FINE ART, DESIGN & OBJECTS OF VERTU MANUSCRIPTS, RARE BOOKS & PHOTOGRAPHS HOTEL HERMITAGE MONTE-CARLO 28 OCTOBER 2020 SPECIALISTS AND AUCTION ENQUIRIES Special Partnership HAMPEL Fine Art Auctions Munich Germany Hermitage Fine Art would like to express Elena Efremova Maria Lorena Anna Chouamier its gratitude to the experts of the Cabinet Director Franchi Deputy Director Etienne-Molinier for their help with Deputy Director attribution of the lots. Catalogue Design: Camille Maréchaux Photography: François Fernandez Eric Teisseire Maxime Melnikov Yolanda Lopez Elisa Passaretti Franck Levy Administrator Accountant Auction assistant Cataloguing notes: Natasha Cheung Yolanda Lopez In-house experts Elisa Passaretti Daria Kocherova Contact : Tel: +377 97773980 Fax: +377 97971205 Ivan Terny Stephen Cristea Evgenia Lapshina Sergey Podstanitsky [email protected] Auctioneer Auctioneer Expert Specially Invited Manuscripts & Expert and Advisor rare Books Paintings (Moscow) Scan QR for online catalogue TRANSPORTATION LIVE AUCTION WITH PAR LE MINISTERE DE MAITRE CLAIRE NOTARI HUISSIER DE JUSTICE A MONACO FINE ART, DESIGN & OBJECTS OF VERTU MANUSCRIPTS AND PHOTOGRAPHS RUSSIAN ART TUESDAY OCTOBER 27, 2020 - 14.00 FINE ART, DESIGN & OBJECTS OF VERTU MANUSCRIPTS AND PHOTOGRAPHS WEDNESDAY OCTOBER 28, 2020 - 14:00 Hotel Hermitage - Square Beaumarchais - 98000 MONACO PREVIEW - OCTOBER 26 BY APPOINTMENT Inquiries - tel: +377 97773980 - Email: [email protected] 25, Avenue de la Costa - 98000 Monaco Tel: +377 97773980 www.hermitagefineart.com 501 • After being noticed by the art collector Laurent Laperlier in Rouen, the ALBERT MARIE LEBOURG (1849-1928) city where he did his Fine Art studies, Lebourg accepted a teaching post A windmill near Rotterdam in Algiers. In 1877, after marrying Marie Guilloux and leaving his job in Signed, extensively inscribed and dated ‘A Lebourg Algeria, Lebourg moved to Paris where he worked in the workshop of Rotterdam 1896’ (lower left) Jean-Paul Laurens from 1878 to 1880. It was at this time that he became Oil on canvas acquainted with Impressionism. He participated twice in the Impressionist 39 x 65 cm exhibitions in 1879 and 1880. His works were exhibited by numerous Painted in 1896 Parisian art dealers like Antonio Mancini in 1896 and Rosenberg in 1903 and 1906. He was a member of the Société Nationale des Beaux-Arts and took part in almost all the Salons from 1891 to 1914. The most important 8,000 - 12,000 € exhibition devoted to him took place in 1918 in Paris at the Georges Petit Gallery. 5 502 • HENRI LE SIDANER (1862-1939) Painted in 1915, La rue au claire de lune, La rue au clair de lune, Villefranche-sur-Mer Villefranche-sur-Mer (1915) is a picturesque work Signed ‘Le Sidaner’ (lower left) of French post-impressionist artist Henri-Eugène Oil on board Le Sidaner (1862-1939). This painter spent a lot of 40,6 x 26,8 cm time in Villefranche-sur-mer, first in 1910 and then Executed in 1925 on several occasions between 1924 and 1928, staying at the Welcome Hotel. Seduced by Villefranche-sur- Provenance: Mer, Le Sidaner created a series of paintings inspired Louis Le Sidaner, the artist’s son from whom by the tranquillity of this idyllic town of the Côte purchased by Maurice Sternberg Galleries, Chicago d’Azur. La rue au claire de lune, Villefranche-sur- Purchased from the above by present owner Mer and the rest of the series were painted during his Christie’s auciton intimist period, when the artist played with light in Private European Collection tribute of the French countryside. Literature: Born in Mauritius, he studied in Paris, where he Y. Farinaux-Le Sidaner, Le Sidaner, L’oeuvre-peint discovered impressionism and symbolism, the art movements that played a big role in his glorious et grave, Paris, 1989, no 1194 (illustrated p.374) phase of landscape painting. In the early 20’s, he abandoned human figures to throw himself into a 15,000 - 20,000 € 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.» 6 7 503 • MAURICE UTRILLO (1883-1955) La Butte Pinson à Montmagny Signed 'Maurice Utrillo. V.' (lower left) Oil on canvas laid on board 45.7 x 60 cm Painted circa 1905-1908 PROVENANCE: Louis Libaude, Paris. A. Comard, Paris. Private collection, Switzerland. Bernard d'Escayrac, Long Island. Carstairs Gallery, New York. Collection of James Pearson Duffy, May 1958. Acquired by the current owner in 2012 EXHIBITED: - Japan, “Maurice Utrillo, 130e anniversaire de sa naissance” by Jean Fabris, 2013. Illustrated in the exhibition catalogue (p.39, cat. No.15)* - Paris, “Valadon, Utrillo & Utter in the rue Cortot studio: 1912-12926”, Musee de Montmartre, October 2015-March 2016. Illustrated in the exhibition catalogue (p.74, cat. No.45)** * Maurice Utrillo’s 130th birth anniversary traveling