DOCSLIB.ORG

Impressionist, Modern & Contemporary Fine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Impressionist, Modern & Contemporary Fine IMPRESSIONIST, MODERN & CONTEMPORARY FINE ART AUCTION JERUSALEM, OCTOBER 13, 2015, 8 PM SALE 138 PREVIEW IN JERUSALEM Thu 1 October 5 pm - 10 pm Fri 2 October 11 am - 3 pm Sat 3 October 10 pm - 12 am Sun 4 October 11 am - 3 pm Mon 5 October 10 pm - 12 am Tue-Thu / 6-8 October 11 am - 10 pm Fri 9 October 11 am - 3 pm Sat 10 October 10 pm - 12 am Sun-Mon / 11-12 October 11 am - 10 pm Tue 13 October 11 am - 8 pm PREVIEW IN NEW YORK BY APPOINTMENT PREVIEW & AUCTION MATSART GALLERY 21 King David St., Jerusalem tel +972-2-6251049 www.matsart.net בס"ד MATSART AUCTIONEERS & APPRAISERS 21 King David St., Jerusalem 9410145 +972-2-6251049 15 Frishman St., Tel Aviv 6357815 +972-3-6810001 415 East 72 St., New York, NY 10021 +1-718-289-0889 Lucien Krief Owner, Director, Expert MODERN & [email protected] CONTEMPORARY ISRAELI FINE ART DEPARTMENT FINE ART DEPARTMENT Stella Costa Alice Martinov Levin Oren Migdal Senior Director Head of Department Head of Department [email protected] [email protected] Tel Aviv Branch Manager [email protected] Evgeny Kolosov Masha Zakharova Yehudit Ratzabi Assistant Director Auction Administrator Auction Administrator [email protected] [email protected] [email protected] CLIENT SERVICES Miriam Perkal Reizy Goodwin Yoel Noorani Client Accounts Logistics & Shipping Client Services [email protected] Manager Tel Aviv Branch [email protected] [email protected] All lots are sold “as is” and subject to a reserve. Please review the conditions as they appear in the rear of the catalogue or contact us with any questions you may have. Please note that some of the works are located abroad where additional import charges may apply. Please contact our staff prior to bidding to obtain information and confirm location. bid live worldwide: www.matsart.net © 2015 Matsart Auctioneers & Appraisers, All rights reserved. 1 GUSTAVE LOUIS JAULMES 1873-1959 (Swiss) Femmes au puits, 1942 (preparatory drawing for tapestry) oil on canvas 300 x 480 cm (118 x 189 in.) signed lower right PROVENANCE: Private collection, Israel. $7,500-9,000 ←2 3 GEORGES ANTOINE ROCHEGROSSE SCHOOL OF COYPEL 1859-1938 (French) 18th century Arrival of Queen of Sheba La naissance de Bacchus oil on board oil on canvas 114 x 60 cm (45 x 24 in.) 220 x 238 cm (87 x 94 in.) PROVENANCE: PROVENANCE: Private collection, Israel. Sale: Christie’s South Kennsington, May 24, 2007, lot 211. Private European collection, acquired at the above sale. $9,500-12,000 $9,000-12,000 4 5 HENRY SOMM HENRY SOMM 1844-1907 (French) 1844-1907 (French) Elégante à l’ombrelle Elégante à l’éventail watercolor on paper watercolor on paper 25 x 19 cm (10 x 7 in.) 26 x 19 cm (10 x 7 in.) signed lower right signed lower right $900-1,200 $900-1,200 6 LOUIS ABEL-TRUCHET 1857-1918 (French) Boulevard, 1980 oil on canvas 30 x 45 cm (12 x 18 in.) signed and dated lower right $6,000-8,000 5 HENRY SOMM 1844-1907 (French) Elégante à l’éventail watercolor on paper 26 x 19 cm (10 x 7 in.) signed lower right 7 $900-1,200 EDOUARD LÉON CORTÈS 1882-1969 (French) Place Vendome oil on canvas 33 x 46 cm (13 x 18 in.) signed lower right $6,000-9,000 8 EUGÈNE GALIEN-LALOUE 1854-1941 (French) La crue de la Seine, quai de L’Hôtel de Ville, 1910 gouache on paper 20 x 32 cm (8 x 13 in.) signed lower left This work will be included in the forthcoming volume II of catalogue raisonné currently being prepared by Noé Willer. $12,000-14,000 9 KONSTANTIN ALEXEYEVITCH KOROVIN 1861-1939 (Russian) Giverny