Victor Pasmore R.A. (British, 1908-1998)Abstract in Brown, White, Pink and Ochre signed with initials 'VP' (lower right)oil on board68.1 x 83.8 cm. (27 x 33 in.) (including the artist's backboard)Painted in 1951-2Footnotes:ProvenanceThe ArtistWith Arthur Tooth & Sons, London, May 1959, where purchased bySir Martyn BeckettHis sale; Christie's, London, 8 June 2001, lot 157With Jonathan Clark & Co, London, 14 September 2001, where purchased byRoss D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Institute of Contemporary Arts, Victor Pasmore Paintings and Construction 1944-1954, March-May 1954, cat.no.22 (as Oval Motif No. 2, 1951)Cambridge, Arts Council Gallery, Victor Pasmore: Selected Works 1926-1954, February-March 1955, cat.no.29London, Redfern Gallery, Victor Pasmore, June 1955, cat.no.16London, Arts Council Gallery, Three Masters of Modern British Painting, 1958, cat.no.37 (as Oval Motif in White, Brown, Pink and Maroon)London, Arthur Tooth & Sons, Today and Yesterday, February 1959, cat.no.7London, Tate Gallery, Victor Pasmore Retrospective Exhibition 1925-65, 14 May-27 June 1965, cat.no.103 (as Oval Motif in Brown, White, Pink and Ochre No.2)Bradford, Cartwright Hall, Victor Pasmore, organised by Arts Council of Great Britain, 2 February-9 March 1980, cat.no.22; this exhibition travelled to Liverpool, Walker Art Gallery, 15 March-11 May, Norwich, University of East Anglia, Sainsbury Centre, 20 May-15 June, Leicester, Leicestershire Museum and Art Gallery, 21 June-20 July, Newcastle upon Tyne, Laing Art Gallery, 26 July-25 August and London, Royal Academy, Diploma Galleries, 13 September-19 October 1980LiteratureLawrence Alloway, Nine Abstract Artists, Alec Tiranti Ltd., London, 1954, pl.45Alan Bowness and Luigi Lambertini, Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions and Graphics 1926-1979, Thames & Hudson, London, 1980, cat.no.173, p.103 (col.ill)Only a handful of abstract works by Victor Pasmore dating from the first half of the 1950s have appeared at auction over the past thirty or so years. They are incredibly rare. Abstract in Brown, White, Pink and Ochre (1951-2) dates to the earliest part of the decade and is accompanied with impressive exhibition history, having been included in the artist's major Tate retrospective in 1965 amongst other shows. Like Ben Nicholson (who was fourteen years his senior) during the early 1920s, Pasmore had flirted with abstraction at a specific moment in the early 1930s before he founded the Euston Road School. He joined the London Artists' Association in 1933 and with Sir William Coldstream and Claude Rogers participated in Zwemmer Gallery's notable 1934 show, Objective Abstractions. Only, Pasmore's contribution to the exhibition was not abstract but instead showed the influence of the Fauves and Cubists; Matisse and Picasso being the sources of his early inspiration. Unfortunately, the handful of abstract works Pasmore produced following the show, partly guided by Ben Nicholson's new avant-garde approach to his painting, were destroyed by him. As the decade wore on and Pasmore established his teaching, first at Fitzroy Street then Euston Road, pupils were directed to the naturalistic aesthetic of Degas, Cézanne, Sickert and Bonnard. Up until the mid-1940s this is the direction Pasmore's painting travelled in, but as the war drew to an end, experimentation began to re-appear. His Hammersmith paintings of the late 1940s show evidence of his interest in Seurat's Pointillism and Cezanne's later work with the use of multiple perspectives. Despite this, Pasmore felt unconvinced with his progress, and Ronald Alley in his introduction to Tate's retrospective exhibition describes the change which then occurred:'Therefore, in 1948 he decided to make a fresh start with abstract art and to explore all its possibilities in a completely scientific way, finding out what happened when one started with a square or a spiral or so on. He read the writings of Kandinsky, Mondrian, Arp and the other leading abstract artists, just as he had previously read those by the post-impressionists, and even made a compilation Abstract Art: Comments by some Artists and Critics, which was privately printed at the Camberwell School of Art in 1949. Knowledge of the post-war Parisian and American abstract movements had not reached England at the time and Pasmore's development was completely independent of them.' (Ronald Alley, Victor Pasmore, Retrospective exhibition 1925-65, Tate Publishing, 1965).To begin with, Pasmore's abstraction involved collages and two-dimensional paintings such as the present work with its complex colours, shapes and forms encased within an oval as a reflection on his dissatisfaction with the closed rectangle of easel painting. The first constructed reliefs had begun to appear by 1948 and were exhibited at Fitzroy Street in March 1952 and Redfern Gallery in May of the same year. Many of these and other works were sadly destroyed by the artist and opportunities to acquire examples such as Abstract in Brown, White, Pink and Ochre seldom present themselves.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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Matisse (Henri), Gide (Andre), Braque (Georges), Joyce (James), Brandt (Bill), Picasso (Pablo) et al Verve, An Artistic and Literary Quarterly, Volume I, Numbers 1-4; Volume 2, Nos. 5/6-8, Vol III, Nos. 9-12; Vol IV, Nos. 13-16; Vol. V, Nos. 17/18, Paris, 1937-47, folio, the first eighteen parts in fifteen volumes, chromolitho plates and other illustrations, the first five volumes in original pictorial wraps, the remainder in dust wrapper style wraps as issued [periodical] (15)Not collated, no obvious signs of removal but sold as a periodical and therefore not subject to return. Generally worn covers.
