New Acquisitions Paintings

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NEW ACQUISITIONS

PAINTINGS, WATERCOLORS, DRAWINGS AND SCULPTURE 1780 – 1960

FALL EXHIBITION October 23 rd through December 15 th, 2012

Exhibition organized by Robert Kashey and David Wojciechowski

Catalog by Jennifer S. Brown

SHEPHERD & DEROM GALLERIES 58 East 79 th Street New York, N. Y. 10075

Tel: 1 212 861 4050 Fax: 1 212 772 1314 [email protected] www.shepherdgallery.com CATALOG

COVER ILLUSTRATION: Hermann August Krause, Interior View of the Lessing Theatre, Berlin , 1888, cat. no. 14.

GRAPHIC DESIGN: Keith Stout

PHOTOGRAPHY: Hisao Oka

TECHNICAL NOTES: All measurements are in inches and in centimeters; height precedes width. All drawings and paintings are framed. Prices on request. All works subject to prior sale.

SHEPHERD GALLERY SERVICES has framed, matted, and restored all of the objects in this exhibition, if required. The Service Department is open to the public by appointment, Tuesday through Saturday from 10:00 a.m. to 6:00 p.m. Tel: (212) 744 3392; fax (212) 744 1525; e-mail: [email protected].

ACKNOWLEDGMENTS: We are grateful to the following for their assistance with individual catalog entries: Charles Chatfield-Taylor, catalog nos. 29, 30, 31 Elisabeth Kashey, catalog nos. 2, 3, 15, 18, 26 Leanne M. Zalewski, catalog nos. 12, 41 1 SMITH, John “Warwick” 1749 - 1831 English School

VIEW OF THE LAKE AT WALENSTADT, 1781

Reed pen, grey ink and washes on mediumweight white Smith and Towne spent the summer of 1781 laid paper. No discernible watermark. 6” x 9 5/8” (15.3 x traveling together from Italy to England via an 24.4 cm). Inscribed with reed pen and grey ink at lower easterly route over the Alps. They entered right corner: Wesen .; near center: lake. ; at lower left cor - Switzerland through the Splügen Pass, where the ner: river. / Lake of Wallenstad [now Walenstadt] , with / present work was painted. Dozens of watercolor the linth winding to lake Zurig, from / height of road from drawings by both Smith and Towne from this jour - Kernzen [now Kerenz] to Mollis . On verso, at upper right, ney are in the collection of Tate Britain, including inscribed in graphite: A… 1102/T4909/22 . Inscribed in ink a similar View of Lake Wallenstad (1781) by on back of original mount as a note: Thomas [sic] Smith Towne. The bold outlines, simplified forms, and – topographical artist working 1780-1822. He travelled in strong greens and purples of the present watercolor Italy and Switzerland with Pars and Towne. This drawing show the influence of Towne on Smith’s style dur - is taken from a sketchbook of the artist’s [sic]. ing this period of his career; Smith’s later works are highly finished and intricately detailed. Note: John Smith was the son of a gardener to Today Lake Wallenstad (also known as Sawrey Gilpin (1733-1807), the animalier painter, Walensee) is best known from the title of one of whose son, William Sawrey Gilpin (1762-1843), was Franz Liszt’s piano pieces, Années de Pèlerinage a drawing master and landscape designer. Smith trav - (1855). The lake also figures in Lord Byron’s Childe eled the English countryside as a student of Sawrey Harold’s Pilgrimage (1812-1818). Gilpin. Soon thereafter, the young artist secured gen - erous financial support to study in Italy from 1776 to J.S.B. 1781, where he traveled and sketched with William Pars (1742-1782) and Francis Towne (1739-1816). Reference: After his return to England, where he settled near his Martin Hardie, Water-Colour Painting in Britain: I. patron George Greville, 2nd Earl of Warwick, the The Eighteenth Century (London, 1967), pp. 113- artist became known as “Warwick” Smith. 123. 2 FERRI, Angelo active circa 1819 - 1822 Italian School

SET DESIGN FOR A GOTHIC CRYPT, circa 1819-1822

Brown ink, grey wash and graphite on heavyweight off- Italian set designers often worked within a fam - white laid paper. 11 1/4” x 18” (28.5 x 45.7 cm). Lower ily enterprise. For instance, from mid-18 th century right corner missing. Watermark as read through recto: well into the 19 th century, almost every European crowned escutcheon with hunter’s horn above letters C court had a set designer from the prominent fami - M. The paper around columns and other architectural ele - ly Galli-Bibiena. The brothers Galliari from ments has been cut out, possibly to superimpose it on a Turino, contemporaries of Angelo Ferri, worked so different background. closely together that they signed themselves fratel - li Galliari . Angelo Ferri seems to have been the Note: The present set designs were once part of a overlooked relative of his set designing clan, which group in which two related drawings were dated included Domenico Ferri (1795-1869) and his 1819 and 1822, respectively. One of these, Set for sons, Gaetano and Augusto. Based on the dates of Rossini’s “Tancredi” (exhibited Shepherd Gallery, this group of drawings, Angelo must have been of Winter 1989-90), bears the following signature and the same generation as Domenico, who was a close inscription: piazza gottica di Angelo Ferri per l’opera friend of Rossini (1792-1868) and a set designer at il tancredi in Madrid l’anno 1822 . The present draw - the Théâtre Italien in Paris at least as early as 1830. ings are likely designs for the same opera; not only Although Domenico designed many Rossini are all four stylistically and thematically very similar, operas, he is not known to have drawn sets for but the sheets share a pair of identical watermarks, Tancredi . The fully signed, dated and titled sheet making it safe to assume they were from the same in the present group indicates that Angelo Ferri batch of paper the artist had access to in Madrid. had the honor of participating in the first produc - Composer Gioachino Rossini’s Tancredi first tion of Tancredi at the Spanish theater. opened at Teatro la Fenice in Venice in 1813. It became more widely known after its performance E.K. in Vienna a short time later. The delay in its pro - duction over a decade later in Madrid may have References: been a result of Carlos III’s decision to forbid Encyclopaedia di Spettacolo Italian opera singers and actors to perform on the Heinz Kindermann, Theatergeschichte Europas Spanish stage. The ban was lifted in 1820. (Salzburg, 1957-1974), vols. 4 and 5. 3 FERRI, Angelo active circa 1819 - 1822 Italian School

SET DESIGN FOR A RENAISSANCE HALL WITH PAINTINGS, circa 1819-1822

Brown ink and grey wash over some graphite on heavyweight off-white laid paper. Watermark as seen through verso across center: ALM . 12 5/8” x 18 1/8” (32 x 46 cm). On verso in brown ink over graphite: study of a round temple.

Note: See cat. no. 2. 4 MOLKNECHT, Johann Dominik 1793 - 1876 Austrian-French School

COUNT OF CHAMBORD AT AGE EIGHT, 1828

Bronze with light brown patination on square bronze base. of Chambord published his Royalist Manifesto , Overall height: 13 1/8” (33.3 cm). Width from base at left which declared, “People of France, I am among to hilt of sword at right: 4 1/4” (12.8 cm). Depth from front you.” But the manifesto closed with the king-in- to back of base: 4 1/8” (10.5 cm). waiting insisting that the drapeau tricolore , the Tricolor flag, be replaced by the white fleur-de-lys Note: Born after his father Charles duc de Berry standard of the Bourbon dynasty. To many, this was assassinated, Henri of Artois, Duke of flag was an offense to the liberties for which so Bordeaux, Count of Chambord (1820-1883) many had fought and died; the Tricolor had been became the center of the claims of the Legitimist adopted in its place as a symbol of moderation and party in France. Poised to succeed his grandfather nationalism after the Revolution of 1789. Charles X, who had been forced to abdicate the Although Henri was willing to compromise on the throne on August 2, 1830, Henri V was never Tricolor flag with the fleur-de-lys insignia, this was crowned, and his unofficial reign is considered to ultimately rejected. In 1875 a permanent constitu - have lasted a total of only seven days. On August tion was written, and France was officially a repub - 9, the ten-year-old Henri was outmaneuvered by lic by a single vote. his older cousin, Louis Philippe. Instead of acting Molknecht was born in Tyrol (Austria), but he as regent on behalf of his young cousin, Louis lived in Paris most of his life and became a French Philippe convinced the popularly elected Chamber citizen in 1848. He was a student of Canova and of Deputies to proclaim him Louis Philippe I, King exhibited at the Salon in Paris between 1831 and of the French. Charles X and his entire family, 1857. including Henri, were forced into exile. Forty years later, after suffering a horrible J.S.B. defeat in the Franco-Prussian war, many hoped that a restoration of the monarchy might bring Reference: peace and stability. In 1871, the Legitimist party Eugen Trapp, Dominik Mahlknecht: Ein Grödner was in a position to negotiate Henri’s return from als französischer Staatskünstler (San Martin de Tor: exile. In anticipation of this great event, the Count Istitut Ladin Micurà de Rü, 1991), ill. p. 128-29. 5 MICHALOWSKI, Piotr 1800 - 1855 Polish School

