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PREFACE<br />
For 25 years, Opera Gallery Singapore has been flourishing at the forefront of<br />
the cultural scene, bringing incomparable masterpieces by the likes of Pablo<br />
Picasso, Salvador Dalí and Claude Monet to the rising metropolis.<br />
In the year 2000, ripples of excitement were palpable when we staged a unique<br />
major exhibition featuring many of Marc Chagall’s important works seen for<br />
the first time in the country. From that momentous occasion, the gallery has<br />
grown in stature, mirroring the dynamism of its host city, where we now inhabit<br />
one of the most prestigious addresses in its premier retail belt.<br />
Following the staging of the sensational ‘Dalí in Singapore’ exhibition in 2006,<br />
which coincided with the inaugural Grand Prix night races, Opera Gallery<br />
Singapore became the first commercial gallery to continually present monumental<br />
sculptures by important artists, into the public domain of Singapore. A display<br />
of significant works by Amedeo Modigliani followed in 2007, paving the way<br />
for further works by other prominent sculptors including Georges Braque, Niki<br />
De Saint Phalle, Robert Indiana, Fernando Botero, Manolo Valdés, and most<br />
recently, Uruguayan sculptor, Pablo Atchugarry, each emphatically forcing<br />
their way into the public consciousness of the city state.<br />
It is therefore most appropriate and poignant, that our exhibition marking<br />
the quarter century of Opera Gallery Singapore, and the group’s founding,<br />
would mirror our core focus and success in spotlighting and purveying the art<br />
firmament’s most revered names to our most valued audience. Seminal works<br />
by the giants of differing brush strokes, from Impressionism, Cubism and the<br />
avant-garde will feature in a riotous celebration - from the iridescent pools of<br />
Claude Monet to the distorted faces of Pablo Picasso and the transcendent<br />
dreamscapes of Marc Chagall.<br />
3
Anchoring this exhibition is one particular work of great importance. Amedeo<br />
Modigliani’s sculpture of Bice Boralevi is shown for the first time, having never<br />
been exhibited in public before. Reference to the sculpture was first made<br />
known at the Salon des Indépendants in Paris between March 18 th and May 1 st<br />
1910, along with 5 other works by Modigliani. Bice Boralevi was the artist’s<br />
cousin and his former classmate when growing up in Italy. According to his<br />
daughter, Jeanne Modigliani, who wrote the artist’s memoirs, he had chosen<br />
Bice because of her long neck. The mould, created at the beginning of his<br />
career in 1906, differs in style from the aesthetic later adopted by Modigliani.<br />
Indeed, the asymmetry is very accentuated, with the mouth at an angle, the<br />
nose curved to the right and the lips uneven from right to left. The discordance<br />
of the anatomy of the face bares some similarity to the works of futurist artists<br />
such as Umberto Boccioni. Inspiring artists of the time such as Picasso and<br />
Braque had just begun the Cubist movement. This important work was created<br />
while the provocative artist was still reflecting upon, and searching for, his<br />
own style, portending his true genius and mastery.<br />
After 25 years, an accumulation of experience, contacts and knowledge<br />
continues to aid us in our expanding success within the international art world<br />
but, it is our unquenchable passion for fine art and our restless commitment to<br />
share the very best of it with the art lovers in this city, that has truly sustained<br />
and propelled this unique enterprise towards its silver jubilee. The path ahead<br />
is paved in golden glory, as we continue to present more ground-breaking<br />
artists and monumental masterpieces for this and future generations. We look<br />
forward to continuing this most wonderful journey together.<br />
Gilles Dyan<br />
Founder & Chairman<br />
Opera Gallery Group<br />
Stéphane Le Pelletier<br />
Director Asia Pacific<br />
Opera Gallery<br />
5
BICE BORALEVI,<br />
AN UNSEEN SCULPTURE<br />
BY AMEDEO MODIGLIANI
BICE BORALEVI:<br />
QUESTIONS ABOUT<br />
A FAVOURED MODEL<br />
“We have not granted her<br />
the importance she deserves.”<br />
Bruno Miniati<br />
When he returned to Livorno in 1909, Amedeo Modigliani lost no time in renewing<br />
his friendship with his old classmates, who were in the habit of meeting at<br />
the Caffè Bardi. His stories of Paris and the extraordinary things that went on<br />
there were certainly as well embroidered as they were idealised.<br />
Naturally, he also visited his family.<br />
He made many drawings of his sister-in-law Vera, from which he would later<br />
paint a portrait, predominantly, in red and two sketches on paper that were<br />
exhibited at the 26 th Salon des Indépendants in Paris the following year.<br />
He then asked an old school friend, Bice Boralevi to pose for a painting (there<br />
is a photograph from 1897 of them together at an end of the year show). She<br />
was a younger cousin who also attended the Garsin school in Livorno and<br />
was 22 years old at the time of his return.<br />
Amedeo produced two portraits of her, which he later took to Paris and showed<br />
at the same Salon des Indépendants.<br />
Jeanne Modigliani (1918-1984) wrote in her memoirs that he had chosen her<br />
particularly for her long neck.<br />
Bice was a younger cousin who used to come to the house, but it is difficult to<br />
get a clear idea of her from the photograph published in her biography of 1958.<br />
The same young woman would also be the model for the only known plaster<br />
sculpture by Amedeo Modigliani.<br />
But, of course, since the young artist eschewed any preliminary study before<br />
embarking on a sculpture, preferring to work directly from a quick sketch<br />
straight to wood or stone, this sculpted work poses many questions for experts.<br />
Firstly, its date, and then the origins of a work that would mark the beginning<br />
of his journey into the world of sculpture. Bice Boralevi - of whom we have<br />
only one photograph other than that of her in costume as a child - was by no<br />
means distinguished for her beauty.<br />
Modigliani in his studio<br />
9
Bice Boralevi<br />
She had chubby cheeks, bushy eyebrows, almond shaped eyes and thick<br />
black hair. Although an old photograph of mediocre quality could, of course,<br />
be misleading.<br />
The only written trace we have of this curious relationship with her former<br />
classmate is a short handwritten note to Amedeo: “I thought perhaps that you<br />
were ridiculing this model: a bourgeois, an archaeologist and a conformist - so<br />
different from the girls of Montparnasse!”<br />
For her, this was simply a passing episode in her life, a diversion for an intelligent<br />
young woman. For Modigliani, the importance was on a completely different<br />
scale. In addition to the portrait in oil of Bice Boralevi exhibited in 1910, there<br />
is also a sculpted plaster portrait of her created between 1905 to 1907.<br />
This plaster bust was created with the intention of developing an original<br />
