MATISSE HENRI: (1869-1954) French artist. A good T.L.S., H Matisse, two pages (separate leaves), 4to, Paris, 18th September 1951, to Monroe Wheeler, in French. Matisse states that he is taking advantage of his son, Pierre, taking a flight to deliver the two covers that Wheeler had asked him to create, remarking ´ Je dois avant tout vous prier de m´excuser de ne pas avoir compose la couverture du catalogue en trois couleurs seulement. La chose ne m´a pas ete possible et j´espere que son attrait pour le publie ainsi vous permettra d´en vendre suffisemment pour couvrir les frais de l´impression des six couleurs´ (Translation: ´First of all, I must apologise for not having composed the catalogue cover in three colours only. It was not possible for me to do so, and I hope that the appeal of publishing it in this way will enable you to sell enough to cover the cost of printing the six colours´) and further offering some instructions for the printing process, ´1. Pour aider l´imprimeur a trouver pour l´impression des couleurs absolument fideles, je joins a la composition des echantillons de ces couleurs de surfaces plus grandes. 2. Le noir des yeux doit etre le meme que celui de la band noire. 3. Les noms des Musees qui font l´exposition doitent etre imprimes en caracteres petits mais tres noirs sur la bande blanche inferieure. 4. Les petits filets blancs entre les bandes de couleurs ne doivent pas exister: la jonction des deux couleurs est une ligne droite. 5. Pour l´epaisseur du dos du catalogue veuillez ajouter la quantite necessaire de jaune et de rose a la ligne indicant la pliue de la couverture´ (Translation: ´1. To help the printer find absolutely faithful colours for printing, I am enclosing samples of these colours on larger surfaces. 2. The black of the eyes must be the same as that of the black band. 3. The names of the Museums in the exhibition must be printed in small but very black characters on the lower white band. 4. The small white lines between the colour bands must not exist: the junction of the two colours is a straight line. 5. For the thickness of the back of the catalogue please add the necessary amount of yellow and pink to the line indicating the fold of the cover´). The artist also makes reference to a dust jacket and lithograph, writing ´Pour la jaquette du livre de Monsieur Barr - j´ai toujours cru que c´est une couverture a relier que vous m´avez demande et je suis tres surpris qu´elle ne doit servir que de jaquette. Vous pourrez imprimer le titre du livre sur la partie rouge du dos. Quant a la lithographie que j´avais remis a la maison Mourlot, je ne pourrai pas signer et numeroter toutes les epreuves. Etant un peu fatigue actuellement, ce travail serait trop long pour moi. Je me suis donc souvenu que votre premiere idee etait que je signe la lithographie dans le corps de la planche et c´est moi qui vous ai dit que je ferai davantage - je signerai chaque epreuve. Je vous prie de m´excuser de n´avoir pas realise ma bonne intention´ (Translation: ´For the dust jacket for Mr Barr's book - I always thought it was a binding cover that you asked for and I am very surprised that it is only to be used as a dust jacket. You can print the title of the book on the red part of the spine. As for the lithograph I gave to Mourlot, I will not be able to sign and number all the proofs. As I'm a bit tired at the moment, this work would take too long. So I remembered that your first idea was that I should sign the lithograph in the body of the plate and it was I who told you that I would do more - I would sign each proof. I apologise for not realising my good intention´). A letter of excellent content and associations. VGMonroe Wheeler (1899-1988) American publisher and museum curator who was employed in several posts at the Museum of Modern Art in New York, including as Director of Publications.Alfred H. Barr Jr. (1902-1981) American art historian and the first director of the Museum of Modern Art in New York.Matisse´s letter refers to his collaboration in the publication of Barr´s Matisse: His Art and His Public by the Museum of Modern Art in 1951. The work was also published in a limited edition of 495 copies signed by Barr and with an original lithograph by Matisse created especially for the edition bound in opposite the limitation page.
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DERAIN ANDRE: (1880-1954) French artist, painter and sculptor, a co-founder of Fauvism with Henri Matisse. A.L.S., A Derain, one page, 4to (feint squared graph paper), Lisieux, 31st May 1915, to a gentleman, in French. Derain states that he was touched by the expressions of friendship contained in his correspondent´s letter although continues to write in a sober manner, ´depuis la guerre j’ai été très abandonné des milieux de peinture, je me demande même s’il m’arrivera jamais d’en refaire´ (Translation: ´since the war I have been very much abandoned by painting circles, and I wonder if I will ever paint again´) further displaying his disillusionment, ´Je serai aussi très reconnaissant si par une mission quelconque vous pouviez me tirer d’ici le plu tôt possible et me faire passer soit dans l’aviation soit dans l’automobile mais je crains que cela ne soit pour vous la source de multiples ennuis. Mais vous me rendriez un réel service si vous pouviez me faire partir d’ici par n’importe où même aux Dardanelles dans un emploi quelconque ou sur le front´ (Translation: ´I would also be very grateful if by some mission you could get me out of here as soon as possible and get me into either aviation or motoring, but I'm afraid that would be a source of a lot of trouble for you. But you would be doing me a real favour if you could get me out of here anywhere, even to the Dardanelles in some job or at the front´). Derain concludes by offering his gratitude and thanks his correspondent for the kindness that they have shown to the absent artist´s wife. Some very light, minor age wear and a couple of small tears to the edges of the folds, about VGAt the beginning of the World War I, Derain was mobilised in the artillery, in the Lisieux infantry regiment. He served in Champagne, the Somme, Verdun and the Chemin des Dames until 1917, then in the Aisne and the Vosges. The years immediately before the war are sometimes described as Derain´s gothic period and during the war itself the artist produced little work although did provide a set of illustrations for Andre Breton´s first book, Monte de Piete, in 1916.
