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Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 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 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 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 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
Impressionist & Modern
IMPRESSIONIST & MODERN ART Thursday 1 March 2018 IMPRESSIONIST & MODERN ART Thursday 1 March 2018 at 5pm New Bond Street, London VIEWING ENQUIRIES Brussels Rome Thursday 22 February, 9am to 5pm London Christine de Schaetzen Emma Dalla Libera Friday 23 February, 9am to 5pm India Phillips +32 2736 5076 +39 06 485 900 Saturday 24 February, 11am to 4pm Head of Department [email protected] [email protected] Sunday 25 February, 11am to 4pm +44 (0) 20 7468 8328 Monday 26 February, 9am to 5pm [email protected] Cologne Tokyo Tuesday 27 February, 9am to 3pm Katharina Schmid Ryo Wakabayashi Wednesday 28 February 9am to 5pm Hannah Foster +49 221 2779 9650 +81 3 5532 8636 Thursday 1 March, 9am to 2pm Department Director [email protected] [email protected] +44 (0) 20 7468 5814 SALE NUMBER [email protected] Geneva Zurich 24743 Victoria Rey-de-Rudder Andrea Bodmer Ruth Woodbridge +41 22 300 3160 +41 (0) 44 281 95 35 CATALOGUE Specialist [email protected] [email protected] £22.00 +44 (0) 20 7468 5816 [email protected] Livie Gallone Moeller PHYSICAL CONDITION OF LOTS ILLUSTRATIONS +41 22 300 3160 IN THIS AUCTION Front cover: Lot 16 Aimée Honig [email protected] Inside front covers: Lots 20, Junior Cataloguer PLEASE NOTE THAT THERE IS NO 21, 15, 70, 68, 9 +44 (0) 20 7468 8276 Hong Kong REFERENCE IN THIS CATALOGUE Back cover: Lot 33 [email protected] Dorothy Lin TO THE PHYSICAL CONDITION OF +1 323 436 5430 ANY LOT. -
Les Pensees De Pascal, Matisse
Les Pensees de Pascal, Henri Matisse, 1924, 2010.37, G371 Questions: 1. Look carefully and describe what you see. 2. How does Matisse’s love affair with color play out here? 3. Matisse sought to achieve simplicity and balance in his paintings. What could be aspects of simplicity and balance in this piece? 4. How does Matisse seem to play with the contrasts between interior and exterior spaces? What other contrasts come to mind? 5. Matisse famously said, “Art should be devoid of troubling or depressing matter...a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue.” How could this painting be considered therapeutic? Explain. Main Points 1. Matisse regarded simplicity, balance, and serenity as the supreme achievement and message of French art. 2. Matisse’s art is important for its abstraction, spirituality, and subjectivity. 3. He recognized the importance of still-lifes in his own development. He copied paintings by Chardin and de Heem (1893) early on and reinterpreted de Heem in 1915. 4. He was searching for “what I believed to be exceptional in myself with means (colors) richer than in linear drawing, with which I brought forth what moved me in nature, through the empathy I created between the objects that surrounded me, around which I revolved and into which I succeeded in pouring my feelings of tenderness without risking to suffer from doing so as in life.” 5. Objects were not symbols or metaphors, literary references, not even important for their function. 6. Many of Matisse’s paintings include a window, allowing for depiction of both the interior of a room and the view of the exterior. -
In Turn-Of-The-Century Paris, an Explosion of Brash New Art
1 In Turn-of-the-Century Paris, An Explosion of Brash New Art Dubbed 'les Fauves' (the wild beasts) for their uninhibited use of color, these artists boldly rearranged the imagery of nature By Helen Dudar, Smithsonian, October, 1990 The scandal of the Parisian art world in 1905 was Room VII of the third annual Salon d'Automne in the Grand Palais, its walls throbbing with raw color. Color squeezed straight out of tubes; color assaulting the eye and senses; color that sometimes seemed to have been flung upon the canvas; color that dared to tint human flesh pea green and tree trunks a violent Andre Derain, The Turning Road, L’Estaque, 1906 red; color that not only refused to imitate nature but actually had been used to suggest form and depth. The signatures on the paintings bore the names of men some of whom, surviving notoriety, would soon be more or less famous. Henri Matisse, the oldest of them and the unlikely center of this radical new style, would flourish into his 85th year as one of the masters of our century. Andre Derain would, for a time, produce works of breathtaking originality and virtuosity. Albert Marquet and Henri Manguin, less than household names in our day, would be the best-sellers of the group because they turned out tamer work that was gentler to the untutored eye. Maurice de Vlaminck, a larger-than-life figure and a devout fabulist, would claim with some exaggeration that he was really the first to engage with the new style, and then, the first to abandon it. -