STUDIES OF HORSES AND CAVALRY CHARGE verso: STUDIES OF HORSES AND MOUNTED FIGURES

Graphite and ink on mediumweight tan laid paper. Water - painter, Michalowski began a more focused study mark vertically across center of sheet: GETTEL . 14 3/4” x of equine anatomy. He also looked closely at the 21 1/2” (37.5 x 54.6 cm) (irregular edges). work of masters of equestrian imagery, such as van Dyck and Géricault. The present drawing provides Ex-collection: Frederic R. Trump, New York, pur - a glimpse into the artist’s near-obsession with chased in Warsaw in 1968 from artist’s descen - articulating the beauty and physical power of hors es, dents. and the symbolic authority granted to those who ride them. Michalowski was so successful that Note: Born into a Polish noble family, Piotr within just a year of arriving in Paris he had estab - Michalowski began studying art at a young age. He lished his own studio. His equestrian genre scenes continued studying privately even after he entered were in high demand. At least three agents, includ - official service with the Ministry of Finances of the ing Durand Ruel, worked with the artist to place Kingdom of Poland. In this capacity, he traveled his paintings with collectors. After only five years, through much of Europe, including Germany, however, the artist was forced to return perma - France, and England, which enabled him to broaden nently to the family’s country estate near Krakow. his knowledge of art history and fueled his desire to Michalowski continued to paint and draw, but become a professional artist. eventually he resumed his political career. Many of In 1832, Michalowski gave up his ministry post his most successful paintings are in Poland’s and settled in Paris, where he embarked on a National Museum in Krakow. career as an artist. Under the tutelage of Nicolas- Toussaint Charlet (1792-1845), a military scene J.S.B. 6 GENELLI, Giovanni Bonaventura 1798 - 1868 German School

PROMETHEUS BOUND, circa 1834-55

Grey ink and brown wash on mediumweight white wove Prometheus Bound is one of a handful of designs paper mounted on carton. Paper size: 11 1/4” x 12 5/8” originally intended for the villa; they were later (28.6 x 32.1 cm). Carton size: 17 5/8” x 22 15/16” (44.8 x published as a collection of engravings entitled 58.3 cm). No discernible watermark. Signed in grey ink at Satura (1871). A watercolor variant dated 1855, lower right corner: B. Genelli fec t. Border drawn around once in the collection of David Daniels, also exists. image in grey ink. The following two drawn elements cre - Four of Genelli’s designs for Härtel’s villa were ate a trompe l’oeil mat and trompe l’oeil marbleized wood later used for another important commission, the frame: (1) on paper: a second border in brown ink with Niobidensaal in the Neues Museum , Berlin (1850), grey wash along top and left edge (creating a shadow on where they can still be seen today. The hall is the illusionary mat); (2) on carton: a 13/16” border in brown named after Niobe, a tragic Greek mythological fig - ink and white gouache with grey wash along bottom and ure known from Homer’s Iliad . A life-size plaster right edge (which collectively create illusion of marbleized cast of Niobe sheltering one of her daughters (the frame and its shadow). Verso of carton, inscribed in marble was found in Rome in 1583, now in the graphite at bottom center: Bonaventura Genelli . Uffizi, Florence) forms the centerpiece of an impor - tant collection of copies of Greek and Roman sculp - Note: The present drawing is one of several very sim - ture, which still populate the space. The walls are ilar iterations by Bonaventura Genelli of the subject decorated with 21 murals, including four circular of Prometheus Bound . The artist’s most important paintings by Genelli: Prometheus Bound , Orpheus in patron, Princess Carolyne Sayn-Wittgenstein, had at the Underworld , Daedalus Making Wings for Icarus , least one in her collection – a drawing that varies and The Education of Achilles by Chiron . only slightly from the present example. However, correspondence between artist and patron shows J.S.B. that by 1854, Genelli was in the habit of sending drawings and albums to the princess with the expec - References: tation that she would either purchase them herself Hans Ebert, Buonaventura Genelli; Leben und Werk or find other collectors for them. In one such letter (Weimar, 1971), pp. 109-113, 117, ill. cat. no. 101. to the princess dated June 1, 1854, the artist Emil Hirsch Antiquariat, Handzeichnungen; describes a Prometheus Bound composition: “[the] Abteilung I: Meister des XIX. Jahrhunderts, drawing represents Prometheus tormented by the Abteilung II: Meister des XV.-XVIII. Jahrhunderts eagle, his laments repeated by Echo.” (Munich, Nov. 26, 1921), p. 13, plate XIII, no. 99 The earliest known example of Genelli’s (comparative illustration, Prometheus Bound , for - Prometheus Bound dates to circa 1832, when the merly in collection of Princess Carolyne Sayn- composer Hermann Härtel commissioned the Wittgenstein). artist to execute a series of frescoes for his villa in Ida Maria Lipsius, Aus der Glanzzeit der Weimarer Leipzig, Römisches Haus (completed 1834; Altenburg: Bilder und Briefe aus dem Leben der destroyed 1945). Inspired by the Villa Farnesina in Fürstin Carolyne Sayn-Wittgenstein (Leipzig, 1905), Rome, Härtel envisaged a great hall filled with pp. 65-66. frescoes depicting important moments from The Cornelia Reiter, Schöne Welt, wo bist du? Odyssey . Genelli cut short a period of study in Zeichnungen, Aquarelle und Ölskizzen des deutschen Rome to complete the project. Unfortunately, und österreichischen Spätklassizismus (Vienna, 2011), Härtel grew impatient with the artist’s slow p. 114, ill. no. 239 (comparative illustration, line draw - progress and eventually withdrew the commission. ing of version in the Niobidensaal ). 7 GELISSEN, Maximilien-Lambert 1786 - 1867 Belgian School

LANDSCAPE WITH FISHERMAN IN HIS BOAT, 1824 painting, which proved highly influential on Gelissen. Watercolor and gouache on heavyweight white water- The artist travelled through England and Scotland color paper. 14” x 20 5/8” (35.5 x 52.3 cm). Signed and where his familiarity with the techniques of these dated in black at lower right: Gelissen Max. / 1824 . artists and others increased. His landscapes, such as the present watercolor, anticipate the innovations of Note: Belgian artist Gelissen is best known for his the Barbizon School in France. depictions of lush forests with figures and genre Gelissen’s most well-known painting is scenes. In the present example, the monumental Landscape at Ruysbroeck (1820), in the collection trees dwarf the fisherman, and the sky gives the sense of the Museum of Ghent. of a vast, open space extending far beyond the scene itself, showing parallels with the modern approach of J.S.B. Gelissen’s British contemporaries. By shifting away from formalized landscape painting, artists such as Reference: John Crome (1768-1821) and John Constable (1776- Le romantisme en Belgique: Entre réalités, rêves, et 1837) established Naturalism in British landscape souvenirs (Brussels, 2005). 8 COROT , Jean-Baptiste-Camille 1796 - 1875 French School

GRAZING COW

Graphite on lightweight off-white wove paper. No water - the bovine are shown in almost strict profile, which mark. 6 7/8” x 9 7/8” (17.5 x 25.1 cm). Estate stamp in is how they typically appear in Corot’s landscape reddish brown ink at bottom right: VENTE / COROT (Lugt paintings. Even in his close studies, the artist was 460a). Inscribed at upper right in reddish brown crayon: much less interested in capturing the detailed S4 . Verso at bottom center: graphite study of angel com - anatomy or movement of animals, as one might see forting another figure. Collector’s stamp in purple ink at in the work of his contemporary, Eugène Delacroix bottom left corner: HdJ (not in Lugt). Inscribed in mod - (1798-1863), for instance. In the present drawing, ern script in graphite at lower right: 69c25 leger (?). In Corot creates a sense of monumentality by empha - graphite at bottom right corner: 36430 . sizing the underlying geometric structure of the cow, with its rectangular body and ovoid head. Note: Like his mentor, the landscape painter The figurative sketch on verso most likely Pierre-Henri de Valenciennes (1750-1819), Camille relates to one of his many religious works, such as Corot often populated his plein air compositions Hagar and the Angel (1871). with animals. Morning at Ville-d’Avray (Musée des Beaux-Arts , Rouen), a misty landscape with several J.S.B. cows and a shepherd, brought the artist wide acclaim when it was exhibited at the Salon of 1868. References: The artist rarely made an animal the subject of an Michael Clarke, Corot and the Art of Landscape individual work; the earliest known example, (New York and London, 1991). Italian Oxen , was completed during Corot’s first Gary Tinterow, Michael Pantazzi, and Vincent visit to Italy in 1825. The present drawing is similar Pomarède, Corot (New York and Paris, 1996), p. to Cow in a Stable (also known as The Black Cow , 247, fig. 110 ( Cow in a Stable ), pp. 342-343, fig. circa 1845, private collection, New York). In both, 147 ( Morning at Ville-d’Avray ). 9 HARPIGNIES, Henri-Joseph 1819 - 1916 French School