![MATISSE HENRI: (1869-1954) French Artist. A good A.L.S., `Henri Matisse´, one page, oblong 4to, n.p., n.d. [1940], to a frien](https://cdn.globalauctionplatform.com/51480646-28ed-4e59-a8f8-b18400c0cb5f/d859ab7b-79cf-4485-a4d9-b19c00a42b2d/468x382.jpg)
MATISSE HENRI: (1869-1954) French Artist. A good A.L.S., `Henri Matisse´, one page, oblong 4to, n.p., n.d. [1940], to a friend, in French. Matisse explains to his correspondent what he has found in his wallet and instructs on how to proceed, stating `Cher Monsieur et ami, Je trouve dans mon portefeuille une carte de pain qui n´est pas à moi. La voici... Si elle n´est pas à vous, veuillez la remettre sous enveloppe et la déposer au bureau de l´hotel, je la ferai reprendre demain matin...´ (Translation: "Dear Sir and friend, I found in my wallet a bread card that is not mine. Here it is... If it is not yours, please put it back in an envelope and drop it off at the hotel office, I will have it picked up tomorrow morning...") Matisse refers to the "cartes de pain", rationning bread during World War II, from 1940 to 1950.The card consisted of a cover and an insert called a coupon sheet. It included ten coupons each month numbered 1 to 10. VG
CAPE FEAR - DE NIRO ROBERT: (1943- ) American Actor, Academy Award winner. Signed 8 x 10 colour photograph by De Niro, the attractive image depicting the awarded actor in a head and shoulders pose, in costume as Max Cady, in a scene of the psychological thriller film Cape Fear (1991). Signed by De Niro in bold blue ink to a clear area of the image. The autograph was obtained in person on the 8th March 2010, at the Matisse museum in Nice. EX
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.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A fine and attractive original pen and ink drawing executed by Picasso, unsigned, to the correspondence half of a picture postcard, n.p. (Marseille, Bouches-du-Rhones), n.d. (1st August 1923). In bold pen and ink Picasso has drawn an image of a sailing boat with two masts and sails at sea. The simple, yet appealing, line drawing would appear to have been executed by the artist in a single continuous stroke, without removing his pen from the surface, and the wave of the sea continuing to the first line of the address on the opposite side. Adressed by Picasso to Monsieur and Madame Paul Rosenberg at 21 Rue La Boetie in Paris. Neatly laid down to a raised central mount within an ornate frame by Toupillier & Fils of Paris, glazed, and with their label affixed to the verso. 11 x 9 overall. A wonderful original drawing by Picasso with an interesting association. VGPaul Rosenberg (1881-1959) French art dealer who represnted Picasso, Georges Braque and Henri Matisse. Rosenberg enjoyed a special exclusive contract with Picasso from 1918-40 and the two men and their families remained close for the rest of their lives, often holidaying together in the south of France. The Rue La Boetie, to where the present postcard was sent, has been described as the ´nerve centre´ of modern French art during the 1920s and 1930s. Provenance: Paul Rosenberg, Paris; Gabriel Vicart, Paris (Rosenberg´s accountant); Sotheby´s auction house, Lot 312, 9th June 1983 (from where it was purchased by our vendor). A photocopy of Sotheby´s original catalogue entry is included with the lot and the verso of the frame still retains the printed catalogue photography label created by Sotheby´s on 5th April 1983.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, to one side of a picture postcard depicting a panoramic view of Cannes from the terrace of the hotel and restaurant La Pergola, n.p. (Mougins, Cote d´Azur), n.d. (July 1937), to Max Pellequer (´Mon cher ami´), in French. Picasso provides his friend with the name and address of the hotel he is staying at, the Hotel Vaste Horizon in Mougins, and continues to write ´Je viens de recevoir votre lettre. Je vous ecrirai bientot. Votre ami mais vraiment´ (Translation: ´I've just received your letter. I'll write to you soon. Your friend but truly´). Hand addressed by Picasso. An attractively penned letter with good association. EXMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso stayed at the Hotel Vaste Horizon in July 1937, accompanied by his muse and lover Dora Maar, having just completed Guernica a month earlier. They were visited there by various friends including Man Ray, Paul & Nusch Eluard, Roland Penrose and Lee Miller, the latter capturing various photographs of the party.
Straßner, Ernst. (Blumenstillleben mit Holunder-, Mohnblüten und Rosen). Aquarellmalerei / Mischtechnik auf Papier. Signiert und datiert unten rechts "E. Straßner [19]89". Blattgröße 41 x 60 cm. Rahmengröße 61,5 x 78 cm (Hochformat). (38) * Zum Künstler Ernst Straßner (1905 - 1991), vgl. dazu R. Nahrwold, Ernst Straßner, Braunschweig 1991 [Braunschweiger Werkstücke Bd. 82.]. Straßners Gesamtwerk gliedert sich wie folgt: In seiner Studienzeit 1924 - 1932 verbinden sich die Gattungen Stillleben und Portrait nach der naturalistischen Gegenstandsaufnahme wie bei seinen Vorbildern Thoma und Leibl. In den Jahren 1933 - 1945 haben Landschaftsbilder und Portraits den Vorzug, die vorwiegend in Ölmalerei mit impressionistischer Tendenz ausgeführt werden. In der Braunschweiger Zeit von 1956 - 1970 überwiegt in der Farbigkeit seiner Bilder der Kolorismus seiner Vorbilder Matisse, Purmann und Bonnard. Ab 1971 herrscht das koloristische Valeur seines Vorbildes Cézanne vor. Das Aquarell in hellen und leuchtenden Farben zeigt ein Blumenstillleben mit einem Strauß Holunder-, Mohnblüten und Rosen vor einem abstrakt wirkenden Hintergrund. Zustand: Mit altersbedingten unauffälligen Schab- und Kratzspuren, etwas angestaubt. Rückseitig mit Klebe- und Montageresten. Der schlichte Rahmen ist gering berieben bzw. beschädigt. Schöne und farbenfrohe Darstellung.
Mourlot, Fernand. Souvenirs et portrait d’artiste. Jacques Prevert - Le Coeur à L Ouvrage. Paris, Morurlot, 1972 [Alain A.C. Mazo, Paris et Leon Amiel, New York, éditeurs]. 4°. Mit 25 Lithographien (19 farbigen und eine doppelblattgroß). In Lagen lose, mit dem originalen Papierumschlag eingelegt in einer Leinenkassette mit Rückentitel. (58) * Unnummeriertes Exemplar - mit Lithographien von: Brianchon, Masson, Beaudin, Fenosa, Esteve, Guiramond, Matisse, Terechkovich, Braque, Derain, Picasso, Jenkins, Miro, Cocteau, Minaux, Villon, Chagall, Giacometti, Buffet, Wunderlich, Delvaux, Vasarely, Manessier, Lepicque and Sutherland. Freundschaftsbuch der bedeutenden französischen lithographischen Anstalt. Zustand: Alle Lithographien sind im guten Zustand. Der Papierumschlag ist etwas fleckig, berieben, mit Knickspuren und kleinen Läsuren. Innen gering fingerfleckig, mit leichten Lagerspuren. Einige Textseiten mit Abklatsch der Lithographien. Die Leinenkassette ist angestaubt,berieben und bestoßen. Seltene und gesuchte Ausgabe.
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), ODALISQUE oil on canvas, signedframed image size 85cm x 120cm, overall size 104cm x 139cm Provenance: We are grateful to Lachlan Goudie, artist, writer, broadcaster and the leading authority on the work of his father, for authenticating "Odalisque" and confirming that "Yes, I know this canvas very well. It’s one of my father’s finest nude paintings, a tribute in many ways to his artistic heroes Manet and Velazquez. The subject is my mother, Marie Renee Goudie, who was a muse for my father throughout his career. It’s a supremely confident piece of virtuoso painting, designed to create an impression of sensuality and exoticism. A wonderful work". Note 1: The loose meaning of Odalisque in the world of art is “a reclining nude, female figure”. The word is French in form and Originates from the Turkish work “Odalik” meaning “Chambermaid” One of the earliest examples of a painting of this subject matter was Jean Auguste Dominique’s Ingres work painted in 1814 and titled “Grande Odalisque”. The painting was commissioned by Napoleon’s sister, and Ingres apparently drew inspiration upon the classical works of Dresden Venus by Giorgione and Titans Venus of Urbino. Since then the subject has been painted by many great artists such as Francois Boucher, Jules Joseph Lefebvre and More. Great Twentieth Century artists such as Matisse ,1926 (Metropolitan Museum) and Picasso’s “The Great Odalisque” painted in 1907 have visited this subject, as have Scottish artists, John Bellany and Goudie. Most of these artists have used their lovers or muses as the subject and Goudie’s picture is no different In Goudie’s painting the artist has used his wife as the model. Her reclining figure shown from the front looking sideways as if to tease the artist with her beauty. Her naked curves against a rich scarlet, Vermillion background arouse a strong sexuality. The flowers and drapery seek to soften the composition and create a colour contrast which clearly demonstrates a deep love between the artist and model. It has to be said that many nude painting are often rebuffed by a Traditionally Calvinistic Scottish art world, but in this picture Goudie has created a masterful work, of great passion to match the age old subject matter.Note 2 : Alexander Goudie was born in 1933 at Paisley and, as a child, showed a prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist, he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.