Twentieth Century Masters
TWENTIETH CENTURY MASTERS FINDLAY GALLERIES Gallery Collection on View Balthus (1908 - 2001) Braque (1882 - 1963) Camoin (1879 - 1965) Chagall (1887 - 1985) D'Espagnat (1870 - 1950) Degas (1834 - 1917) Friesz (1879 - 1949) Glackens (1870 - 1938) TWENTIETH Hassam (1859 - 1935) CENTURY Homer (1836 - 1910) Lachaise (1882 - 1935) Laurencin (1883 - 1956) Le Sidaner (1862 - 1939) Lebasque (1865 - 1937) Lebourg (1849 - 1928) Luce (1858 - 1941) Martin- Ferrieres (1893 - 1972) Matisse (1869 - 1954) Metzinger (1883 - 1956) Pissarro- (1830 - 1903) Prendergast (1858 - 1924) Renoir (1841 - 1919) Valtat (1869 - 1952) Van Dongen (1877 - 1968) Vlaminck (1876 - 1958) Vuillard (1868 - 1940) KEES VAN DONGEN (1877 - 1968) Portrait de jeune femme au petit chien, c. 1920 oil on canvas 59 x 59 inches Signed 'van Dongen' (middle right) 137616 3 // FINDLAY TWENTIETH CENTURY MASTERS Findlay Galleries continues its long tradition of presenting highly important paintings to fine art collectors throughout the world. The Masters' Collection offers a cross-section of highlights from our collection including recent acquisitions of Impressionist and Modern Masters. The Galleries' global position in the art market for nearly 148 years has distinguished it as a leader in providing unique opportunities for collectors. Many of the paintings in this exhibition have appeared in museums around the globe and in distinguished collectors' homes. Several of these works have been privately collected and quietly passed down from generation through generation. As always, our art consultants offer unparalleled excellence in assisting our clients as they enhance or begin their collections. As a dealer to individuals, institutions and corporate collectors alike, Findlay Galleries continues to celebrate its traditions of presenting exhibitions featuring collections of diverse, original, and outstanding works. -
Explorateurs Musée Faure Aix-Les-Bains
EXPLORATEURS MUSÉE FAURE AIX-LES-BAINS DÉCOUVRE LE MUSÉE FAURE EN T’AMUSANT ! LIVRET JEUNE PUBLIC PLAN DU MUSÉE FAURE CHER JEUNE VISITEUR ! Le Musée Faure et toute son équipe sont heureux de t’accueillir ! Ce livret Explorateurs te propose Étage 2 : Sculptures de Rodin Chambre de Lamartine un voyage au cœur de l’art du 19e siècle ! Lorsqu’on parle du dix-neuvième siècle – tu le Salle Lamartine trouveras souvent écrit 19e ou XIXe – on parle des années allant de 1801 à 1900. 8 À cette époque, l’art et la société connaissent de Salle Rodin 9 grands changements ! La ville d’Aix-les-Bains a la chance de posséder un Étage 1 : Peintures musée qui aborde plusieurs des styles artistiques Mouvements artistiques du 19e siècle qui ont marqué ce siècle. Ce livret comporte des jeux et des informations qui te feront découvrir le 1 2 Musée Faure et l’art en général*. 3 Alors laisse-toi guider, et bonne visite ! 5 *Durée : de 30 minutes à 1h30 si on s’attarde longtemps sur les textes et les œuvres. 7 4 Salle 3 6 Salle 4 Que veulent dire les symboles du livret ? À TOI DE JOUER ! Salle 2 Rez-de-chaussée Les consignes dans le livret te guideront pour réaliser les jeux. Tu pourras Salle 1 vérifier les réponses en page 15 de ton livret Explorateurs. Accueil Exposition temporaire INFO MUSÉES ! 1 REGARDE BIEN ! Familiarise-toi avec le Le numéro se réfère au plan, il Entrée monde des musées et t’indique la salle où se trouvent les de l’histoire de l’art. -
Fresh to the Market Works Lead Christie's
PRESS RELEASE | N E W Y O R K | 22 APRIL 2013 FOR IMMEDIATE RELEASE FRESH TO THE MARKET WORKS LEAD CHRISTIE’S IMPRESSIONIST & MODERN ART WORKS ON PAPER AND DAY SALES Henri Manguin, Etude inversée, Nu sous les arbres, Villa Demière, oil on canvas, Estimate: $400,000-600,000 New York - Christie’s will present its Impressionist & Modern Art Works on Paper Sale and Day Sale on May 9 in New York. The sales are comprised of paintings, drawings, sculptures and works on paper from the leading Impressionist and Modern masters such as Alberto Giacometti, Paul Klee, Joan Miró, Henry Moore, Pablo Picasso, Egon Schiele and many more. Fresh to the market works from distinguished collections are offered throughout the two sales including highlights from the collections of Andy Williams, Mona Ackerman and an Important Private European Collection. Both sales will offer bidders the perfect opportunity to enter the market, or further strengthen their own collections. ORKS ON PAPER Executed in 1970, Femme is a large-scale and fully worked