Arbit Blatas, Sommer am FlussBlick von einer Brücke auf einen gemächlich dahinfließenden Fluss, an dessen Ufer einige Gehöfte stehen, Öl auf Leinwand, Ende 20. Jh., links unten signiert âA. Blatasâ, gerahmt, Falzmaße ca. 40,5 x 40,5 cm. Künstlerinfo: eigentlich Nicolai Arbitblatas (1809 Kaunas bis 1999 New York City), während des 1. Weltkriegs Flucht der Familie in die Ukraine, 1922 Rückkehr der Familie nach Kaunas, nach kurzem Deutschlandaufenthalt ab 1928 in Paris und hier Kontakt zu Vlaminck, Matisse, Braque und Picasso, Ausstellungen im Salon D´Automne und im Salon des Tuileries, 1934 erste Ausstellung seiner Werke in New York, ließ sich 1941 in New York nieder, 1975 Heirat mit der Mezzosopranistin Regina Resnik, Quelle: Wikipedia.
Anton Kerschbaumer, "Häuser am See II"expressive Straßenansicht, ab 1921 verbrachte Kerschbaumer mehrere Sommer am Chiemsee und fand vorliegendes Motiv in Gstadt, welches er sowohl malerisch als auch graphisch festhielt, 1927 bemerkt Thieme-Becker: "... Bei frühzeitiger Neigung zur Landschaftsmalerei hat Kerschbaumer es verstanden, seine landschaftlichen Vorwürfe ... nach streng formalen Gesichtspunkten durchzubilden. Während der Expressionismus in Deutschland vielfach ekstatisch auf Geste und Farbenmystik hin orientiert war, blieb Kerschbaumer ... ausschließlich im Rahmen der intensiven Raumerfassung, derart, dass er das Motiv (Straße, Kanal, Brücke) unter Verzicht auf jegliche figürliche Staffage einen fast bauzeichnerischen, auf straffe Transversalen gegründetem System unterordnete. ...", Blatt aus dem 1922 von Paul Westheim im Euphorion-Verlag Berlin herausgegebenen Graphischen Mappenwerk "Die Schaffenden", 3. Jahrgang, 2. Mappe, Farblithographie in Grau und Gelbgrün, unter der Darstellung in Bleistift signiert "Kerschbaumer", links unten Trockenstempel "Die Schaffenden", rückseitig neuzeitliche Info zum Blatt, hinter Glas und Passepartout gerahmt, Passepartoutausschnitt ca. 30 x 39 cm. Künstlerinfo: dt. Maler, Gebrauchsgraphiker und Graphiker (1885 Rosenheim am Inn bis 1931 Berlin-Tegel), studierte ab 1901 zunächst zwei Jahre an der Kunstgewerbeschule München bei Julius Exter und Maximilian Dasio, später zwei Jahre an der Technischen Hochschule, 1905 Abschluss mit Zeichenlehrerexamen und Praktikum an der Realschule Rosenheim, 1905 Preisträger eines Preisausschreibens mit Reklameentwurf, gefördert von Max Mayrshofer, 1908 Übersiedlung nach Berlin, hier Schüler von Lovis Corinth, zunächst beeinflusst vom Werk von Henri Matisse, Paul Cézanne und Vincent van Gogh, später von den "Brücke-Künstlern", insbesondere von Erich Heckel, 1914 erste Ausstellung, im 1. Weltkrieg als Kriegsfreiwilliger im Sanitätsdienst, hier Bekanntschaft mit Erich Heckel, Max Kaus und Otto Herbig, 1919 Rückkehr nach Berlin und vertreten von Paul Cassirer sowie der Galerie Nierendorf, ab 1921 Sommeraufenthalte am Chiemsee und Ammersee, 1925 mit Otto Modersohn, Friedrich-Ahlers-Hestermann und Erich Heckel bei Gertraud Rostosky auf deren Künstleranwesen "Neue Welt" in Würzburg, 1926 mit Martin Bloch Gründung einer Kunstschule in Berlin, 1927 und 1928 Aufenthalte in Malcesine am Gardasee, 1929 in der Normandie und in Paris, 1930 mit Stipendium dreimonatiger Aufenthalt in der "Villa Massimo" in Rom, Mitglied im Wirtschaftlichen Verband Berliner Künstler, im Deutschen Künstlerbund und im Reichsverband bildender Künstler Deutschlands, beschickte unter anderem die Ausstellungen der Berliner Akademie, der Freien Sezession und der Juryfreien Kunstschau Berlin, tätig in Berlin-Wilmersdorf, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Dressler, Bruckmann "Münchner Maler des 19./20. Jh." und Wikipedia.