tempera on paper mounted on cardboard 11 x 16 cm (4 x 6 in.) signed lower right PROVENANCE: Sale: Camera EOS Auction, Moscow, beginning of the 20th century (label on the reverse). Collection of Victor Midler. Private European collection, gift of the Midlers family in 1980. $25,000-35,000 10 ←10 11 ZINAIDA EVGENIEVNA ISAAK IL’ICH LEVITAN SEREBRYAKOVA 1860-1900 (Russian) 1884-1967 (Russian) Twilight over a forest and a lake oil on canvas Neskuchnoe, 1910’s 24 x 32 cm (9 x 13 in.) gouache on paper 11 x 27 cm (4 x 11 in.) PROVENANCE: Yaakov Peremen Collection. signed lower left Private collection, Israel. PROVENANCE: Collection of Victor Midler. EXHIBITION: The Great Masters: 19th-century Jewish Private European collection, gift from the above, c.1970. Art and its Origins, Mané-Katz Museum, Haifa, May 17 - $10,000-12,000 October 2014. $60,000-80,000 12 VICTOR LEON CHARRETON 1864-1937 (French) Jardin en été, c.1930 oil on canvas 60 x 73 cm (24 x 29 in.) signed lower right $14,000-18,000 13 ALBERT GLEIZES 1881-1953 (French) Sous-bois en l’automne, c.1907 oil on canvas 65 x 54 cm (26 x 21 in.) signed lower right LITERATURE: Anne Varichon (ed.), Albert Gleizes: Catalogue Raisonné, Paris: Somogy Editions d’Art, 1998, n.87 (illustrated). $9,000-12,000 14 ROBERT ANTOINE PINCHON 1886-1943 (French) Maison au bord de l’eau à l’automne, 1917 oil on cardboard 38 x 46 cm (15 x 18 in.) signed lower right, dated on the reverse PROVENANCE: Private collection, France. $12,000-15,000 15 ROBERT ANTOINE PINCHON 1886-1943 (French) L’Orée du bois oil on canvas 54 x 73 cm (21 x 29 in.) signed lower left PROVENANCE: Private collection, France. $15,000-20,000 16 P. FONTAINE 20th century (French) In the park gouache on cardboard 46 x 55 cm (18 x 22 in.) signed lower left $1,200-1,500 17 EMMANUEL VICTOR AUGUSTE MARIE DE LA VILLÉON 1858-1944 (French) Moissons à Bitry oil on canvas 44 x 80 cm (17 x 31 in.) signed lower right, titled on the reverse PROVENANCE: Private collection, France. EXHIBITION: Salon des Independats, 1980 (label on the reverse). $2,800-3,500 18 19 FRENCH IMPRESSIONIST SCHOOL 20th century Femme contemplant le temple de l’Amour, c.1900 oil on canvas 89 x 146 cm (35 x 57 in.) $9,000-12,000 ←18 20 MAURICE MILLIERE FRENCH 1871-1946 (French) IMPRESSIONIST Coucher de soleil sur SCHOOL la Guadeloupe, 1927 20th century oil on canvas Landscape 41 x 73 cm (16 x 29 in.) oil on canvasboard signed and dated lower left 33 x 24 cm (13 x 9 in.) PROVENANCE: Private collection, UK. initialled lower left $2,000-2,500 $3,000-4,000 21 22 21 ARNOLD MARC GORTER 1866-1933 (Dutch) Dutch landscape oil on canvas 76 x 96 cm (30 x 38 in.) signed lower right PROVENANCE: Private collection, acquired in Rotterdam in 1950’s. Thence by descent. Private collection, Israel. $1,200-1,500 22 DAVID OSIPOVICH WIDHOPFF 1867-1933 (Ukrainian) Printemps au champs, 1907 oil on panel 33 x 41 cm (13 x 16 in.) signed and dated lower left, titled on the reverse PROVENANCE: Private collection, France. 23 $1,800-2,200 23 GASTON VINCENT ANGLADE 1854-1919 (French) Paysage aux bruyeres oil on canvas 55 x 65 cm (22 x 26 in.) signed lower right $1,200-1,500 24 GASTON VINCENT ANGLADE 1854-1919 (French) Champs de bruyere oil on panel 42 x 51 cm (17 x 20 in.) signed lower left $900-1,200 25 26 CHARLES MALFROY CHARLES MALFROY 1862-1951 (French) 1862-1951 (French) Gathering flowers, 1904 View of the coast of France, 1900 oil on canvas oil on canvas 44 x 59 cm (17 x 23 in.) 73 x 116 cm (29 x 46 in.) signed and dated lower left signed and dated lower right $6,000-8,000 $2,500-3,000 27 CAMILLE PISSARRO 1830-1903 (French) Pommiers en fleurs, Eragny, c.1900 oil on cardboard mounted on panel 22 x 28 cm (9 x 11 in.) signed lower left PROVENANCE: Eugène Blot, Paris; sale, Hôtel Drouot, Paris, 9-10 May 1900, lot 139. Galerie Georges Petit, Paris. Private collection, Switzerland. Anon. sale: Palais Galliéra, Paris, June 11, 1974, lot 29. Reuben Hecht, Haifa. Nathan Bernstein, New York. Acquired by Achim Moeller Fine Art on behalf of John C. Whitehead, March 1983. Private European collcetion. EXHIBITION: Late 19th and Early 20th Century French Masters, The John C. Whitehead Collection, The Montclair Art Museum, April-June 1989, p. 32, no. 58. The Whitehead Collection, Late 19th and 20th Century French Masters, A Collection in Progress, Achim Moeller Fine Art, New York, 1997 (illustrated in exhibition catalogue, pp.88-90 - in color; detail illustrated in color; with incorrect support). LITERATURE: L’art français de la révolution à nos jours, Paris (illustrated). L.R. Pissarro and L. Venturi, Camille Pissarro, son art—son oeuvre, Paris, 1939, vol. I, p.239, no.1137 (illustrated, vol. II, pl.226; with incorrect support). Achim Moeller Fine Art (ed.), Late 19th and Early 20th Century French Masters, The John C. Whitehead Collection, A Collection in Progress, New York, 1987, p. 80 (illustrated in color, p. 81). Achim Moeller Fine Art (ed.), From Daumier to Matisse, Selections from the John C. Whitehead Collection, exh. cat., Achim Moeller Fine Art, New York, 2002, p. 14 (illustrated in color). J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Paris, 2005, vol. III, p. 815, no. 1319 (illustrated in color; with incorrect support). $480,000-600,000 Camille Pissarro played a central part and was one of the most influential figures in the French Impressionist movement. Camille Pissarro was the only artist to participate in all the eight Impressionist exhibitions.
Load more

Recommended publications
  • Downloaded from Brill.Com10/04/2021 08:07:20AM This Is an Open Access Chapter Distributed Under the Terms of the CC BY-NC-ND 4.0 License
    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 L’Art pour l’Art or L’Art pour Tous? The Tension Between Artistic Autonomy and Social Engagement in Les Temps Nouveaux, 1896–1903 Laura Prins HCM 4 (1): 92–126 DOI: 10.18352/hcm.505 Abstract Between 1896 and 1903, Jean Grave, editor of the anarchist journal Les Temps Nouveaux, published an artistic album of original prints, with the collaboration of (avant-garde) artists and illustrators. While anar- chist theorists, including Grave, summoned artists to create social art, which had to be didactic and accessible to the working classes, artists wished to emphasize their autonomous position instead. Even though Grave requested ‘absolutely artistic’ prints in the case of this album, artists had difficulties with creating something for him, trying to com- bine their social engagement with their artistic autonomy. The artistic album appears to have become a compromise of the debate between the anarchist theorists and artists with anarchist sympathies. Keywords: anarchism, France, Neo-Impressionism, nineteenth century, original print Introduction While the Neo-Impressionist painter Paul Signac (1863–1935) was preparing for a lecture in 1902, he wrote, ‘Justice in sociology, har- mony in art: same thing’.1 Although Signac never officially published the lecture, his words have frequently been cited by scholars since the 1960s, who claim that they illustrate the widespread modern idea that any revolutionary avant-garde artist automatically was revolutionary in 92 HCM 2016, VOL.