LANDSCAPE, circa 1890

Watercolor on mediumweight off-white wove paper mount - Harpignies traveled and worked extensively ed to card. No discernible watermark. 4 3/4” x 7 1/4” (12.1 abroad. The two men shared a particular affinity x 18.4 cm). Signed at lower right in black watercolor: for Italy, where they traveled together in 1860. It h harpignies . was during Harpignies’ first sojourn in Italy from 1849 to 1851 that the artist started working in Note: The present watercolor likely dates to the last watercolor, a medium much less popular in France decade of the 19 th century, a time when Harpignies at that time. Harpignies became a member of the had returned to the silvery tonality he inherited Société des Aquarellistes Français in 1881, and is from his good friend and mentor, Camille Corot now widely recognized as having been a major (1796-1875). This is most obvious in the artist’s influence on the renewed interest in watercolor treatment of the cloud-covered sky, but even the among French artists in the late 19 th century. foliage in the distant background is a distinctive grayish-green often seen in Harpignies’ watercolors J.S.B. of this period. His earlier landscapes in this medium tend to be more detailed, bearing a stronger rela - References: tionship to the style of his Barbizon School peers. Paul Gosset, “Henri Harpignies,” Henri Harpignies belonged to what is often consid - Harpignies, 1819-1916 (Valenciennes, 1970). ered the last generation of Barbizon painters. Like Henri-Joseph Harpignies: Paintings and Watercolors Corot, himself a latecomer to the Barbizon area, (Memphis, 1979). 10 DAUBIGNY, Charles-François 1817 - 1878 French School

BY THE SEA, after 1857

Charcoal on mediumweight off-white laid paper. 11 1/8” schematic approach seen in the present work, how - x 16 7/8” (28.3 x 42.9 cm) (irregular edges). No watermark. ever, is formally very different from his published Signed at lower left in graphite (partially obscured over etchings of train stations and landscapes dotted time): Daubigny . with factories. By the 1850s, Daubigny’s focus had shifted from mimetic accuracy to the exploration Note: While Charles-François Daubigny’s of the underlying geometry inherent in nature. Barbizon contemporaries mostly preferred the lush Daubigny shared this interest with his good friend landscape of the Fontainebleau Forest and its and mentor Camille Corot (1796-1875); the older environs, Daubigny often traveled farther afield. artist had, by that time, similarly begun to experi - The present drawing is similar in style and format ment with simplified compositions in which alter - to the several hundred sketches the artist executed nating horizontal bands of dark and light were from Le Botin (“the little boat,” derived from used to articulate broad stretches of land, sky and Daubigny’s misunderstanding of botkin, Flemish clouds, while trees and stones were represented by nautical slang for a small craft). Beginning in 1857, a few large masses. This emphasis on form and the this flat-bottomed boat, originally built as a ferry, atmospheric effects of light proved highly influen - became a mobile studio in which Daubigny could tial on Impressionism. live and work as he traveled up and down the river In 1886, both Daubigny and Corot were select - Oise. The artist’s adventurous life aboard Le Botin ed to be members of the Salon jury. After just four is documented in Voyage en Bateau, Croquis à years, however, Daubigny quit in frustration, l’Eau-Forte , a series of etchings published by A. because the works of a number of artists he and Cadart in 1862. Corot supported, including Paul Cézanne and The horizontal bands that make up the fore - Claude Monet, were repeatedly rejected by other ground, middleground and horizon in the present members on the jury. work exemplify a shift in Daubigny’s style away from the more classical French landscape tradition J.S.B. of Nicolas Poussin and Claude Lorraine toward the more modern sensibility of his mature career that References: would prove highly influential on Paul Cézanne Madeleine Fidell-Beaufort, “A Sketchbook by (1839-1906). Daubigny: Traveling by Rail during the Reign of Art historian Madeleine Fidell-Beaufort has Louis-Philippe,” Master Drawings 38, no. 1 (Spring drawn a parallel between Daubigny’s early career 2000), pp. 3-28. as an illustrator and printmaker (work he did to Robert Hellebranth, Charles-François Daubigny: support himself until he achieved success at the 1817-1878 (Morges [Switzerland], 1976), pp. XIX- Salon) and his choice of subject matter in his non- XX. commercial career. Indeed, the artist occasionally John Sillevis and Hans Kraan, The Barbizon School worked as an illustrator for travel itineraries. The (The Hague, 1985). 11 STEINLEN, Théophile-Alexandre 1859 - 1923 French School

LANDSCAPE WITH TREES

Graphite on mediumweight off-white wove paper. Water - Swiss by birth, Steinlen settled in Paris in 1881, mark horizontally across center: Arches Parchemin / gela - where he quickly became an integral member of tine pur fil . 10 1/2” x 8 1/2” (26.7 x 21.6 cm). Signed in the avant-garde literary and artistic circle of graphite at lower right: Steinlen . Montmartre, which included, among others, Émile Zola and Henri de Toulouse-Lautrec. Though Note: An illustrator, painter, printmaker, and Steinlen received no formal training, the present sculptor, Steinlen is best known for his posters and drawing shows the artist’s close observation of con - journal illustrations. His most famous image is Le temporary masters of French landscape painting, Chat Noir (1896), the highly stylized black and red Jean-Baptiste-Camille Corot (1796-1875), Puvis de advertisement for the Parisian cabaret of the same Chavannes (1824-1898), and Les Nabis . name. J.S.B. 12 FRATIN, Christophe 1801 - 1864 French School

VULTURE AND DEAD MAN, circa 1840

Bronze with chocolate-brown patina on a rectangular self- Along with Barye, Jules-Baptiste Klagmann, base. Height from bottom of self-base to tip of wing: 9 James Pradier, Jean-Jacques Feuchère, and others, 1/4” (23.5 cm). Width of wingspan: 9” (23 cm). Depth Fratin contributed to the extravagant surtout de from front of base to tail feathers: 6 1/2” (16.5 cm). Sig - table for the duc d’Orleans. Fratin also enjoyed nature cold stamped on right edge of base: FRATIN . extensive private patronage from an international clientele, including the King of Prussia, the Note: As the son of a taxidermist, Fratin knew Emperor of Russia, and the duc de Luynes. about animal anatomy at an early age. He studied American brass manufacturing millionaire, Gordon first under Charles-Augustin Pioche (1762-1839) Webster Burnham, donated Fratin’s Eagles and in his native town of Metz, and thereafter moved Prey to Central Park, where it has stood since 1863; to Paris where he studied with Théodore Géricault Eagles and Prey has the distinction of being the (1791-1824). oldest sculpture in any New York park. Along with Antoine-Louis Barye and Pierre- Fratin produced many small terracotta models Jules Mène, Fratin was a leading animalier sculp - that he sold in three separate auctions for commer - tor. Stylistically, Fratin differed from his cial purposes. A terracotta model of the present contemporaries; he did not model his domestic bronze may have been sold in one of these sales. animals to the same dramatic degree as Barye, nor Unlike Barye and Mène, Fratin had no foundry of with the precision characteristic of Mène’s sport - his own; rather, he entrusted the casting of his ing subjects. Less concerned with rendering exact bronzes to Susse Frères, Daubré, and Quesnel. anatomical detail, Fratin instead captured the L.Z. energy, movement, and lively spirit of the animals he portrayed. References: Fratin debuted at the Salon of 1831 with a wax “Animaux en bronze, de M. Fratin, fondues par M. model of an English thoroughbred. At that time, Quesnel,” L’Artiste 9 (1835), pp 280-82. animalier sculpture was not well regarded by crit - Jacqueline J. A. Bougon, Christophe Fratin, le ics, but with the success of Fratin and Barye, the sculpteur animalier, (Metz) 1801-1864 (Le Raincy): genre grew increasingly popular over the next sev - essai sur sa vie et sur son oeuvre (Le Raincy, 1983). eral decades. In 1851, Fratin won a medal at the From Barye to Bugatti – Les Animaliers (The Crystal Palace exhibition, after which he gained Hague, 2011), pp. 108-117. international reputation. The French state com - Jane Horswell, “Christophe Fratin 1800-1864,” missioned several sculptures from Fratin for vari - Bronze Sculpture of ‘Les Animaliers’ (Suffolk ous cities, including a large-scale bronze lion [England], 1971), pp. 81-82. attacking a horse in Petit-Montrouge, the 14 th Michel Poletti and Alain Richarme, Fratin: objets arondissement of Paris. décoratifs & sculptures romantiques (Paris, 2000). 13 SCHWENINGER , Karl the Elder 1818 - 1887 Austrian School