Tristram Hillier R.A. (British, 1905-1983)Fin de Saison signed 'Hillier.' (lower right); titled and partially dated 'FIN DE SAISON/193-' (on the stretcher)oil on canvas60.4 x 81.1 cm. (23 3/4 x 31 7/8 in.)Painted in 1939Footnotes:ProvenanceWith Arthur Tooth & Sons, London, 1940With The Redfern Gallery, London, October 1941, where acquired by Mrs Edgar MocattaSale; Christie's, Paris, 1 December 2006, lot 97, where acquired by the present ownerPrivate Collection, U.K.LiteratureTristram Hillier, Leda and the Goose, Longmans, London, 1954, p.160Fin de Saison belongs to a concise series of ten known thirty-two-inch canvases painted by Hillier in 1938-40. These works represent the most ambitious pictures to arise from an important turning point in Hillier's oeuvre, which arguably pinpoint the moment that he arrives at his mature artistic style, and poignantly mark the waning days of peacetime life.Hillier's best-known compositions prior to this date had been those of the early 1930s selected by Herbert Read for inclusion in his Art Now and Unit One exhibitions. Here Hillier had favoured desolate strange and decaying maritime subjects arranged in stylised dynamic compositions in which jutting forms are strewn across nonspecific beaches. Hillier then deepened his engagement with Surrealism for a series of four paintings entitled Objects on the Beach in which anchor forms are morphed into spikey biomorphic entities which dwell in desolate coastal wildernesses.Such works had found an eager audience, selling well through London galleries, and Hillier planned to stage a large one man-show with his new dealers Arthur Tooth & Sons in the summer of 1940. For this exhibition (which was ultimately postponed) Hillier set about painting with vigour and refinement in his approach. In the resultant pictures the surrealist air and maritime focus of his early works remained present, and to these he introduced a layer of half suggested narratives, accompanied by a greater degree of realism. Two additional themes are keenly perceptible in Hillier's work of this period; the affection for his immediate surroundings of the Seine-Maritime region of France and an allegorical vein which referenced the impending conflict in central Europe. In fact, as the artist recalls, the latter of these dictated the former: 'Few doubted, by this time, that war with Germany was sooner or later inevitable, and Normandy, it seemed to me, securely protected behind the invincible Maginot Line that was nearing completion, would be as safe a place as any in which to settle. The light, the landscape, and, above all, the harbours and beaches of the coast, offered endless material for my work' (Tristram Hillier, Leda and the Goose, Longmans, London, 1954, p.155).In early 1939, with great assistance from his father-in-law, Hillier had purchased a grand house with a good studio space named L'Ormerie at Criquetot-l'Esneval. The nearby beach resort of Étretat with its rich artistic heritage proved a draw for Hillier, and its famous arched cliffs feature in several of his works of this period including the present composition. Writing after the war he recalled: 'Étretat has attracted many artists, for it was there that Courbet painted, among other canvases, that great picture 'La Vague'; the cliffs were made famous by Monet; Sisley also worked there, and in our own time Braque, Dufy and Henri-Matisse. Unlike the majority of places frequented by painters, however, it had never become popular in the vulgar sense, at any rate until the advent of the last war, and retained a peculiarly intimate charm. The beach with its drying nets and jet black fishing boats etched against the luminous Norman sky, and throwing deep translucent shadows upon the shingle, excited me enormously and formed the subject for what I consider some of the best paintings I have ever made' (ibid, p.156).Consistent with all European artists of his age, WWII was to have a defining impact on Hillier both personally and professionally. In 1939 he was yet to know the full horrors that humanity would unleash upon itself, but as both his writing and paintings reflect, he was keenly attuned to the direction of travel. Of his paintings that address this matter directly, it is the present work in which his mood is most sharply projected. Hillier himself later recalled the moment of its inception:'On a fateful Sunday morning we listened to the voice of Chamberlain telling us over the radio that we were at war, and a pall of gloom spread over the country affecting, it seemed to me, even Nature herself, for Autumn fell early that year and the dying leaves were a sad and fitting accompaniment to departing guests, the emptying beaches of the coast, and the sense of impending doom. I felt desperately forlorn and painted a picture entitled Fin de Saison' which epitomized my mood. It was indeed the end of a season of folly, indulgence and false values, but I knew it to be the end too, for better or for worse, of an epoch and, for myself and my generation, of youth' (ibid, p.160).The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of the artist's works. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, London, W1S 1SR or email britart@bonhams.comThis 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
Henri Matisse's Jazz with translation by Sophie Hawkes is a reedition of the original 1947 publication. It is a collection of colorful paper cutouts accompanied by Matisse's observations on life and art. 146 pages with color illustrations. Publisher: George Braziller, Inc., New York, 1985. ISBN 10: 080761131X. Artist: Henri Matisse (1869-1954)Issued: 1985Dimensions: 8.25"W x 11"H x 0.75"DCountry of Origin: United StatesCondition: Very good. Some discoloration on cover.
New York: Lamplight Collection of Modern Art, 1975. Hardcover art book featuring Pastoral by Henri Matisse (French, 1869-1954) on the front cover. 91-pages of Fauvism style art by serval known artists. Charles Camoin, Maurice Vlaminck, Andre Derain, and many more. Issued: 1975Dimensions: 9.75"W x 12.25"H x 0.5"DManufacturer: Lamplight Collection of Modern ArtCountry of Origin: United StatesCondition: Good.
Henri Matisse, French 1864-1954, Untitled - K4, 1943; monochrome collotype on wove, signed and dated 42 in the plate, from the Dessins, Thèmes et Variations suite, printed in an edition of 950, published by Martin Fabiani, Paris, 1943, image: 31 x 24cm, (framed) (ARR) Provenance:Goldmark Gallery, Rutland
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Pierre-Auguste RenoirLa conversation (Studie)um 1890Öl auf Leinwand; gerahmt25 x 28 cmSammlung Ambroise Vollard;Palais Galliéra, Paris, 19.06.1974, Nr. R (unverkauft);Galerie Marcel Bernheim, Paris (vgl. Fotoexpertise François Daulte, 25. November 1974);Galerie La Cave, Paris (vgl. Expertise von Claude Grandclaudon, 12. Dezember 1977);Kunsthaus im Welserhof, Augsburg (vgl. Brief von François Daulte, 4. Juli 1988, Lausanne);Gottfried Layr, Kunsthandel, Gars/K., Österreich (1989);seit 1989 österreichischer Privatbesitz Ambroise Vollard, Tableaux, pastels et dessins de Pierre Auguste Renoir, Band 2, Paris 1918, Abb. S. 120 (rechter Teil der Abbildung);Guy-Patrice und Michel Dauberville, Catalogue Raisonné des tableaux, pastels, dessins et aquarelles, 1882-1894, Band 2, Paris 2009, Nr. 1029, s/w-Abb. S. 217In den Jahren nach 1880 befindet sich Pierre-Auguste Renoir an einem Wendepunkt in seinem künstlerischen Schaffen. Nach der impressionistischen Phase, die ungefähr von 1870 bis 1880 andauert, orientiert er sich neu und stellt das bisher Erreichte in Frage. "Um 1883", so schreibt der Künstler an seinen Händler Ambroise Vollard, "trat so etwas wie ein Bruch in meinem Werk ein. Ich war dem Impressionismus bis an die äußere Grenze gefolgt und musste feststellen, dass ich weder malen noch zeichnen konnte. Mit einem Wort, ich war in einer Sackgasse" (Karin Sagner-Düchting, Renoir. Augenblicke des Glücks, München 1996, S. 81). Orientiert er sich zunächst, inspiriert durch eine Italienreise 1881, an den glatten, scharf gezeichneten Formen von Jean-Auguste-Dominique Ingres, beginnen sich um 1890 die Formen wieder aufzulockern und expressiver zu werden. Es folgt ein außerordentliches Spätwerk, das