edition. However, the bronzes that would have been cast from it, the only<br />
plaster sculpture produced by Modigliani, were never produced due to the<br />
outbreak of war.<br />
He would finally exchange it for a very good deal with a grand wine merchant<br />
of the Place Vendôme.<br />
The sculpture would eventually be cast years later.<br />
This cast is essential, because it gives us a very accurate idea of its likeness.<br />
It also shows us the path taken by the artist, then a newcomer to sculpture -<br />
we cannot know what he may have intended in Carrara or Pietrasanta other<br />
than the fact that he would ultimately work directly on the stone itself - but in<br />
this instance, he created a plaster model, a practice that he had very quickly<br />
abandoned as it conflicted with his vision of what a sculpture should be.<br />
It is now clear to us that this work, undoubtedly the very first, bears no conclusive<br />
relationship to his first works in stone. Archaic and hieratic in style, these<br />
works evoke protohistoric sculptures or those of Ancient Greece, with the<br />
assertive hardness that brings them closer to the most primitive forms through<br />
an accentuated but non absolute symmetry.<br />
Furthermore, they also illustrate Modigliani’s willingness to reduce facial<br />
features - nose, eyes, mouth and hair - to almost abstract symbols. The artist<br />
consciously excludes any indication of the model for these parietal heads,<br />
which derive in large part from his reinterpretation of avant-garde sculptures<br />
of that time.<br />
The portrait of Bice Boralevi therefore appears to be the polar opposite of the<br />
concept of sculpture later adopted by Modigliani.<br />
Indeed, asymmetry is highly accentuated here, with her nose curved to the right,<br />
the mouth slightly from the profile and the lips asymmetrical from left to right.<br />
The artist cultivates a paradoxical formalism: he shows partial respect for<br />
anatomical reality, while imposing pronounced distortions.<br />
11
Sculpture of Bice Boralevi<br />
Portrait of Bice Boralevi, pencil on paper<br />
The apparent contradiction present in the sculpture is nevertheless deliberate.<br />
The eyes are hollow, giving the face an uncanny expression. The flat hairstyle<br />
is parted in a way that comes close to giving the impression of a gash across<br />
the crane of the sculpture.<br />
Seen from the back, the hair seems to be undone: it forms a smooth and rounded<br />
mass coming together in a kind of folded ruff, demonstrating the overall spirit of<br />
the piece. It is also helpful to observe the portrait from profile, a viewpoint that<br />
reveals a completely different perspective. Flat on the head, the hair dissociates<br />
from the face becoming a kind of involucre around the eyes and cheeks.<br />
The volumes also appear accentuated beneath the nostrils and the mouth, the<br />
cheeks are carved in a seemingly unnatural way, and the chin is pronounced.<br />
The division of the hair is almost arbitrary, with the right side being higher<br />
than the left. The eyebrows become arcs that emphasise the intentional hollow<br />
above each eye.<br />
The more one examines it, the more it seems distorted to deconstruct the<br />
laws of anatomy.<br />
Thus articulated, this kind of figuration finds its way in Futurism, especially in<br />
the works of Umberto Boccioni, and its sources can be traced back to African<br />
statuettes discovered via friends of the artists, since many painters of the time<br />
were collecting these, including Vlaminck, his friend Derain and Picasso.<br />
Far from a unique paradigm, a series of revelations led Modigliani to such<br />
audacity and creativity unparalleled at this time.<br />
This analysis leads us logically to ask ourselves what the young man wanted to<br />
achieve, since there is no other example of this style anywhere in his corpus,<br />
and all the evidence point to the change in technique taking his treatment of<br />
the subject to a new direction.<br />
Several possibilities arise. The first is what he took away from the Art Nouveau<br />
movement he discovered in Paris. Or perhaps did he create this portrait after<br />
his arrival in Paris? His wandering through the galleries in the company of Ortiz<br />
de Zarate or his encounters with many leading lights of this aesthetic revolution<br />
may have led him to conceive his work from a viewpoint that could later be<br />
associated with that of Cubism.<br />
Nevertheless, committed to retaining the linearity of facial form and, on the<br />
assumption that he had, like many others, been impressed by the genius of<br />
Rodin, he opted for a direction with the potential to reconcile the two.<br />
In fact, this work is reminiscent of those of Czech sculptor František Bílek, and<br />
even more so of the Czech Cubists who envisioned a central path between<br />
French Cubism and German Expressionism. Lastly, it is important to remind<br />
ourselves of the impact of the paintings and drawings of Edvard Munch, the<br />
great precursor to the rising Fauvists.<br />
This work foreshadows Cubism, which influenced and inspired a great many<br />
artists at this time, especially Picasso who would definitively establish the<br />
movement alongside Georges Braque.<br />
It is easy to be lost amidst varying conjectures. Nevertheless, it is true that with<br />
this face, Amedeo Modigliani advanced a rather daring hypothesis of what could<br />
have become his sculptural direction had he not abandoned plaster and clay.<br />
Modigliani condemned this practice vehemently, unequivocally and definitively in<br />
favour of wood and stone, materials with which he had the opportunity to match<br />
himself directly in a hand-to-hand encounter that was as raw as it was carnal.<br />
The Portrait of Bice Boralevi may remain an isolated landmark among his<br />
sculptural works, but its traits are forerunners of what would later become the<br />
distinctive attribute of his painting, and which would have very little connection<br />
in his sculptural quest until the Caryatids. The Caryatids could perhaps have<br />
been the meeting point of his two art forms, had he not definitively given up<br />
one of them, the one which he preferred and believed himself destined for.<br />
Ultimately, this work provides uncontested proof of Modigliani’s then unborn<br />
thought of what he had hoped to achieve, albeit it was done in a completely<br />
different way. This works allows us to ponder the works of the artist from another<br />
perspective in somewhat unusual terms. People often intend to simplify the<br />
path of a creator with a Cubist like rational by eliminating everything excessive.<br />
Modigliani’s visions often manifest themselves in a much more complex and<br />
torturous way. Modigliani experienced varying periods of inevitable hesitation,<br />
sudden moments of ecstasy, and ultimately discovered a path that suited him,<br />
at least in painting. The intriguing portrait of Bice Boralevi in question here could<br />
be one of the crucial moments in the birth of this painterly desire.<br />
Christian Parisot<br />
12 13
Amedeo Modigliani<br />
(1884 – 1920)<br />