VIEW OF VIENNA, 1871

Watercolor and gouache on heavyweight tan wove paper A renowned painter of Austrian and Italian mounted to board. No visible watermark. 18 7/8” x 25 5/8” landscapes, Schweninger studied at the Vienna (47.9 x 65.1 cm). Signed and dated in brown wash at lower Academy. His works can be seen in various left: Carl Schweninger 1871 . Austrian public buildings and museums, includ - ing Kunsthistorisches Museum and the Wien Note: Karl Schweninger painted the present view Museum , both in Vienna. Eight frescoes by looking south over Vienna and its environs from Schweninger once adorned the Hofsalon of the present district of Döbling, which lies north - Vienna’s Nordwestbahnhof (Northwest Train west of the city. Encompassing the slope of the Station), which was destroyed by bombs in Vienna Woods, Döbling’s hilly terrain is still home World War II. Schweninger’s son and daughter, to the vineyards seen along the lower edge of the Karl the younger and Rosa, also enjoyed success - composition. The tributary of the Danube that ful careers as artists. runs through the center of the present watercolor was rerouted by the modern canal system. J.S.B. 14 KRAUSE, Hermann August 1857 - 1905 German School

INTERIOR VIEW OF THE LESSING THEATRE, BERLIN, 1888

Graphite, ink, watercolor and gouache on heavyweight off- Adolf Jandorf’s first department store, A. Jandorf & white wove paper. No watermark. 33” x 37” (83.8 x 94 cm). Co. am Spittelmarkt (1892). Thereafter, A. Jandorf Inscribed at bottom left corner: v. d. Hude und Hennicke & Co. became the most successful department Archit. / gez: H. Krause / 1888 . Motto inscribed on car - store chain in Germany. Krause also completed touche above the proscenium: Kunst Und Natur Sind another department store at Hausvogteiplatz , Eines Nur (Art and Nature are as one). On verso of carton located in Berlin Mitte’s district. The success of in dark pink ink on modern-day circular label: Stephanie these two buildings won him several more com - Hobhouse / Stock # 99LL FG 89091… missions, including the Geschäftshaus Löwenberg (another department store). Although the Formerly: Stephanie Hobhouse, London Löwenberg was never built, a drawing for its façade (1893), the same size and in the same style as the Note: The present watercolor offers an especially present watercolor, is in the collection of the detailed representation of the ornate interior of Architecture Museum at Technische Universität the Lessing Theater, which was destroyed by Allied Berlin . bombs in the final weeks of World War II. The present work may have been executed at Architects Hermann Philipp von der Hude and the request of Hennicke and von der Hude, whom Julius Hennicke (through their Berlin-based firm Krause credits in the lower left corner, just above von der Hude & Hennicke) designed the building’s his own signature. One can assume the two male exterior in the Renaissance Revival style, while the figures included in the image – one near the sumptuous interior, as seen here, is reminiscent of artist’s signature and the other standing near the the Rococo era. The theater stood near the orchestra seats at the right – are portraits of the Reichstag, completed in 1894. Hermann August architects. The inscription on the cartouche pays Krause ingeniously included a street view of the homage to the genius of Johann Wolfgang von building by portraying it on the fire screen. Goethe (1749-1832), whose poem Nature and Art Krause studied art and architecture in (1800) proclaims this intimate connection in the Strasbourg and Berlin, but his dislike of conven - first two lines: “Nature and Art, they go their sepa - tional education prompted him to leave school. rate ways, / It seems; yet all at once they find each Recognizing that many architects lacked the artis - other.” tic skills to execute beautiful drawings of complet - ed or future projects, Krause forged a career as an J.S.B. architectural illustrator. He was also an artistic Reference: associate at the architectural firm Alterthum & Hans Volmer, Allgemeines Künstlerlexikon Zadeck. While there, Krause designed and built (München, 2008). 15 MOREAU, Mathurin 1822 - 1912 French School

THE EXILED, after 1884

Bronze with brown patina on square self-base on square green marble base. Overall height: 29 1/2” (74.9 cm); height never succeeded in winning first prize, in spite of from bottom of self-base to top of figure’s head: 26 1/4” competing for it until 1848. The young sculptor (66.7 cm); width from left edge of cloak to right edge of made his Salon debut in that troubled year, show - rock: 12 1/2” (31.8 cm); depth from back edge of cloak to ing a plaster Elegy, which was acquired by the front of figure’s toes: 10 1/8” (25.7 cm). Incised at far right town of Dijon. His first commission under the of right side of base, heightened after casting: Math. More - Second Empire was for a bronze after his plaster, au . Editor’s mark on slug: GALERIA ARTISTICA / S. C. The Fairy with the Flowers , first exhibited in the REGUAN (encircling) / PERÚ 134 . Inscribed brass eti - Salon of 1852. quette on front of marble base: LES EXILÉS / Par After twenty years in Paris, and well into his Math.Moreau . thirties, he had his first real success in the Salon of 1859 with The Spinning Girl , for which he was Note: Moreau was in his seventies when his marble awarded a first class medal. It was commissioned version of the present sculpture was purchased by by the State in marble and exhibited in 1861. In the French State and erected in the Tuileries 1863, he executed a stone figure of Cologne for Gardens in 1893. The group was first exhibited in the façade of the Paris Railway Station. He was plaster at the Salon in 1884 (now in the Musée du made Chevalier of the Legion of Honor in 1865, Havre ). and became the mayor of the 19 th arrondissement Moreau was one of a considerable number of in 1878, a post he held for the rest of his life. French nineteenth century sculptors to come from During the seventies and eighties, he received Dijon, others being Rude and Jouffroy. His father many civic commissions; in 1885 he was made an was the successful local sculptor Jean-Baptiste- Officer of the Legion of Honor. He remained Louis-Joseph Moreau (1797-1855), with whom active throughout the nineties and won a medal Mathurin studied until 1841, when he enrolled in of honor in the Salon in 1897. the École des Beaux-Arts in Paris as a student of Etienne-Jules Ramey (1796-1855), who was also E.K. from Dijon. Moreau also studied with Augustin- Alexandre Dumont (1801-1884). He won a second Reference: prize in the Prix de Rome competition in 1842, but Lami, vol. 7, p. 482 16 GESELSCHAP, Friedrich 1835 - 1898 German School

SKETCH FOR A FEMALE FIGURE FOR THE TRIUMPHAL PROCESSION FRIEZE, THE ARMORY, BERLIN, circa 1880

Charcoal, heightened in white on mediumweight off- alized figures, including a mother and child, seem white wove paper. No watermark. 18 11/16” x 24 5/8” (47.5 to be fleeing a symbolic figure of death. x 62.5 cm). In orange crayon at lower left: Fred. G ; under - The Zeughaus itself dates to 1695, when it was neath in graphite: … ehestr. 21 (an address). In graphite first conceived by Frederick William, father of at lower right: 11 Stunden (11 hours). Frederick I, King of Prussia. A Latin inscription over the main portal describes the building’s pur - Note: The frieze that once decorated the cupola of pose as the “safekeeping of tools of war and of the the Ruhmeshalle (Hall of Fame), in Berlin’s spoils and trophies of war.” Toward the end of the Zeughaus (the Armory), is one of several important 19 th century, Emperor William had the Armory commissions awarded to Friedrich Geselschap, one converted into a Hall of Fame to honor the of Germany’s most successful history painters of Brandenburg-Prussian army. The largest Baroque his time. The building was badly damaged in the building in Berlin, the Zeughaus is now home to bombing raids of World War II, and the frieze was the Deutsches Historisches Museum . Restoration completely destroyed. began in 1949; the final phase of restoration was The design of the frieze is known through not completed until 2000. prints and extant preparatory drawings, such as the present work. The circular composition of the J.S.B. mural was described in a contemporary account as being comprised of five sections – or scenes – that References: collectively represent the consequences of war, Lionel von Donop, Friedrich Geselschap und seine from the the tragic suffering of soldiers and civil - Wandgemalde in der Ruhmeshalle (Berlin, 1890). ians to glory of victory. The present drawing is a Max Jordan, Geselschap (Bielefeld and Leipzig, study for one of the figures in a scene in which ide - 1906). 17 FERRIER, Gabriel-Joseph-Marie-Augustin 1847 - 1914 French School

