Fine Art & Objects of Vertu
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FINE ART & OBJECTS OF VERTU HOTEL METROPOLE 8 JULY 2020 SPECIALISTS AND AUCTION ENQUIRIES PAR LE MINISTERE DE MAITRE CLAIRE NOTARI HUISSIER DE JUSTICE A MONACO Special Partnership HAMPEL Fine Art Auctions Munich Germany Elena Efremova Maria Lorena Anna Chouamier FINE ART & OBJECTS OF VERTU Director Franchi Deputy Director Deputy Director RUSSIAN ART THUESDAY JULY 7, 2020 - 14.00 Contact : Tel: +377 97773980 Fax: +377 97971205 FINE ART & OBJECTS OF VERTU [email protected] WEDNESDAY JULY 8, 2020 - 14:00 Yolanda Lopez Franck Levy Elisa Passaretti Administrator Accountant Auction assistant AUTOGRAPHS, MANUSCRIPTS AND PHOTOGRAPHS In-house experts WEDNESDAY JULY 8, 2020 - 17:00 Hermitage Fine Art would like to express its gratitude to experts Cabinet Etienne-Molinier and Cabinet Expertises Perazzone-Brun. Catalogue Design: Cataloguing notes : Camille Maréchaux Natasha Cheung Hotel Metropole - 4 avenue de la Madone - 98000 MONACO Ivan Terny Stephen Cristea Evgenia Lapshina Sergey Podstanitsky Elisa Passaretti Auctioneer Auctioneer Specially Invited Photography: Expert Maxime Melnikov Manuscripts & Expert and Advisor Paintings François Fernandez rare Bookes Luigi Gattinara PREVIEW BY APPOINTMENT (Moscow) TRANSPORTATION Inquiries - tel: +377 97773980 - Email: [email protected] LIVE AUCTION WITH 25, Avenue de la Costa - 98000 Monaco Tel: +377 97773980 www.hermitagefineart.com 501 • 502 • ANTOINE BOUVARD (1870-1955/56) EUROPEAN SCHOOL, XIX CENTURY Canal in Venice Grand Canal, Rialto Bridge and rich figural staffage Signed (lower right) Indistinctly signed (lower left) Oil on canvas Oil on canvas 38 x 46 cm 45,7 x 81,5 cm Provenance : Provenance: Koller Geneva, 13 November 2006 Private Collection, Switzerland Private Collectioon, Switzerland 8,000 - 10,000 € 7,500 - 10,000 € 4 5 503 • 504 • ALPHONSE LECOZ (XIX-XX) CARLO BRANCACCIO (1861-1920) Venetian canal View of Naples Signed ‘Lecoz’ (lower right) Signed and inscribed ‘C Brancaccio Napoli’ (lower right) Oil on canvas Oil on canvas 70 x 120 cm 90 x 107 cm Early 20th Century 3,000 - 4,000 € Provenance: Private collection, France 3,500 - 4,000 € 6 7 505 • ALBERT-MARIE LEBOURG (1849-1928) Notre Dame. Vue prise du Pont de la Tournelle Signed, inscribed and dated ‘A Lebourg Paris Dec 79’ (lower left), inscribed ‘Notre Dame Vue prise du Pont de la Tournelle’ (lower right) Oil on canvas 64 x 92 cm Painted in Paris in 1879 Provenance : Private collection, Switzerland Lebourg was close friends with Victor Delamare and Gustave Morin, and started drawing with charcoal and painting by the Seine in his hometown – Montfort- sur- Risle. As a professor in Algiers around 1875, he was astonished by his surroundings and focused on the exploration of colour and light. He discovered the white city with its nuances of various shades. With his distinctive brushstroke, he started to paint winter views dominated by the color white, like this snowy view of Notre Dame, signed and dated on the lower left - a good representation of his style, featuring different soft shades of white pastel colors. 20,000 - 25,000 € 8 9 506 • + All lots marked with the symbol are under temporary importation are subject to import tax (5.5%) (EU). 507 • JEAN FERDINAND MONCHABLON (1855-1904) LUIGI LOIR (1845 – 1916) View of the Village of Fresnes, 1895 Figures in a Park Loir Luigi Signed and dated (lower left) Signed ‘ ’ (lower right) Oil on canvas Oil on canvas 59,7 x 81,3 cm 33 x 45.8 cm Provenance: Provenance: Private collection, United States Private collection, United States 3,000 - 5,000 € Literature: Willer, Noe. Luigi Loir : de la Belle Epoque a la publicité. 6,000 - 8,000 € 10 11 508 • HENRI LE SIDANER (1862-1939) La rue au clair de lune, Villefranche-sur-Mer Signed ‘Le Sidaner’ (lower left) Oil on board 40,6 x 26,8 cm Painted in 1925 Provenance: Louis Le Sidaner, the artist’s son from whom purchased by Maurice Sternberg Galleries, Chicago Purchased from the above by present owner Christie’s auciton Private European Collection Literature: Y. Farinaux-Le Sidaner, Le Sidaner, L’oeuvre-peint et grave, Paris, 1989, no 1194 (illustrated p.374) Painted in 1915, La rue au claire de lune, Villefranche-sur-Mer (1915) is a picturesque work of French post-impressionist artist Henri-Eugène Le Sidaner (1862-1939). This painter spent a lot of time in Villefranche-sur-mer, first in 1910 and then on several occasions between 1924 and 1928, staying at the Welcome Hotel. Seduced by Villefranche-sur-Mer, Le Sidaner created a series of paintings inspired by the tranquillity of this idyllic town of the Côte d’Azur. La rue au claire de lune, Villefranche-sur-Mer and the rest of the series were painted during his intimist period, when the artist played with light in tribute of the French countryside. Born in Mauritius, he studied in Paris, where he discovered impressionism and symbolism, the art movements that played a big role in his glorious phase of landscape painting. In the early 20's, he abandoned human figures to throw himself into a neo- impressionist technique that merged together sweet tones and mysterious atmospheres, where the central theme were all kinds of light plays, especially on water. When asked which artistic movement he identified himself with, he simply answered “None. But if you absolutely insist on categorizing me, I am an Intimist." 