Anton Kerschbaumer, Kanal im Berliner Tiergartenexpressive Parkansicht, das vielfach im Werk Kerschbaumers vorkommende Motiv zeigt den Landwehrkanal im Berliner Tiergarten mit der Lichtensteinbrücke, 1927 bemerkt Thieme-Becker: "... Bei frühzeitiger Neigung zur Landschaftsmalerei hat Kerschbaumer es verstanden, seine landschaftlichen Vorwürfe ... nach streng formalen Gesichtspunkten durchzubilden. Während der Expressionismus in Deutschland vielfach ekstatisch auf Geste und Farbenmystik hin orientiert war, blieb Kerschbaumer ... ausschließlich im Rahmen der intensiven Raumerfassung, derart, dass er das Motiv (Straße, Kanal, Brücke) unter Verzicht auf jegliche figürliche Staffage einen fast bauzeichnerischen, auf straffe Transversalen gegründetem System unterordnete. ...", Blatt aus dem 1919 von Paul Westheim im Euphorion-Verlag Berlin herausgegebenen Graphischen Mappenwerk "Die Schaffenden", 1. Jahrgang, 4. Mappe, Lithographie, links in der Darstellung in Bleistift signiert und datiert "Kerschbaumer [19]19", rückseitig neuzeitliche Info zum Blatt, Papier etwas gegilbt und lichtrandig, hinter Glas und Passepartout gerahmt, Passepartoutausschnitt ca. 22,5 x 33 cm, Druckmaße ca. 19 x 24 cm. Künstlerinfo: dt. Maler, Gebrauchsgraphiker und Graphiker (1885 Rosenheim am Inn bis 1931 Berlin-Tegel), studierte ab 1901 zunächst zwei Jahre an der Kunstgewerbeschule München bei Julius Exter und Maximilian Dasio, später zwei Jahre an der Technischen Hochschule, 1905 Abschluss mit Zeichenlehrerexamen und Praktikum an der Realschule Rosenheim, 1905 Preisträger eines Preisausschreibens mit Reklameentwurf, gefördert von Max Mayrshofer, 1908 Übersiedlung nach Berlin, hier Schüler von Lovis Corinth, zunächst beeinflusst vom Werk von Henri Matisse, Paul Cézanne und Vincent van Gogh, später von den "Brücke-Künstlern", insbesondere von Erich Heckel, 1914 erste Ausstellung, im 1. Weltkrieg als Kriegsfreiwilliger im Sanitätsdienst, hier Bekanntschaft mit Erich Heckel, Max Kaus und Otto Herbig, 1919 Rückkehr nach Berlin und vertreten von Paul Cassirer sowie der Galerie Nierendorf, ab 1921 Sommeraufenthalte am Chiemsee und Ammersee, 1925 mit Otto Modersohn, Friedrich-Ahlers-Hestermann und Erich Heckel bei Gertraud Rostosky auf deren Künstleranwesen "Neue Welt" in Würzburg, 1926 mit Martin Bloch Gründung einer Kunstschule in Berlin, 1927 und 1928 Aufenthalte in Malcesine am Gardasee, 1929 in der Normandie und in Paris, 1930 mit Stipendium dreimonatiger Aufenthalt in der "Villa Massimo" in Rom, Mitglied im Wirtschaftlichen Verband Berliner Künstler, im Deutschen Künstlerbund und im Reichsverband bildender Künstler Deutschlands, beschickte unter anderem die Ausstellungen der Berliner Akademie, der Freien Sezession und der Juryfreien Kunstschau Berlin, tätig in Berlin-Wilmersdorf, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Dressler, Bruckmann "Münchner Maler des 19./20. Jh." und Wikipedia.
Lithograph Signed lower right. A post-impressionist French painter who was one of the revolutionaries of the Nabis movement that paved the way for abstraction, Edouard Vuillard had a long career spanning the late 19th and nearly half of the 20th Century. His work, often with luminosity, became increasingly abstract and colorful, which some art historians link to Henri Matisse and the Fauves.O: 23 x 19 1/2 in. S:13 x 10 in.
A limited edition print on high bond paper of Matisse's portrait of author John Bidwell. Bidwell authored the book titled, Graphic Passion: Matisse and the Book Arts, A copy of the book is included. Size: 10 x 6 1/2.Please note that all sales are final. No refunds will be given under any circumstances.
