DOCSLIB.ORG

Impressionist & Modern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Impressionist & Modern Impressionist & Modern Art New Bond Street, London I 28 February 2019 Impressionist & Modern Art New Bond Street, London I Thursday 28 February 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 22 February 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 23 February 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 24 February 11am - 4pm Department Director AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 25 February 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 26 February 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 27 February 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 28 February 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25251 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Aimée Honig up to 24 hours before the auction Please see back of catalogue £22.00 Junior Specialist starts. This written Indication is issued for important notice to bidders. +44 (0) 20 7468 8276 subject to Clause 3 of the Notice to ILLUSTRATIONS [email protected] Bidders. REGISTRATION Front cover: Lot 6 IMPORTANT NOTICE Inside front cover: Lot 20 Frederick Millar Please note that all customers, Inside back cover: Lot 9 Junior Cataloguer irrespective of any previous Back cover: Lot 7 +44 (0) 20 7468 8251 activity with Bonhams, are Opposite: Lot 12 [email protected] required to complete the Bidder Registration Form in advance BIDS Condition Reports of the sale. The form can be +44 (0) 20 7447 7447 [email protected] found at the back of every catalogue +44 (0) 20 7447 7401 fax and on our website at To bid via the internet please www.bonhams.com and should visit www.bonhams.com be returned by email or post to the specialist department or to the bids Telephone bidding department at [email protected] Please note that bids should be To bid live online and / or leave internet submitted no later than 4pm on the bids please go to day prior to the sale. New bidders www.bonhams.com/auctions/ 25251 must also provide proof of identity and click on the Register to bid link at when submitting bids. Failure to do the top left of the page. this may result in your bid not being processed. Telephone bidding will only be accepted on lots with a lower estimate in excess of £1,000. Live online bidding is available for this sale Please email [email protected] with ‘live bidding’ in the subject line 48 hours before the auction to register for this service. Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Malcolm Barber Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Colin Sheaf Deputy Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Matthew Girling CEO, Emily Barber, Antony Bennett, Charlie O’Brien, Giles Peppiatt, India Phillips, Asaph Hyman, Caroline Oliphant, Matthew Bradbury, Lucinda Bredin, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Edward Wilkinson, Geoffrey Davies, James Knight, Simon Cottle, Andrew Currie, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Jon Baddeley, Jonathan Fairhurst, Leslie Wright, Charles Graham-Campbell, Matthew Haley, Ralph Taylor, Charlie Thomas, David Williams, Rupert Banner, Shahin Virani, Simon Cottle. Richard Harvey, Robin Hereford, Michael Wynell-Mayow, Suzannah Yip. Charles Lanning, Grant MacDougall, Sale Information BIDS BUYERS COLLECTION & STORAGE AND HANDLING * VAT on imported items at +44 (0) 20 7447 7447 STORAGE AFTER SALE CHARGES ON SOLD LOTS a preferential rate of 5% on +44 (0) 20 7447 7401 fax INFORMATION FOR LOTS RETURNED TO CADOGAN hammer price and the To bid via the internet please visit MARKED TP TATE prevailing rate on buyer’s premium www.bonhams.com All sold lots marked TP will be removed to Cadogan Tate Storage Y These lots are subject to PAYMENTS on Friday 1 March 2019 & Storage will be free of charge CITES regulations, please Buyers will be available for collection for the first 14 calendar days read the information in the +44 (0) 20 7447 7447 from Cadogan Tate from 9am from & including the sale date back of the catalogue. +44 (0) 20 7447 7401 fax Monday 4 March 2019 & then Thursday 28 February 2019. every working day between 9am Charges will apply from 9am VAT Sellers and 4.30pm. Thursday 14 March 