trotz der sich ab 1892 manifestierenden rheumatoiden Arthritis von großer Schaffensfreude geprägt ist. Selbst als ihn die Krankheit an den Rollstuhl fesselt und jede Bewegung schwierig wird, lässt er sich den Pinsel an die Hand binden und malt unverdrossen weiter.Das Leitmotiv dieser späten Jahre ist die Frauendarstellung, viele seiner Szenen platziert Renoir in die freie Natur. Auch das Thema der "Conversation", das sich durch sein Oeuvre zieht, bietet ihm einmal mehr die Gelegenheit, verschiedene räumliche Situationen und Positionen der Bildakteure zu erproben und deren Relationen zueinander malerisch zu erfassen. Dabei sind seine Darstellungen stets von großer Intimität und Empathie geprägt (Guillermo Solana (Hg.), Renoir. Intimacy, Ausstellungskatalog, Museo Thyssen-Bornemisza, Madrid 2016. o.S.).In vorliegender Studie sieht man genau zu welch freier, expressionistischer Malweise der Künstler bereits fähig ist und wie sehr er den Impressionismus in einer ganz eigenständigen Art und Weise weiterentwickelt hat. Er kombiniert weiche, konturlose Formen mit einem kräftigen Farbauftrag und erfasst seine Figuren kühn mit dickem, sicherem Pinselstrich. Gerade dieses radikale Spätwerk begeistert die nachfolgenden Generationen. Künstler, wie Pablo Picasso, der sieben Bilder Renoirs in seiner persönlichen Sammlung hatte, Henri Matisse und René Magritte verehrten den großen Franzosen und bewunderten die unglaubliche Lebensfreude und Sinneslust, die seine Malerei auszeichnet.(Sophie Cieslar)
Chaim Soutine interest; a portrait in pen on paper (believed to be either a self-portrait or a portrait of him by Marie Marevna as a contemporary addition to the letter), the reverse with an autograph love letter in pencil from Chaim Soutine to Marie Marevna (Vorobieff), additional annotation in pen by Marina Rivera Footnote and provenance: Marevena had an affair with Diego Rivera, wife of Frida Kahlo, producing a lovechild Marika Rivera, who gave this letter to the vendor. Marevena mixed with Picasso, Modigliani, Matisse, Brague, Chagall and the La Ruche group, c.1911-37
After Henri Matisse, (1869-1954) - ‘Rosace’, lithograph after the original cut-out, 23cm x 23cm, framed under glassGoldmark Art, Uppingham, Rutland label verso states "Rosace / Henri Matisse / lithograph 1954 / After the original cutouts".In 1954, a few months before his death, Henri Matisse was commissioned to create a stained-glass window in memory of Abby Aldrich Rockefeller in the Union Church, New York. La Rosace. The maquette for the window was Matisse’s last work.. Matisse personally directed and supervised the first 'pulls' during 1954, in collaboration with the renowned lithographers Mourlot Frères of Paris, before his death on 3rd November that year.These prints are original lithographs from the 1954 edition after Matisse’s cutouts.
After Henri Matisse, (1869-1954) – ‘Fleurs de Neige’, lithograph after the original cut-out, 1950-54, signed and dated 1951 in the plate lower right, 34cm x 17cm, framed under glassGoldmark Art, Uppingham, Rutland label versoGoldmark Gallery, Uppingham, Rutland label verso states "Henri Matisse / Fleurs de Neige / lithograph 1950-1954".
This attractive Henri Matisse blue Nude print is after the Fauvist artist's original 1953 gouache on paper cut-out entitled Woman with Amphora and Pomegranates placed on cream paper. Housed in a polished silver frame and an off-white mat with a silver border. Sight size: 9.25"L x 23.25"H. Frame size: 16.75"L x 30.75"H x 0.75"W. Artist: Henri Matisse (French 1869-1954)Issued: c. 1970Country of Origin: FranceCondition: Age related wear.
MATISSE, Henri (nach / after)(1869 Le Cateau Cambrésis - 1954 Nizza) "Nu"Lithografie auf Bütten. In der Platte signiert. [1918]/1994. Galerie Maeght, Mourlot, Paris. Blatt: 40 x 26 cm, im Passepartout: 40 x 30 cm. Verso Copyright-Stempel "Henri Matisse - Nu, 1918 - Succession Henri Matisse 1994". Französischer Maler, Grafiker, Zeichner und Bildhauer; Wegbereiter des Fauvismus; zählt neben Pablo Picasso zu den bedeutendsten Künstlern des 20. Jh. "Wer eine Rose malen will, muß zuerst alle Rosen vergessen, die jemals gemalt geworden sind." (Zitat: HM, www.altertuemliches.at). Aufrufzeit 15. | Juni 2024 | voraussichtlich 11:26 Uhr (CET) MATISSE, Henri (nach / after)(1869 Le Cateau Cambrésis - 1954 Nice) "Nu"Lithograph on laid paper. Signed in the plate. [1918]/1994. gallery Maeght, Mourlot, Paris. Sheet: 40 x 26 cm, in passepartout: 40 x 30 cm. Copyright stamp on verso "Henri Matisse - Nu, 1918 - Succession Henri Matisse 1994". French painter, graphic artist, draughtsman and sculptor; pioneer of Fauvism; one of the most important artists of the 20th century alongside Pablo Picasso. "Whoever wants to paint a rose must first forget all the roses that have ever been painted." (Quote: HM, www.altertuemliches.at). Call time 15 | June 2024 | probably 11:26 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
⊕ EDWARD BAWDEN (BRITISH 1903-1989) THE UNIVERSE IS INFINITELY WIDEsigned and dated Edward Bawden 1932 twice lower right; also numbered 28 lower rightwatercolour, gouache and wash on paper45 x 56.5cm; 17 3/4 x 22 1/4in57 x 68cm; 22 1/2 x 26 3/4in (framed)ProvenanceThe Zwemmer Gallery, London (1933) Montague Shearman Esq, London (purchased from the above; Montague Shearman, 1886-1940, was a barrister, art collector and connoisseur. A posthumous exhibition of his collection at the Redfern Gallery, London included works by Dali, Vuillard, Monet, Matisse, Renoir and Utrillo)Acquired by the father of the present owner in the late 1940sExhibitionLondon, The Zwemmer Gallery, 1933, no. 26 Literature James Russell The Lost Watercolours of Edward Bawden, Norwich, 2016, p.159, illustratedThe present work is a re-discovery, a rare example of Bawden's work from the inter-war years, and the period which is the subject of the recent book by James Russell (ibid). At the time, Bawden was in his 30s, living and working in the rural idyll of Great Bardfield, Essex which he found to be a welcome escape from the bustle of London that he loathed. He initially took rooms in the Brick House there with his friend and fellow artist Eric Ravillious (1903-1942). After marrying Charlotte, his father purchased the house for the newly-weds and it became their permanent home. Bawden’s work that decade was the subject of two important exhibitions, at the Zwemmer Gallery in 1933 (the exhibition in which the current lot featured), and then the Leicester Galleries in 1938. Both exhibitions focused on works produced within a few miles of Great Bardfield. The 1933 exhibition was reported in glowing terms in The Times while the reviewer in The Week-End Review said of the present work 'Mr Bawden has also a delightful sense of humour, which, in a painting like The World is Infinitely Wide, goes deeper than many men's solemnity.' (The Week-End Review, October 21, 1933) It was Gwyneth Lloyd Jones, a close friend of Charlotte Bawden and academic at Girton College, Cambridge who selected the literary titles for each work before they were exhibited at the Zwemmer Gallery. The gallery cut out the line titles from their catalogue and pasted them to the backboard as can be seen on the reverse of the present work. The title is the sixth line of Sonnet XIV by William Wordsworth composed in 1833, one hundred years before the work was exhibited: Desire we past illusions to recall? To reinstate wild Fancy, would we hideTruths whose thick veil Science has drawn aside?No, - let this Age, high as she may, installIn her esteem the thirst that wrought man's fall, The universe is infinitely wide;
Henri Matisse (1869-1954)Revue Verve portfolio, 1958Volume IX, nos 35-36comprising colour lithographs (incomplete). 9 – 10 missing pages15 – 16 missing pagesMISSING PLATES:Nu Aux OrangesDanseuse CreoleZulmaTristesse Du RoiPages 57 - 74 missingMISSING PLATES:La Perruche et la SireneNus BleusFemmes et SingesLes AcrobatesLierreL’EscargotSouvenir D’OceanieLierre en FleurVigne Also - with dust wrapper, paper slightly yellowed, with minor foxed dots here and there. Pencil inscription to opening top right. Dust wrapper a wee scruffy. Loose pages. No "blue nude" New condition report photos added, see condition report tab.