HEAD OF AN ALGERIAN BOY, circa 1883

Oil on canvas. 10 7/8” x 12 5/8” (27.6 x 32.1 cm) (irregu - included an extended stay in Venice. He later suc - lar edges). Circular estate stamp in blue ink at lower right: ceeded Jean-Léon Gérôme as professor of painting GABRIEL FERRIER -*- (not in Lugt). (Sale: Hôtel Drouot, at the École des beaux-arts in Paris, where he taught March 1980; expert: Félix Marcilhac). Circular stamp in Cuno Amiet and Fernand Léger, among others. black ink, lower right corner, verso: SG (Shepherd Gallery). The present painting was most likely executed during or shortly after 1883, when the artist trav - Note: Ferrier is best known for Le Printemps eled to Algeria. The majority of Ferrier’s (1900), the elaborately painted ceiling fresco in Orientalist paintings date from this time, includ - what was originally the hotel of the Orsay train sta - ing Young Algerian Shepherdess (Bibliothèque tion in Paris, and is now a restaurant in the Musée Pythagore, Strasbourg). Ferrier was the recipient of d’Orsay. In addition to being one of the most numerous honors throughout his career, including sought after decorative painters of the Belle the médaille d’or at the Exposition Universelle of Époque , Ferrier was also a successful portraitist. 1889, and the Légion d’Honneur in 1906. After receiving the Prix de Rome in 1872, the artist spent three years traveling through Italy, which J.S.B. 18 BURNE-JONES, Sir Edward 1833 - 1898 English School

TWO HANDS AND ARMS WITH RODS

Graphite on heavyweight off-white wove paper. No water - staircase in The Golden Stairs serve as expressive mark. 6 15/16” and 4 7/8” (15.1 x 12.4). embodiments of tender emotions, lending a sense of graceful movement to the entire composition. Two Formerly: Durlacher Gallery Hands and Arms with Rods is strikingly similar to several of the figures who hold musical instruments Note: Burne-Jones drew studies of hands throughout in The Golden Stairs . Likewise, the hand holding the his career. He considered hands of central impor - ball in the present group (see cat. no. 20) may be a tance to his compositions, as is evident in The study for Theseus and Ariadne ; a similar study is in Golden Stairs (1880, Tate Britain, London), one of the Victoria and Albert Museum, London. the artist’s most well known paintings. The hands of most of the eighteen women descending a circular E.K. 19 BURNE-JONES, Sir Edward 1833 - 1898 English School

TWO PAIRS HOLDING HANDS

Graphite on heavyweight off-white wove paper. No water - mark. 6 15/16” and 4 7/8” (15.1 x 12.4).

Formerly: Durlacher Gallery

See cat. no. 18. 20 BURNE-JONES, Sir Edward 1833 - 1898 English School

TWO PAIRS OF JOINING HANDS, ONE WITH BALL, HAND WITH REED

Graphite on heavyweight off-white wove paper. No water - mark. 6 15/16” and 4 7/8” (15.1 x 12.4).

Formerly: Durlacher Gallery

See cat. no. 18. 21 SARTORIO, Giulio Aristide 1860 - 1932 Italian School

VICTORY CROWNING AN ENTHRONED FIGURE, circa 1906

Pen and black ink on off-white mediumweight wove paper. 8 3/16” x 6 1/8” (20.8 x 15.6 cm). No watermark. Stamped ally similar work, The Frieze of Lazio (destroyed). in reddish-brown ink at lower right: GIVLI OARIS - The latter frieze was created for the great hall in TIDESART ORI O (facsimile signature estate stamp; not in Mostra Nazionale di Belle Arti , Milan, when that Lugt). Stamped in purple ink at lower left: SG (encircled) city hosted the World’s Fair ( L’Esposizione (Shepherd Gallery). Verso: sketch of lion in black ink. Internazionale del Sempione ) in 1906. The frieze was exhibited again in the Lazio Pavilion at the Ex-Collection: A. L. Sartorio, the artist’s son Venice Biennale in 1907. Similar in subject matter to The Italian People , The Frieze of Lazio , in the Exhibited: Shepherd Gallery, 1970 (cat. no. 65 as words of one contemporary art critic, “illustrates Study of two Figures in Classic Dress ). the power of Italy throughout history, with all its ideals in the classical and modern world.” Note: Giulio Aristide Sartorio was one of the most Victory Crowning an Enthroned Figure is an celebrated decorative painters in Italy in the years early study for the seated figure holding a staff leading up to World War I, as exemplified by his seen in a section of the frieze that represents most prominent commission: a mural cycle for the “Great Discoveries Through the Ages” in the Chamber of Deputies, in Italy’s parliament build - Frieze of Lazio . On the verso of this drawing is a ing, the Palazzo Montecitorio , Rome. Comprised of study for crouching lions, which appear elsewhere over 50 panels in encaustic, rather than fresco or in the frieze. oil, The Italian People (1908-1912) is an allegory of Sartorio’s dynamic style is indebted not only to the history of Italy’s civilization. Filled with over Italian masters such as Caravaggio (1571-1610), 200 nude and semi-nude figures striking dramatic but he was also drawn to the dramatic, often poses, the frieze is intended to symbolize the val - macabre, imagery of Symbolist artists, particularly ues and struggles of the Risorgimento movement, that of Arnold Böcklin (1827-1901). He also shared which led to the country’s unification in 1870. aesthetic and theoretical affinities with Pre- Sartorio’s interest in photography is especially Raphaelite artists including John Everett Millais, evident in Study of a Man . The artist used pho - William Holman Hunt, and Edward Burne-Jones, tographs and their negatives as sources for his own all of whom he met while traveling in England in aesthetic experimentation. The exaggerated shad - 1893. ing, particularly in the face and neck of Study of a Man and other works of this period, grew out of J.S.B. the artist’s close study of what were then often- grainy negatives. Because negatives have much References: less contrast than their corresponding positive Renato Miracco, Giulio Aristide Sartorio 1860- prints, highlighted areas appear dark and seem 1932 (Rome and Florence, 2006). slightly distorted. Sartorio’s adaptation of this Renato Miracco, Il fregio di Giulio Aristide Sartorio effect creates an increased sensuality and supple - (Milan, 2007). ness to his elongated, muscular figures. Pier Andrea De Rosa and Paolo Emilio Trastulli Although Study of a Man does not correspond Giulio Aristide Sartorio: il realismo plastico tra sen - exactly to any one figure in The Italian People , the timento ed intelletto (Rome, 2005), p. 109 (com - drawing stylistically dates to the period and is parative illustration of enthroned figure) and p. believed to be a study for this or for a composition - 112 (comparative illustration of crouching lions). 22 SARTORIO, Giulio Aristide 1860 - 1932 Italian School

STUDY OF A MAN, circa 1906-1912

Pen and black ink on off-white mediumweight wove paper. 8 1/4” x 6 3/4” (21 x 17.1 cm) (irregular edges). No water - mark. Stamped in reddish-brown ink at lower left: GIVLI OARISTIDESART ORI O (facsimile signature estate stamp; not in Lugt). Verso: stamped in purple ink at bot - tom left: SG (encircled) (Shepherd Gallery).

Ex-Collection: A. L. Sartorio, the artist’s son

Exhibited: Shepherd Gallery, 1970 (ill. cat. no. 51).

Note: See cat. no. 21. 23 KLINGER, Max 1857 - 1920 German School

SEATED YOUTH, circa 1883-1887 (Sitzender Jüngling )

Oil on carton. 24 3/8” x 32” (63 x 81 cm). Monogrammed and which would sit in this composition. The in red oil at lower left: MK . seated figure’s legs in Judgment of Paris are not crossed at the ankles, as they are in the present Note: Although the present painting is undated, work; likewise, an 1883 ink study of Judgment of stylistically it dates from the mid-1880s. Works Paris shows the dark-haired model in a similar from this period of Klinger’s career show studied seated pose, but with his legs spread far apart. modeling and transparent glazes when compared to Both models are identifiable in Klinger’s Vom those of his later career. In Seated Youth and other Tode , a two-part series of etchings for which figure studies from this period, including Study for preparatory drawings exist that evidence the artist the Central Figure of “The Blue Hour” (1888), lumi - variously posing these models, from which he nous shades of pink, blue and yellow lend an under - would select the final figures. lying glow to the sumptuous flesh of his sitters. By Finally, the present oil study could have been 1900, Klinger had absorbed some of the tenets of used for Homer Singing to the Greek People (1909, Impressionism; his brushwork became much looser destroyed 1943). The model appears to have aged, and the articulation of skin tone is much denser, but the body position is exactly the same as the taking on an almost pasty appearance. present study. The redheaded youth in the present work is one of two young models Klinger seems to have References: sketched repeatedly in the early 1880s and which Manfred Boetzkes, et al., Max Klinger: Wege zum he then referred to over the course of several Gesamtkunstwerk (Mainz am Rhein, 1984), pp. 48, decades. The other model is identifiable by his 51 ( Judgment of Paris , fig. 37 and pl. VIII, ink long, dark hair and distinguishable facial features. study and final painting, respectively). Both young men appear in Judgment of Paris Die Welt Max Klingers (Berlin, 1918), pl. 24 (1885/87), in which the redhead is shown standing, (Homer Singing to the Greek People ). while the dark-haired model is seated in a pose Shepherd Gallery, Twenty Nineteenth Century almost identical to that seen in the present study. Works of Art: Paintings, Drawings and Sculpture It is possible Klinger posed both models in this (New York, 1986); fig. 20 ( Study for the Central seated position and later chose which would stand Figure of “The Blue Hour” ). 24 SARGENT, John Singer, R.A. 1856 - 1925 American School

