Impressionist & Modern Art Lot 3201 – 3283 Auction: Friday, 24 June 2016, 2pm Preview: Sat. 11 to Tue. 21 June 2016 Fabio Sidler Jara Koller Tel. +41 44 445 63 41 Tel. +41 44 445 63 45 [email protected] [email protected] The condition of the works is only partly and in particular cases noted in the catalogue. Please do not hesitate to contact us for a detailed condition report. 3201 MAX LIEBERMANN (1847 Berlin 1935) Standing girl - Study to Schulgang in Laren. 1897. Oil on panel. Monogrammed lower right: M.L. Hand-written inscription of the artist on the reverse: "Studie ist eine / eigenhändige ältere Arbeit / von mir. / Wannsee-Berlin 13/8.24 / Dr. h.c. Liebermann". 32 x 21 cm. The authenticity of this work has been confirmed by Prof. Eberle, Berlin, 5 May 2016. Provenance: Private collection, Switzerland. Literature: Cf. Eberle, Werkverzeichnis der Gemälde und Ölstudien 1865-1899, p. 472, no. 1897/16. The present work is a study for the painting from 1898, "Schulgang in Laren", which Liebermann created in two versions, one slightly smaller and one slightly larger (presently hanging in the Hermitage in St. Petersburg). The girl portrayed here belongs to a group of determined school children on their way to class. She is wea- ring the mandatory school uniform, and intent in her purpose, her back is turned to the viewer. Liebermann created various figure studies for the paintings, including the study offe- red here. The girl portrayed in the present work is already included in the first colou- red compositional sketch. She is one of the first figures that Liebermann planned for his image. There is a second, similar study which also shows the neighbour next to our girl. The two studies are both very similar and were probably created right before the final painting. In contrast to others, the present study has been well developed, recognisable in the fact that the figure is already enveloped in the 3201 patchwork of light. This same patchwork, as well as the palette of green-brown colours employed by Liebermann, are characteristic of the artist and are found repeatedly in his oeuvre. CHF 25 000 / 35 000 (€ 23 150 / 32 410) | 3 Impressionist & Modern Art 3202 3202* FRANCIS PICABIA (1879 Paris 1953) Bouquet de fleurs. 1898. Oil on canvas. Signed lower left: Francis Picabia. 55.5 x 46 cm. The authenticity of this work has been confirmed by the Comité Picabia, Paris, 18 October 2005. The work will be included in the Catalogue raisonné. Provenance: - Private collection, Belgium (acquired in Paris circa 1950s). - Private collection, Germany. CHF 10 000 / 15 000 (€ 9 260 / 13 890) | 4 3203 3203* ÉMILE SCHUFFENECKER (Fresne-Saint-Mamès 1851 - 1934 Paris) Nature morte aux fruits. Oil on canvas. Monogrammed lower right: ES. 50 x 61 cm. Provenace: - Galerie Bellier, Paris. - Galerie Laffon, Paris. - Gustave Cahen, Paris (until 1929). - Paul Spiess, Paris (bought 1968). - Mr. Salinger, New York (1975). - Christie's London, 28 June 1994, lot 162. - Privat collection, Germany. Exhibition: Paris 1884, Salon des Indépen- dents, December 1884. Literature: Grossvogel, J.-E: Claude-Emile Schuffenecker catalogue raisonné, San Francisco 2000, vol. I, p. 129, no. 345 (with ill.). CHF 10 000 / 15 000 (€ 9 260 / 13 890) | 5 Impressionist & Modern Art 3204 MICHEL KIKOÏNE (Retschyza 1892 - 1968 Cannes) Fleurs et nature morte à la mandoline. 1915. Oil on canvas. Signed lower right: Kikoine. 81.5 x 65.5 cm. Provenance: Michel Kikoïne travelled with Chaim Souti- presents similar objects found in Cubist - Collection Oscar Ghez, Geneva. ne by train from Vilnius to Paris, where they still lifes, such as the flowers, documents - Christie's London, Impressionist, Ex- lived and worked in the La Ruche artists' and mandolin. pressionist and Modern Paintings and colony. Together with other Lithuanian Sculpture, 24 June 1985, lot 153. immigrants, they provided an important, The work was formerly part of the impor- - Private collection, Switzerland. new impetus to the group later known as tant collection of Oscar Ghez. One key the School of Paris. They absorbed all of focus for Ghez in forming his collection Exhibitions: the influences there, combining them with was on works by Jewish artists who were - Turin 1964, 80 Pittori da Renoir a Kisling. their own experiences. victims of World War II and initially forgot- Galeria civica d'arte moderna, 7 February ten. He was co-founder of the Musée du - 5 April 1964. He married in 1914 and that same year, Petit Palais in Geneva, where the present - Geneva 1968, L'Aube du Vingtième Sièc- with the outbreak of World War I, he work has been exhibited twice. le. Petit Palais, no. 477. volunteered to serve France as a sol- - Geneva 1989, Mané-Katz et son Temps. dier. Although Kikoïne certainly knew the CHF 25 000 / 40 000 Petit Palais, no. 38. radical, newly developed styles of Picas- (€ 23 150 / 37 040) so, Braque and Gris, such as Cubism, he Literature: Cassou, Jean: Kikoïne. Lau- chose to develop his own form of figura- sanne 1973, no. 25, p. 235 (with ill.). tive expression. Thus, the present still life | 6 3204 | 7 Impressionist & Modern Art 3205 3205* PIERRE BONNARD (Fontenay-aux-Roses 1867 - 1947 Le Cannet) Danseuses. Circa 1896. Gouache and watercolour on paper on canvas. 