2019. All charges due to Cadogan Tate Payment of sale proceeds Large pictures may be paid to them in advance +44 (0) 20 7447 7447 Collections are by appointment and large objects: or at the time of collection from their +44 (0) 20 7447 7401 fax only & a booking email or phone £6.05 per day+ VAT warehouse. Payment may be made call are required in advance to (Please note: Charges apply every by cash, cheque with banker’s card VALUATIONS, ensure lots are ready at time of day including weekends and card, (Please note: Amex is not TAXATION & HERITAGE collection. Photographic ID will be Public Holidays) accepted). +44 (0) 20 7468 8340 required at time of collection & if +44 (0) 20 7468 5860 fax a third-party is collecting written Handling Information on charges [email protected] authorisation from the successful After the first 14 calendar days due is available by email at buyer is required in advance. following the sale, the following [email protected] CATALOGUE SUBSCRIPTIONS Photographic ID of the third party handling charges apply per Lot: or telephone on +44 (0) 800 988 To obtain any Bonhams will be requested at the time of large pictures: 6100 catalogue or to take out collection. £45.00+ VAT an annual subscription: Payment in Advance Subscriptions Department To arrange a collection time please Loss and Damage (Telephone to ascertain amount +44 (0) 1666 502200 send a booking email to: Extended Liability cover to the value due) by: cash, cheque with banker’s +44 (0) 1666 505107 fax [email protected] of the Hammer Price will be card, credit or debit card. [email protected] or call +44 (0) 800 988 6100. charged at 0.6% but capped at the total value of all other charges. Payment at time of collection by: SHIPPING Cadogan Tate 241 cash, cheque with banker’s card, For information and estimates Acton Lane, London VAT credit or debit card. on domestic and international NW10 7NP Will be applied at the current shipping as well as export rate on all above charges licenses please contact Alban ALL OTHER SOLD LOTS Shipping on +44 (0) 1582 493 099 Will remain in the Collections The following symbol is [email protected] Department at Bonhams New Bond used to denote that VAT Street free of charge until 5.30pm is due on the hammer price Thursday 14 March 2019 lots not and buyer’s premium collected by this time will be returned to the department storage charges † VAT 20% on hammer price may apply. and buyer’s premium Specialists for this auction Europe India Phillips Global Head of Department, London Hannah Foster Department Director, London Ruth Woodbridge Specialist, London Aimée Honig Junior Specialist, London Frederick Millar Junior Cataloguer, London Christine de Schaetzen Specialist, Brussels Benedetta Alpini Specialist, Milan Emilie Millon Specialist, Paris North America Caitlyn Pickens Director, New York Rebecca Fattell Junior Specialist, New York Emily Wilson Junior Cataloguer, New York Kathy Wong Specialist, Los Angeles Asia Ryo Wakabayashi Senior Specialist, Tokyo Dorothy Lin Specialist, Hong Kong 1 AUGUSTE RODIN (1840-1917) Danseur courbé vers la droite, un pied en l’air et les bras joints au-dessus de la tête - étude de patineur sur glace? pen, brush and ink on yellow paper laid on the artist’s mount drawing: 6.8 x 5.3cm (2 11/16 x 2 1/16in).; artist’s mount: 8.2 x 10.7cm (3 1/4 x 4 3/16in). Executed circa 1870 £10,000 - 15,000 €12,000 - 17,000 US$13,000 - 20,000 The authenticity of this work has kindly been confirmed by Madame Christina Buley-Uribe. This work will be included in the forthcoming Auguste Rodin catalogue raisonné des dessins et peintures, currently being prepared. Provenance (Possibly) Auguste Beuret Collection, Paris (the artist’s son). Loïe Fuller Collection, Paris. Jean & Paule Cailac Collection, Paris. Private collection, France; their sale, Sotheby’s, Paris, 22 March 2018, lot 51. Acquired at the above sale by the present owner. For details of the charges payable in addition to the final Hammer Price of each Lot 8 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. IMPRESSIONIST & MODERN ART | 9 PROPERTY FROM A PRIVATE COLLECTION, UK 2 GUSTAVE LOISEAU (1865-1935) La neige, environs de Pontoise signed and dated ‘G. Loiseau. 05’ (lower right) oil on canvas 54.3 x 65cm (21 3/8 x 25 9/16in).
