhelm Uhde. Im Haus Gertrude Steins machte er die Bekanntschaft mit Pablo Picasso und Henri Matisse. Mit diesem baute er die „Académie Matisse“ auf. Nach der Machtergreifung Hitlers wurde Purrmanns Kunst als „entartet“ geächtet.
Rolf Müller-Landau, Wirtshaus, großes kubistisches Ölgemälde um 1950, im originalen KünstlerrahmenRolf Müller-Landau, 1903 Kia Ying Chow - 1956 Bad Bergzabern, Kubistisch geprägte Figurenkomposition, um einen Wirtshaustisch sitzt eine 6 köpfige Männergruppe bei einem geselligen Trinkgelage, auf der rechten Seite steht die Wirtin, Öl/Platte, 51,5 x 91 cm, mit Rahmen 85 x 127cm, rechts unten monogrammiert, im originalen Künstlerrahmen, Provenienz: aus dem Familienbesitz des Künstlers.Zum Künstler: Nach 1945 beeinflusste Rolf Müller-Landau zunehmend die bisher in Deutschland schwer zugängliche Kunst Frankreichs - vor allem die von Georges Braque, Paul Cézanne, Henri Matisse und Pablo Picasso - und sein Schaffen erreichte eine überregionale Anerkennung. "Sein figurativ geprägtes Werk veränderte sich in der Folge entscheidend. Er entwickelte seine charakteristische abstrakte Formensprache, die weiterhin dem Gegenstand verpflichtet blieb und ihm überregionale Anerkennung einbrachte. Ob die Landschaft der Provence oder Figurenkompositionen, alles scheint in geometrischen Elementen aufgelöst." (Rolf-mueller-landau.de)
Sehr gepflegte Sammlung von 20 meist lithographischen Ausstellungsplakaten & LithographienPicasso at Pace Columbus 1978, Nicola de Maria 1988, Henri Matisse, Christo and Jean Claude The Gates, Nevelson at Pace Columbus in Gold & Silber von 1977, 3 x Joan Miró, Josep Guinovart 1990, Pere Jaune 1987, Joan Ponc, Alfons Borell 1991, Ella Fort, Gerardo Delgado sign. Lithographie 80/180 & Galeria Joan Prats, Mara Tran Long Frauenakt große sign. Farblitho 32/300 u.a.
Rolf Müller-Landau, "Häuser am Fluss", Ölgemälde 1948/49, in Originalrahmung aus alter Pfälzer SammlungRolf Müller-Landau, 1903 Kia Ying Chow - 1956 Bad Bergzabern, hier: Blick durch Bäume auf einen Fluss und dahinterliegende Gebäude, Öl/ Lw., 66 x 80 cm, l. u. sign., verso auf altem Klebezettel Künstler- Stempel und handschriftl. Titel, guter Originalzustand, im originalen Künstlerrahmen, aus alter Pfälzer SammlungZum Künstler: Nach 1945 beeinflusste Rolf Müller-Landau zunehmend die bisher in Deutschland schwer zugängliche Kunst Frankreichs - vor allem die von Georges Braque, Paul Cézanne, Henri Matisse und Pablo Picasso - und sein Schaffen erreichte eine überregionale Anerkennung.
Seven good works on art and culture. Paolo Piva (ed). 'Medieval Architecture,' two volumes, unclipped djs, colour illustrations throughout, card slip, vg to fine, Editoirle Jaca Book, Milano, 2008; Albert Kostenevich. 'Bouguereau to Matisse. French Art at the Hermitage. 1860-1950,' two volumes, unclipped djs, colour illustrations throughout, card slip, Booth-Clibborn Editions, London, 1999; Hermann Kern. 'Through the Labyrinth. Designs and meanings over 5000 years,' profuse with illustrations, vg, Prestel, London, [2000]; with three other good works. (7)
Vaughan, Avril (British, 1937-2006); b. Twickenham FRANCE, Henri Matisse, 1986, a cast bronze medal by Avril Vaughan, intaglio bust almost facing, rev. abstract figure, 93mm, 434.55g. Extremely fine, rare £80-£100 --- Henri Émile Benoît Matisse (1869-1954) was a Modernist artist, painter and sculptor.
HENRY MATISSE1869 Le Cateau-Cambrésis - 1954 Nizza (nach)'MADELEINE I' (STEHENDER FRAUENAKT) Bronze, dunkel patiniert, auf einer Plinthe. Ges.-H. 58, B. 22, T. 18 cm, Gew. ca. 8 kg. Auf der Plinthe, sig. 'H. Matisse', num. 5/10 und Gießerstempel 'Cire Perdue C. Valsuani', posthumer Guss. Min. ber. und Verlust der Patina.
After Henri Matisse, French 1869-1954,Nu aux Oranges, 1958;lithograph on wove from Dernieres oeuvres de Matisse, from the Cut-Outs series, printed in 1958 by Mourlot, published by Edition de la Revue Verve, sheet: 35.5 x 26 cm, (framed) Note: together with a certificate from Jonty Hearnden (on the reverse).
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