exhibition took place in: Kyoto, Takashimaya Art Gallery, 24 April-May 13; Tokyo, Takashimaya Art Gallery, Nihonbashi, 12 June-June 24; Hokkaido, Hokkaido Hakodate Museum of Art, 24 July-08 September; Kanakawa, Takashimaya Art Gallery, Yokohama, 18 September-September 30. ** The “Valadon, Utrillo & Utter in the rue Cortot studio: 1912-12926” exhibition took place in occasion of the 150th anniversary of the birth of Suzanne Valadon, mother of Maurice Utrillo. At the end of the 19th century, the ateliers of rue Cortot were important places for creation and many artists lived here, including Utrillo, with his mother and her partner, André Utter. The works on display came from the collections of the Société d’Histoire et d’Archéologie “Le Vieux Montmartre” and, more importantly, from external loans of, among others, the Centre Pompidou, the Musée d’Art Moderne de la Ville de Paris, the Musées des Beaux-Arts in Liège and Brussels and other private collections. 120,000 - 140,000 € 8 “In point of fact, naiveté and ingeniousness are more apparent than real, however, for one has only to examine with care a canvas by Utrillo to see to what extent one is dealing with a true painter”[…] his work “imparts something magnificently luxurious to the dejected, desperate aspects of modern life» (Edmond Jaloux, quoted in A. Tabarant, Utrillo, Paris, 1926, p. 234). The son of painter and model Suzanne Valadon and an unknown father, Maurice Utrillo was one of the few Montmartre artists to be born there and grew up living between the Parisian neighbourhood and Montmagny, on the northern outskirts of the city. Sharing his mother’s studio at 12 rue Cortot, he sold his first painting in 1905, and had work shown in 1909’s Salon d’Automne. For many years he battled alcoholism and mental illness, and his family encouraged his painting in part to help him deal with his daily struggles. Painted circa 1908-1910, La Butte Pinson à Montmagny is a good example of Utrillo’s urban landscapes, and is both typical of his admired early period, and points towards his esteemed white period, with the colour and texture of the building on the left side of the image. The artist lived in the Butte Pinson from 1896 with his grandmother, his mother and her husband. He began painting here and created a series of paintings of Montmagny from 1905 to 1908. While his mother was the first woman to be admitted into the Société Nationale des Beaux-Arts in 1894, Utrillo, like her, had great talent but received little formal artistic training. His confident yet soft brushstrokes demonstrate a lingering influence of Impressionism, and the colours of the fence and trees in the front of the image are echoed by some of the multi-coloured rooftops one can see in the distance Utrillo is celebrated for his cityscapes, and his early paintings from 1904 onwards of Montmagny and Montmartre in particular helped establish his reputation. If a street or monument fascinated him, he could make numerous paintings of the same subject, and many of his paintings are noted for their energy and a deceptive naiveté of style. In particular, Utrillo is famous for his “white period” which spanned the years 1909-1914, and where he used a thick white impasto which he applied to the canvas with a palette knife, and sometimes mixed in plaster. 9 504 • HENRY MOORE (1898-1986) Tree Figure Signed and numbered ‘Moore 2/9’ (on the base) Bronze with a brown patina on a stone base H: 18 cm (without base) Provenance: Private collection, Canada Private collection, United Kingdom Literature: Alan Bowness (ed.), Henry Moore, complete Sculpture, Volume 5, Lund Humphries, London, 1988, cat.no.771 (illustrated in black and white, another cast). John Hedgecoe, A Monumental Vision, The Sculpture of Henry Moore, Collins & Brown, London, 1998, pp.242-243, cat.no.651 (illustrated in colour, another cast). 15,000 - 20,000 € “I have always had a great liking for trees, and for tree trunks in particular. I like the bare trees in winter more perhaps than summer trees in full leaf. The trunks of trees have, for me, a connection with the human body – their limbs branch out like arms and legs from the trunk of a figure. For me, too, trees have a definite affinity with sculpture. The immobility of a tree, rooted in the ground, has the kind of stability that I like in sculpture.” From exhibition catalogue for Henry Moore: Drawings 1969 – 79 Wildenstein, New York (14 November 1979 – 18 January 1980) pg.18 Certainly one of the most admired post-war British artists, Moore was frequently inspired by the forms and textures Henry Moore is famous for his biomorphic forms. Whilst of natural objects, such as rocks and pebbles, as well as by his most famous sculptures tend to focus on the female landscapes and trees.