Load more

Recommended publications
  • Copertina Artepd.Cdr
    Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo.
    [Show full text]
  • Rapport D'activité 2019 Musées D'orsay Et De L'orangerie
    Rapport d’activité 2019 Musées d’Orsay et de l’Orangerie Rapport d’activité 2019 Établissement public des musées d’Orsay et de l’Orangerie Sommaire Partie 1 Partie 3 Les musées d’Orsay Le public, au cœur de la politique et de l’Orangerie : des collections de l’EPMO 57 exceptionnelles 7 Un musée ouvert à tous 59 La vie des collections 9 L’offre adulte et grand public 59 Les acquisitions 9 L’offre de médiation famille et jeune Le réaccrochage des collections permanentes 9 public individuel 60 Les inventaires 10 L’offre pour les publics spécifiques 63 Le récolement 22 L’éducation artistique et culturelle 64 Les prêts et dépôts 22 Les outils numériques 65 La conservation préventive et la restauration 23 Les sites Internet 65 Le cabinet d’arts graphiques et de photographies 25 Les réseaux sociaux 65 Les accrochages d’arts graphiques Les productions audiovisuelles et numériques 66 et de photographies 25 Le public en 2019 : des visiteurs venus L’activité scientifique 30 en nombre et à fidéliser 69 Bibliothèques et documentations 30 Des records de fréquentation en 2019 69 Le pôle de données patrimoniales digitales 31 Le profil des visiteurs 69 Le projet de Centre de ressources La politique de fidélisation 70 et de recherche 32 Les activités de recherche et la formation des stagiaires 32 Partie 4 Les colloques et journées d’étude 32 L’EPMO, Un établissement tête de réseau : l’EPMO en région 33 un rayonnement croissant 71 Les expositions en région 33 Les partenariats privilégiés 34 Un rayonnement mondial 73 Orsay Grand Département 34 Les expositions
    [Show full text]
  • Parcours Pédagogique Collège Le Cubisme
    PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle.
    [Show full text]
  • Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with Statements by the Artist
    Julio Gonzalez Introduction by Andrew Carnduff Ritchie, with statements by the artist. The Museum of Modern Art, New York, in collaboration with the Minneapolis Institute of Art Author Museum of Modern Art (New York, N.Y.) Date 1956 Publisher Minneapolis Institute of Art Exhibition URL www.moma.org/calendar/exhibitions/3333 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art JULIO GONZALEZ JULIO GONZALEZ introduction by Andrew Carnduff Ritchie with statements by the artist The Museum of Modern Art New York in collaboration with The Minneapolis Institute of Art TRUSTEES OF THE MUSEUM OF MODERN ART John Hay W hitney, Chairman of theBoard;//enry A//en Aloe, 1st Vice-Chairman; Philip L. Goodwin, 2nd Vice-Chairman; William A. M. Burden, President; Mrs. David M. Levy, 1st Vice-President; Alfred IL Barr, Jr., Mrs. Bobert Woods Bliss, Stephen C. (dark, Balph F. Colin, Mrs. W. Murray Crane,* Bene ddfarnon court, Mrs. Edsel B. Ford, A. Conger Goodyear, Mrs. Simon Guggenheim,* Wallace K. Harrison, James W. Husted,* Mrs. Albert D. Lasker, Mrs. Henry B. Luce, Ranald II. Macdonald, Mrs. Samuel A. Marx, Mrs. G. Macculloch Miller, William S. Paley, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, Duncan Phillips,* Andrew CarndujJ Bitchie, David Bockefeller, Mrs. John D. Bockefeller, 3rd, Nelson A. Bockefeller, Beardsley Buml, Paul J. Sachs,* John L. Senior, Jr., James Thrall Soby, Edward M. M. Warburg, Monroe Wheeler * Honorary Trustee for Life TRUSTEES OF THE MINNEAPOLIS INSTITUTE OF ARTS Putnam D.
