Stanford Auctioneers
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Collections Collections Privées
Contact presse : Musée 13 septembre Claudine Colin Communication 2018 Christelle Maureau 3 rue de Turbigo 75001 Paris Marmottan Tél : 01 42 72 60 01 / 06 45 71 58 92 10 février [email protected] Monet 2019 www.claudinecolin.com COLLECTIONS UN VOYAGE DES PRIVÉES IMPRESSIONNISTES AUX FAUVES SOMMAIRE 03 I - Avant-propos 04 II - Communiqué de presse 05 III - Parcours de l’exposition 27 IV - Un ensemble d’œuvres « inédites » réunies à Paris 31 V - Autour de l’exposition 32 VI - Commissariat 34 VII - Visuels presse 37 VIII - Le musée Marmottan Monet 39 IX - Programmation 2018-2019 40 X - Informations pratiques I AVANT-PROPOS Ils sont trente, trente passionnés, trente amateurs à avoir à la suite de Paul Marmottan offert au musée qui porte son nom, les œuvres qu’ils chérissaient pour orner les salons de l’hôtel de la rue Louis Boilly : Emile Bastien-Lepage, André Billecocq, Vicky Colombet, Simonne Dalimier, Xie Dingwei, Victorine et Eugène Donop de Monchy, Cila Dreyfus, Philippe Garel, Mme du Payrat, Maurice Fenaille, Florence Gould, Marie et Roger Hauser, Antoine Jacquand, Berthe de Korewo, Jean-Paul Léon, Henri Le Riche, Françoise Marquet-Zao, Michel Monet, Angèle de Montholon, Marc Rauffet, Annie et Denis Rouart, Thérèse et Julien Rouart, Nelly Sargent-Duhem, Madeleine Siney, Henriette Vicens-Bouguereau, Daniel Wildenstein. Ces « particuliers », artistes, descendants d’artistes, amoureux des arts ont fondé nos collections qui comptent notamment les premiers fonds mondiaux d’œuvres de Claude Monet et Berthe Morisot. Grâce à eux, la demeure de Paul Marmottan est devenue le musée ou mieux encore la maison des collectionneurs. -
RECENT ACQUISITIONS Dear Friends and Collectors
WALLY FINDLAY GALLERIES RECENT ACQUISITIONS Dear Friends and Collectors, Wally Findlay Galleries is pleased to present our most recent e-catalogue, Recent Acquisitions, featuring the newest additions to our collection. The catalogue features works by Aizpiri, Berthelsen, Brasilier, Cahoon, Calder, Cassignieul, Chagall, D’Espagnat, Jean Dufy, Gen Paul, Hambourg, Hervé, Indiana, Kluge, Leger, Le Pho, Miró, Outin, Sébire, Sipp-Green, Simbari, Simkohvitch, and Vu Cao Dam. For further information in regards to these works and the current collection, please contact the New York gallery. We look forward to hearing from you. WALLY FINDLAY GALLERIES 124 East 57th Street, New York, NY (212) 421 5390 [email protected] Aïzpiri Paul Aïzpiri (b. 1919) was born in Paris on May 14, 1919. Aïzpiri entered l’École Bulle to learn antique restoration, after his father insisted that he first learn a trade as a means of assuring his livelihood. After the course he entered the Beaux-Arts to study painting. Aïzpiri was certainly encouraged as a young painter in his early 20’s, during somber war-torn France, exhibiting amongst the painters of l’École Pont-Aven and the Nabis. He became a member of the Salon d’Automne in 1945, won Third Prize at the Salon de Moins de Trente Ans, of which he was a founding member and later showed at the Salon “Les Peintres Témoin de leur Temps”. In 1948, Aïzpiri won the Prix Corsica which allowed him to go to Marseilles. His stay there so impressed him, that he declared it was a turning point of his art. Not only did he find a whole new world to paint which was far different subjectively from any life he had known in Paris, but also a new world of color. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
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. -
Impressionist & Modern
Impressionist & Modern Art New York | November 17, 2020 Impressionist & Modern Art New York | Tuesday November 17, 2020 at 5pm EST BONHAMS INQUIRIES BIDS COVID-19 SAFETY STANDARDS 580 Madison Avenue New York Register to bid online by visiting Bonhams’ galleries are currently New York, New York 10022 Molly Ott Ambler www.bonhams.com/26154 subject to government restrictions bonhams.com +1 (917) 206 1636 and arrangements may be subject Bonded pursuant to California [email protected] Alternatively, contact our Client to change. Civil Code Sec. 1812.600; Services department at: Bond No. 57BSBGL0808 Preeya Franklin [email protected] Preview: Lots will be made +1 (917) 206 1617 +1 (212) 644 9001 available for in-person viewing by appointment only. Please [email protected] SALE NUMBER: contact the specialist department IMPORTANT NOTICES 26154 Emily Wilson on impressionist.us@bonhams. Please note that all customers, Lots 1 - 48 +1 (917) 683 9699 com +1 917-206-1696 to arrange irrespective of any previous activity an appointment before visiting [email protected] with Bonhams, are required to have AUCTIONEER our galleries. proof of identity when submitting Ralph Taylor - 2063659-DCA Olivia Grabowsky In accordance with Covid-19 bids. Failure to do this may result in +1 (917) 717 2752 guidelines, it is mandatory that Bonhams & Butterfields your bid not being processed. you wear a face mask and Auctioneers Corp. [email protected] For absentee and telephone bids observe social distancing at all 2077070-DCA times. Additional lot information Los Angeles we require a completed Bidder Registration Form in advance of the and photographs are available Kathy Wong CATALOG: $35 sale. -