MATISSE, Henri (1869-1954). Verve. Volume IV, no. 13, "De La Couleur." Paris: Editions de la Revue Verve, 1945. 4to. 2 lithographs by Matisse, including title-page. Lithographed wrappers by Matisse (a few short tears with occasional losses, slight toning). Property from the Collection of Michael and Kay MeletFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
![MOURLOT, Fernand (1895-1988). Souvenirs et portraits d'artistes. Paris: [Alain A. C. Mazo], 1972.Folio. 25 original lithograp](https://cdn.globalauctionplatform.com/271baa46-60fe-44d2-9e85-ac5901551c26/3f19ed93-0cd7-4799-a7d6-ac5a0107c0d8/468x382.jpg)
MOURLOT, Fernand (1895-1988). Souvenirs et portraits d'artistes. Paris: [Alain A. C. Mazo], 1972.Folio. 25 original lithographs (19 in color) by Braque, Buffet, Chagall, Giacometti, Matisse, Miro, Picasso, and others. (Light offsetting from a few plates.) Loose as issued in printed paper wrappers portfolio (slight toning to wrapper); linen folding case. LIMITED EDITION, number 616 of 800 copies. For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com
Original vintage art exhibition poster - Henri Matisse Grand Palais 27 Avril 21 Septembre 1970 - featuring colourful artwork by the renowned French artist Henri Matisse (1869-1954) entitled The Young Sailor II painted in 1906 depicting the fisherman Germain Augustin Barthelemy Montarges (1888-1938) wearing a cap, blue jumper and green trousers sitting on a wooden chair resting his head on one arm and looking out to the viewer. Ministere des Affaires Culturelles RRG Imp. Kapp & Lahure. Good condition, creasing, pinholes. Country of issue: France, designer: Henri Matisse, size (cm): 65x45, year of printing: 1970
Emily Hilda Rix (Nicholas) (Australian 1884-1961): Girl in a Red Jumper, watercolour signed and dated 'S.S. Runic 4.09. (07)', 22cm x 15cm (album)DDS - Artist's resale rights may apply to this lotProvenance: the sketch is included within a comprehensive and interesting album of sketches, poems, verses and autographs compiled by Theodora (Brodie) Harris-Rivett between 1898 and 1913, who was the granddaughter of Mr Justice Fisher KC and married Rev. AJE Harris-Rivett of Glenrowan, Melbourne, Australia in 1903. It is recorded that Hilda Rix, who studied under leading Australian Impressionist, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors, later a friend of Henri Matisse, travelled to Europe on the SS Runic in 1907. Interestingly there is also included a four page poem 'The Absent Minded Beggar' by Rudyard Kipling, who at that time lived in Cape Town where the SS Runic docked on it's voyage to London - Condition Report
Lin Fengmian (1900-1991)The TrackersInk and colour on paper depicting two ladies carrying baskets on their backs, signed at the top left corner, framed and glazed. 70.5cm (27 3/4in) high 39.5cm (15 1/2in) wide (2).Footnotes:æ颚ç æ¡è¶èŸ²å©Š çŽæ¬èšè² é¡æ¡è£è£±Provenance: an English private collectionäŸæºïŒè±åç§äººæ¶èLin Fengmian, a native of Meixian, Guangdong Province, is one of 20th century China's most important artists. His grandfather was a stone carver, his father a local painter. Lin learned both trades during his childhood and in 1919 travelled to France for six years to study and work at Dijon Art College and the Ecole Nationale Superieure de Beaux-Arts in Paris. In France, Lin studied European painting, especially works by Matisse Picasso, and Modigliani. In 1923 he travelled widely in Germany. In 1979, he settled in Hong Kong, where he lived out his life. Lin's work integrated the Impressionists' technique of working with outdoor lighting with ink and wash and successfully blended Western principles of composition with figure sketches using Chinese colour and ink. See Three Thousand Years of Chinese Painting, New Haven, 1997, pp.323-324.Compare with a related painting of trackers by Lin Fengmian, which was sold at Bonhams London, 17 May 2018, lot 307.For further information on this lot please visit Bonhams.com
ÎŽ Henri Matisse (1869-1954)Charles D'Orleans. Poèms (Duthuit Books 28)The book, 1950, comprising 100 lithographed pages printed in colours and one letterpress page, with title-page, text and justification, this copy signed in pencil, numbered from the edition of 1200, printed by Mourlot, published by Tériade, Paris, on Arches paper, with full margins, overall size 410 x 266mm., (16 1/8 x 10 ¼ in.) (unframed)ÎŽ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