Tête (Bice Boralevi)<br />
1906<br />
Signed<br />
Bronze<br />
Edition of 8<br />
242 x 120 x 187 cm ǀ 95.3 x 47.2 x 73.6 in<br />
Price on request<br />
Certificate<br />
The Archives Légales Amedeo Modigliani has confirmed<br />
the authenticity of this work<br />
16
BIOGRAPHY<br />
1884 Amedeo Modigliani was born in Livorno on 12 th July, the fourth child of<br />
Flaminio Modigliani and Eugenia Garsin, both Sephardic Jews.<br />
1891 Began elementary school where his mother was teaching.<br />
1895 Enrolled at the Guerazzi Lyceum in Livorno; suffered from his first pleurisy attack.<br />
1898 Left the Lyceum to study painting and drawing at the Guglielmo Micheli school<br />
in Livorno. Did his first oil painting Life and Death, along with his friend Uberto<br />
Mondolfi, on wooden panels (then used to build a small night table).<br />
1900 Travelled to Sardinia, where he painted the portrait of the young Medea Taci,<br />
a friend of the family.<br />
1901 Convalescent, he travelled with his mother, a discovery journey to Naples,<br />
Amalfi, Capri, Rome and Florence. Studied under Giovanni Fattori.<br />
1902 Enrolled at the Scuola libera del Nudo at the Academy of Fine Arts in<br />
Florence.<br />
1903 Opened his first studio in Venice, where he enrolled at the Scuola libera del<br />
Nudo at the Academy of Fine Arts of Venice. Visited the Venice Biennale.<br />
1906 Arrived in Paris in spring. After a brief stay at the Hôtel de la Madeleine,<br />
moved to the Bateau Lavoir in Montmartre.<br />
1907 Met Dr. Paul Alexandre, who had set up several studios at 7 rue du Delta<br />
in Montmartre where Modigliani painted a series of works influenced by<br />
Steinlen and Toulouse-Lautrec.<br />
Livorno, 1900<br />
Amedeo Modigliani in Gino Romiti's studio with Benvenuto<br />
Benvenuti, Aristide Sommati and Lando Bartoli<br />
Exhibited 7 works at the Salon d’Automne, where he discovered a<br />
retrospective dedicated to Cézanne. Travelled to London, where he met<br />
Bassano, a photographer of Italian origins, who showed him his photo of<br />
Lady Ida Sitwell.<br />
1908 Exhibited 6 works at the Salon des Indépendants, among which La Juive in<br />
the hall of the Fauves.<br />
1909 Returned to Livorno in summer. Met Brancusi at the Carrara marble quarry.<br />
Worked on sketches and sculpture. Returning to Paris, he refused to sign<br />
Marinetti’s Futurist Manifesto. Worked in the “La Ruche” in Montparnasse’s<br />
passage de Dantzig.<br />
19
1910 Exhibited 6 pieces at the Salon des Indépendants, for which he<br />
received critical acclaim. Devoted himself to sculpture in his studio at<br />
Cité Falguière, near the studios of Mietschaninoff and Brancusi at the<br />
impasse Ronsin.<br />
1911 Exhibited a series of sculptures, gouaches and drawings influenced<br />
by Oceanic and African sculptures in the studio of Souza-Cardoso.<br />
Travelled to Yport in Normandy with his aunt Laura and to Dinard,<br />
Brittany. His studio was located at 39 passage de l’Elysée-des-Beaux-<br />
Arts in Montmartre.<br />
1912 Salon d’Automne : Têtes, ensemble décoratif, as described in the<br />
catalogue. Met Jacques Lipchitz and Jacob Epstein.<br />
1913 First meeting with dealer Georges Chéron, rue la Boétie. Became<br />
friends with Chaïm Soutine.<br />
1914 Did not serve in the First World War, having been rejected for preexisting<br />
lung problems after his first medical examination. Second<br />
meeting with Paul Guillaume introduced by Max Jacob. Worked on<br />
drawings and paintings in the studio of Diego Rivera at no.16 rue du<br />
Départ in Montparnasse.<br />
1915 Many of his friends were either wounded or killed in the War.<br />
1916 Léopold Zborowski, a Polish poet living in Paris, became his dealer<br />
and encouraged him to dedicate himself solely to painting. In March<br />
the Modern Gallery in New York exhibited two of his sculptures. Many<br />
exhibitions followed, including those at Madame Bongart’s and the Salon<br />
d’Antin in Paris, the Cabaret Voltaire in Zurich and at Emile Lejeune’s in<br />
Montparnasse, all in the context of the “Lyre et Palette” soirées.<br />
On the 31 st December met Jeanne Hébuterne, a student at the<br />
Colarossi Academy.<br />
1917 Zborowski rented a studio for Jeanne and Amedeo at 8 rue de la<br />
Grande-Chaumière in Montparnasse. Participated once again in the<br />
Galerie Dada exhibition in Zurich. His solo exhibition at the Berte<br />
Weill Gallery in Paris was shut down the same day it opened for the<br />
scandalous nudes displayed. Saw the first exhibition by Japanese<br />
painter Foujita at the Chéron Gallery.<br />
They stayed in Cagnes, living in the same house with Foujita, his<br />
wife Fernande Barrey, Soutine and the Zborowskis. Painted four<br />
landscapes in Cagnes, which he also reproduced in the background<br />
of portraits such as La Petite Épicière. Paul Guillaume presented a<br />
group of young artists in his gallery, which included Matisse, Picasso,<br />
Derain, de Chirico, Utrillo and Modigliani. Exhibited two pieces (a<br />
drawing and a sculpture) in the “Twentieth Century Art” summer<br />
exhibition at the Whitechapel Art Gallery in London. Had a love affair<br />
with the young Beatrice Hastings; took up painting again and did<br />
many portraits of the woman he loved. They lived together in a small<br />
house at 13 rue Ravignon in Montmartre.<br />
1919 After more than a year’s absence he returned to Paris on 31 st May<br />
where Jeanne, pregnant once again, joined him, and they set up<br />
his studio on rue de la Grande-Chaumière. During the summer the<br />
Sitwell brothers and Zborowski organised an exhibition of many of<br />
Modigliani’s paintings and drawings in London, which was a great<br />
success with the press and critics. He exhibited 4 paintings at the<br />
Salon d’Automne. His friendship with Diego Rivera spurred him<br />
to make a portrait of his wife Marevna: the young Russian artist<br />
is pregnant and wearing Rivera’s jacket and hat, and Modigliani<br />
succeeds in capturing this instant of emotion. He made many<br />
portraits of Jeanne depicting her in a long black painter’s smock that<br />
contrasts deeply with her pale skin and red hair; her nickname around<br />
Montparnasse was “Noix de Coco” (coconut).<br />
1920 Several more portraits followed; that of Mario Varvoglis and the artist’s<br />
self-portrait were found alongside his easel when Modigliani, already<br />
unconscious was rushed to the Hôpital de la Charité, where he never<br />
regained consciousness. During the night of the following day Jeanne<br />
Hébuterne, eight months pregnant and overcame with grief, leapt to<br />
her death from the window of the room where she was unable to find<br />
solace for the loss of Amedeo. Only many years later, on the request<br />
of Amedeo’s brother Emanuele Modigliani, was permission given for<br />
her body to be placed alongside that of her beloved. The Centaur<br />
Gallery in Brussels organised Modigliani’s first posthumous exhibition,<br />
followed by that of Foujita, in February 1920.<br />
1918 Modigliani’s health had seriously deteriorated, forcing him to<br />
convalesce in the South of France. He departed in March for Nice with<br />