15,000 - 20,000 € 13 Collection Lord Yehudi Menuhin (1916-1999) Lord Menuhin of Stoke 509 • + d’Abernon was an TSUGUHARU FOUJITA (1886-1968) American-born violinist Fillette à l’oiseau (Little girl with bird) and conductor. A child Signed ‘T Foujita’ and inscribed in Japanese (lower left), signed again and dated ‘Foujita 1921’ and inscribed in Japanese prodigy, he started playing ‘Paris Tsuguharu’ on a stretcher on a reverse at the age of four and he Oil on canvas is considered one of the 32,5x18,5 cm great violinists of the 20th Executed in 1921 century. Provenance: He played the Soil Collection Lord Yehudi Menuhin (1916-1999), Switzerland Stradivarius, considered Private collection, Europe one of the finest violins made by universally famous Expertise Sylvie Buisson, Archives Artistiques, Paris, 28. September 2018, Nr. D19.028.H. Italian luthier Antonio Stradivari. In hybrid work that brings traditional Japanese techniques and perspectives together with the ideas of the European avant- garde, Léonard Tsuguharu Foujita became one of the most esteemed artists in Paris during the 1920s. After completing his Throughout his life, he studies at the Tokyo National University of Fine Arts, Foujita moved to Paris where he met and befriended many of the tirelessly took up the leading artists of the time. Having signed up with the respected art dealer Georges Chéron, who also represented Foujita’s cause of the oppressed. friend Amadeo Modigliani, Foujita had his first solo exhibition in 1917. For this exhibition at Gallery Chéron, he showed Worth mentioning are his 110 watercolours which sold out on the first day, with Pablo Picasso buying a number of the works. A few years later, the denounce of the injustice of inclusion of his painting of Kiki de Montparnasse, Nu couché à la toile de jouy (Reclining nude with toile de jouy) in 1922’s Apartheid in South Africa, Salone d’Automne was a big success, further cementing his reputation as a leading artist of the time. where he gave free concerts for the black community, Born in Tokyo in 1886 to a well-off family, Foujita was the son of a general in the Japanese imperial army. Known to his his tour in Israel playing in friends as “Fou Fou”, Foujita was an extravagant figure who loved to socialize, and was known for his distinctive bowl Palestinian refugee camps haircut, round glasses, large gold earrings, and eccentricities such as donning a lampshade as a hat. Over his lifetime he and his performances for married five times, living in France, Japan (where he returned to during WW2), South America and the USA before settling Allied soldiers during back in France where he gained citizenship in 1955. There he was awarded the Legion of Honour in 1957, and converted to World War II and for the Catholicism in 1959 when he was baptized with the name Léonard. To commemorate the 50th anniversary of his passing, surviving inmates of a in 2018 retrospectives for Foujita’s were held in Japan and France, including at the Tokyo Metropolitan Art Museum, the number of concentration Musée Maillol in Paris. camps in July 1945 after their liberation. Fillette à l’oiseau is included in the fourth volume of Foujita’s catalogue raisonné, written by Sylvie Buisson. It is in many ways a classic example of the artist’s painterly approach, from the decade that brought him the highest acclaim. Often known for his paintings of cats and female nudes, Foujita was also celebrated for his portraits and self-portraits, and over the years painted a number of children’s portraits. In his paintings Foujita often used both oil and touches of the black Japanese ink called sumi, and preferred the ultra-precise Japanese menso brush. Indeed, known more for the quality of his lines, colour typically plays a secondary role in Foujita’s paintings, where he skilfully utilizes a limited colour palette to great effect. This can be seen in Fillette à l’oiseau, for instance in the detailed, fine lines of the girl’s hair, and in how Foujita limits himself to blacks, blues and red. Foujita’s skills as a draughtsman can also be seen in the drapery of the girl’s red dress, and the details and trim on the blue cape. The young girl’s large, dark, almond shaped eyes are a striking feature, and the silver-grey sheen that immerses this portrait creates a dreamy atmosphere, strengthening the power of her hypnotic gaze.