ÎŽ Henri Matisse (1869-1954)Portrait de Claude D. (Duthuit 585)Lithograph, 1946, signed in pencil, numbered from the edition of 75, on annam appliqué supported on Arches paper, with full margins, 359 x 276mm (14 1/8 x 10 7/8 in)(unframed)ÎŽ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
ÎŽ Henri Matisse (1869-1954) after by Jacques Villon (1875-1963)L'Espagnole (Ginestet et Pouillon 645)Aquatint printed in colours, 1925, signed in black ink, and numbered from the edition of 200, published by Bernheim-Jeune, Paris, on Arches paper, with full margins, 395 x 275mm (15 ¾ x 10 7/8 in) (unframed)ÎŽ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Frederick Laguillermie (French 1841-1934) - Portrait of Beatrice De Cusance, wife of Charles IV, Duc De Lorraine, after Anthony Van Dyck, signed black and white engraving, published CHS Sedelmyer of Paris 1888, 74 x 55.5 cm approx in black and gilt frame, together with an early 20th century shoulder length pencil study of a young woman signed W D White, dated 1906, 33 x 28.5 cm, framed, and a coloured print after Henri Matisse - The Terrace, St Tropez, 123 x 99 cm, (3) To be sold on behalf of The Door Youth Project, Stroud
Gemälde Eugen Spiro 1874 Breslau - 1972 New York Ausbildung 1892-94 in Breslau; 1894-97 in München, u.a. und Franz von Stuck (1897 Meisterschüler). 1903-05 verh. mit der Schauspielerin Tilla Durieux. 1904-06 Wohnsitz in Berlin; wird Mitgl. der Berliner Secession (1915- 33 im Vorstand). 1906 zieht S. nach Paris, wo er sich im Umfeld des Künstlerkreises des Café du Dôme bewegt, an der priv. Acad. Matisse unterrichtet und sich an den Aktivitäten des neu gegr. Salon d'Automne beteiligt. Befreundet mit Hans Purrmann. Kurz nach der Machtergreifung durch die Nationalsozialisten 1933 tritt S., nun mit Ausstellungsverbot belegt, von allen öff. Ämtern zurück. 1935 emigriert er nach Paris; Um einer Verhaftung durch die dt. Besatzung zu entgehen, flieht S. 1940 über Biarritz nach Marseille, 1941 emigriert er über Lissabon nach New York. Obwohl S. als einer der bedeutendsten Porträtisten der kult. und wiss. Prominenz der Weimarer Republik sowie der nach 1933 ins Exil gezwungenen dt. Künstler, Literaten und Musiker anzusehen ist, wird sein Schaffen bis heute kaum angemessen gewürdigt. "Portrait of Mr. Henschel of Knoedler Galleries 1946" u. li. sign. u. dat. Eugen Spiro 46 verso auf einem alten Klebezettel bezeichnet. Öl/Lwd., 76 x 63 cm Provenienz: Sammlung Norbert Maiwald (1950 - 2019), Offenbach. Lit.: AKL
Artist: Henri Matisse (French, 1869 - 1954). Title: "Danseuse Creole". Medium: Original color lithograph. Date: Composed 1950. Dimensions: Overall size: 14 x 10 5/16 in. (356 x 262 mm). Image size: 12 1/2 x 7 5/8 in. (317 x 194 mm).Lot Note(s): Signed and dated in the plate, lower right. Smooth pale cream wove paper. Full sheet, as printed. Fine impression. Completely fresh colors. Good to very good condition. Comment(s): Another impression of this lithograph sold for £341 ($565) at Bloomsbury Auctions, London, December 3, 2009, lot #210. Lithographic plates effaced after the edition was printed. Derived from the cut-paper original maquette by Matisse. Created and editioned at the Mourlot Studio, Paris, 1954, under the supervision of Matisse. Issued by Teriade, Paris, 1958. Image copyright © Succession H. Matisse, Paris /Artists Rights Society (ARS), New York. [10160-2-400]
Artist: Henri Matisse (French, 1869 - 1954). Title: "Cite - Notre Dame". Medium: Original etching. Date: Composed 1937. Printed later. Dimensions: Overall size: 20 x 15 1/16 in. (508 x 383 mm). Image size: 13 1/8 x 10 1/4 in. (333 x 260 mm).Lot Note(s): Signed in reverse in the plate, lower right. Cream wove paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: D248. Comment(s): An example from the original printing has sold at auction for as high as $2,585 (Christie's, East [19th & 20th Century, Contemporary Prints & Multiples, Sale #8423] - 09/20/2000 - Lot #71). The original edition was 500. [17489-4-300]
Artist: Henri Matisse (French, 1869 - 1954). Title: "Apollon". Medium: Original color lithograph. Date: Composed 1953/1954. Dimensions: Overall size: 14 1/4 x 20 11/16 in. (362 x 525 mm). Image size: 13 5/16 x 17 3/8 in. (338 x 441 mm).Lot Note(s): Signed and dated in the plate, lower left. Smooth pale cream wove paper. Full sheet, as printed. Fine impression. Completely fresh colors. Very good to fine condition; centerfold as issued. Comment(s): According to âGordonâs Art Referenceâ the auction record for another impression of this print is â¬3,248 ($4,403) at Artcurial, Paris, December 4, 2013, lot #130. Lithographic plates effaced after the edition was printed. Derived from the cut-paper original maquette by Matisse. Created and editioned at the Mourlot Studio, Paris, 1954, under the supervision of Matisse. Issued by Teriade, Paris, 1958. Image copyright © Succession H. Matisse, Paris /Artists Rights Society (ARS), New York. [10170-4-800]