Zborowski and his wife, where he devoted the better part of his time<br />
to sketching in the cafés, or whenever a model caught his eye;<br />
he was able to fill an entire sketchbook in the space of a few hours.<br />
His and Jeanne Hébuterne’s first daughter, Giovanna, was born on<br />
29 th November.<br />
20<br />
21
Edgar Degas<br />
Claude Monet<br />
Pierre-Auguste Renoir<br />
Henri Matisse<br />
Raoul Dufy<br />
MODIGLIANI<br />
AND HIS PEERS<br />
Kees van Dongen<br />
Fernand Léger<br />
Pablo Picasso<br />
Georges Braque<br />
Marc Chagall<br />
Jean Dufy<br />
Joan Miró
Edgar Degas<br />
(1834 – 1917)<br />
La Petite danseuse de 14 ans<br />
1881<br />
First conceived in 1881 and cast post mortem<br />
Signed on the left foot and inscribed left by the foundry<br />
Bronze<br />
Edition of 38<br />
69.3 x 35 x 35 cm ǀ 27.3 x 13.8 x 13.8 in<br />
Price on request<br />
Certificate<br />
The Comité Edgar Degas has confirmed the authenticity of this work<br />
24
Claude Monet<br />
(1840 – 1926)<br />
Val de falaise<br />
1885<br />
Signed on the lower right and on the reverse<br />
Oil on canvas<br />
73.4 x 73.4 cm ǀ 28.9 x 28.9 in<br />
Price on request<br />
Provenance<br />
Estate of the artist<br />
Michel Monet, Giverny<br />
Van Diemen-Lilienfed Galleries, New York<br />
Sotheby’s, London, 23 June 1965, lot 153<br />
Frieda Kittay Goldsmith, Palm Beach<br />
Private collection<br />
Christie’s, New York, 7 November 2007, lot 372<br />
Private collection<br />
Exhibited<br />
Paris, Galerie Charpentier, 1947<br />
Literature<br />
Daniel Wildenstein, Claude Monet, Biographie et Catalogue raisonné,<br />
Bibliothèque des Arts, Lausanne, 1979, vol. II, pp. 158-159, ill. p. 159<br />
Daniel Wildenstein, Monet, Catalogue raisonné, vol. II, Taschen,<br />
Cologne, 1996, p. 367, no. 979, ill.<br />
26
Pierre-Auguste Renoir<br />
(1841 – 1919)<br />
Étude pour le portrait de Coco<br />
circa 1905<br />
Signed on the upper left<br />
Oil on canvas laid on board<br />
22.5 x 17 cm ǀ 8.9 x 6.7 in<br />
Price on request<br />
Provenance<br />
Madame Horst, Casablanca<br />
Private collection, Paris<br />
Kapandji-Morhange, Drouot, Paris, 23 November 2011, lot 27<br />
Private collection, Paris<br />
Exhibited<br />
Casablanca, Morocco, Galerie d'Art de la Mamounia, De jadis à<br />
aujourd'hui, 1 - 15 November 1952 (under the title L'Enfant boudeur)<br />
Literature<br />
Guy-Patrice & Michel Dauberville, Renoir, Catalogue raisonné des tableaux,<br />
pastels, dessins et aquarelles, Tome V, 1911 - 1919 & 1er Supplément,<br />
Bernheim Jeune, Paris, 2014, p. 530, no. 04487<br />
28
Pierre-Auguste Renoir<br />
Le Repas des vendangeuses<br />
1895<br />
Signed on the lower right<br />
Sanguine heightened with white on paper<br />
44.1 x 31.4 cm ǀ 17.4 x 12.4 in<br />
Price on request<br />
Provenance<br />
Galerie André Weil, Paris<br />
Bliss Fine Art, New York<br />
Robert and Elizabeth Haskell collection, 2001<br />
Sotheby’s, New York, 8 May 2014, lot 162<br />
Literature<br />
Ambroise Vollard, Tableaux, pastels et dessins de Pierre-Auguste Renoir,<br />
vol. I, Paris, 1918, no. 558, ill. p. 140 (titled Paysannes)<br />
The Wildenstein Institute will include this work in the forthcoming<br />
Catalogue raisonné<br />
30
Henri Matisse<br />
(1869 – 1954)<br />
Femme et bouquets<br />
March 1940<br />
Signed and dated on the lower left<br />
Pencil on paper<br />
52.5 x 40.5 cm ǀ 20.7 x 15.9 in<br />
Price on request<br />
Provenance<br />
Lynn G. Epsteen collection, New York<br />
Private collection, 1981<br />
Christie’s, New York, 8 November 2012, lot 172<br />
Literature<br />
Pierre Schneider, Matisse, Flammarion, London, 1984, p. 148, ill. p. 149<br />
Certificate<br />
Ms. Marguerite Duthuit has confirmed the authenticity of this work<br />
32
Henri Matisse<br />
Femme nue<br />
1935<br />
Signed on the lower right<br />
Pencil on paper<br />
20.6 x 27.9 cm ǀ 8.1 x 11 in<br />
Price on request<br />
Provenance<br />
Beyeler Gallery, Basel<br />
The Greenberg Gallery, Saint Louis<br />
Hokin Gallery, Palm Beach<br />
Sotheby’s, New York, 14 May 1997, lot 384<br />
Private collection, New York<br />
Certificate<br />
This work is recorded in the Matisse archives under no. A135<br />
34
Raoul Dufy<br />
(1877 – 1953)<br />
Epsom, la course<br />
1933<br />
Signed on the lower right<br />
Oil on canvas<br />
37.8 x 46.4 cm ǀ 14.9 x 18.3 in<br />
Price on request<br />
Provenance<br />
Artist’s studio<br />
Alexandre Roudinesco collection, Paris<br />
Parke-Bernet/Sotheby’s, New York, 17 April 1969, lot 75<br />
Private collection, France<br />
Sotheby’s, London, 4 February 2015, lot 432<br />
Private collection<br />
Christie’s, London, 28 February 2018, lot 489<br />
Exhibited<br />
Albi, Musée Toulouse-Lautrec, Raoul Dufy, 3 July - 18 September 1955,<br />
no. 23, ill. pl. XIII, (titled Courses à Ascot)<br />
Paris, Galerie Bernheim Jeune-Dauberville, Chefs-d’oeuvre de Raoul Dufy,<br />
April - July 1959,<br />
no. 27, (titled Ascot. Le Peloton)<br />
Literature<br />
Jean Cassou, Raoul Dufy, Poète et artisan, collection Les Trésors de la<br />
Peinture Française,<br />
Skira, Geneva, 1950, ill.<br />
Maurice Raynal, Histoire de la peinture moderne, vol. II, Matisse, Munch,<br />
Rouault: fauvisme et expressionnisme, Skira, Geneva, 1958, p. 71, ill.<br />
Maurice Laffaille, Raoul Dufy, Catalogue raisonné de l'œuvre peint, vol. III,<br />
Éditions Motte, Geneva, 1976,<br />
no. 1304, p. 312, ill.<br />
36
Raoul Dufy<br />
Les Régates<br />
1935<br />
Signed on the lower left<br />
Oil on canvas<br />
32.7 x 40.9 cm - 12.9 x 16.1 in<br />
Price on request<br />
Provenance<br />
Louis and Charlotte Bergman, New York and Jerusalem<br />
The Israel Museum, Jerusalem<br />
Exhibited<br />
San Francisco Museum of Art and Los Angeles County Museum, Raoul<br />
Dufy, May - September 1954, p. 40, no. 58, ill.<br />
San Diego, La Jolla Museum of Art, Louis and Charlotte Bergman<br />
<strong>Collection</strong>, July - September 1967, no. 8, ill.<br />
Literature<br />
Maurice Laffaille, Raoul Dufy: Catalogue raisonné de l'œuvre peint, vol. II,<br />
Éditions Motte, Geneva, 1973, no. 881, p. 361, ill.<br />
38
Raoul Dufy<br />
Paysage de Langres<br />
1933<br />
Signed on the lower right<br />
Oil on canvas<br />
38.5 x 46.7 cm ǀ 15.2 x 18.4 in<br />
Price on request<br />
Provenance<br />
Galerie Henri Gaffie, Nice<br />
Perls Galleries, New York<br />
Private collection, Chicago, 1996<br />
Steve Banks Fine Arts, San Francisco<br />
Private collection, USA, 1998<br />
Christie’s, New York, 15 May 2015, lot 1254<br />
Literature<br />
Pierre Courthion, Raoul Dufy, Pierre Cailler Éditeur, Geneva, 1951, p. 14,<br />
ill. pl. 109<br />
Maurice Laffaille, Raoul Dufy: Catalogue raisonné de l’œuvre peint, vol. III,<br />
Éditions Motte, Geneva, 1976, no. 1003, p. 62, ill.<br />
40
Raoul Dufy<br />
Dépiquages<br />
circa 1948<br />
Stamped on the reverse<br />
Oil on canvas<br />
33.4 x 41.2 cm ǀ 13.1 x 16.2 in<br />
Price on request<br />
Provenance<br />
Estate of the artist<br />
Galerie Cardo, Paris<br />
Wildenstein & Co., Inc., New York<br />
Estate of Paul Mellon, USA<br />
Christie’s, New York, 6 November 2014, lot 331<br />
Private collection, London<br />
Exhibited<br />