    [Show full text]
  • Camille Pissarro Letters to His Son Lucien Ebook, Epub
    CAMILLE PISSARRO LETTERS TO HIS SON LUCIEN PDF, EPUB, EBOOK Lionel Abel | 432 pages | 15 Mar 2007 | Kessinger Publishing | 9781432592974 | English | Whitefish MT, United States Camille Pissarro Letters to His Son Lucien PDF Book People love only the mediocre. He claims that the worst is over. Add to Basket Used Condition: good. We shall see. It features fresh and spontaneous brushwork along with a pleasant analogous color scheme. Thus Pissarro found himself almost completely isolated. As for Durand, it is impossible to separate him from a single penny. It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character. I am at the moment reading about the terrible explosion in Victoria Station, 2 and I am beginning to think there is no security for anyone in London now, it would be wiser, my boy, to come home and work with me, — don't you think so? Send me word about the family and about the catastrophe in London. Some, like Cezanne, sought refuge in total solitude, others, like Renoir and Monet, abandoning their comrades, tried to exhibit at the official Salon, still others like Gauguin, hoped to find new inspiration in far off countries, while Pissarro turned to the new generation, anxious to guide it and ready to accept in exchange a share of its ideas. One has only to read such or such a newspaper to be suspected and put on the index. I am going to look at houses at Meaux.
    [Show full text]
  • COUNTRY GARDENS John Singer Sargent RA, Alfred Parsons RA, and Their Contemporaries
    COUNTRY GARDENS John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries Broadway Arts Festival 2012 COUNTRY GARDENS John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries CLARE A. P. WILLSDON Myles Birket Foster Ring a Ring a Roses COUNTRY GARDENS John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries at the premises of Haynes Fine Art Broadway Arts Festival Picton House 9th -17th June 2012 High Street Broadway Worcestershire WR12 7DT 9 - 17th June 2012 Exhibition opened by Sir Roy Strong BroadwayArtsFestival2012 BroadwayArtsFestival2012 Catalogue published by the Broadway Arts Festival Trust All rights reserved. No part of this catalogue may (Registered Charity Number 1137844), be reproduced, stored in any retrieval system, or 10 The Green, Broadway, WR12 7AA, United Kingdom, transmitted, in any form or by any means, without the for the exhibition: prior permission of the Broadway Arts Festival Trust and Dr. Clare A.P. Willsdon ‘Country Gardens: John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries’, 9th-17th June 2012 ISBN: 978-0-9572725-0-7 Academic Curator and Adviser: Clare A.P. Willsdon, British Library Cataloguing in Publication Data: CONTENTS PhD (Cantab), MA (Cantab), FRHistS, FRSA, FHEA, A catalogue record for the book is available from the Reader in History of Art, University of Glasgow British Library. Country Gardens: John Singer Sargent RA, Alfred Parsons RA, and their Contemporaries ......................................................1 © Broadway Arts Festival Trust 2012 Front cover: Alfred Parsons RA, Orange Lilies, c.1911, © Text Clare A.P. Willsdon 2012 oil on canvas, 92 x 66cm, ©Royal Academy of Arts, Notes ............................................................................................................... 20 London; photographer: J.
    [Show full text]
  • Camille Pissarro's Turpitudes Sociales: Challenging the Medical Model of Social Deviance
    Camille Pissarro's Turpitudes Sociales: Challenging the Medical Model of Social Deviance Elpida Vouitsis McGill University, Montreal August 2005 A thesis submitted to McGill University In partial fulfillment of the requirements Of the degree of Master of Arts © Elpida Vouitsis 2005 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-24929-1 Our file Notre référence ISBN: 978-0-494-24929-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell th es es le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • Dr John C Taylor Clocks Collection up for Sale
    7 1 -2 0 2 1 9 1 ISSUE 2490 | antiquestradegazette.com | 1 May 2021 | UK £4.99 | USA $7.95 | Europe €5.50 S E E R 50years D koopman rare art V A I R N T antiques trade G T H E KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Dr John C Taylor clocks collection up for sale by Roland Arkell It is his desire to see the pieces dispersed in the market where they can be enjoyed by generations of collectors and enthusiasts Perhaps the finest assemblage of rather than left en bloc to an institution. Left: the late 16th or English clocks in private hands goes on early 17th century sale in the summer at Winchester Stellar material Florentine bronze dealership Carter Marsh. The cache of stellar material is evidence that, model of a strutting The collection of Isle of Man entrepreneur with so many eyes turned to more fashionable ostrich, catalogued and horologist Dr John C Taylor (b.1936) disciplines, recent decades have been a mini- as ‘workshop of includes some of the best Golden Age and golden age for committed horology Giambologna’ – precision timekeepers that have come to collectors. £1.41m at Cheffins. market in the past 40 years. “In almost every single area he has the Dr Taylor, the subject of a profile inATG best of everything” says Carter. It also No 2232, is best known for inventing the betrays Taylor’s appreciation of practical and bi-metallic thermostat used in every electric inventive expertise – an era when the tumult kettle.