CRUCIFIX, circa 1890 (before 1895)

Polychrome and gilded plaster. Height: 31 1/8” (79.1 cm); maquettes, most notably examples in the collec - width: 24 3/8” (69.1 cm); depth from back of cross to front tions of the Tate Gallery and the Harvard Art of figure’s forehead: 3 1/2” (8.9 cm). Museums/Fogg Museum, include these additional Biblical and symbolic figures. The present sculp - Ex-collection: Violet Ormond ( née Sargent); The ture was likely once in the collection of Sargent’s Community of the Resurrection (Mirfield, West sister, Violet Ormond (Mrs. Francis Ormond), and Yorkshire, United Kingdom) thereafter gifted to The Community of The Resurrection, an Anglican order at Mirfield, West The present work is a maquette for the finished cru - Yorkshire, in the mid-1930s. Mrs. Ormond is cifix, in high relief, that forms the centerpiece of known to have given an oil painting of the crucifix - Sargent’s mural, Dogma of the Redemption , in the ion (circa 1879) to the Community in 1936, which Boston Public Library. Commissioned in 1890 and was later sold at auction (Bonhams, New York, completed in 1903, the entire project, titled December 2009). Sargent was extremely proud of Triumph of Religion , is comprised of a sequence of the final design of Crucifix , creating smaller murals that begins at the north end of the building’s bronze casts for friends, one of which is in the great hall and culminates at the south end with Tate Gallery collection. A full-scale bronze cast Dogma of Redemption . The mural cycle, for which was given by the artist’s sisters to St. Paul’s Sargent also designed the architectural enrichments Cathedral (London), where it remains as a memor - and the lighting, tells the story of the Judaic and ial to the extraordinary talent of this exceptional Christian religions. The south wall, on which the artist. final, large-scale crucifix hangs, represents man’s redemption through the sacrifice of the Savior. J.S.B. Triumph of Religion has received increased public and scholarly attention in recent years, as References: the Boston Public Library and Harvard Art Narayan Khandekar, Gianfranco Pocobene, Kate Museums coordinated the cleaning and conserva - C. Smith, eds., John Singer Sargent’s “Triumph of tion of the entire mural, including the sculptural Religion” at the Boston Public Library: Creation elements. The sculptures, like the painted portions and Restoration (Boston, 2009). of the murals, went through a long process of ges - Nancy Lloyd, “Reconstruction of Sargent’s Scale tation, and thus were the subject of numerous Model for the Crucifix,” Harvard University Art designs and maquettes. The present maquette is Museums Bulletin , vol. 7, no. 1 (Autumn 1999- the only known sculptural example of what is Winter 2000), pp. 58-66. believed to be an early stage of Sargent’s thinking Three Centuries of British Art , Shepherd & Derom about the crucifix image. Adam, Eve, and the peli - Galleries in association with Nicholas Bagshawe Fine can, who appear in the final version, are absent in Art (London), Campbell Wilson (Aberdeenshire, the present sculpture. Although several preparato ry Scotland), and Moore-Gwyn Fine Art (London, drawings similarly exclude them, all other extant 2011), ill. p. 58-59. 25 MINNE, George 1866 - 1941 Belgian School

SMALL RELIC BEARER, 1897 (Le Petit Porteur de Reliques )

Marble. Height: 26 3/8” (67 cm). Width across base: 6 1/4” vous tension in the modeling and surface, and are (15.9 cm). Depth from edge of feet to front of hands: 12 often unsigned. It appears that as the artist 3/4” (32.4 cm). enjoyed increased critical and commercial success, he began signing new variants, and successive Provenance: Private collection, Austria models tended to have smoother surfaces. It has been suggested that the present marble Note: The present sculpture is one of several varia - was once in the collection of Friedrich (“Fritz”) tions of elongated kneeling male youth figures that Waerndorfer, who is known to have owned sixteen Minne executed between 1895 and 1900. This Minne sculptures. Waerndorfer’s bankruptcy five-year period arguably encompasses the artist’s around 1912 led to the dispersion of his collection, most innovative and creatively experimental and it is difficult to verify precisely which models endeavors, the results of which had a profound had been a part of that collection. An early, impact on the history of figurative sculpture in unsigned version of Le Maçon (1897), now in the Europe. Many of these sculptures, including the Musée d’Orsay (see cat no. 30, Shepherd Gallery , present example, were first presented to the public Fall 2009), has been traced to Waerndorfer’s at the eighth exhibition of the Vienna Secession collection. (1900), which included a gallery dedicated to Minne. At the center of the Minne room stood References: Fountain of Kneeling Youths , a set of five kneeling Albert Alhadeff, et al, George Minne en de kunst figures facing inward around a circular basin. rond 1900 (Ghent, 1984), p. 58, no. 24, cat. nos. 61 Although some critics ridiculed Fountain and and 62. Minne’s figurative aesthetic, Julius Meier-Graefe Robert Hoozee and Catherine Verleysen, “George (1867-1935) recognized the artist’s stylized, archi - Minne, Maurice Maeterlinck et le symbolisme tectonic figures as the first sculptures of a new era. Belge: quelques facettes,” L’univers de George At least five versions of the present sculpture Minne & Maurice Maeterlinck (Brussels, 2011), pp. are known to us; Albert Alhadeff’s catalogue 131-32, cat. no. 100. raisonné identifies examples in plaster, granite and Jacques van Lennep, Catalogue de la Sculpture: bronze, as well as another marble variant Artistes nés entre 1750 et 1882 (Musées royaux des (Koninklijk Museum voor Schone Kunsten , Beaux-Arts de Belgique , 1992), ill. p. 302, inv. 4789. Antwerp). It has been observed that early models Leo van Puyvelde, George Minne (Brussels, 1930), of Minne’s sculptural works tend to exhibit a ner - cat. no. 24, pl. no. 22. 26 CONDER, Charles 1868 - 1909 English School

PORTRAIT OF A WOMAN verso: SPANISH SCENE WITH FOUNTAIN AND FIGURES

Black chalk and graphite on heavyweight grey wove paper, exhibited mostly in London. After some years of one edge folded. 10 3/4” x 16” (27.3 x 40.6 cm). Partial moving back and forth between Paris and London, watermark at upper left: ACL… he married in 1901, and settled in London. In 1906 he suffered his first attack of paralysis, to which he Note: Charles Conder was born in London, but succumbed three years later. worked most of his life in Australia and Paris. Sent as In 1905 Conder had travelled with his wife to an apprentice to his uncle, a land surveyor in Sydney, Spain, and it seems that the verso of the present young Conder was soon enrolled at the Academy and drawing was inspired by a Spanish town, most like - was introduced to Impressionism and the Aesthetic ly Seville, since Conder stayed and painted there movement. In 1890 Conder settled in Paris, where he for some time. Whether the portrait represents his befriended William Rothenstein, Jacques-Emile wife remains inconclusive. Blanche, and Henri de Toulouse-Lautrec. He painted fantasy figures on silk fans and landscapes, which he E.K. 27 HELPS, Francis, R.B.A. 1890 - 1972 English School