London, Wildenstein & Co., Ltd., Raoul Dufy, July 1961, no. 23, p. 8<br />
New York, Wildenstein & Co., Inc., Paintings, Watercolors and Drawings by Raoul<br />
Dufy, January - February 1962, no. 27<br />
Literature<br />
Fanny Guillon-Laffaille will include this work in the forthcoming supplement to<br />
the Catalogue raisonné de l’œuvre peint de Raoul Dufy<br />
Certificate<br />
Fanny Guillon-Laffaille has confirmed the authenticity of this work under no. P14-9108<br />
42
Kees van Dongen<br />
(1877 – 1968)<br />
Les musiciens de rue<br />
Signed on the lower right<br />
Ink wash on paper<br />
28 x 21.5 cm ǀ 11 x 8.7 in<br />
Price on request<br />
Literature<br />
This work will be included in the forthcoming Catalogue raisonné<br />
de l’œuvre peint de Kees Van Dongen being prepared by the<br />
Wildenstein Institute<br />
44
Kees van Dongen<br />
Le Manège de cochons<br />
circa 1904<br />
Signed on the lower right<br />
Oil on canvas<br />
46 x 55 cm ǀ 18.2 x 21.7 in<br />
Price on request<br />
Provenance<br />
Galerie Kahnweiler, Paris, 1910 - 1911<br />
Drouot, Paris, 17 - 18 November 1921, lot 219<br />
Drouot, Paris, 21 December 1925, lot 59<br />
Drouot, Paris, 13 December 1933, lot 149<br />
Galerie Georges Viau, Paris<br />
Paul Pétridès collection, Paris<br />
Sotheby’s, New York, 23 October 1980, lot 213<br />
Fridart Foundation, London<br />
Sotheby’s, London, 19 June 1988, lot 125<br />
Private collection, London<br />
Exhibited<br />
Paris, Galerie Druet, 1905<br />
Rotterdam, 1906, (possibly no. 54 or no. 57)<br />
Paris, Galerie Charpentier, Van Dongen, 1948, no. 27 (dated 1901)<br />
Rotterdam, Museum Boijmans Van Beuningen, Van Dongen, 1949, no. 15 (dated 1901)<br />
Southampton, Southampton Art Gallery and Sheffield, Graves Art Gallery, Sounds of<br />
Colour, 1982 - 1983 (titled Merry-go-round in the Place Pigalle)<br />
Saint-Tropez, Musée de l’Annonciade, Les Années Fauves de Van Dongen, 1985, no. 4,<br />
ill. in colour<br />
Monaco, Nouveau Musée National de Monaco; Montreal, Musée des Beaux-Arts de<br />
Montréal and Barcelona, Museu Picasso, Kees Van Dongen, 2008 - 2009, no. 65, ill. in<br />
colour p. 114<br />
Rotterdam, Museum Boijmans Van Beuningen and Paris, Musée d’Art Moderne, All Eyes<br />
on Kees Van Dongen, September 2010 - July 2011, pp. 182-183, no. 31, ill. in colour p. 69<br />
Literature<br />
Louis Chaumeil, Van Dongen, l'Homme et l'artiste, la vie et l’œuvre, Geneva, 1967, no. 40,<br />
ill. p. 317<br />
This work will be included in the forthcoming Catalogue raisonné de l’œuvre peint de<br />
Kees Van Dongen being prepared by the Wildenstein Institute<br />
46
Fernand Léger<br />
(1881 – 1955)<br />
Profil et perroquet<br />
1940<br />
Signed and dated on the lower right<br />
Gouache, felt-pen and India ink on paper<br />
55.7 x 38 cm ǀ 21.9 x 15 in<br />
Price on request<br />
Provenance<br />
Alma Morgenthau Wertheim collection, New York<br />
Anne Wertheim Werner collection, New York<br />
Christie's, New York, 14 November 1996, lot 347<br />
Alan Dershowitz and Carolyn Cohen collection<br />
Christie’s, New York, 2 May 2012, lot 132<br />
Private collection<br />
Sotheby’s, Paris, 22 March 2018, lot 35<br />
48
Fernand Léger<br />
Baigneuses sur la plage<br />
1942<br />
Signed and dated on the lower right<br />
Pen and India ink on paper<br />
38.5 x 50.8 cm ǀ 15.2 x 20 in<br />
Price on request<br />
Provenance<br />
Artist’s studio<br />
Galerie Louis Carré, Paris<br />
Drouot, Paris, 10 December 2002, lot 313<br />
Private collection<br />
Christie’s, London, 5 February 2014, lot 267<br />
Private collection, Monaco<br />
Certificate<br />
The Comité Léger has confirmed the authenticity of this work under no. FL-201904-000182<br />
50
Pablo Picasso<br />
(1881 – 1973)<br />
Maison à Juan-les-Pins (La Villa Chêne Roc)<br />
1931<br />
Oil on canvas<br />
22.5 x 35.5 cm ǀ 8.9 x 14 in<br />
Price on request<br />
Provenance<br />
Paloma Picasso, Paris<br />
Private collection, Paris<br />
Sotheby’s, New York, 10 May 1988, lot 38<br />
Private collection, New York<br />
Private collection, Florida, 1998<br />
Literature<br />
Christian Zervos, Pablo Picasso, œuvres de 1926 à 1932,<br />
vol. VII, Éditions Cahiers d’Art, Paris, 1955, p. 144, no. 343, ill.<br />
The Picasso Project, Picasso’s Paintings, Watercolours,<br />
Drawings and Sculpture: Surrealism, 1930-1936,<br />
San Francisco, 1997, p. 67, no. 31-062 (ill. and titled La villa<br />
Chêne-Roc à Juan-les-Pins)<br />
52
Pablo Picasso<br />
Le Peintre et sa toile<br />
1964<br />
Signed on the lower right, inscribed on the upper right and dated on the reverse<br />
Gouache and ink over rincé linoleum cut print<br />
61.5 x 75 cm ǀ 24.2 x 29.5 in<br />
Price on request<br />
Provenance<br />
Private collection, Tokyo<br />
Private collection, France<br />
Sotheby’s, New York, 7 November 2013, lot 214<br />
Literature<br />
Brigitte Baer, Picasso peintre-graveur, Catalogue raisonné de l’œuvre<br />
gravé et des monotypes, Kornfeld, Bern, 1986, no. 1355, another version<br />
ill. p. 533<br />
The Picasso Project ed., Picasso’s Paintings, Watercolors, Drawings and<br />
Sculpture, The Complete Linoleum Cuts 1939 - 1968, San Francisco, 2012,<br />
no. L-181, ill. of other versions pp. 236-237<br />
Certificate<br />
Claude Ruiz-Picasso has confirmed the authenticity of this work<br />
54
Pablo Picasso<br />
Portrait<br />
21 July 1970<br />
Signed and dated on the upper left<br />
Felt-tip pen on paper<br />
32.3 x 24.7 cm ǀ 12.8 x 9.8 in<br />
Price on request<br />
Provenance<br />
Galerie Louise Leiris, Paris<br />
O'Hana Gallery, London<br />
Samuel J. & Ethel LeFrak, New York<br />
Sotheby’s, New York, 15 November 2017, lot 157<br />
Literature<br />
Christian Zervos, Pablo Picasso, œuvres de 1970, vol. XXXII, Éditions Cahiers d’Art,<br />
Paris, 1977, no. 238, ill. p. 76<br />
56
Pablo Picasso<br />
Buste de femme<br />
1971<br />
Signed, dated and numbered on the lower left;<br />
dated and numbered on the reverse<br />
Coloured crayon and pencil on cardboard<br />
30.8 x 21.7 cm ǀ 12.1 x 8.5 in<br />
Price on request<br />
Provenance<br />
Galerie Louise Leiris, Paris<br />
Galerie Felix Vercel, Paris, circa 1972<br />
Christie’s, London, 26 June 2003, lot 425<br />
Private collection<br />
Exhibited<br />
Dubai, Custot Gallery, Art and Jewelry, 19 March - 2 June 2018<br />
Literature<br />
Christian Zervos, Pablo Picasso, œuvres de 1971 - 1972, vol. XXXIII,<br />
Éditions Cahiers D’Art, Paris, 1978, no. 194, p.71, ill.<br />
58
Pablo Picasso<br />
Nu debout et homme tenant un verre<br />
6 August 1972<br />
Signed, dated and numbered on the lower left<br />
Felt-tip pen on paper<br />
34.6 x 42 cm ǀ 13.6 x 16.5 in<br />
Price on request<br />
Provenance<br />
Galerie Taménaga, Paris<br />
Sotheby’s, New York, 7 November 2013, lot 375<br />
Exhibited<br />
Paris, Galerie Louise Leiris, 172 Dessins en noir et en couleurs,<br />
1972, no. 155<br />
Literature<br />
Christian Zervos, Pablo Picasso, Œuvres de 1971-1972, vol.<br />
XXXIII, Éditions Cahiers d’Art, Paris, 1978, no. 492, ill. pl. 168<br />
The Picasso Project ed., Picasso’s Paintings, Watercolors,<br />
Drawings and Sculpture: The Final Years 1970-1973,<br />
San Francisco, 2004, no. 72-232, ill. p. 340<br />