W composition executed when Joan Miró (1893-1983) was utilizing the joint influences of Abstract Expressionist American art and Japanese calligraphy in his own uniquely poetic, instinctive and gestural style of painting (pictured right; estimate: $400,000-600,000). Femme demonstrates how under these influences, Miró’s forms became more expansive while the poetic nature and integrity of Miró's pictorial vocabulary remained essentially the same. This bold work depicts the iconic figure of a woman rendered using smooth flowing calligraphic lines while the palette, reduced to the essentials of red, yellow, green and blue, augmented by black and white, reflects the reductive color vocabulary Miró had used since the 1940s. -
Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection
UNIVERSITY OF WYOMING ART MUSEUM 2009 Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection OVERVIEW Sarah Bernhardt. It was an overnight sensation, and Source: www.wikipedia.org/ announced the new artistic style and its creator to The following movements are referenced: the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Art Nouveau Les Nabis Nouveau. The Barbizon School Modernism Art Nouveau’s fifteen-year peak was most strongly Cubism Modern Art felt throughout Europe—from Glasgow to Moscow Dadaism Pointillism to Madrid — but its influence was global. Hence, it Les Fauves Surrealism is known in various guises with frequent localized Impressionism Symbolism tendencies. In France, Hector Guimard’s metro ART NOUVEau entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought Art Nouveau is an international movement and in Nancy. Victor Horta had a decisive impact on style of art, architecture and applied art—especially architecture in Belgium. Magazines like Jugend helped the decorative arts—that peaked in popularity at the spread the style in Germany, especially as a graphic turn of the 20th century (1890–1905). The name ‘Art artform, while the Vienna Secessionists influenced art nouveau’ is French for ‘new art’. It is also known as and architecture throughout Austria-Hungary. Art Jugendstil, German for ‘youth style’, named after the Nouveau was also a movement of distinct individuals magazine Jugend, which promoted it, and in Italy, such as Gustav Klimt, Charles Rennie Mackintosh, Stile Liberty from the department store in London, Alphonse Mucha, René Lalique, Antoni Gaudí and Liberty & Co., which popularized the style. -
Charles Camoin 1879-1965
Charles Camoin 1879-1965 "Paysage" Oil on canvas / Signed lower right Dimensions : 73 x 92 cm Dimensions : 28.74 x 36.22 inch 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Charles Camoin 1879-1965 Biography Charles Camoin was born in 1879 in Marseille. He studied at the School of Fine Arts in Marseille and received in 1895 a first prize. From 1898, Camoin studied at the Fine Art School in Paris in Gustave Moreau's studio. There, he met Henri Matisse, Albert Marquet and Henri Manguin. After the death of Moreau, Camoin decided to study in the Camillo Academy. In the same time, he was copying the great masters at the Louvre Museum, including Delacroix, Rubens and Fragonard. He made his first landscapes and sketches of Paris in the 1900s. In 1902, Camoin met Paul Cézanne in Aix-en-Provence with whom he befriended. After his military service, Camoin returned to Paris in 1903 and joined the group of artists around Henri Matisse: Henri Manguin, Albert Marquet and Jean Puy. They exhibited together at Berthe Weill's gallery. He participated with them in the "Cage aux Fauves" of the Salon d'Automne of 1905. Since then affiliated with Fauvism, he quickly became successful, exhibiting regularly in Paris and European salons. In 1908, Camoin had his first private exhibition, at the gallery of the young merchant Daniel Henri Kahnweiler. He joined Matisse in Tangier where he spent the winter season in 1912. On his return from Tangiers, Camoin destroyed a large part of the paintings in his studio. -
An Umbrella on a Balcony Oil on Panel