Artist: Aleksandr Yakovlevich Golovin (Russian, 1863 - 1930). Title: "Set Design". Medium: Mixed media (watercolor, gouache, pen, pencil). Date: Composed c1910-20. Dimensions: Image size: 11 x 16 in. (279 x 406 mm).Lot Note(s): Signed with the initials "A.G." in Cyrillic on the support mount, lower right, recto. Supple, wove paper. Overall condition very good to fine. The drawing is affixed to the original support mount. The drawing itself has no holes, tears, foxing, etc. The colors are very fresh. There is some minor surface soiling middle left, else just very nice. Comment(s): Works by Golovin of this caliber are rare. Aleksandr Golovin studied at the Moscow College of Painting, Sculpture and Architecture initially as a student of architecture and later as a painter. He lived and worked in Moscow as an interior painter, furniture designer and decorator tradesman, and in 1900, in collaboration with Konstantin Korovin, he designed the interior décor of the Russian Empire pavilion at the Paris Worldâs Fair. Golovin moved to St. Petersburg in 1901, where he worked prominently as a stage designer until the Russian Revolution of 1917. He was the leading designer for the theaters in St. Petersburg at this time, and an important contributor to the legendary Ballets Russes, which commissioned the most esteemed choreographers, dancers, musicians and stage designers of the era, including Natalia Gontcharova, Mikhail Larionov, Marc Chagall, George Braques, Joan Miró, Max Ernst, Henri Matisse, and Pablo Picasso. Please note: this work is being exhibited in an exhibition frame and is being sold unframed. [18217-4-6000]
![NO RESERVE Collections.- Campbell (Sara, editor) Nineteenth-Century Art [&] Degas in the Norton Simon Museum, 2 vol., New](https://cdn.globalauctionplatform.com/3cc98721-b8ce-4047-a914-ac4700a5a9f3/222f4799-2627-4076-ac65-ac4700b752ec/468x382.jpg)
NO RESERVE Collections.- Campbell (Sara, editor) Nineteenth-Century Art [&] Degas in the Norton Simon Museum, 2 vol., New Haven & London, 2006-09; Collector Without Walls: Norton Simon and His Hunt for the Best, New Haven & London, 2010 § Fahy (Everett, editor) The Wrightsman Pictures, New York, 2005 § McCullagh (S.F.) Dreams & Echoes: Drawings and Sculpture in the David and Celia Hilliard Collection, New Haven & London, 2013 § Bishop (Janet) & others. The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde, original wrappers, New Haven & London, 2011 § Beresford (R.) & Peter Raissis. The James Fairfax Collection of Old Master Paintings, Drawings and Prints, Sydney, 2003, illustrations, many colour, all but the fifth original cloth or boards with dust-jackets; and c.35 others on American art collections, 4to & 8vo (c.40)
NO RESERVE Modern Art.- Cowart (Jack) & Dominique Fourcade. Henri Matisse: The Early Years in Nice 1916-1930, Washington D.C. & New York, 1986 § Berggruen (O.) & others. Picasso and the Theater, Frankfurt, 2006 § Kornfeld (E.W.) Ernst Ludwig Kirchner: Nachzeihnung seines Lebens, Bern, 1979 § Klein (Mason) Modigliani unmasked, New Haven & London, 2017 § Brodie (J.) & Andrew Robison. A Century of Drawing: Works on Paper from Degas to LeWit, Washington DC, 2001 § Lucie-Smith (E.) Art Today: From Abstract Expressionism to Superrealism, second impression, Oxford, 1986, illustrations, many colour, original cloth or boards, all but the fourth with dust-jackets; and c.55 others on modern art, 4to & 8vo (c.60)
λ Henri Matisse (French 1869-1954) Tete de jeune fille aux sourcils rectangulaires (Duthuit 222) Etching, 1930 Signed in pencil and numbered 8/25 12.5 x 10cm (4¾ x 3¾ in.)Provenance: Sale, Sotheby's London, 27 March 2007, lot 92 The Collection of Jo Wood (acquired from the above) Condition Report: Sheet has slipped in its mount. Light handling creases to the framing edges. Otherwise the work appears to be in good condition. Unexamined out of glazed frame.Condition Report Disclaimer
Pablo Picasso lithographic print (Mourlot) circa 1959, Eric Gill female nude engraving circa 1938, 2 x Elisabeth Frink lithographic prints circa 1975, 2 x Henry Moore Shelter prints circa 1940, Paul Klee print, Salvador Dali Print circa 1953, Henri Matisse print circa 1935. 9 in total all mounted but unframed, approx overall sizes 16 x 12 inches. Cellophane wrapped.