60
Georges Braque<br />
(1882 – 1963)<br />
Pichet et poisson<br />
1943<br />
Signed on the lower left<br />
Oil on paper laid down on canvas<br />
49 x 63.2 cm ǀ 19.3 x 9.8 in<br />
Price on request<br />
Provenance<br />
Galerie Louise Leiris, Paris<br />
Jeanne Schlumberger collection, Paris<br />
Pierre Schlumberger collection, Paris<br />
Paul-Albert Schlumberger collection, Paris<br />
Sotheby’s, New York, 5 November 2014, lot 309<br />
Private collection<br />
Literature<br />
Catalogue de l’œuvre de Georges Braque, Peintures 1942 - 1947,<br />
Maeght Éditeur, Paris, 1960, p. 56 (with incorrect dimensions), ill.<br />
62
Georges Braque<br />
Les Soleils<br />
1946<br />
Signed on the lower right<br />
Oil on canvas<br />
55 x 38 cm ǀ 21.7 x 15 in<br />
Price on request<br />
Provenance<br />
M. P. Beglarian collection, Paris, 1960<br />
Galerie Cazeau-Béraudière, Paris<br />
Christie’s, London, 10 February 2011, lot 442<br />
Private collection, Europe<br />
Exhibited<br />
Paris, Galerie Maeght, Braque, June 1947, no. 30<br />
Paris, Galerie Charpentier, Cent tableaux de collections privées de Bonnard<br />
à De Staël, 1960<br />
Saragossa, Caja Ibérica, Hommage à Denise Colomb, September - November 1995<br />
Turin, Palazzo Bricherasio, Luci del Mediterraneo, March - June 1997<br />
Lodève, Musée de Lodève, Braque, Friesz, June - October 2005, no. 41, p. 149, ill.<br />
Literature<br />
Cahiers d’Art, 1947, p. 33<br />
Jean Grenier, Braque, Peintures 1909 - 1947, Éditions du Chêne, Paris, 1948, pl. XIII, ill.<br />
Douglas Cooper, Braque, Paintings, 1909 - 1947, Lindsay Drummond Ltd., London,<br />
1948, pl. XIII, ill.<br />
John Russell, Braque, The Phaedon Press, London, 1959, pl. 64, ill.<br />
“L’Œil du décorateur”, in L’Œil, Issue 39, March 1958<br />
Catalogue de l’œuvre de Georges Braque, Peintures 1942 - 1947,<br />
Maeght Éditeur, Paris, 1960, pp. 108 - 109, ill.<br />
64
Marc Chagall<br />
(1887 – 1985)<br />
La Fenêtre dans le ciel<br />
1957<br />
Signed and dated on the lower left<br />
Oil on canvas<br />
73 x 91.7 cm ǀ 28.7 x 36.1 in<br />
Price on request<br />
Provenance<br />
Vava Chagall<br />
Cohen Gallery, New York<br />
Waddington Gallery, London<br />
Private collection<br />
Christie’s, New York, 7 November 2001, lot 198<br />
David and Leslee Rogath collection, Connecticut<br />
Martin Lawrence Galleries, USA<br />
Exhibited<br />
Hamburg, Kunstverein, February - March 1959<br />
Munich, Haus der Kunst, April - May 1959<br />
Paris, Musée des Arts Décoratifs, Marc Chagall, June - September 1959, no. 170, ill.<br />
Greenwich, Connecticut, Bruce Museum of Arts and Science, Pleasures of Collecting:<br />
Twentieth Century and Contemporary Art, January - April 2003<br />
San Francisco, Martin Lawrence Galleries, Marc Chagall: The Color of Love,<br />
August - September 2003<br />
Literature<br />
Franz Meyer, Marc Chagall: His Graphic Work, Harry N. Abrams, New York, 1957<br />
Kunstverein et al., Marc Chagall, Hamburg, 1959, no. 170<br />
Franz Meyer, Marc Chagall: Life and Work, Harry N. Abrams, New York, 1963, cited on p. 558<br />
and ill. on p. 565<br />
Izis & McMullen, The World of Marc Chagall, Doubleday & Co., New York, 1968, ill. pp. 38 - 39<br />
Susan Compton, Chagall, Philadelphia Museum of Art, Philadelphia, 1985<br />
The Art of Dreams, Martin Lawrence Editions, Pennsylvania, 2002, p. 44, ill.<br />
Nancy Hall-Duncan, Pleasures of Collecting: Twentieth Century and Contemporary Art, Bruce<br />
Museum of Arts and Science, Greenwich, 2003, p. 28 and 80, ill.<br />
66
Marc Chagall<br />
L’Acrobate rouge<br />
1963 – 1964<br />
Signed on the lower right<br />
Watercolour, pastel, gouache and India ink on Japan paper<br />
38.2 x 28.2 cm ǀ 15 x 11.1 in<br />
Price on request<br />
Provenance<br />
Artist’s studio<br />
Christie’s, London, 8 February 2007, lot 719<br />
Private collection, Switzerland<br />
Mainichi Auction, Tokyo, 7 November 2015, lot 324<br />
Private collection<br />
Exhibited<br />
Tokyo, Osaka, Yokohama, Takashimaya Shopping Centre, Hommage à Chagall,<br />
April - June 1986, no. 67 (titled as Le Cirque rouge)<br />
Certificate<br />
The Comité Marc Chagall has confirmed the authenticity of this work under no. 2006137<br />
68
Marc Chagall<br />
Amoureux aux bouquets dans le ciel aux deux couleurs<br />
1974 – 1976<br />
Signed on the lower left<br />
Gouache, pastel, colour crayon and black pen on paper<br />
76 x 56.5 cm ǀ 29.9 x 22.2 in<br />
Price on request<br />
Provenance<br />
Estate of the artist<br />
Certificate<br />
The Comité Marc Chagall has confirmed the authenticity of this work under no. 2018045<br />
70
Marc Chagall<br />
Les Amoureux le soir<br />
1949<br />
Signed and dated on the lower right<br />
India ink wash, watercolour, India ink, gouache and charcoal on paper<br />
49.7 x 63.3 cm ǀ 19.6 x 24.9 in<br />
Price on request<br />
Provenance<br />
Estate of the artist<br />
Private collection<br />
Christie’s, New York, 15 May 2015, lot 1112<br />
Private collection<br />
Certificate<br />
The Comité Marc Chagall has confirmed the authenticity of this work under no. 2015036<br />
72
Marc Chagall<br />
Nu dans les champs<br />
1937 – 1938<br />
Signed on the lower right<br />
Watercolour, gouache, ink and crayon on cream coloured paper<br />
47.8 x 63 cm ǀ 18.8 x 24.8 in<br />
Price on request<br />
Provenance<br />
Private collection<br />
Lempertz, Cologne, 4 December 2001, lot 33<br />
Private collection<br />
Literature<br />
Franz Meyer, Marc Chagall, Life and Work, H.N. Abrams, New York, 1961, no. 656<br />
Certificate<br />
The Comité Marc Chagall has confirmed the authenticity of this work under no. 2003005<br />
74
Marc Chagall<br />
Mimosas et iris<br />
circa 1964 – 1969<br />
Signed on the lower centre<br />
Gouache, watercolour and pastel on Japan paper<br />
63.8 x 60 cm ǀ 25.1 x 23.6 in<br />
Price on request<br />
Certificate<br />
The Comité Marc Chagall has confirmed the authenticity of this work under no. 2006038<br />
76
Jean Dufy<br />
(1888 – 1964)<br />
Le Port (Entrée du port de Honfleur)<br />
Signed on the lower right<br />
Oil on canvas<br />
27 x 35 cm ǀ 10.6 x 13.8 in<br />
Price on request<br />
Literature<br />
This work will be included in the upcoming Catalogue raisonné by Jacques Bailly<br />
Certificate<br />
Jacques Bailly has been confirmed the authenticity of this work under no. 3645<br />
78
Joan Miró<br />
(1893 – 1983)<br />
Personnages-Oiseaux<br />
1976<br />
Signed on the lower right<br />
Gouache, pastel, brush and ink on paper<br />
63.3 x 43.5 cm ǀ 24.9 x 17.1 in<br />
Price on request<br />
80
Joan Miró<br />
Femme<br />
1978<br />
Signed on the lower right, titled and dated on the reverse<br />
Crayon, wax and chalk on grey cardboard<br />
31.5 x 23 cm ǀ 12.4 x 9.1 in<br />
Price on request<br />
Provenance<br />
Private collection, Barcelona<br />
Marc Calzada Gallery<br />
Certificate<br />
The ADOM (Association pour la défense de l’œuvre de Joan Miró)<br />
has confirmed the authenticity of this work<br />
82
Joan Miró<br />
Les Essències de la terra<br />
1968<br />
Signed on the lower center<br />
Black wax crayon over colour lithograph on Japan paper<br />
50 x 36 cm ǀ 19.7 x 14.2 in<br />
Price on request<br />
Provenance<br />