A R T / N E W S / W a L L Y F I N D L
WALLY FINDLAY GALLERIES INTERNATIONAL, Inc. PALM BEACH • NEW YORK • BARCELONA June 23, 2014 A R T / N E W S / W A L L Y F I N D L A Y Continuing a sixty-year relationship, Wally Findlay Galleries reunites two of France’s premier artists in the exhibition Jean Dufy & Gen Paul: Génération de Montmartre. From a friendship that began in Paris in the 1950s,Wally Findlay Galleries has supported, promoted and celebrated the works of Jean Dufy during his lifetime and after his death in 1964, introducing his paintings, watercolors and drawings to the American public and ensuring the authenticity of those works with the assistance of Dufy’s sister, Germaine. On the fiftieth anniversary of Dufy’s passing, we are delighted that the Post Française has recognized his lifetime of achievement with a stamp in his name, issued on June 23, 2014, an honor he shares with Edgar Degas, Edward Hopper, Georges Braque. The current exhibition showcases the breadth of Dufy’s style and his ability to evoke the essence of his subject with a delicate brushstroke and a serene palette. The early Bouquet Champêtre (1913) unleashes all the abandon of a mass of flowers gathered in haste from the countryside, and animated by the slightest breeze in the palms around them. The 1924 Port du Havre shows the precision of Dufy’s vision. A working port, where he spent days as an import clerk, it is defined by the barest of lines and subtle colors, and yet the mass of trudging workers is unmistakable, making both the mood and the nature of the location apparent. -
A Promenade Trough the Visual Arts in Carlos Monsivais Collection
A Promenade Trough the Visual Arts in Carlos Monsivais Collection So many books have been written, all over the world and throughout all ages about collecting, and every time one has access to a collection, all the alarms go off and emotions rise up, a new and different emotion this time. And if one is granted access to it, the pleasure has no comparison: with every work one starts to understand the collector’s interests, their train of thought, their affections and their tastes. When that collector is Carlos Monsiváis, who collected a little bit of everything (that is not right, actually it was a lot of everything), and thanks to work done over the years by the Museo del Estanquillo, we are now very aware of what he was interested in terms of visual art in the 20th Century (specially in painting, illustration, engraving, photography). It is only natural that some of the pieces here —not many— have been seen elsewhere, in other exhibitions, when they were part of the main theme; this time, however, it is a different setting: we are just taking a stroll… cruising around to appreciate their artistic qualities, with no specific theme. This days it is unusual, given that we are so used to looking for an overarching “theme” in every exhibition. It is not the case here. Here we are invited to partake, along with Carlos, in the pleasures of color, texture, styles and artistic schools. We’ll find landscapes, portraits, dance scenes, streetscapes, playful scenes. All executed in the most diverse techniques and styles by the foremost mexican artist of the 20th Century, and some of the 21st as well. -
A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines
Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2020-2 A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines Tommie Soro Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Art and Design Commons Recommended Citation Soro. T. (2020) A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines, Doctoral Thesis, Technological University Dublin. DOI: 10.21427/cs3g-qh75 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines By Tommie Soro BFA (Hons), MFA A Thesis for the Degree of Doctor of Philosophy (Ph.D) Technological University Dublin Supervisors: Dr. Tim Stott and Dr. Brendan K. O’Rourke Graduate School of Creative Arts and Media February 2020 Abstract The bases of artistic reputation have been widely debated within the sociology of art and art history. Remarkably, however, little has been said of the role discourse might play in the construction of artistic reputation. An obstacle to addressing this research gap is that discourse analytic approaches have been developed to analyse evaluation and the construction of legitimacy but not the construction of reputation. -
Jean Dufy 2 FINDLAY GALLERIES