    [Show full text]
  • Italian Futurism, 1909–1944: Reconstructing the Universe Published on Iitaly.Org (
    Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Italian Futurism, 1909–1944: Reconstructing the Universe Natasha Lardera (February 21, 2014) On view at the Solomon R. Guggenheim Museum, until September 1st, 2014, this thorough exploration of the Futurist movement, a major modernist expression that in many ways remains little known among American audiences, promises to show audiences a little known branch of Italian art. Giovanni Acquaviva, Guillaume Apollinaire, Fedele Azari, Francesco Balilla Pratella, Giacomo Balla, Barbara (Olga Biglieri), Benedetta (Benedetta Cappa Marinetti), Mario Bellusi, Ottavio Berard, Romeo Bevilacqua, Piero Boccardi, Umberto Boccioni, Enrico Bona, Aroldo Bonzagni, Anton Giulio Bragaglia, Arturo Bragaglia, Alessandro Bruschetti, Paolo Buzzi, Mauro Camuzzi, Francesco Cangiullo, Pasqualino Cangiullo, Mario Carli, Carlo Carra, Mario Castagneri, Giannina Censi, Cesare Cerati, Mario Chiattone, Gilbert Clavel, Bruno Corra (Bruno Ginanni Corradini), Tullio Crali, Tullio d’Albisola (Tullio Mazzotti), Ferruccio Demanins, Fortunato Depero, Nicolaj Diulgheroff, Gerardo Dottori, Fillia (Luigi Page 1 of 3 Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Colombo), Luciano Folgore (Omero Vecchi), Corrado Govoni, Virgilio Marchi, Filippo Tommaso Marinetti, Alberto Martini, Pino Masnata, Filippo Masoero, Angiolo Mazzoni, Torido Mazzotti, Alberto Montacchini, Nelson Morpurgo, Bruno Munari, N. Nicciani, Vinicio Paladini
    [Show full text]
  • Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol
    The Art Institute of Chicago Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture Source: Bulletin of the Art Institute of Chicago (1907-1951), Vol. 25, No. 9, Part II (Dec., 1931), pp. 1-31 Published by: The Art Institute of Chicago Stable URL: https://www.jstor.org/stable/4103685 Accessed: 05-03-2019 18:14 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Bulletin of the Art Institute of Chicago (1907-1951) This content downloaded from 198.40.29.65 on Tue, 05 Mar 2019 18:14:34 UTC All use subject to https://about.jstor.org/terms EXHIBITION OF THE ARTHUR JEROME EDDY COLLECTION OF MODERN PAINTINGS AND SCULPTURE ARTHUR JEROME EDDY BY RODIN THE ART INSTITUTE OF CHICAGO DECEMBER 22, 1931, TO JANUARY 17, 1932 Part II of The Bulletin of The Art Institute of Chicago, Volume XXV, No. 9, December, 1931 This content downloaded from 198.40.29.65 on Tue, 05 Mar 2019 18:14:34 UTC All use subject to https://about.jstor.org/terms No. 19.
    [Show full text]
  • Rapport Annuel 2016
    Musées royaux des Beaux-Arts de Belgique Koninklijke Musea voor Schone Kunsten van België RAPPORT16 ANNUEL Service public fédéral de Programmation Politique scientifique Musées royaux des Beaux-Arts de Belgique Koninklijke Musea voor Schone Kunsten van België RAPPORT16 ANNUEL Service public fédéral de Programmation Politique scientifique Rue du Musée | Museumstraat 9 B – 1000 Bruxelles | Brussel www.fine-arts-museum.be PRÉFACE Les missions des MRBAB Les Musées Royaux des Beaux-Arts de Belgique ont transcrit l’ensemble des tâches en une mission claire et univoque : protéger et étudier le patrimoine artistique et le rendre accessible à un public très hétérogène. L’importance accordée aux œuvres d’art et aux visiteurs forme le fil rouge de notre mission et de notre vision et se traduit dans nos objectifs stratégiques. La portée sociale de nos missions est très grande. Les musées sont responsables de la préservation du patrimoine fédéral des beaux-arts, qui comprend 20.000 œuvres, non seulement pour la génération actuelle, mais également pour les générations à venir. Michel Draguet Directeur général 5 6 TABLE DES MATIÈRES 7. ORGANISATION 53 Organigramme 1. TEMPS FORTS 2016 9 Organisation Dates Chiffres clés Expositions intra et extra muros > Finances > Expositions produites par les MRBAB ou en > Personnel partenariat > Shops · Expositions intra muros > Visiteurs · Expositions Focus intra muros > Presse > Collaboration aux expositions extra muros > Nocturnes 2. VIE MUSÉALE 19 8. PARTENAIRES 67 Nouvelle offre Educateam Généralités > Activités educateam Association des Amis > Publications, films et matériel pédagogique > Bénévoles MRBAB > Formations et collaborations/partenariats > Association des Amis Nouveau service Mécénat et Partenariat Partenaires par mécénat et partenariat Loterie nationale 3.