Sir Lawrence Gowing CBE RA, British 1918-1991 - Wood: Blue and Yellow Analysis, 1962; oil on board, 50.9 x 76.3 cm (ARR) Provenance: with Marlborough Fine Art Ltd., London, no.LOL4972 (according to the label attached to the reverse of the frame); private collection Note: Gowing was a pupil of William Coldstream and protégé of Bloomsbury art critic Clive Bell. As a portrait artist his sitters include Lord Attlee and Lord Halifax. As with Victor Pasmore, another artist involved with the Euston Road School, Gowing developed an abstract language in the late 1950s and 60s, as seen in the present work. A painting of a similar theme is now in the Tate Collection, 'Wood: Parabolic Perspective, 1963'. 1963He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.
Jean Dufy, French 1888-1964 - House amongst trees; watercolour on paper, signed lower right 'Jean Dufy', 39.8 x 51 cm (unframed) (ARR) Note: an unglazed frame with various inscriptions accompanies the work (see photos). Jean Dufy had the first exhibition of his work at the celebrated Galerie Berthe Weill, Paris, in 1914. This gallery had presented the first exhibitions of many of the most important Fauve artists, including Henri Matisse, Albert Marquet and Emilie Charmy.
Caroline Byng Lucas, British 1886-1967 - Castle Cottage, 1943; gouache and monotype on paper, signed and dated with initial lower right 'CL 43', 31.1 x 22.6 cm (ARR) Provenance: with The Redfern Gallery, London (label attached to the reverse of the frame); Mrs Ruth Plant, purchased from the above on the 31st December 1948 (according to the label attached to the reverse of the frame); the Descendants of Sidney and Stella Churchill (1862-1921 and 1883-1954) and Ruth Plant (1912-1988) Note: the artist established the Miller's Gallery in Lewes with her sister Frances Byng-Stamper in 1941. They staged over 40 exhibitions, which included work by Henri Matisse, Georges Rouault, Duncan Grant, Robert Colquhoun and Robert MacBryde. The sisters also founded the Millers Press in 1945 and the Society of London Painter-Printers to support artists in producing colour prints with the Redfern Gallery in 1948. Her work is in museum collections including the Towner, Eastbourne, Brighton and Hove Museums and Manchester Art Gallery.
An assortment of six vintage lithographs on paper after Henri Matisse (1869-1954). The lot to include a lithograph after ' l'avaleur de sabres ', two lithographs of lady posing on black ground, a lithograph on female head, together with two blue nudes lithographs. All unframed. Each measures approx. 45cm X 58cm (18" x 23").
An assortment of six vintage lithographs on paper after Henri Matisse ( 1869-1954). The lot to include three mid 20th century lithographs of the ' La Femmes et Singes ', a lithograph after ' Composition fond bleu, 1953 ' (detail), a lithograph after ' Le Piscine ' (detail), together with a lithograph after ' Composition fond bleu, 1953 ' (detail) in green. All unframed. Each measuring approx. 90cm x 30cm (35.5" x 12").
An assortment of seven vintage lithographs on paper after Henri Matisse (1869-1954). The lot to include a lithograph after ' L'Avaleur de Sabres ', a lithograph after ' Le Cowboy ', a lithograph after ' Le peintre et son modèle ', two lithographs of lady posing on black ground, together with two blue nudes lithographs. All unframed. Each measures approx. 45cm X 58cm (18" x 23").
An assortment of six vintage lithographs on paper after Henri Matisse (1869-1954). The lot to include a lithograph after ' L'Avaleur de Sabres ', a lithograph after ' Le Cowboy ', a lithograph after ' Blue Nude IV ', a lithograph after ' La Chevelure ', together with two lithographs of ladies posing. All unframed. Each measures approx. 45cm x 58cm (18" x 23").
An assortment of seven vintage lithographs on paper after Henri Matisse (1869-1954). The lot to include a lithograph after ' L'Avaleur de Sabres ', a lithograph after ' Le Cowboy ', two lithographs after ' Le peintre et son modèle ', two lithographs of lady posing, together with another. All unframed. Each measures approx. 45cm X 58cm (18" x 23").