FINDLAY FINDLAY GALLERIES La Societe Parisienne 1 La Societe Parisienne Jean Dufy 2 FINDLAY GALLERIES Presents Jean Dufy La Societe Parisienne With special thanks to the Findlay Institute for their valuable assistance in providing authentication and documented research in regards to this collection of art and the photographs included in this catalog which were derived from Mr. Wally Findlay’s personal collection. 3 La Societe Parisienne FINDLAY ean Dufy, younger brother of Raoul Dufy, was born in Le Havre He eventually rejected fashionable society, preferring to paint Jon March 12, 1888 to a large, creative family of nine children. quietly at his farm in the Loire Valley near Nantes, where he As a young man he was employed as a clerk in an import firm at remained until his death in 1964. Although he worked alone and the harbor, about which he said, “The office atmosphere was stifling, was somewhat aloof, he was not a recluse. He lived joyously, though although my job as a commercial agent meant I spent time at the quietly, absorbed in his painting, and he made long trips with his harbour among all the exotic products being unloaded from the cargo wife to Paris and the coast of France, and to Greece, Spain, Italy, ships like so much treasure.” His powers of observation, finding Portugal, Sweden and Denmark. Wherever he went, his keen eye beauty in the ordinary, were already apparent. and retentive memory absorbed all he saw, and his pencil sketches, pen and ink drawings, gouaches and oils were filled with his own He found inspiration reading Baudelaire, Mallarmé and Rimbaud, exuberant wit and delight in the variety of the world’s beauty and and was introduced to the works of Matisse, Derain and Picasso. -
Teaching Gallery Picturing Narrative: Greek Mythology in the Visual Arts
list of Works c Painter andré racz (Greek, Attic, active c. 575–555 BC) (American, b. Romania, 1916–1994) after giovanni Jacopo caraglio Siana Cup, 560–550 BC Perseus Beheading Medusa, VIII, 1945 Teaching gallery fall 2014 3 5 1 1 (Italian, c. 1500/1505–1565) Terracotta, 5 /8 x 12 /8" engraving with aquatint, 7/25, 26 /8 x 18 /4" after rosso fiorentino gift of robert Brookings and charles University purchase, Kende Sale Fund, 1946 (Italian, 1494–1540) Parsons, 1904 Mercury, 16th century (after 1526) Marcantonio raimondi 1 Pen and ink wash on paper, 10 /8 x 8" ca Painter (Italian, c. 1480–c. 1530) gift of the Washington University (Greek, South Italian, Campanian) after raphael Department of art and archaeology, 1969 Bell Krater, mid-4th century BC (Italian, 1483–1520) 1 5 Terracotta, 17 /2 x 16 /8" Judgment of Paris, c. 1517–20 3 15 after gustave Moreau gift of robert Brookings and charles engraving, 11 /8 x 16 /16" Picturing narrative: greek (French, 1826–1898) Parsons, 1904 gift of J. lionberger Davis, 1966 Jeune fille de Thrace portant la tête d’Orphée (Thracian Girl Carrying the alan Davie school of orazio fontana Mythology in the visual arts Head of Orpheus), c. 1865 (Scottish, 1920–2014) (Italian, 1510–1571) 1 1 Oil on canvas, 39 /2 x 25 /2" Transformation of the Wooden Horse I, How Cadmus Killed the Serpent, c. 1540 7 5 University purchase, Parsons Fund, 1965 1960 Maiolica, 1 /8 x 10 /8" 1 1 Oil on canvas, 60 /8 x 72 /4" University purchase, elizabeth northrup after Marcantonio raimondi gift of Mr. -
The Museum of Modern Art (Moma)
QUICK VIEW: Synopsis Since its inception in 1929, the Museum of Modern Art has continually redefined the idea of the museum in contemporary Western culture. Originally conceived by its founders as a place for Modern art to come and go (because what makes up modernism is constantly changing), MoMA, as it is commonly known, established a permanent collection in 1952 and has become the home for some of the greatest works of avant-garde painting, sculpture, film and multi-media art in the world. While MoMA remains true to its roots as a place where new styles of art can circulate, its permanent collection is widely considered the most impressive and diverse assortment of Modern art to ever exist, ranging from late-19th-century van Goghs, Monets and Gauguins to works produced in the present day. The idea of a Museum of Modern Art was once considered by critics to be an oxymoron. Its very existence posed the question: How can there be a museum (a permanent institution housing the heritage of human civilization) for Modern art (which embodies the ideal of always moving forward and constantly changing)? Rather than shy away from this paradox, MoMA has embraced its contradictory nature by appealing to both the history of Modernism and the legacy it continues to leave in the 21st century. Founding principles • The idea for the museum was first developed by a group of philanthropists, educators and museum curators, led by Abby Aldrich Rockefeller (wife of John D. Rockefeller), in 1928. They envisioned a modest-sized location in New York City that could essentially be a stop-over for some of Europe's finest Modern art.