7 seltene frühe Sammlungskataloge Maximal 30,5 x 23 cm. "Max Slevogt - der Graphiker und Illustrator", Katalog zur Ausstellung, Herbst 1922, Galerie Ernst Arnold, Dresden. / "Sammlung Consul J. D. in F.", Versteigerung von asiatischen und mexikanischen Artefakten u.a., 1911 in Frankfurt durch Rudolf Bangels. / "Collection of a Collector, Modern french paintings from Ingres to Matisse, The Private Collection of the late Josef Stransky", Juli 1936, bei Wildenstein & Co., USA. / Gustav Schiefler: "Meine Graphik - Sammlung" Gesellschaft der Bücherfreunde, Hamburg 1927. / "Sammlungen Adolf Klein, Frankfurt a.M. und W. K., Frankfurt a. M., Versteigerung November 1912, bei Rudolf Bangel. / Jaques Schulman, Catalogue 232: "Munten en Penningen Cains and Medals", March 1959, Amsterdam. / "Antiquitäten-Sammlung Adolph Hess, Frankfurt a. M.", Hugo Helbing, München 1912. Alles broschierte Hefte mit Altersspuren, Rücken oft defekt
LÉONARD TSUGUHARU FOUJITA (1886-1968)Femme allongée, Youki signed and dated 'Foujita 1923' and further signed in Japanese (lower left); signed 'Foujita' and further signed, inscribed and dated in Japanese (on the stretcher)oil on canvas50 x 61.2cm (19 11/16 x 24 1/8in).Painted in Paris in December 1923Footnotes:ProvenancePrivate collection, ParisPrivate collection, Paris (a gift from the above in the 1930s).Thence by descent to the present owners.ExhibitedParis, Palais à la Porte Maillot, Salon des Tuileries, 1924.Paris, Musée de Montmartre, Léonard Tsuguhuaru Foujita et l'Ecole de Paris, 10 April - 23 June 1991, no. 14 (later travelled to Tokyo). Dinard, Palais des Arts du Festival, Foujita, le maître japonais de Montparnasse, 27 June - 25 September 2004, no. 51.Kawamura, Kawamura Memorial DIC Museum of Art, Léonard Foujita et ses modèles, 17 September 2016 - 15 January 2017, no. 16 (later travelled to Iwaki, Niigata & Akita).Paris, Musée Maillol, Foujita, peindre dans les années folles, 7 March - 15 July 2018, no. 79. LiteratureF. de Miomandre, 'Foujita', in L'Art et les artistes, Paris, Vol. XXIII, no. 120, October 1931 (illustrated p. 14; titled 'Femme couchée' and dated '1924').S. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 23.30 (illustrated pp. 29 & 187).In the three decades from the Meiji Restoration until the turn of the century in 1900, Japan had changed in the most profound way. Closed off to the Western world throughout the Tokugawa shogunate, Japan had maintained the purity of its traditions in a way that seemed unimaginable to its contemporaries in the melting pot of central European culture. This was certainly true of the Arts, as painters and craftsmen revived and refined the ancient styles of painting, wood-blocking and porcelain production. When Japan threw off this self-imposed isolation in the 19th Century, a new wave of painting was promoted by the government to reflect the cultural rebirth and global reintegration: yoga, or Western, style. Artists were now encouraged to travel to Europe, seeking an exchange with their French, Dutch and Italian counterparts, returning to Japan well-versed in the aesthetic developments they had encountered there. One young artist who set off on this journey of discovery was Tsuguharu Foujita. However, he did not return to Japan shortly after his training in Paris: he went on to become one of the leading figures of the European avant-garde. By blending both Eastern and Western canonical traditions, and elevating them with a talent entirely of his own, Foujita remains one of the most significant figures to emerge from this period of cultural exchange. Born not long after the reopening of Japan to the West, Foujita trained as a yoga painter at the Tokyo National University of Fine Arts and Music, and shortly thereafter moved to France with the intention of immersing himself in the art and culture of Paris, the epicentre of the international art scene. Perhaps Foujita's intentions were never to return to Japan bringing with him an understanding of the current French practice, but it soon became clear upon his arrival that he would not be satisfied with mere artistic reportage. Within a decade of his arrival in 1910, Foujita had attained critical success, and was a leading light of the Montparnasse scene, alongside his friends and fellow artists Amedeo Modigliani, Chaïm Soutine, Pablo Picasso and Fernand Léger. The end of the First World War in 1918 brought with it a new dawn in Paris. As Fernand Léger described it, 'man could finally lift his head, open his eyes, look around him and enjoy once again a taste for life' (Léger, quoted in S. Buisson, Léonard Tsuguharu Foujita, ACR Edition, Vol. I, Paris, p. 80). The Grand Palais reopened the following year, after spending the war as a barracks, and a Salon d'Automne was organised in which Foujita took part alongside some of the great names of the day: Matisse, Bonnard, Marquet. Foujita became a regular fixture at the annual Salons, and through