GENERAL KUNG CHANG CHEN, 1924

Graphite and charcoal on heavyweight off-white wove of nearby peaks and mountain passes bearing paper. No watermark. 13 15/16” x 9 15/16” (35.4 x 25.2 names such as Kangchenjunga, Kangchenjhau, and cm). In graphite at lower left of portrait: Francis Helps / Kangchen La. Once believed to be the highest 24 . In graphite at lower right of portrait: General Kung / mountain in the world, Kangchenjunga is now Chang chen . Verso, at bottom center: 141 (encircled). At known to be the third-highest; however, this name, right corner in aged black-brown ink: 5 (inverted). At right which means “The Five Treasures of Snow,” has corner in graphite: 35 L / 72065 . also been used to refer collectively to the five peaks of the region (Kangchenjunga, Everest, and Note: Captain John Noel invited portraitist three others). The relationship between high- Francis Helps to accompany the prestigious team altitude mountaineers and Sherpas was changing assembled for the British Mount Everest at the time, primarily because with each failed Expedition in 1924. Noel, an army officer, not only attempt to reach the summit, the Sherpas’ skills helped finance the team; he was also the expedi - and expertise were increasingly valued by European tion’s official cinematographer and photographer. climbers. The title “general” may be an indication Before the team left for the Himalayas, Helps and of the increased social status of the Sherpas, both Noel designed a commemorative postcard to be in their own culture and in the eyes of Western sold inexpensively to British schoolchildren, who explorers. wrote in their return addresses so that the cards Helps was a member of the Royal Society of could be mailed back to them from the foot of the British Artists and the National Portrait Society. In mountain. In his recently-published historical 1924, the Alpine Gallery (London) organized an account of this expedition, Into the Silence: The exhibition highlighting the expedition in which Great War, Mallory, and the Conquest of Everest , Helps’ paintings and drawings were shown along - Wade Davis likens this to today’s youth receiving a side Noel’s photographs. letter postmarked from the Moon. Helps accompanied the expedition as far as the J.S.B. foothills of Mount Everest, where he executed por - traits of the climbing party as well as local References: Tibetans. The young man in the present drawing is Wade Davis, Into the Silence: The Great War, believed to have been a Sherpa. Few of the Mallory, and the Conquest of Everest (New York, Sherpas’ names from this expedition are known. 2001), p. 483. Kung Chang Chen may well have been the sitter’s Sherry B. Ortner, Life and Death on Mt. Everest: given name; however it is also possible that it is a Sherpas and Himalayan Mountaineering (Princeton, nickname derived from the many variant spellings 1999). 28 BAKST, Léon 1866 - 1924 Russian School

CHARIOT HORSE DRINKING

Graphite and watercolor on artist’s board (mediumweight Munich (ca. 540-530 B.C.E.) and a hydria (ancient off-white laid paper stretched over blue carton). 13” x 19 Greek water jar), which shows several horses drink - 1/4” (33.0 x 48.9 cm). No discernible watermark. On ver so: ing from a basin, at the Museum of Fine Arts, Label of the purveyor in the shape of a palette at top cen - Boston (525-520 B.C.E.). (See Moore, p. 49). ter: COULEURS FINES / PAPETERIE ENCADRE- Bakst began to study the art of Greek antiquity MENTS / A. BARILLON / 60, R. de la Rochefoucauld / Paris . in earnest when he was commissioned to prepare In graphite at top left corner: No 152 . Inscribed in graphite set and costume designs for a series of Greek along left edge: B. Tsipkevitch . In red grease pencil below tragedies to be performed at the Alexandrinsky and to the left of purveyor’s label: 5. In graphite left of Theatre, St. Petersburg, in 1902 and 1904: center: C 1 (?). On backing: label in black printer’s ink of Hippolytus , Antigone and Oedipus at Colonos . In The Fine Art Society Ltd., with inventory number and date 1907, the artist traveled through Greece and given in black typewriter ink: 114/B10/5 ; 4 September 1976 ; Crete. The many sketches Bakst executed at that hand-written label in black ink: LEON BAKST / THE time reveal his fascination with antique sculpture, HORSE, STUDY FOR / A DECORATION TO A / RUSS - as well as the imagery and designs he saw on the IAN THEME / 28708 . ceramics and mosaics at Corfu, Olympia, Delphi and Knossos. Bakst’s ability to transform the visual Ex-collection: Mme Berthe Tsipkevitch (the vocabulary of the ancient world for a modern sen - artist’s niece) sibility is widely known through his costume and set designs for the Ballet Russe , most notably Exhibitions: Leon Bakst at Galleria del Levante , Narcisse , Daphnis et Chlöé and L’Après-midi d’un Milan/Rome/Munich, 1967 (cat. no. 82: “Cheval faune , in 1911-12. s’abreuvant” [Horse Drinking]); Bakst , The Fine Research suggests the present watercolor may Art Society Ltd., London, 1976 (cat. no. 114: “The have been a motif in the background of one of Horse, Study for a Décor Relating to a Russian Bakst’s many Greek-themed set designs. Theme, c. 1922”). J.S.B. Note: Léon Bakst’s niece, Madame Berthe Tsipkevitch, believed the present watercolor relat - References: ed to a “Russian theme.” The image is best under - Leon Bakst , Galleria del Levante (Milan, Rome, stood within the context of the ancient world, Munich, 1967), n.p., see no. 82. however, because the subject is identifiable as a Bakst, The Fine Art Society Ltd., on the occasion chariot horse by the unusual ring attached to its of the Society’s Centenary (London, 1976), p. 50, harness. The artist’s avid interest in Greece is well no. 114. documented, and its profound influence on Mary B. Moore, “Horse Care as Depicted on Greek Bakst’s aesthetic is evident throughout his œuvre . Vases before 400 B.C.” Metropolitan Museum The rigid profile of the horse in the present work is Journal , vol. 39 (2004), pp. 8, 35-67 (comparative reminiscent of what one might see on an antique images, p. 49). coin or as part of the imagery adorning a Greek Irina Pruzhan, Leon Bakst: Set and Costume vase. The “drinking horse” motif is not uncommon Designs, Book Illustrations, Paintings and Graphic on Greek and Roman objects such as a black- Works . Arthur Shkarovsky-Raffé, trans. (Leningrad, figured amphora now in the Antikensammlung in 1986). Boris Anisfeld 1878 - 1973 Note: As a young artist in St. Petersberg, Anisfeld was introduced to Sergei Diaghilev and the circle of artists and intellectuals of Mir Iskusstva (World of Art). In 1906, Diaghilev included work by Anisfeld in an exhibition organized to celebrate modern Russian art at the Salon d’Automne in Paris. This helped launch his career as both a set designer and painter. Anisfeld’s emigration to the United States in January 1918 was fortuitous. Preparations for a major exhibition of his paintings, slated to travel throughout the U.S., had been in the planning stages since 1916/17. By the time the Russian Revolution broke out, the majority of Anisfeld’s works had already been crated and the export docu - ments had been finalized. The artist and his family arrived in New York in January 1918. The success of his first exhibition at the Brooklyn Museum of Art led to work designing sets for the Metropolitan Opera. He eventually settled in Chicago, where he was professor of painting at the Art Institute from 1929 until his retirement in 1957. Many of his students went on to enjoy successful careers, including Robert Indiana, Claes Oldenburg, Leon Golub, and Red Grooms, among others. The present paintings are from the artist’s estate. We are grateful to Charles Chatfield-Taylor, the artist’s grandson, for contributing the following catalog entries.

29 GREY DAY ON THE NEVA, 1909

Oil on canvas. 52 9/16” x 42 1/2” (133.5 x 108 cm). Signed elevated perspective, the viewer looks downward over and dated at lower left in brown and green oil: B. Anisfeld the female figures seated beneath the willow tree on / 1909 (in Cyrillic). Verso in red ink along top: 42 x 52 1/2 the river’s bank. This type of willow is unique to the “Grey Day on the Neva” / 1912 (sic) (encircled in black). region. The symbolism of the willow is ancient, and it At top center, in black ink: 7. At center in black ink: 63 can refer to anything from death to resurrection, WK . Top of stretcher, old label, partially destroyed, print - from resignation to hope. Anisfeld was fully aware of ed in black ink: Title … / Painter …eld / Owner: Henry Rein - this ambiguity, and indeed, it is at the core of the hardt & Son, Inc. / …ress: 730 Fifth Avenue, N.Y.C …. one mystery of the painting. label to stretcher, another to … On center stretcher bar in We are grateful to Charles Chatfield-Taylor for white chalk: 24 Mrs. O. Chatfield-Taylor . On stretcher bar this entry. at top in white chalk: 5202/70-2 . On stretcher, at lower right in white chalk: E/T/893 . References: The 7 th Exhibition of the Union of Russian Artists Exhibitions: Soyuz , St. Petersburg and Moscow, (Moscow, 1909), no. 15. 1910-1911; Boris Anisfeld , Brooklyn Museum of The 7 th Exhibition of the Union of Russian Artists Art, 1918 (no. 12); Reinhardt Gallery, The Boris (Moscow, 1910), no. 17. Anisfeld Exhibition , New York, 1924; Boris C. Brinton, The Boris Anisfeld Exhibition (New Anisfeld: Paintings and Stage Designs, 1906-1926 , York, 1918), ill. no. 12. Art Gallery of the Graduate Center, The City Paintings of Boris Anisfeld and a Selection of His University of New York, 2003-2004 (cat. no. 2). Designs for Ballet and Opera (New York, 1979), no. 56. Provenance: Estate of the artist Diane Kelder, Boris Anisfeld: Paintings and Stage Designs, 1906-1926 (New York, Art Gallery of the Note: This early and important symbolist work was Graduate Center, The City University of New painted in the summer of 1909, after the artist exe - York, 2003), ill. no. 2. cuted a number of sketches and studies on the upper E. Lingenauber and O. Sugrobova-Roth, Boris Neva river, roughly 35 kilometers from St. Petersburg Anisfeld: Catalogue raisonné (Düsseldorf, 2011), (near Lake Ladoga and the town of Shlisselburg). ill. p. 123, no. P162. The Neva had a system of locks dating from the 18 th Reinhardt Gallery, The Boris Anisfeld Exhibition century. The site of the painting is at a point below (New York, 1924). the locks where the river broadens on its journey Louis Weinberg, “The Art of Boris Anisfeld,” The toward St. Petersburg. The structure of the composi - International Studio (Nov. 1918) vol. LXVI, ill. p. tion is one that Anisfeld employed often. From an viii, no. 261,. 30 ANISFELD, Boris 1878 - 1973 Russian School