Edmund Daniel Kinzinger 1888 Pforzheim - 1963 Waco/Texas Eisenbahnviadukt bei Pforzheim. 1912. Öl auf Leinwand. Links unten monogrammiert und datiert. 54,5 x 68 cm (21,4 x 26,7 in). [AW]. • Meisterschüler von Adolf Hölzel an der Kunstakademie Stuttgart. • Mit anderen Hölzel-Schülern wie Oskar Schlemmer und Willi Baumeister gründet er 1919 die 'Üecht'-Gruppe. • Leuchtend-expressive urbane Landschaftsdarstellung. • Im Entstehungsjahr 1912 kurzes Studium an der Académie Moderne in Paris bei Fernand Léger und Henri Matisse. PROVENIENZ: Galerie Bayer, Bietigheim-Bissingen Sammlung Hermann-Josef Bunte, Hamburg/Bielefeld. AUSSTELLUNG: Hermann Stenner und seine Zeit: '… dies Streben nach dem ganz Grossen etwas in der Kunst …', Kunstforum Hermann Stenner, Bielefeld, 20.1.-18.8.2019, Kat.-Nr. 97 (m. Abb. S. 162). Die Sammlung Bunte. Expressionistische Meisterwerke des 20. Jahrhunderts, Ausstellungszentrum Gut Altenkamp, Papenburg, 12.7.-25.10.2020. Aufrufzeit: 08.06.2024 - ca. 18.12 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEdmund Daniel Kinzinger 1888 Pforzheim - 1963 Waco/Texas Eisenbahnviadukt bei Pforzheim. 1912. Oil on canvas. Lower left monogrammed and dated. 54.5 x 68 cm (21.4 x 26.7 in). [AW]. • Master student of Adolf Hölzel at the Stuttgart Art Academy. • Together with other Hölzel students such as Oskar Schlemmer and Willi Baumeister, he founded the group 'Üecht' in 1919. • Luminous, expressive urban landscape. • In 1912, the year the work was made, he studied briefly at the Académie Moderne in Paris with Fernand Léger and Henri Matisse. PROVENANCE: Galerie Bayer, Bietigheim-Bissingen Hermann-Josef Bunte Collection, Hamburg/Bielefeld. EXHIBITION: Hermann Stenner und seine Zeit: '… dies Streben nach dem ganz Grossen etwas in der Kunst …', Kunstforum Hermann Stenner, Bielefeld, January 20 - August 18, 2019, cat. no. 97 (illu. on p. 162). Die Sammlung Bunte. Expressionistische Meisterwerke des 20. Jahrhunderts, Ausstellungszentrum Gut Altenkamp, Papenburg, July 12 - Ocotber 25, 2020. Called up: June 8, 2024 - ca. 18.12 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Margarete Moll 1884 Mühlhausen/Elsass - 1977 München Lovers. 1928. Bronze mit brauner Patina, auf Holzsockel. Auf der Rückseite mit der Signatur und dem Gießerstempel 'Bronze Stransky'. Einer von insgesamt 8 Güssen. 27,5 x 12,5 x 8,5 cm (10,8 x 4,9 x 3,3 in). Postumer Guss. Gegossen von der Bronzegießerei Stransky, Nörvenich. [AR]. • Ungemein intim und unzertrennlich anmutendes Figurenpaar von einer der großen deutschen Bildhauerinnen des 20. Jahrhunderts. • Noch vor Käthe Kollwitz, Emy Roeder und Renée Sintenis beginnt sie ihre bildhauerische Tätigkeit und ist Schülerin bei Henri Matisse in Paris. • 1928 besucht sie den rumänischen Bildhauer Constantin Brâncusi in seinem Pariser Atelier, – eine Begegnung, die ihr Schaffen nachhaltig prägt. • Bezüge zu Brâncusis berühmtem 'Kuss' von 1907/08 sind in 'Lovers' erkennbar, mit den weichen, fließenden Linien findet die Künstlerin jedoch zu ihrem ganz eigenen künstlerischen Ausdruck und einer selbständigen Formensprache. • Bislang wurde erst ein weiteres Exemplar dieser Bronze auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). • Nach Station im Museum Wiesbaden - Hessisches Landesmuseum für Kunst und Natur zeigt nun das Edwin Scharff Museum in Neu-Ulm die gefeierte Ausstellung 'Gemischtes Doppel. Die Molls und die Purrmanns – Zwei Künstlerpaare der Moderne (26.04.–18.08.2024). PROVENIENZ: Aus dem Nachlass der Künstlerin. Privatsammlung Nordrhein-Westfalen. AUSSTELLUNG: Gemischtes Doppel. Die Molls und die Purrmanns – Zwei Künstlerpaare der Moderne, Museum Wiesbaden - Hessisches Landesmuseum für Kunst und Natur, 12.10.2023-18.2.2024 (m. Farbabb. S. 162). LITERATUR: Werner Filmer, Marg Moll. Eine deutsche Bildhauerin 1884-1977, München 2017, m. Abb. S. 66. Aufrufzeit: 08.06.2024 - ca. 18.32 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONMargarete Moll 1884 Mühlhausen/Elsass - 1977 München Lovers. 1928. Bronze with brown patina, on wooden base. With the signature and the foundry stamp “Bronze Stransky” on the reverse. From an edition of 8 casts. 27.5 x 12.5 x 8.5 cm (10.8 x 4.9 x 3.3 in). Posthumous cast by the Stransky bronze foundry, Nörvenich. [AR]. • Graceful, incredibly intimate and seemingly inseparable pair of figures by one of the great German sculptors of the 20th century. • She began her sculpting career even before Käthe Kollwitz, Emy Roeder and Renée Sintenis and was a student of Henri Matisse in Paris. • In 1928, she visited the Romanian sculptor Constantin Brâncusi in his Paris studio, an encounter that had a lasting impact on her work. • Reference to Brâncusi's famous “Kiss” from 1907/08 is evident in “Lovers”, but with the soft, flowing lines, the artist found her very own artistic expression and an independent formal language. • To date, only one other copy of this bronze has been offered on the international auction market (source: artprice.com) • After a stop at the Museum Wiesbaden - Hessisches Landesmuseum für Kunst und Natur, the Edwin Scharff Museum in Neu-Ulm currently presents the acclaimed exhibition 'Gemischtes Doppel. Die Molls und die Purrmanns - Zwei Künstlerpaare der Moderne (April 26 – August 18, 2024). PROVENANCE: From the artist's estate. Private collection North Rhine-Westphalia. EXHIBITION: Gemischtes Doppel. Die Molls und die Purrmanns - Zwei Künstlerpaare der Moderne, Museum Wiesbaden - Hessisches Landesmuseum für Kunst und Natur, October 12, 2023 - February 18, 2024 (illu. in color on p. 162). LITERATURE: Werner Filmer, Marg Moll. Eine deutsche Bildhauerin 1884-1977, Munich 2017, illu. on p. 66. Called up: June 8, 2024 - ca. 18.32 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Matisse, Henri (1869 Le Chateau - 1954 Nizza, nach) - "Apollon", Farblithografie nach dem gleichnamigen Scherenschnitt, erschien in "Verve" Nr. 35-36, 1958, Auflage: 6500 Ex., Druck: Atelier Mourlot, Paris, Verlag: Tériade, Paris, Sichtmaße: ca. 35 x 46,5 cm, mit Passepartout unter Glas gerahmt, Gesamtmaße:62,5 x 74,5 cm
