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Impressionist & Modern Art Lot 3201 – 3237 Auction: Friday, 2 December 2016, 2 pm Preview: Fri. 25 to Tue. 29 November 2016 Fabio Sidler Jara Koller Tel. +41 44 445 63 41 Tel. +41 44 445 63 45 [email protected] [email protected] Furher editing: Fiona Seidler The condition of the works are only partly and in particular cases noted in the catalogue. Please do not hesitate to contact us for a detailed condition report. Impressionist & Modern Art 3201* AUGUST BABBERGER (Hausen in Wiesental 1885 - 1936 Altdorf) Landscape view of Lake Lucerne and Pilatus. 1915. Oil on hardboard. Signed and datet lower left: Babberger 1915. 66.5 x 82.5 cm. The authenticity of the work has been confirmed by Andreas Gabelmann, Sep- After his studies in Florence, Babberger tings were seized from German museums tember 2016. began to become more and more involved and later shown at the “Entartete Kunst” in landscape. Through his wife who was exhibition. Provenance: from Lucerne, he familiarised himself with - Private collection, Switzerland. the Swiss landscape around Lake Lucerne, The present work is a typical example of - Private collection, San Francisco. which became his second home, with its Babberger’s art circa 1915/16. As subject - Private collection, New York. surrounding body of mountains providing he has chosen his preferred landscape inspiration and fascination. From 1915 the of Lake Lucerne and the Pilatus. Styli- In 1895 the Babbergers came from summit of the Pilatus caught his interest stically, Hodler’s influence is strongly in Germany to Basel, Switzerland, where and in subsequent years it became the evidence. In addition, the intensification August Babberger spent the best part of main subject of his pictures. From 1917 of the colours and the simplification of the his school days and later completed an ap- Babberger eventually found his way into forms also show the influence of Augusto prenticeship with a master painter. Back in Expressionism, which manifested itself Giacometti. Although Babberger is one of Germany he attended a course in etching in many of his pictures. After the Nati- the forgotten German-Swiss artists, with for a year, and finally received a scholarship onal Socialists came to power in 1933, his comprehensive body of work in many for the Accademia Internationale di Belle Babberger’s art was classed as degene- museums, we may now regard him as one Arti in Florence, where Augusto Giaco- rate (“entartet”) and he lost his position of the important expressionist artists of metti was his teacher from 1909 to 1911. as Professor of decorative painting at the the classic modern period. Symbolism and Art Nouveau influenced academy in Karlsruhe. After his dismissal, Babberger’s early work. His model was he joined his wife in Switzerland, where he CHF 5 000 / 7 000 Ferdinand Hodler, and the links to his style died in 1936 following an operation. After (€ 4 630 / 6 480) in some of the paintings is unmistakable. Babberger’s death a number of his pain- | 2 | 3 Impressionist & Modern Art 3202 ARMAND GUILLAUMIN (1841 Paris 1927) Le Puy Barriou, paysage de la Creuse. Pastel on paper. Signed lower right: Guillaumin. 45 x 61 cm. Provenance: Private collection, Geneva. CHF 2 000 / 3 000 (€ 1 850 / 2 780) | 4 3203 ARMAND GUILLAUMIN (1841 Paris 1927) Haut Pont Chassau. Oil on canvas. Signed lower left: Guillaumin. 45 x 55 cm. Provenance: - Galerie Durand, Paris (Inv. 1426). - Galerie Pierre-Yves Gabus, 23 June 1991, lot 521. - Private collection, Switzerland. CHF 5 000 / 7 000 (€ 4 630 / 6 480) | 5 Impressionist & Modern Art 3204* PIERRE AUGUSTE RENOIR (Limoges 1841 - 1919 Cagnes-sur-Mer) Pré, arbres et femmes. Circa 1899. Oil on canvas. With signature stamp lower left: Renoir. 23 x 41 cm. The authenticity of the work has been The present work shows a landscape in confirmed by the Wildenstein Institute, the South of France, a subject often cho- Paris, 7 December 2004. sen by the artist at this time. The painting is dominated by luscious green tones. A Provenance: woman stands in a clearing next to the - Estate of the artist. tree in the centre, probably waiting for the - Durand-Ruel, Paris. woman entering at the left of the picture. - Acquiered from Durand-Ruel 1959, The figures are situated harmoniously since then private collection. in the landscape, almost flowing into the surrounding scene, as Renoir always does, Literature: since for him the interplay of man and - Bernheim-Jeune (ed.): L' Atelier de Re- nature are very important. noir, Paris 1931, vol. I, no. 178, pl. 58. - Dauberville, Guy-Patrice/Dauberville, Although Renoir’s style changed over the Michel: Renoir. Catalogue Raisonné des years, the Impressionist was ever present tableaux, pastels, dessins et aquarelles, in him. We can see for example the use of Bernheim-Jeune, Paris 2010, vol. III, no. colour to depict the shadow and light. De- 1847, p. 96 (with ill.). spite Renoir’s illness, neither his painting nor his state of mind became heavier or Badly afflicted by rheumatic pains, which more austere, but both were always ac- Renoir had suffered from since the 1880s, companied by a cheerful lightness, which in 1898/99 he stayed mostly in the South he retained until his death. of France. The warm climate eased the pain, and the landscape of the various lo- CHF 220 000 / 280 000 calities such as Cagnes, Grasse and Aix-les (€ 203 700 / 259 260) Bains inspired him to paint. | 6 AUSKLAPPER ---> | 7 Impressionist & Modern Art 3205 GEORGES D'ESPAGNAT (1870 Paris 1950) Bouquet de fleurs. 