COLORADO MOUNTAINS, 1943

Oil on canvas. 29 1/8” x 39 3/8” (74 x 100 cm). Signed and the clarity of the air were a constant inspiration for dated at lower right in brown oil: Boris Anisfeld / 1943 . On him. In the present painting, the power of nature verso at top left: 40 x 30 Landscape (in red ink) / 15 wk (in is tempered somewhat by modernity encroaching black ink). At top right in red ink: 137 (encircled). Label in the form of telephone wires and the dusty trail (with red pre-printed border) affixed to top left on stretch - of a car on a winding dirt road. As far as is known, er, in red ink: Texas / Landscape / Boris Anisfeld… Anisfeld never painted in Texas, so the notation on verso is a mystery, made even more so because Provenance: Estate of the artist it is in his daughter’s hand. We are grateful to Charles Chatfield-Taylor for Every summer from 1934 to 1960, Boris Anisfeld this entry . took a handful of his favorite students from the Art Institute of Chicago to paint and study with Reference: him in Central City, Colorado. In this old mining E. Lingenauber and O. Sugrobova-Roth, Boris town, 8,000 feet up in the stark and dramatic Anisfeld: Catalogue raisonné (Düsseldorf, 2011), mountains, the violent changes in the weather and ill. p. 135, no. P242. 31 ANISFELD, Boris 1878 - 1973 Russian School

WINTER AT STONY POINT, circa early 1920s

Oil on canvas. 20” x 24” (50.8 x 61.2 cm). On verso: near mers there, they spent as many weekends as possi - center in black ink: 3. On top right of stretcher, in black ble during the rest of the year. Stony Point was ink: 109 …Stony … Label (with red pre-printed border) “undeveloped” compared to what it looks like affixed to top left on stretcher, in red ink: 30 (encircled) today; in fact, it was downright primitive, and / 20 x 24 . Anisfeld, the erstwhile country boy from Bessarabia, felt right at home. Provenance: Estate of the artist We are grateful to Charles Chatfield-Taylor for this entry . Note: This is one of several seasonal paintings Anisfeld painted at his country cottage in Stony Reference: Point, New York, where he and his family sought E. Lingenauber and O. Sugrobova-Roth, Boris refuge from the stress of the city during the early Anisfeld: Catalogue raisonné (Düsseldorf, 2011), to mid-1920s. In addition to spending whole sum - ill. p. 133, no. P227. 32 TCHELITCHEW , Pavel 1887 - 1957 Russian School

STUDY OF APOLLO AND DAPHNE

Ink and ink wash on lightweight off-white wove paper. 10 reputation he enjoyed well into the 1940s. The 15/16” x 8 5/16” (27.8 x 21.1 cm). No watermark. Verso at present study captures the moment when the top left in green pencil: 176 . Verso at top left in red pen - beautiful nymph Daphne begins to morph into a cil: 289 . laurel tree to protect her chastity from the aggres - sive sexual advances of Apollo. Part human, part Note: The intertwined bodies of Apollo and vegetal figures appear throughout Tchelitchew’s Daphne are typical of Tchelitchew’s Surrealist œuvre – both in his designs for the stage as well as imagery, which grew increasingly dark and com - in his paintings. A page from the artist’s sketch - plex after the artist emigrated from Russia to Paris book for George Balantine’s ballet Concerto , per - in 1923. There, he became an integral member of formed at the Teatro Colon in Buenos Aires in the coterie of the international avant-garde, 1942 (music by Mozart), shows several examples of including Gertrude Stein, René Crevel, and Sergei tree maidens and fern and flower girls (see Diaghilev, among others. The influence of Windham, pp. 2, 24, 30). Surrealism on his work is undeniable. Hide and Tchelitchew endeavored to create a visual itera - Seek (1940-42), his most celebrated painting, is tion of the soul’s journey to immortality. His art often on view at the Museum of Modern Art reflects his preoccupation with the earliest stirrings alongside other Surrealist masterworks, such as of life and the basic structures of nature. The Salvador Dalí’s The Persistence of Memory (1931), almost biological or zoological quality of many of Joán Miró’s The Birth of the World (1925), and his sketches reveal the artist’s intrigue with struc - René Magritte’s The False Mirror (1928). In spite tures shared by animal, vegetable and mineral, of the visual affinities, Tchelitchew never fully such as comparisons between the human cardio - embraced their ideology. Instead, he became the vascular system and the vascular system that car - principal theorist for a small movement known in ries water in foliage. The well-known mythological France as Néo-Humanisme . Tchelitchew, along story of Daphne turning into a laurel tree is an with Eugène and Leonid Berman, Christian Bérard ideal subject for the artist to explore these ideas. and André Lanskoy, employed the dream-like imagery of Surrealism without its psychoanalytic J.S.B. implications. Known as Neo-Romanticism in the United States, where Tchelitchew immigrated in References: 1936, the work of these artists is more closely related James Thrall Soby, Tchelitchew: Paintings / Drawings to Russian Symbolist painting. (New York, 1942). While still a young artist in St. Petersburg, Donald Windham, “The Stage and Ballet Designs Tchelitchew established himself as one of the of Pavel Tchelitchew,” Dance Index , vol. III, nos. 1, most innovative stage designers of the period, a 2 (Jan-Feb. 1944): pp. 4-30., ill. p. 2. Albert Albertovich Benois 1879 - 1930

Albert Albertovich Benois was born into a prominent Russian artistic family that includes Nicholas Leontievich Benois (1813-1898), architect to the Imperial family at Peterhof, and Alexander Nikolayevich Benois (1870-1960), stage designer, watercolorist and art critic. He was married to the famous opera singer Maria Kuznetsova (1880-1966). Though a highly successful artist in his own right, Albert Albertovich’s works are often confused with those of his cousin, Albert Alexandervich Benois (1888-1960), or his father, Albert Nikolayevich Benois (1852-1937). The present paintings, all gouache on board, were executed in China, where the artist traveled first as a young man and then settled as a mature artist. His first trip, financed by the Dowager Empress Maria Feodorovna, took place before the onset of the First World War. Benois returned to China sometime around 1924 and remained there until his death. It is recorded that in 1930, he died of tuberculosis in a German hospital in Shanghai. Between his sojourns in the Far East, Benois spent time in Munich and Paris. Thereafter he returned to St. Petersburg where he was awarded a pro - fessorship at the Imperial Academy. The artist’s special talent for rendering seascapes and waterways bears the influence of Hans von Bartels (1856- 1913), a renowned German watercolorist of the period with whom Benois studied in Munich. Benois began his career while still in his teens; at age seventeen, he enrolled at the Academy of Fine Arts in St. Petersburg. The young artist enjoyed official recognition when the Grand Duke Vladimir purchased The Black Sea (date unknown), a watercolor. After graduating from the Academy, Benois continued his studies in Munich with Bartels, and soon he received government commissions. The most well known of these was the decoration of the Russian Pavilion at the World’s Fair in Turin, Italy, in 1911, where Benois’ Crimea’s Shores , an enormous painting, was award - ed the Grand Prix . While he was in the military, Benois was commissioned to compose an album depicting episodes of the war; this set of watercolors was presented to Emperor Nicholas II. The present works were included in an exhibition of Benois’ work at the Hotel Mark Hopkins in San Francisco (ca. 1928), which was sponsored by the Dollar Steamship Line. They were acquired by the prominent violin deal - er, Emil Hermann (1888-1968).

J.S.B.

References: A Catalogue of Paintings by Professor Albert Benois (San Francisco, ca. 1928). Exposition des œuvres de Albert A. Benois (Hôtel Jean Charpentier: Paris, 1928). Förteckning öfver Albert Benois akvareller (Helsinki [Sweden], 1911). 33 BENOIS, Albert Albertovich 1879 - 1930 Russian School

A FORGOTTEN TEMPLE OF CONFUCIUS, IN THE MOUNTAINS NEAR TSINANFU, after 1924

Gouache, graphite with touches of varnish on artist’s board. 30” x 21 3/4” (76.2 x 55.2 cm). Signed at lower right in white gouache: A. BENOIS .

Exhibited: Albert Benois , Hotel Mark Hopkins, San Francisco, circa 1928 (cat. no. II).