William N. Copley 1919 New York - 1996 Key West/Florida Maltese Falcon. 1973. Acryl auf Leinwand. Rechts unten signiert 'cply' und datiert. Auf dem Keilrahmen betitelt. 114,5 x 147,5 cm (45 x 58 in). • Aus der berühmten Werkserie 'X-rated' (1972–1975), in der Copley seine obszön-erotischen Motive mit Titeln klassischer Hollywood-Filme und Theaterstücke verknüpft. • 1974 Teil der bahnbrechenden und für Copleys Erfolg grundlegenden Ausstellung 'X-Rated' im New York Cultural Center. • Gemälde aus derselben Werkreihe befinden sich u. a. im Whitney Museum of American Art, New York, im Stedelijk Museum, Amsterdam, und in der Collezione Prada, Mailand. • Zwei Jahre vor Entstehung ist Copley 1972 erstmals auf der documenta in Kassel vertreten. Die vorliegende Arbeit ist im Archiv des William N. Copley Estate, New York, registriert. Wir danken Herrn Anthony Atlas für die freundliche wissenschaftliche Beratung. PROVENIENZ: Paul Kasmin Gallery, New York (auf dem Keilrahmen mit dem Galerieetikett). Olbricht Collection, Essen/Berlin (2010 vom Vorgenannten erworben). AUSSTELLUNG: CPLY/X-Rated. An Exhibition of New Paintings and Drawings, New York Cultural Center in Zusammenarbeit mit der Fairleigh Dickinson University, New York, 22.3.-19.5.1974 (verso auf dem Keilrahmen mit dem typografisch bezeichneten Ausstellungsetikett). X-RATED mit William N. Copley und Andreas Slominski, me Collectors Room, Berlin, 30.1.-8.5.2011. William N. Copley, The Menil Collection, Houston, 19.2.-24.7.2016; Fondazione Prada, Mailand, 20.10.2016-8.1.2017. Mit seinen lustvoll-erotischen, gänzlich schamlosen Darstellungen rebelliert William N. Copley gegen die Konventionen der Nachkriegszeit und verfasst eine singuläre Position der figürlichen Malerei, in der er Elemente der amerikanischen Pop-Art mit Eigenschaften des europäischen Surrealismus kombiniert. Seit seiner Jugend ist der Adoptivsohn eines wohlhabenden Zeitungsmagnaten das schwarze Schaf in seiner politisch konservativen Familie. Seine künstlerische Karriere beginnt der exzentrische Autodidakt erst Mitte der 1940 Jahre und zieht zu Beginn der 1950er Jahre nach Paris, wo er zum einen der anständig-puritanischen amerikanischen Gesellschaft entflieht und zum anderen seine noch junge Malerei weiterentwickelt. Mitte der 1960er Jahre findet Copley zu seinem unverwechselbaren Stil: einer erzählerischen Bildsprache mit runden, geschwungenen Formen, kräftigen Konturlinien, leuchtender Farbigkeit, einer auf der Fläche angelegten Räumlichkeit und oftmals obszön-frivolen Motiven aus jeglicher Facette der menschlichen Sexualität. Der Künstler entwickelt ein Vokabular wiederkehrender Motive, darunter die männliche Figur mit Hut (Melone), die nackte oder halbnackte Frau, das sich umarmende Paar und zahlreiche weitere Elemente, die sich u. a. in den Arbeiten der 'X-Rated'-Werkreihe wiederfinden, zu der 'Maltese Falcon' gehört. Die verarbeiteten Motive entstammen pornografischen Magazinen und werden von Copley mit seiner eigenen stilisierten Bildsprache in malerische Erkundungen des menschlichen Körpers und Geschlechtsakts vor an Matisse erinnernden opulenten Hintergründen verwandelt. Der Künstler erklärt: 'For me, it’s a very simple thing, pornography has to do with repression, and eroticism with fantasy [..]. I am trying to break through the barrier of pornography into the area of joy.' (William N. Copley im Gespräch mit Sam Hunter, in: Ausst.-Kat. CPLY. X-Rated, New York Cultural Center, New York 1974) Stil und Ikonografie dieser Arbeiten entstammen in Teilen der amerikanischen Alltagskultur und enthalten Einflüsse aus der grafischen Bildsprache von Comics, zeitgenössischen Werbeanzeigen und u. a. durch die Betitelungen auch zu Hollywood-Filmen, wie bei 'Monsieur Verdou' (Whitney Museum of American Art, New York, Film von 1947), 'Come Back Little Sheba' (Collezione Prada, Mailand, Film von 1952) oder der hier angebotenen Arbeit 'Maltese Falcon', die Copley nach dem gleichnamigen Film von 1941 benennt (dt. 'Die Spur des Falken; Regie: John Huston, mit Humphrey Bogart in der Hauptrolle). 1974 ist das Gemälde Teil der viel besprochenen Einzelausstellung 'X-Rated' im New York Cultural Centre. [CH] Aufrufzeit: 07.06.2024 - ca. 14.59 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
Giovanni Domenico Tiepolo (1727-1804), Cheval à l'arrêt tenu par un palefrenier, deux orientaux à droite, pierre noire, plume et encre brune, lavis brun sur papier, signé Dom Tiepolo f et numéroté 38 , 21x29 cmExposition: Paris, Galerie Calleux, Tiepolo et Guardi, novembre 1952, no. 62Cette 'uvre fait partie d'une série de dessins intitulée par James Byam Shaw les Chevaux orientaux (The Drawings of Domenico Tiepolo, Londres, 1962, p.40-41). Des feuilles de ce groupe sont, par exemple, conservées au Metropolitan Museum et aux Offices. Plusieurs dessins de la série portent, comme celui-ci, une numérotation en haut à gauche. Le plus haut numéro connu semble être 69 (New York, Metropolitan Museum, inv. 35.42.1, le numéro 67 est passé en vente à Christie's, New York, 12 janvier 1995, lot 56).Collection Bemberg'1«Les Bemberg, cette famille à cheval sur deux continents dont la vision se déploie à l'échelle internationale, partagent tous les signes et tous les codes de la haute société à laquelle ils appartiennent corps et âme: l'éducation, le raffinement, la diversité des centres d'intérêt, l'importance accordée aux alliances et aux réseaux familiaux et un sens des affaires incontestable qui ne les empêche pas d'avoir un réel goût pour la culture et les belles choses. »1. Tristan Gaston-Breton, Les Bemberg de 1927 à 2013 , 2014, éd. El Viso, Madrid, p.151La famille Bemberg est une famille de grands industriels argentins d'origine allemande dont les membres se sont illustrés en tant que créateurs d'entreprises, politiciens, diplomates, artistes ou collectionneurs.Elle s'implante en Argentine en 1852 sous l'impulsion d'Otto Bemberg (1827-1895) qui partage son temps entre l'Argentine et Paris où il est nommé consul en 1862.Sous sa direction, la famille crée la brasserie Quilmes en 1890 qui produira la bière la plus populaire du pays. D'autres membres se sont distingués dans le domaine des arts ou de la musique, à l'instar de Maria Luisa Bemberg (1922-1995), réalisatrice et féministe engagée qui s'impose dans le monde du cinéma argentin et ouvre celui-ci au genre féminin.Cousin germain du père des actuels propriétaires des pièces présentées dans ce catalogue, Georges Bemberg (1915-2011), est aussi un membre illustre de la famille. Diplômé de Harvard et homme de lettre, il est initié à l'art par ses oncles et acquiert dès ses vingt ans une gouache de Picasso. Par amour de l'art et par le besoin de s'entourer de belles choses, il devient au fil du temps, l'un des grands collectionneurs du XXe siècle. Il accumule des oeuvres du XVe au XXe siècle, telles que Cranach, Véronèse, Tiepolo, Vigée Le Brun, Bonnard, Degas, Matisse, Modigliani, Monet,' regroupées au sein de sa fondation aujourd'hui à Toulouse dans l'Hôtel d'Assézat,l'un des plus célèbre monuments de la ville. Ses chefs-d'oeuvres ont été également présentés à la Fondation de l'Hermitage à Lausanne en 2021.La Maison Piguet a le très grand privilège de vous présenter une partie des oeuvres d'art et du mobilier garnissant la maison familiale de Lausanne : un riche ensemble de dessins anciens et de tableaux (Tiepolo, Hubert Robert, Degas, Vallotton, Utrillo, ...), du mobilier estampillé (Hache, Meunier, Oeben, Schey, ') de l'argenterie, de la porcelaine du XVIIIe siècle (Meissen, Vincennes, '), des bijoux(Boucheron, Cartier), des livres et gravures du XVIe au XXe siècle (Borgeaud, Picasso, Ramuz, '), etc.Plus de 200 lots qui peuvent être retrouvés en recherchant le mot-clef «Bemberg» sur Piguet.comTous les lots marqués en bleu dans le catalogue papier proviennent des collections de la famille Bemberg, ils ont été acquis au fil des générations et sont restés dans la famille jusqu'à ce jour.