1899. Oil on canvas. Monogrammed lower right: Gd'E. 65 x 54 cm. The authenticity of the work has been confirmed by Jean Dominique Jacque- mond, Paris, 17 October 2016. Provenance: - Galerie Beyeler, Basel. - Private collection, Switzerland (bought 1956 at the above gallery). CHF 5 000 / 7 000 (€ 4 630 / 6 480) | 8 3206 JEAN DUFY (Le Havre 1888 - 1964 Boussay) Fleurs et fruits. Circa 1948/49. Oil on canvas. Signed lower left: Jean Dufy. 38 x 46 cm. The authenticity of the work has been encounter with Fauvism, influenced his treatment of space in terms of colour confirmed by Jacques Bailly, Paris, 6 Sep- painting decisively. His real teacher, howe- squares, and developed an independent tember 2016. ver, was his elder brother Raoul. pictorial language. Provenance: Private collection, Switzer- Jean developed a pictorial language which The present still life is dominated by a land. is characterised by bright and carefree gentle harmony of pastel-like tones, which colours and an opening up of the pictorial are cut through with bright accents of red. Exhibition: Cologne 1958, Jean Dufy. space. He succeeded in combining various The still life elements are set apart from Gemälde Galerie Abels, 1 October - 30 characteristics of Impressionism, Cubism the background simply by means of loose November, no. 9 (with ill.). and Fauvism, and in developing his own contouring, and reveal a spatial quality style from that. His works, and in particu- which is part of Jean Dufy’s unmistakable Jean Dufy’s early painting is dominated lar his still lifes, are characterised initially pictorial language. by colour harmonies in muted brown, blue by shimmering surfaces composed of and red tones. After his move to Paris juxtaposed colour squares and bold light CHF 20 000 / 40 000 around 1920, his style underwent a rapid compositions. Here we see the influence (€ 18 520 / 37 040) change. His acquaintances in Paris with of his brother. In the course of his career, Derain, Braque and Picasso, as well as his he gradually broke up this systematic | 9 Impressionist & Modern Art 3207 3208 PIERRE AUGUSTE RENOIR PIERRE AUGUSTE RENOIR (Limoges 1841 - 1919 Cagnes-sur-Mer) (Limoges 1841 - 1919 Cagnes-sur-Mer) Projet mise en place d'un paysage avec Etudes de nu. 1915. personnages. Oil on canvas. Carbon and pencil on paper. With the monogram upper left (later): AR. Lower right with stamped signature 16.7 x 10.7 cm. (faded): Renoir. 26.5 x 23 cm. The authenticity of the work has been confirmed by the Wildenstein Institute, Provenance: Private collection, Switzer- Paris, October 2016. land. Provenance: Literature: Renoir, Paul/Pirra, Stefano: 125 - Galerie Motte, Geneva 1973. dessins inédites de Pierre Auguste Renoir, - Private collection, Switzerland. Turin 1970, Ficher d'inventaire no. D6259 (with ill.). Literature: - Vollard, Ambroise: Tableaux, pastels et CHF 2 000 / 3 000 dessins de Pierre-Auguste Renoir, Paris, (€ 1 850 / 2 780) 1918, vol. I, no. 529. - Dauberville, Guy Patrice/Dauberville, Michel: Renoir. Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Bernheim-Jeune, Paris 2010, vol. V, no. 4396 (with ill.). CHF 40 000 / 60 000 (€ 37 040 / 55 560) | 10 | 11 Impressionist & Modern Art 3209* RAOUL DUFY (Le Havre 1877 - 1953 Forcalquier) Le bal populaire. 1906. Oil on canvas. Signed lower right: Raoul Dufy. 34 x 42 cm. Provenance: introduced to the fauvist style of painting, We recognise the flow and composition - Collection Gustave Coquiot, Paris. particularly by this friend Albert Marquet. of Cézanne. There are also elements, - Galerie Charpentier, Paris December Both spent the summer of 1906 in Le which will shortly emerge from this artistic 1959. Havre, Trouville and Honfleur. discourse and lead from 1907 to Cubism. - Private collection, Switzerland. Particular segments of the picture con- In Le Havre they celebrated the French sciously subvert the academic perspec- Exhibition: Milan 1969, Galleria del Milione, National Day, 14 July. Each started a small tive. So for example the table, the seated no. 4 (with ill.). series of paintings on this theme, which figure, and the dancers are to be seen was very well suited to the fauvist langua- from independent perspectives. This lends Literature: Lafaille, Maurice: Raoul Dufy.
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