Private collection<br />
Certificate<br />
The ADOM (Association pour la défense de l’œuvre de Joan Miró)<br />
has confirmed the authenticity of this work<br />
84
Salvador Dalí<br />
Jean Dubuffet<br />
André Lanskoy<br />
Hans Hartung<br />
POST-WAR<br />
MASTERS<br />
Pierre Soulages<br />
Georges Mathieu<br />
Antoni Tàpies<br />
A. R. Penck
Salvador Dalí<br />
(1904 – 1989)<br />
L’Œil fleuri<br />
1944<br />
Signed on the lower right<br />
Oil and tempera on joined canvases<br />
176.5 x 392.4 cm ǀ 69.5 x 155.1 in<br />
Price on request<br />
Provenance<br />
Marquis de Cuevas, 1944<br />
Mrs. Margaret Rockefeller de Cuevas collection<br />
Raymundo Larrain, Santiago, 1976<br />
Private collection<br />
Certificate<br />
The Archives Descharnes have confirmed the authenticity of this work under no. h1070<br />
88
Salvador Dalí<br />
Page of Cups<br />
1971<br />
Signed on the lower right<br />
Gouache on photography<br />
30.8 x 23.8 cm ǀ 12.1 x 9.4 in<br />
Price on request<br />
Certificate<br />
The Archives Descharnes have confirmed the authenticity of this work under no. d4856<br />
90
Salvador Dalí<br />
Angel in Ecstasy<br />
1966<br />
Signed, dated and inscribed on the lower left<br />
Watercolour, India ink, felt pen and red chalk on paper<br />
152.6 x 101.6 cm ǀ 60.1 x 40 in<br />
Price on request<br />
Certificate<br />
The Archives Descharnes have confirmed the authenticity of this work under no. D-1681/806<br />
92
Salvador Dalí<br />
Don Chisciotte, Evocazione di Dulcinea…<br />
rinunzio ai miei diritti di gentiluomo<br />
1964<br />
Signed and dated on the lower left, lower center and lower right; and inscribed “Dulcinea” on the lower left<br />
Black ball-point pen, brush and gray wash and aerography on card laid on masonite<br />
42.8 x 55 cm ǀ 16.9 x 21.7 in<br />
Price on request<br />
Provenance<br />
Artist’s studio<br />
Private collection, Europe<br />
Christie’s, New York, 6 November 2014, lot 184<br />
Private collection<br />
Exhibited<br />
Augsburg, Römisches Museum, Dalí, Mara e Beppe, Bilder einer Freundschaft,<br />
September - November 2000<br />
Literature<br />
Miguel de Cervantes, Don Chisciotte della Mancia, Aldo Palazzi Editore, Milan, 1965, ill. on p. 369<br />
Certificate<br />
The Gala-Salvador Dalí Foundation has confirmed the authenticity of this work<br />
The Archives Descharnes have confirmed the authenticity of this work under no. d5338<br />
94
Salvador Dalí<br />
Space Elephant<br />
1980<br />
First conceived in 1980 and cast around 2000<br />
Bronze with brown patina<br />
Edition of 350 + 35 EA<br />
94 x 14 x 43 cm ǀ 37 x 5.5 x 16.9 in<br />
Price on request<br />
Certificate<br />
I.A.R. Art Ressources Ltd. has confirmed the authenticity of this work<br />
96
Salvador Dalí<br />
Rhinocéros Cosmique<br />
1956<br />
Bronze and golden sea urchins<br />
Edition of 8<br />
403 x 206 x 65 cm ǀ 158.7 x 81.1 x 25.6 in<br />
Price on request<br />
Certificate<br />
The Archives Descharnes have confirmed the authenticity of this work under no. o429<br />
98
Salvador Dalí<br />
Vénus de Milo aux tiroirs<br />
1964<br />
Bronze with florentine green patina<br />
Edition of 8<br />
114.3 x 40 x 40 cm ǀ 44.9 x 15.7 x 15.7 in<br />
Price on request<br />
Literature<br />
Robert and Nicolas Descharnes, Dalí, The Hard and the Soft, Azay-le-Rideau,<br />
Eccart, 2003, p.36<br />
100
Jean Dubuffet<br />
(1901 – 1985)<br />
Arabe, gazelle et trois palmiers<br />
1948<br />
Signed and dated on the upper right<br />
Gouache on paper<br />
44 x 56 cm ǀ 17.3 x 21.9 in<br />
Price on request<br />
Literature<br />
Max Loreau, Catalogue des Travaux de Jean Dubuffet, Fascicule IV: Roses<br />
d'Allah, Clowns du Désert, Jean-Jacques Pauvert, Lausanne, 1967, p. 69,<br />
no. 103, ill.<br />
102
Jean Dubuffet<br />
Site avec 5 personnages<br />
10 March 1981<br />
Signed and dated on the lower left<br />
Acrylic on paper laid on canvas<br />
51 x 35 cm ǀ 20.1 x 13.8 in<br />
Price on request<br />
Provenance<br />
Waddington Galleries, London<br />
Private collection<br />
Christie’s, Paris, 8 June 2016, lot 27 A<br />
Exhibited<br />
Berlin, Galerie Michael Haas, Jean Dubuffet: 1901 - 1985,<br />
September - October 1987, no. 21, ill. in colours<br />
Literature<br />
Max Loreau, Catalogue des Travaux de Jean Dubuffet, Fascicule XXXIV:<br />
Psycho-sites, Les Éditions de Minuit, Paris, 1984, p. 24, no. E54, ill.<br />
104
André Lanskoy<br />
(1902 – 1976)<br />
Étude pour une mosaïque<br />
1976<br />
Signed on the lower right<br />
Gouache and collage on painted papers on paper<br />
40 x 79.5 cm ǀ 15.7 x 31.3 in<br />
Price on request<br />
Provenance<br />
Maurice Chassagne collection<br />
Christie’s, Paris, 12 December 2007, lot 106<br />
Private collection<br />
Louiza Auktion, Brussels, 26 March 2011, lot 169<br />
Private collection<br />
Literature<br />
Catherine Bernard and Michel Guinle, Lanskoy: Catalogue raisonné des<br />
mosaïques, Lyon, 1990, p. 48, ill.<br />
Certificate<br />
André Schoeller has confirmed the authenticity of this work<br />
106
André Lanskoy<br />
Composition sur fond noir<br />
Gouache on paper<br />
65 x 25 cm ǀ 25.6 x 9.8 in<br />
Price on request<br />
Provenance<br />
Galerie Le Minotaure, Paris<br />
Artcurial, Paris, 23 October 2007, lot 816<br />
Private collection, London<br />
Certificate<br />
André Schoeller has confirmed the authenticity of this work<br />
108
Hans Hartung<br />
(1904 – 1989)<br />
T 1973-H45<br />
1973<br />
Signed and dated on lower right, titled on the reverse on the stretcher<br />
Acrylic on canvas<br />
72.5 x 100 cm ǀ 28.5 x 39.4 in<br />
Price on request<br />
Provenance<br />
Galerie Maeght, Paris<br />
Sotheby's, London, 22 June 2006, lot 152<br />
Corporate collection, Germany<br />
Exhibited<br />
Milan, Centro Arte Internazionale, Hans Hartung, 1973<br />
Literature<br />
Marco Valsecci, Hans Hartung, Centro Arte Internazionale, Milan, 1973<br />
This work will be included in the forthcoming Catalogue raisonné<br />
Certificate<br />
This work is registered in the archive of the Fondation Hans Hartung<br />
et Eva Bergman, Antibes<br />
110
Hans Hartung<br />
T 1983-E45<br />
1983<br />
Signed and dated on the lower right; signed, titled and dated on the stretcher<br />
Acrylic on canvas<br />
120 x 195 cm ǀ 47.2 x 76.8 in<br />
Price on request<br />
Provenance<br />
Galerie Gervis, Paris, 1985<br />
Private collection<br />
Philips, London, 26 June 2018, lot 119<br />
Exhibited<br />
Ahlen, Helga Gausling, Hans Hartung, September 1983, no. 20<br />
112
Hans Hartung<br />
T1981-R29<br />
1981<br />
With a Foundation Hartung et Bergman certificate number sticker on the reverse<br />
Acrylic on canvas<br />
65 x 92 cm ǀ 25.6 x 36.2 in<br />
Price on request<br />
Provenance<br />
Private collection, France<br />
Certificate<br />
The Fondation Hans Hartung et Eva Bergman, Antibes has confirmed<br />
the authenticity of this work under no. 1712<br />
114
Pierre Soulages<br />
(b. 1919)<br />
Peinture 81 x 54 cm, 16 juin 1951<br />
Signed on the lower right, signed with location on the reverse<br />
Oil on canvas<br />
81 x 54 cm ǀ 31.9 x 21.3 in<br />
Price on request<br />
Provenance<br />
George David Thompson collection, USA, 1953<br />
Private collection, United Kingdom, 1960<br />