Giovanni Battista Tiepolo (1696-1770), Décollation de saint Jean-Baptiste, pierre noire, plume et encre brune, lavis brun sur papier, 30x22,6 cmProvenance: Prince Alexis Orloff, vente Paris, Galerie Georges Petit, 29-30 avril 1920, lot 126, repr.Bibliographie: G. Knox, The Orloff Album of Tiepolo Drawings , The Burlington Magazine, vol. 103, no. 699, juin 1961, p.275Selon George Knox (op. cit.), date des années 1750. Le dessin provient d'un album ayant appartenu au prince Alexis Orloff (1787-1862), démembré avant la vente de 1920. La provenance antérieure de l'album n'a pu être confirmée mais il s'agit probablement de l'un de ceux que l'artiste donna à son fils Giovanni Maria au moment de son départ pour l'Espagne en 1762.Collection Bemberg'1«Les Bemberg, cette famille à cheval sur deux continents dont la vision se déploie à l'échelle internationale, partagent tous les signes et tous les codes de la haute société à laquelle ils appartiennent corps et âme: l'éducation, le raffinement, la diversité des centres d'intérêt, l'importance accordée aux alliances et aux réseaux familiaux et un sens des affaires incontestable qui ne les empêche pas d'avoir un réel goût pour la culture et les belles choses. »1. Tristan Gaston-Breton, Les Bemberg de 1927 à 2013 , 2014, éd. El Viso, Madrid, p.151La famille Bemberg est une famille de grands industriels argentins d'origine allemande dont les membres se sont illustrés en tant que créateurs d'entreprises, politiciens, diplomates, artistes ou collectionneurs.Elle s'implante en Argentine en 1852 sous l'impulsion d'Otto Bemberg (1827-1895) qui partage son temps entre l'Argentine et Paris où il est nommé consul en 1862.Sous sa direction, la famille crée la brasserie Quilmes en 1890 qui produira la bière la plus populaire du pays. D'autres membres se sont distingués dans le domaine des arts ou de la musique, à l'instar de Maria Luisa Bemberg (1922-1995), réalisatrice et féministe engagée qui s'impose dans le monde du cinéma argentin et ouvre celui-ci au genre féminin.Cousin germain du père des actuels propriétaires des pièces présentées dans ce catalogue, Georges Bemberg (1915-2011), est aussi un membre illustre de la famille. Diplômé de Harvard et homme de lettre, il est initié à l'art par ses oncles et acquiert dès ses vingt ans une gouache de Picasso. Par amour de l'art et par le besoin de s'entourer de belles choses, il devient au fil du temps, l'un des grands collectionneurs du XXe siècle. Il accumule des oeuvres du XVe au XXe siècle, telles que Cranach, Véronèse, Tiepolo, Vigée Le Brun, Bonnard, Degas, Matisse, Modigliani, Monet,' regroupées au sein de sa fondation aujourd'hui à Toulouse dans l'Hôtel d'Assézat,l'un des plus célèbre monuments de la ville. Ses chefs-d'oeuvres ont été également présentés à la Fondation de l'Hermitage à Lausanne en 2021.La Maison Piguet a le très grand privilège de vous présenter une partie des oeuvres d'art et du mobilier garnissant la maison familiale de Lausanne : un riche ensemble de dessins anciens et de tableaux (Tiepolo, Hubert Robert, Degas, Vallotton, Utrillo, ...), du mobilier estampillé (Hache, Meunier, Oeben, Schey, ') de l'argenterie, de la porcelaine du XVIIIe siècle (Meissen, Vincennes, '), des bijoux(Boucheron, Cartier), des livres et gravures du XVIe au XXe siècle (Borgeaud, Picasso, Ramuz, '), etc.Plus de 200 lots qui peuvent être retrouvés en recherchant le mot-clef «Bemberg» sur Piguet.comTous les lots marqués en bleu dans le catalogue papier proviennent des collections de la famille Bemberg, ils ont été acquis au fil des générations et sont restés dans la famille jusqu'à ce jour.
Hubert Robert (1733-1808), Vue du forum d'Auguste à Rome, sanguine sur papier, signée, localisée forum nerva Robert R et numérotée 12 , 36x45 cmProvenance: Anne-Gabrielle Soos, veuve de Hubert Robert, puis par descendance à sa nièce Charlotte Linussio, de qui acquis, en 1960, par G.W. Riggs, puis par descendance à Mademoiselle de L., sa vente, Paris, Galerie Charpentier, 22 juin 1933, no. 14, Vente anonyme, Paris, Hôtel Drouot, 16 novembre 1964, no. 23Bibliographie: J.-P. Cuzin et P. Rosenberg, in cat. exp. J.H. Fragonard e H. Robert a Roma, Rome, Villa Médicis, 1990-91, p. 68 sous no.18, fig. aLe titre de Forum de Nerva reprend celui de Piranèse et de Barbault (1718-1762) lorsqu'ils représentent ce site. Nous savons aujourd'hui qu'il s'agit en fait du forum d'Auguste, construit en l'an 2 av. J.-C. par Marc-Antoine et Auguste avec le temple de Mars Ultor (Mars vengeur), près du forum de César. Le musée de Valence conserve une vue du même lieu, cette fois représentée dans un format vertical et datée 1759 (J.P. Cuzin et P. Rosenberg, op. cit., no.18). Le présent dessin fut probablement réalisé la même année.Collection Bemberg'1«Les Bemberg, cette famille à cheval sur deux continents dont la vision se déploie à l'échelle internationale, partagent tous les signes et tous les codes de la haute société à laquelle ils appartiennent corps et âme: l'éducation, le raffinement, la diversité des centres d'intérêt, l'importance accordée aux alliances et aux réseaux familiaux et un sens des affaires incontestable qui ne les empêche pas d'avoir un réel goût pour la culture et les belles choses. »1. Tristan Gaston-Breton, Les Bemberg de 1927 à 2013 , 2014, éd. El Viso, Madrid, p.151La famille Bemberg est une famille de grands industriels argentins d'origine allemande dont les membres se sont illustrés en tant que créateurs d'entreprises, politiciens, diplomates, artistes ou collectionneurs.Elle s'implante en Argentine en 1852 sous l'impulsion d'Otto Bemberg (1827-1895) qui partage son temps entre l'Argentine et Paris où il est nommé consul en 1862.Sous sa direction, la famille crée la brasserie Quilmes en 1890 qui produira la bière la plus populaire du pays. D'autres membres se sont distingués dans le domaine des arts ou de la musique, à l'instar de Maria Luisa Bemberg (1922-1995), réalisatrice et féministe engagée qui s'impose dans le monde du cinéma argentin et ouvre celui-ci au genre féminin.Cousin germain du père des actuels propriétaires des pièces présentées dans ce catalogue, Georges Bemberg (1915-2011), est aussi un membre illustre de la famille. Diplômé de Harvard et homme de lettre, il est initié à l'art par ses oncles et acquiert dès ses vingt ans une gouache de Picasso. Par amour de l'art et par le besoin de s'entourer de belles choses, il devient au fil du temps, l'un des grands collectionneurs du XXe siècle. Il accumule des oeuvres du XVe au XXe siècle, telles que Cranach, Véronèse, Tiepolo, Vigée Le Brun, Bonnard, Degas, Matisse, Modigliani, Monet,' regroupées au sein de sa fondation aujourd'hui à Toulouse dans l'Hôtel d'Assézat,l'un des plus célèbre monuments de la ville. Ses chefs-d'oeuvres ont été également présentés à la Fondation de l'Hermitage à Lausanne en 2021.La Maison Piguet a le très grand privilège de vous présenter une partie des oeuvres d'art et du mobilier garnissant la maison familiale de Lausanne : un riche ensemble de dessins anciens et de tableaux (Tiepolo, Hubert Robert, Degas, Vallotton, Utrillo, ...), du mobilier estampillé (Hache, Meunier, Oeben, Schey, ') de l'argenterie, de la porcelaine du XVIIIe siècle (Meissen, Vincennes, '), des bijoux(Boucheron, Cartier), des livres et gravures du XVIe au XXe siècle (Borgeaud, Picasso, Ramuz, '), etc.Plus de 200 lots qui peuvent être retrouvés en recherchant le mot-clef «Bemberg» sur Piguet.comTous les lots marqués en bleu dans le catalogue papier proviennent des collections de la famille Bemberg, ils ont été acquis au fil des générations et sont restés dans la famille jusqu'à ce jour.
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