Pierre Bonnard (Fontenay-aux-Roses 1867 - Le Cannet 1947) An Umbrella on a Balcony Oil on panel. Signed Bonnard at the lower right. 217 x 124 mm. (8 1/2 x 4 7/8 in.) This oil sketch, which would appear to depict a Mediterranean landscape, has been dated to c.1904. That year Pierre Bonnard made his first visit to the South of France. Together with Edouard Vuillard, he visited their fellow Nabis Ker-Xavier Roussel in Saint-Tropez, and also met Louis Valtat and Paul Signac. Captivated by the light and vegetation of the Midi, Bonnard returned to Saint-Tropez for a longer stay in the summer of 1909 as the guest of Henri Manguin. From then on he was to spend a large part of his career in the South, painting yearly on the Côte d’Azur; in Saint-Tropez, Antibes, Grasse and at Le Cannet, in the hills above Cannes, where he purchased a villa in 1925. This small, charming composition is typical of Bonnard’s approach to painting after the turn of the century, when the artists of the Nabis group had begun to go their separate ways. Rejecting the radical approach to colour and method advocated by the Fauve and Cubist artists who made up the Parisian avant-garde in the early 20th century, Bonnard began to paint landscapes and interiors in what was ostensibly a more Impressionist manner. As has been noted of the artist, ‘Bonnard has often been classed as some kind of belated Impressionist. Certainly between 1900 and 1914 he came to adopt many of the hallmarks – the white ground, the broken and visible brush mark, and even the open-air subject matter – which had characterized Impressionism in its heyday...For Bonnard, Impressionism was a new starting point: ‘When my friends and I decided to pick up the research of the Impressionists, and attempt to take it further, we wanted to outshine them in their naturalistic impressions of colour. -
Impressionist & Modern
IMPRESSIONIST & MODERN ART Wednesday November 16, 2016 IMPRESSIONIST & MODERN ART Wednesday 16 November 2016 at 4pm New York BONHAMS BIDS INQUIRIES Automated Results Service 580 Madison Avenue +1 (212) 644 9001 New York +1 (800) 223 2854 New York, New York 10022 +1 (212) 644 9009 fax William O’Reilly +1 (212) 644 9135 bonhams.com ILLUSTRATIONS To bid via the internet please visit [email protected] Front cover: Lot 24 PREVIEW www.bonhams.com/23446 Agnieszka Perche Inside front cover: Lot 10 Wednesday November 9 +1 (917) 206 1603 Facing page: Lot 14 Session page: Lot 38 and 21 10am to 5pm Please note that telephone bids [email protected] Inside back cover: Lot 28 Thursday November 10 must be submitted no later Los Angeles Back cover: Lot 24 10am to 5pm than 4pm on the day prior to Friday November 11 Alexis Chompaisal the auction. New bidders must 10am to 5pm +1 (323) 436 5469 Saturday November 12 also provide proof of identity [email protected] 12pm to 5pm and address when submitting Sunday November 13 bids. Telephone bidding is only Kathy Wong 12pm to 5pm available for lots with a low +1 (323) 436 5415 Monday November 14 estimate in excess of $1000. [email protected] 10am to 5pm Tuesday November 15 Please contact client services London 10am to 5pm with any bidding inquiries. India Phillips Wednesday November 16 +44 20 7468 8328 10am to 2pm [email protected] Please see pages 108 to 111 for bidder information including 23446 Business Development SALE NUMBER: Conditions of Sale, after-sale Lots 1 - 51 Pamela Bingham collection and shipment. -
Fauvism Was the First Twentieth Century Movement in Modern Art
QUICK VIEW: Synopsis Fauvism was the first twentieth century movement in modern art. Inspired by the examples of van Gogh, Gauguin, and Neo-Impressionists such as Seurat and Signac, it grew out of a loosely allied group of French painters with shared interests. Henri Matisse was eventually recognized as the leader of Les Fauves, or The Wild Beasts as they were called in French, and like the group, he emphasized the use of intense color as a vehicle for describing light and space, but also for communicating emotion. The style proved to be an important precursor to Expressionism, and an inspiration for other, painterly modes of abstraction. Key Points • Fauvism never developed into a coherent movement in the manner of Impressionism or Surrealism, but instead grew from the work of several acquaintances who shared common enthusiasms. Many, such as Matisse, Marquet, and Rouault, had been pupils of the Symbolist Gustave Moreau, and admired his stress on personal expression. • The Fauves generally rejected the fantastic imagery of the Post-Impressionists, and returned to the more traditional subjects once favored by the Impressionists, such as landscapes, cityscapes, and scenes of bourgeois leisure. • Rather than extend the quasi-scientific investigations of artists such as Seurat and Signac, Fauves such as Matisse and Derain were inspired by them to employ pattern and contrasting colors for the purposes of expression. • The Fauves became renowned for using pure and unmixed colors which they intensified further by applying thick daubs and smears. • Although the Fauves were not well-versed in academic color theory, they sought out © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org unique and unnatural color combinations in their paintings with the purpose of evoking a variety of emotional responses; in that sense, color was used arbitrarily and was subject to the painter's own emotional response to the canvas.