25.4 x 38.1 cm. Provenance: - Sotheby's London, 3 December 1980, highlighted against the darkness of the lot 124. orchestra. The depiction, typical of the - Private collection, Germany. Nabis, is very two-dimensional; the steep perspective is consciously selected. Literature: Cf. Dauberville, Jean/Dauber- This present work is most likely a prepara- ville Henry: Bonnard. Catalogue raisonné tory study for an oil on board of the same de l'oeuvre peint révisé et augmenté size, which was acquired at auction by the 1888-1905, Paris 1992, vol. I, p. 178-179, Musée d’Orsay by right of first refusal in no. 143. Paris in December 2013 for over 300 000 Euros. In the mid 1890s, Pierre Bonnard was searching for scenes of life in the city of CHF 20 000 / 30 000 Paris. The result was some of the most (€ 18 520 / 27 780) important works by this artist. We look down from a box at the theat- re and see ballet dancers on the stage, | 8 3206 3207 3206* 3207 GEORGES ROUAULT HENRI DE TOULOUSE-LAUTREC (1871 Paris 1958) (Albi 1864 - 1901 Malromé/Gironde) Tête de Femme. Profile. 1910 - 1919. Femme au grand col. Circa 1898. Watercolour on paper. Pencil on paper. 28 x 19 cm. 13.3 x 8.6 cm. Provenance: The authenticity of this work has been - John Quinn, New York. confirmed by the Comité Toulouse- - Hotel Drouot auction "Tableau Moder- Lautrec, Paris, 22 January 2016. nes - Aquarelles, Gouaches, Dessins (...) provenant de la Collection John Quinn", Provenance: Paris, October 1926, lot no. 1049. - Bunau-Varilla, Paris. - Private collection, Paris. - Auction Hôtel Drouot, Paris, 9/10 July - Private collection, Switzerland. 1947, lot 9. - M. Raykis, bought at the above auction. Literature: Dorival, Bernard / Rouault, - Dr. Lucas Lichtenhan, Basel. Isabelle: Rouault, L'oeuvre peint. Monte- - Private collection, Switzerland. Carlo 1988, vol. I, no. 702, p. 208 (with ill.). Literature: Dortu, M.G.: Toulouse-Lautrec CHF 6 000 / 8 000 et son oeuvre, New York 1971, Collectors (€ 5 560 / 7 410) Editions, vol. VI, ref. no. D. 4.435, p. 794- 795. CHF 4 500 / 5 500 (€ 4 170 / 5 090) | 9 Impressionist & Modern Art 3208 3208 PAUL SIGNAC (1863 Paris 1935) Pont Royal. Gouache and watercolour over pencil on paper. Signed lower left: P. Signac. 30 x 46 cm. The authenticity of this work has been confirmed by Marina Ferretti, Paris, 11 April 2016. Provenenance: Private collection, Geneva. CHF 12 000 / 18 000 (€ 11 110 / 16 670) | 10 3209 3209* ACHILLE LAUGÉ (Arzens 1861 - 1944 Cailhau) Route de campagne. 1928. Oil on canvas. Signed and dated lower left: A. Laugé 28. 50 x 73 cm. The authenticity of this work has been confirmed by Nicole Tamburini, Paris, 8 June 2015. The work will be included in the Catalogue raisonné. CHF 6 000 / 8 000 (€ 5 560 / 7 410) | 11 Impressionist & Modern Art 3210* CAMILLE PISSARRO (Charlotte Amalie 1830 - 1903 Paris) Paysage avec meules, Osny. 1883. Oil on canvas. Signed and dated lower right: C. Pissarro / 1883. 46 x 55 cm. Provenance: the two began painting together. So, the four large horizontal format works of the - Bernheim-Jeune. paths of two artists with quite different life four seasons for the banker Achille Arosa. - Mme. Bérend. situations were to cross: Gauguin, born For the depiction of summer, he chose - Durand-Ruel, (bought from Bérend 2 Apr. in the centre of Paris, dreamt of going far an idyllic landscape with a large number 1912). away, to the most remote islands possible. of haystacks. Henceforth, he increasingly - Mme. Belval (bought from Durand Ruel 8 Pissarro, who was born on such an island, a sought out such motifs to represent that Feb. 1941). Danish colony in the Caribbean, felt most season. Often he depicted them with - Mr. and Mrs. S. Samuels (c. 1954). at home when he was close to a city. He peasant men and women at work. Here - Sotheby’s London, 2 Apr. 1979, no. 26 concentrated on themes in the area of the however, he decided, as in the series the (col. Ill.). Ile-de-France near Paris, and, unlike his four seasons, to show a landscape without - Private collecton, New York (acquired at artist friends, had no desire to visit faraway figures. The solitary haystacks are therefo- the above auction). lands. re more effective as symbols of the labour involved in making them, and yet exude a Exhibitions: The present work was made in late sum- great sense of peace in the summer light.