these occasions he began to gain greater and greater acclaim. After the heartache of losing his close friends Amedeo Modigliani and Jeanne Hébuterne in 1920, Foujita threw himself ever more fervently into the practice of his art. He gained critical success for his serene still-lifes, and portraits embodying both his Eastern traditions and the most thrilling elements of the avant-garde. By the time the current work, Femme allongée, Youki, was exhibited in the Salon des Tuilieries in 1924, Foujita was at the very height of his 'golden-age'. Painted in 1923, the present work is one of the most alluring of Foujita's grands nus: a series of medium and large-scale canvases depicting the odalisque of the European tradition, seen through the prism of the Japanese painter's unique vision. Around 1920 Foujita moved away from the brighter palette he had adopted during the 1910s, and developed a restrained palette of greys, browns, blacks and creamy whites. Foujita even created a technique called nyhakushoku, or 'milky white', that he used to paint the serene tones of his nudes' skin. He employed these almost monochrome hues with devastating effect: in the present work, Foujita has used a smoky black to depict the background of the bedroom, throwing his sitter's alabaster skin into stunning contrast. Upon close study the subtle variations in her skin tone become clear, the shell-pink of her nipples and lips, and the shadows highlighting her breasts. The warm brown of her wavy hair identifies the sitter as Lucie Badoud, or 'Youki' as she was called affectionately by Foujita. The close perspective takes the viewer into the bed itself, enveloped in the soft grey ripples of the bed linens and the darkness of the intimate space Foujita has created. Youki gazes directly at the viewer, as if looking in to the eyes of her lover. The Japanese writer Teiichi Hijikata remarked that 'the skin [of Foujita's nudes] has the smooth and sparkling surface of porcelain, containing all the charm of white with none of the coldness' (Hijikata, quoted in S. Buisson, ibid., p. 96).Foujita had noted that the nude was all but absent from Japanese art, and that he had made a conscious decision to focus on the subject, looking to the greats of the Western canon, for whom the female nude had been a cornerstone since the Italian Renaissance. In 1921 the artist travelled to Italy, and encountered many of the great Western paintings so admired throughout the centuries. Painters like Michelangelo, Titian and Raphael were to become as important for Foujita's artistic development as Picasso and Modigliani had been during the preceding decade. It is likely, for instance, that Foujita would have seen The Venus of Urbino during this formative trip, and one cannot behold Femme allongée, Youki without recalling the direct gaze and gently downward tilting face of Titian's golden-haired beauty. Foujita's obsession with the female nude during the early 1920s can be seen partly as a response to his discovery of the Old Masters, but also as a conceptual choice very much tied to his Japanese heritage. Foujita applied the Japanese concept of GeidÅ, which means 'the way of art', to his practice. This concept encompassed the idea of an artist only attaining greatness through an apprentice-like devotion to perfecting technique. He believed that only through applying himself with an almost monkish devotion to his practice, could he then introduce an element of individuality and creative greatness to his work. This goes some way to explain Foujita's somewhat repetitive 'self-copying', as Sylvie Buisson refers to it, (S. Buisson, op. cit., p. 92), where the artist returned ... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A S BYATT: 12 titles: WORDSWORTH AND COLERIDGE IN THEIR TIME, London, Nelson, 1970, 1st edition, original cloth, d/w (price clipped); STILL LIFE, London, Chatto & Windus, 1985, 1st edition, original cloth, d/w; SUGAR AND OTHER STORIES, London, Chatto & Windus, 1987, 1st edition, inscription on ffep, original cloth, d/w; PASSIONS OF THE MIND, London, Chatto & Windus, 1991, 1st edition, signed, original cloth, d/w; ANGELS AND INSECTS, London, Chatto & Windus, 1992, 1st edition, original cloth, d/w; THE MATISSE STORIES, London, Chatto & Windus, 1993, 1st edition, original cloth, d/w (price clipped); THE DJINN IN THE NIGHTINGALE'S EYE, London, Chatto & Windus, 1994, 1st edition, signed, original cloth, d/w; IMAGINING CHARACTERS, London, Chatto & Windus, 1995, 1st edition, original cloth, d/w; BABEL TOWER, London, Chatto & Windus, 1996, 1st edition, original cloth, d/w; ELEMENTALS, London, Chatto & Windus, 1998, 1st edition, signed, original cloth, d/w; THE OXFORD BOOK OF ENGLISH SHORT STORIES, Oxford University Press, 1998, 1st edition, original cloth, d/w; ON HISTORIES AND STORIES, London, Chatto & Windus, 2000, 1st edition, original cloth, d/w (12)
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