    [Show full text]
  • Modern British and Irish Art Wednesday 28 May 2014
    Modern British and irish art Wednesday 28 May 2014 MODERN BRITISH AND IRISH ART Wednesday 28 May 2014 at 14.00 101 New Bond Street, London duBlin Viewing Bids enquiries CustoMer serViCes (highlights) +44 (0) 20 7447 7448 London Monday to Friday 08.30 to 18.00 Sunday 11 May 12.00 - 17.00 +44 (0) 20 7447 4401 fax Matthew Bradbury +44 (0) 20 7447 7448 Monday 12 May 9.00 - 17.30 To bid via the internet please +44 (0) 20 7468 8295 Tuesday 13 May 9.00 - 17.30 visit bonhams.com [email protected] As a courtesy to intending bidders, Bonhams will provide a london Viewing Please note that bids should be Penny Day written Indication of the physical New Bond Street, London submitted no later than 4pm on +44 (0) 20 7468 8366 condition of lots in this sale if a Thursday 22 May 14.00 - 19.30 the day prior to the sale. New [email protected] request is received up to 24 Friday 23 May 9.30 - 16.30 bidders must also provide proof hours before the auction starts. Saturday 24 May 11.00 - 15.00 of identity when submitting bids. Christopher Dawson This written Indication is issued Tuesday 27 May 9.30 - 16.30 Failure to do this may result in +44 (0) 20 7468 8296 subject to Clause 3 of the Notice Wednesday 28 May 9.30 - 12.00 your bid not being processed. [email protected] to Bidders. Live online bidding is available Ingram Reid illustrations sale number for this sale +44 (0) 20 7468 8297 Front cover: lot 108 21769 Please email [email protected] [email protected] Back cover: lot 57 with ‘live bidding’ in the subject Inside front cover: lot 13 Catalogue line 48 hours before the auction Jonathan Horwich Inside back cover: lot 105 £20.00 to register for this service Global Director, Picture Sales Opposite: lot 84 +44 (0) 20 7468 8280 [email protected] Please note that we are closed Monday 26 May 2014 for the Irish Representative Spring Bank Holiday Jane Beattie +353 (0) 87 7765114 iMportant inforMation [email protected] The United States Government has banned the import of ivory into the USA.
    [Show full text]
  • The Centenary Open Installtion View, View, Installtion 2013 Is Now Over, and There Has Been a Record- Breaking Number of Entries This Year
    e The London Group s CENTENARY OPEN 2013 14 May-7 June 2013 a e l e , Peter Clossick , Peter r Across The Road In 1930 the roof garden of London’s famous department store Selfridges was given over to a London Group sculpture exhibition where prestigious members such as Henry Moore and Barbara Hepworth exhibited alongside the work of emerging artists. This is just one inclusive show in the s illustrious 100-year history of The London Group, the UK’s longest running artists’ collective. The London Group have a long tradition of supporting the work of emerging artists through their s flagship event, the biennial open. Historically, these shows were seen as exhibiting opportunities for visual makers who had been thought of as minority status artists: young art students, women artists and those making work without commercial gallery patronage. The golden age for the open submission came after the war. These exhibitions were huge. In the e November 1952 exhibition, 360 works came from open submission. Again in the 1980s the shows had very high status again with three large exhibitions at the Royal College of Art Gulbenkian Galleries. The 1990s Opens were held at the Concourse Gallery in the Barbican Centre with the Artsinform CoBiennialmmunicatio n1995s Ltd. Open Exhibition selected by five guest selectors, Robin Klassnik, Angela Flowers, r t. +44 (0)1273 488996 w. www.artsinJenniform.co .Lomax,uk Louisa Buck and William Ling. The last Open was held in 2011 and had a positive e. [email protected] on the careers of its winners as ever: Pipe Passage, 151b High Stret, Lewes, East Sussex, BN7 1XU Company No: 06392254 p “Winning the Arcadia Missa Prize was an honour and great surprise.