    [Show full text]
  • Futurism's Photography
    Futurism’s Photography: From fotodinamismo to fotomontaggio Sarah Carey University of California, Los Angeles The critical discourse on photography and Italian Futurism has proven to be very limited in its scope. Giovanni Lista, one of the few critics to adequately analyze the topic, has produced several works of note: Futurismo e fotografia (1979), I futuristi e la fotografia (1985), Cinema e foto- grafia futurista (2001), Futurism & Photography (2001), and most recently Il futurismo nella fotografia (2009).1 What is striking about these titles, however, is that only one actually refers to “Futurist photography” — or “fotografia futurista.” In fact, given the other (though few) scholarly studies of Futurism and photography, there seems to have been some hesitancy to qualify it as such (with some exceptions).2 So, why has there been this sense of distacco? And why only now might we only really be able to conceive of it as its own genre? This unusual trend in scholarly discourse, it seems, mimics closely Futurism’s own rocky relationship with photography, which ranged from an initial outright distrust to a later, rather cautious acceptance that only came about on account of one critical stipulation: that Futurist photography was neither an art nor a formal and autonomous aesthetic category — it was, instead, an ideological weapon. The Futurists were only able to utilize photography towards this end, and only with the further qualification that only certain photographic forms would be acceptable for this purpose: the portrait and photo-montage. It is, in fact, the very legacy of Futurism’s appropriation of these sub-genres that allows us to begin to think critically about Futurist photography per se.
    [Show full text]
  • Cubism in America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop­ most important revolution in the history of ment of what came to be called Cubism­ art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance.
    [Show full text]
  • 5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected]
    Auguste Herbin (1882–1960) Composition 1930 oil on canvas 130.1 x 59.7 cm (51¼ x 23½ in.) signed 'Herbin' (lower right); dated 'Février 1930' (on the stretcher) Provenance: Galerie de l'Effort Moderne (Léonce Roseberg), Paris Karl Ströher, Darmstadt Thence by descent Sale: Sotheby's London, 8 December 1999, lot 279 Private collection, US (East Coast) (acquired at the above sale) Exhibited: Hanover, Kestner Gesellschaft, Auguste Herbin, 1967, no. 66 Dusseldorf, Kunsthalle, Auguste Herbin, Rétrospective, 1967-68, no. 63 Literature: G. Claisse, Herbin, Catalogue raisonné de l'oeuvre peint, Paris, 1993, no. 667, illustrated p. 397 5-7 Dover St. London W1S 4LD T +44 (0)20 7287 7750 F +44 (0)20 7287 7751 [email protected] www.alonzakaim.com Notes: Originally a proponent of Impressionist and Fauve painting, Herbin moved to the Bateau-Lavoir studios in 1909 and became increasingly interested in Cubism. It was there that he met Pablo Picasso, Georges Braque and Juan Gris, artists who inspired him to explore a more abstracted means of pictorial representation. In keeping with Cézanne’s call to treat nature as “the cylinder, the cone and the sphere”, Herbin began reducing his subjects into a series of cylindrical shapes. Composition is an exceptional example of Herbin’s mature Cubist-inspired imagery, depicting abstracted figures and evoking a fluid sense of energy and velocity. Unlike Braque and Picasso’s earlier monochromatic output, Herbin employs a broad palette of rich colours. Varying hues of pink, turquoise, black and cream are beautifully juxtaposed to create a spectrum of harmonious colours. Herbin’s works from this period are further marked by the appearance of black contours swaying around the geometrical forms, guiding the viewer’s eye through a more complex composition.