    [Show full text]
  • Interior Scene, Attributed to an Unknown
    The Courtauld Institute of Art Painting Pairs: Art History and Technical Study Interior Scene, by an unknown artist (after Harold Gilman) Chloé D’Hondt, MA History of Art Luz Vanasco, Postgraduate Diploma in the Conservation of Easel Paintings 2018 – 2019 Table of contents LIST OF FIGURES ................................................................................................................. 3 INTRODUCTION TO THE PROJECT ................................................................................ 4 INTERIOR SCENE: INTRODUCTORY REMARKS ......................................................... 5 HAROLD GILMAN ................................................................................................................ 7 COMPARATIVE VISUAL ANALYSIS .............................................................................. 10 MATERIALS AND TECHNIQUE ....................................................................................... 13 HAROLD GILMAN ............................................................................................................................................. 13 INTERIOR SCENE VS. HAROLD GILMAN ........................................................................................................... 16 Support ......................................................................................................................................................... 16 Ground ........................................................................................................................................................
    [Show full text]
  • New Directions in Neo-Impressionism (London, 20 Nov 10)
    New Directions in Neo-Impressionism (London, 20 Nov 10) Dr Tania Woloshyn et al Call for Papers CONFERENCE: Saturday 20 November 2010 VENUE: Richmond, the American International University in London, UK Proposals of approx.250 words due by 1 July to: [email protected] 2010 marks the centenary of the death of Neo-Impressionist Henri-Edmond Cross (1856-1910) as well as the release of a new book of collected essays which re-evaluate the work of Georges Seurat (1859-1891), 'Seurat Re-Viewed' (edited by Paul Smith; published by Penn State Press, 2010). It is therefore a fitting time to reconsider the artistic production and contextual themes around Neo-Impressionism, a much maligned movement that has often been described as a series of artistic, political and scientific failures. Its new direction after the death of Seurat in 1891, under the self-declared leadership of Paul Signac (1863-1935), has been posited less as a renewal towards alternative but equally radical luminous experiments than a progressive degeneration from its original conception. Specifically, the works of Cross, Signac and Théo van Rysselberghe (1862-1926) produced along the Côte d'Azur during the 1890s and early 1900s deserve new academic attention as more than merely utopic or escapist visions set in 'holiday' landscapes. This conference proposes to bring together emerging and established scholars of Neo-Impressionism for an exciting reappraisal of its history within the heart of London at an international, bilingual conference at Richmond, the American International
    [Show full text]
  • MERCREDI 30 DÉCEMBRE 2020 Ventes Aux Enchères De Prestige Depuis 1989
    COMMISSAIRE PRISEUR MERCREDI 30 DÉCEMBRE 2020 Ventes aux enchères de prestige depuis 1989 OSSIP ZADKINE BRONZE, 1947 DU 27 AU 31 DÉCEMBRE 2020 IMPÉRIALE CHÂTEAU DIAMANT FANCY MARGAUX 1990 YELLOW / VS2 10.03 CTS PATEK PHILIPPE NAUTILUS MAURICE DE VLAMINCK - Huile HERMÈS PARIS MADE IN FRANCE KELLY CROCO CHINE, DYNASTIE MING Charles CAMOIN - Huile, 1928 DIMANCHE 27 DÉCEMBRE À 14 H, LUNDI 28 ET MARDI 29 DÉCEMBRE À 10H30 PUIS 14H VINS RARES & PRESTIGIEUX, CHAMPAGNES, CHARTREUSES & ALCOOLS / MERCREDI 30 DÉCEMBRE À 14 H 30 TABLEAUX & SCULPTURES, MODERNES & CONTEMPORAINS - ARTS DE LA CHINE ANCIENNE / MERCREDI 30 DÉCEMBRE À 17 H 30 MONTRES MODERNES & DE COLLECTION / JEUDI 31 DÉCEMBRE À 13 H 30 FOURRURES D’EXCEPTION, MAROQUINERIE & ACCESSOIRES DE MODE / JEUDI 31 DÉCEMBRE À 14H IMPORTANTS DIAMANTS - HAUTE JOAILLERIE & BIJOUX SIGNÉS, PIERRES DE COULEUR COMMISSAIRE PRISEUR 45, La Croisette - 06400 CANNES - 04 93 99 33 49 - [email protected] www.cannesauction.com svv Besch Cannes Auction n° 2002-034 - L’abus d’alcool est dangereux pour la santé, à consommer avec modération. COMMISSAIRE PRISEUR VENTE AUX ENCHÈRES / AUCTION EN SALLE DANS LES SALONS DE L’HÔTEL MARTINEZ & EN LIVE SUR DROUOTLIVE.COM ET INTERENCHERES-LIVE.COM MERCREDI 30 DÉCEMBRE 2020 À 14 H30 DES IMPRESSIONNISTES AUX CONTEMPORAINS TABLEAUX - SCULPTURES - CÉRAMIQUES - TAPISSERIE LES ARTS DE LA CHINE Maître Jean-Pierre Besch Commissaire-priseur judiciaire et habilité svv Besch Cannes Auction n° 2002-034 45, Boulevard de la Croisette - 06400 Cannes Tél : 33 (0) 4 93 99 22 60 - 33 (0)
    [Show full text]
  • Georges Henri Manzana Pissarro
    Georges Henri Manzana Pissarro mother: Rachel Petit Pissarro. children: Félix Pissarro, Georges Henri Manzana Pissarro, Lucien Pissarro, Ludovic Rodo Pissarro, Paul-Emile Pissarro. religion: Judaism. Died on: November 13, 1903. Many of his descendents through his daughter Jeanne Pissarro were artists including Henri Bonin-Pissarro, Claude Bonin-Pissarro and Frédéric Bonin-Pissarro. Joachim Pissarro, his great-grandson is a historian of art and served the â˜Museum of Modern Artâ™ in New York City as a curator of sculpture and painting. WGA: PISSARRO, Georges. Open Library: OL1974134A. GND: 1087904471. Media in category "Georges Henri Manzana Pissarro". The following 2 files are in this category, out of 2 total. Georges manzana-pissarro, ritratto di maximillian luce, 1877.jpg 1,596 × 2,052; 2.69 MB. Portrait-of-Georges-Pissarro.jpg 413 × 500; 52 KB. Retrieved from "https://commons.wikimedia.org/w/index.php?title=Category:Georges_Henri_Manzana_Pissarro&oldid=299731195". Categories: 1871 births. Georges Henri Manzana Pissarro (1871, in Louveciennes, Yvelines â“ 1961) was a French artist, who worked in Impressionist and Post-Impressionist styles. He was also a designer of textiles, decorative objects, furniture and glassware. Contents. Like his brother Lucien Pissarro he spent his formative years surrounded by distinguished artists of the Impressionist movement, such as Monet, Cézanne, Renoir and Gauguin, all of whom frequented the Pissarro home. As a young man he painted a series of landscapes around Pontoise and Eragny in Impressionist style which he adopted from his father. Georges Henri Manzana Pissarro. 1910s Other Art Style Figurative Paintings. Gold, Silver, Mixed Media.
    [Show full text]
  • Acquisitions: Eragny Press Books
    Acquisitions Eragny Press books Jacinta Fleming The University of Melbourne’s to the village in Normandy where his acquisition in 2007 of the complete family lived, Eragny-sur-Epte, to publications of the Eragny Press make lithographs and sell illustrations (1894–1914) has major significance to art and literary journals which were to the Baillieu Library’s Special then popular in France. During this Collections. It is the only complete time he also discovered the art of holding of this press in the southern Kate Greenaway and Walter Crane hemisphere, as with the University’s and designed and illustrated children’s Kelmscott Press holdings. There are books for his younger siblings. This only three other complete Eragny period was intrinsic to the later collections in the world, two in the development of Eragny Press, and United States and one in the British Lucien was able to discover his own Library.1 The collection will also style and expertise. Frustrated with substantially increase the depth and the cost of production and the breadth of the University’s research influence of publishers he set out to holdings on the Arts and Crafts learn the art of wood engraving, movement in England in the late which became his preferred medium. 19th and early 20th centuries. The In 1890 his father sent him back to series of 32 books includes the very combine English Arts and Crafts England to gain entry into the rare Whym Chow, the last book design with a French Impressionist decorative arts movement so the printed, of which only 27 copies were interest in colour, light and sensations family could bring these ideas back to produced.
    [Show full text]