    [Show full text]
  • Fiche De Salle-Magnelli-Anglais
    Musée Magnelli, musée de la céramique - Vallauris Short biography of Alberto Magnelli Born in Florence in 1888 in a family of shopkeepers, Alberto Magnelli (1888-1971) achieves his first painting, a landscape, in 1907. He was a self-taught artist who never attended any art school nevertheless he studied the primitive Italian painting. His masters were Paolo Uccello, Masaccio, and above all Piero della Francesca to whom he owes his sense of composition. In Florence, he kept company with the artists of the Futurist movement but never wanted to join them. While his early works such as Neve (1910) – the first important painting in his career- were dedicated to the architecture of painting and plain colours, after 1914, his production (Virginia , Nature morte à la boîte rouge , and La Japonaise ) is painted with bright flat tints, which totally contrasts with his previous work. In 1914, Magnelli travels for the first time to Paris where he meets Apollinaire, Picasso, Léger and Archipenko. Back in Italy, he is forced to stay because of the break of the war in 1915. During this period, he produces paintings by resorting to a logical simplification of forms, progressively turning to abstraction. He thus becomes the first Italian abstract painter. Peinture n° 0521 (1915) - entitled with a simple number- is an emblem of his first abstract works. By 1917, he reintroduces figurative elements: the series of Explosions Lyriques (1918) are an echo to the end of the war, particularly dynamic and free in the style. In 1922, Magnelli goes back to a more classical style. At the end of the 1920’s, he stops painting.
    [Show full text]
  • Victor Vignon Soleil Couchant Sur Le Chevet De Notre-Dame
    anticSwiss 24/09/2021 21:09:53 http://www.anticswiss.com Victor Vignon Soleil Couchant sur Le Chevet de Notre-Dame IN VENDITA ANTIQUARIO Epoca: 19° secolo - 1800 Marc et Laurence Debono Stile: Saint-Ouen Altri stili +33 140108363 Lunghezza:46cm 33642881883 Altezza:33cm Prezzo:6500€ DESCRIZIONE DETTAGLIATA: Victor Vignon olio su tela Soleil Couchant sur Le Chevet de Notre-Dame circa 1880-1890. In un momento in cui la tragedia dell'incendio di Notre-Dame è di nuovo nelle notizie, vi invitiamo a scoprire questo magnifico dipinto di uno dei piccoli maestri del gruppo impressionista. Victor Vignon imparò, esibì e fece amicizia con i più grandi pittori della fine del XIX secolo. Il nostro dipinto raffigura una veduta di Parigi al tramonto con lo Chevet de Notre-Dame sullo sfondo e il Quais de Seine in primo piano. La tavolozza dei blu, i colori di un tramonto precoce con il suo rosa-arancio e questo bel cielo, sono una delizia per gli occhi. Olio su tela Veduta di Parigi, Tramonto sull'abside di Notre-Dame visto dal Quais de Seine, firmato in basso a sinistra da Victor Vignon intorno al 1880-1890. Misure senza cornice: H 12,99 pollici. - W 18,11 pollici. Misure incorniciate: H 20,47 pollici. - W 25,59 pollici. Il nostro dipinto è in ottime condizioni originali, viene offerto nella sua cornice e tela originali. La pulizia professionale è stata appena eseguita. L'abside di Notre-Dame. Lo Chevet è un semicerchio situato nella parte più orientale della cattedrale. Corrisponde all'abside dell'interno dell'edificio, circondato dalla rotonda del deambulatorio e dalle cappelle absidali.
    [Show full text]