Christie’s, Paris, 19 October 2017, lot 18<br />
Exhibited<br />
Copenhagen, Galerie Birch, Soulages, August - September 1951<br />
Literature<br />
Pierre Encrevé, Soulages, L’œuvre complet. Peintures, vol. I, 1946- 1959,<br />
Paris, 1994, p. 128, no. 80, ill.<br />
Certificate<br />
The artist has confirmed the authenticity of this work<br />
116
Pierre Soulages<br />
Peinture 130 x 130 cm, 25 octobre 2016<br />
Signed, titled and dated on the reverse<br />
Oil on canvas<br />
130 x 130 cm ǀ 51.2 x 51.2 in<br />
Price on request<br />
Provenance<br />
Private collection<br />
Certificate<br />
The artist has confirmed the authenticity of this work<br />
118
Georges Mathieu<br />
(1921 – 2012)<br />
Bonissan<br />
1972<br />
Signed and dated on the lower right<br />
Oil on canvas<br />
72.7 x 91.5 cm ǀ 28.6 x 36 in<br />
Price on request<br />
Provenance<br />
Galleria Gissi, Turin<br />
Private collection, Italy<br />
Sotheby's, Paris, 9 December 2015, lot 188<br />
Exhibition<br />
Montreal, Dominion Gallery, Linea Europea, 1973<br />
120
Georges Mathieu<br />
Composition<br />
1958<br />
Signed and dated on the lower left<br />
Oil on canvas<br />
81 x 130 cm ǀ 31.9 x 51.2 in<br />
Price on request<br />
Provenance<br />
Private collection, Europe<br />
Certificate<br />
The Comité Georges Mathieu has confirmed the authenticity<br />
of this work under no. GM50033<br />
122
Antoni Tàpies<br />
(1923 – 2012)<br />
Grafisme sobre ocre<br />
1988<br />
Signed on the lower left<br />
Paint on paper<br />
37 x 50 cm ǀ 14.6 x 19.7 in<br />
Price on request<br />
Provenance<br />
Private collection, Spain<br />
Literature<br />
Anna Agusti, Tàpies, Obra Completa, 1986 - 1990, Vol. VI,<br />
Poligrafia, Madrid, 2001<br />
Certificate<br />
This work is certified by Miquel Tàpies, president of the<br />
Tapies Foundation and is registered under no. T9391<br />
124
A. R. Penck<br />
(1939 – 2017)<br />
Untitled<br />
Signed on the lower left<br />
Acrylic on paper<br />
50 x 70 cm ǀ 19.7 x 27.6 in<br />
Price on request<br />
Provenance<br />
Galerie Fischer Auktionen, Lucerne, 25 November 2010, lot 579<br />
Fidesarte, Venice, 22 October 2017, lot 139<br />
Christie’s, Amsterdam, 27 November 2018, lot 219<br />
126
A. R. Penck<br />
Ohne Titel<br />
circa 1990<br />
Signed on the lower edge<br />
Oil on plastic box<br />
43.6 x 33.6 x 10 cm ǀ 17.2 x 13.2 x 3.9 in<br />
Price on request<br />
Provenance<br />
Rome, Galleria d'Arte Emilio Mazzoli, ModenaCleto Polcina,<br />
Martini Studio D'Arte, Brescia, 13 December 2017, lot 126<br />
Private collection<br />
128
Edgar Degas<br />
Claude Monet<br />
Pierre-Auguste Renoir<br />
Henri Matisse<br />
Raoul Dufy<br />
Kees van Dongen<br />
Fernand Léger<br />
Pablo Picasso<br />
Georges Braque<br />
BIOGRAPHIES<br />
Marc Chagall<br />
Jean Dufy<br />
Joan Miró<br />
Salvador Dalí<br />
Jean Dubuffet<br />
André Lanskoy<br />
Hans Hartung<br />
Pierre Soulages<br />
Georges Mathieu<br />
Antoni Tàpies<br />
A. R. Penck<br />
131
Edgar Degas<br />
Edgar Degas (1834 - 1917), born Hilaire-Germain-Edgar De Gas, was a French<br />
painter, sculptor, and printmaker who was prominent in the Impressionist group<br />
and renowned for his images of Parisian life. Degas studied at the École des<br />
Beaux-Arts in Paris and became celebrated as a portraitist, fusing Impressionistic<br />
sensibilities with traditional approaches. His work is figurative and influenced<br />
by Italian Renaissance masters such as Raphael, Michelangelo and Da Vinci,<br />
whom he copied in the Louvre and while traveling in Italy. Both a painter and<br />
sculptor, Degas enjoyed capturing female dancers and played with unusual<br />
angles and ideas around centering. His work influenced several major modern<br />
artists, including Pablo Picasso. In 1862, Degas met fellow painter Edouard<br />
Manet at the Louvre, and the pair quickly developed a friendly rivalry. Degas<br />
grew to share Manet's disdain for the presiding art establishment as well as<br />
his belief that artists needed to turn to more modern techniques and subject<br />
matter. Returning to Paris near the end of 1873, Degas, along with Monet, Sisley<br />
and several other painters, formed the Société Anonyme des Artistes, a group<br />
committed to putting on exhibitions free of the Salon's control. The group of<br />
painters would come to be known as the Impressionists, and on 15 April 1874,<br />
they held the first Impressionist exhibition. The paintings Degas exhibited were<br />
modern portraits of modern women - milliners, laundresses and ballet dancers<br />
- painted from radical perspectives. He continued to paint dancers, contrasting<br />
the awkward humility of the dancer backstage with her majestic grace in the<br />
midst of performance. Degas is now counted among the most complex and<br />
innovative figures of his generation, credited with influencing many of the leading<br />
figurative artists of the 20 th century.<br />
Claude Monet<br />
Claude Monet (1840 - 1926) was a founder of French Impressionist painting,<br />
and the most consistent and prolific practitioner of the movement's philosophy<br />
of expressing one's perceptions before nature, especially as applied to plein<br />
air landscape painting. The term Impressionism is derived from the title of his<br />
painting Impression, Sunrise. In 1851, Monet entered the Le Havre secondary<br />
school of the arts. Monet also undertook his first drawing lessons from Jacques-<br />
François Ochard, a former student of Jacques-Louis David. On the beaches<br />
of Normandy in about 1856 - 1857 he met fellow artist Eugène Boudin who<br />
became his mentor and taught him to use oil paints. Boudin taught Monet<br />
"en plein air" (outdoor) techniques for painting. Monet stayed in Paris for<br />
several years and met several painters who would become friends and fellow<br />
133
Impressionists. One of those friends was Édouard Manet. Disillusioned with<br />
the traditional art taught at universities, in 1862 Monet became a student of<br />
Charles Gleyre in Paris, where he met Pierre-Auguste Renoir, Frédéric Bazille,<br />
and Alfred Sisley. Together they shared new approaches to art, painting the<br />
effects of light en plein air with broken colour and rapid brushstrokes, in what<br />
later came to be known as Impressionism. After the outbreak of the Franco-<br />
Prussian War in 1870, Monet took refuge in England. While there, he studied<br />
the works of John Constable and Joseph Mallord William Turner, both of whose<br />
landscapes would serve to inspire Monet's innovations in the study of colour. In<br />
1871 he returned to France. In 1872 (or 1873), he painted Impression, Sunrise<br />
(Impression: soleil levant) depicting a Le Havre landscape. It hung in the first<br />
Impressionist exhibition in 1874 and is now displayed in the Musée Marmottan-<br />
Monet, Paris. Monet lived from December 1871 to 1878 at Argenteuil, a village<br />
on the Seine near Paris, and here he painted some of his best-known works.<br />
During the early 1880s Monet painted several groups of landscapes and<br />
seascapes in what he considered to be campaigns to document the French<br />
countryside. His extensive campaigns evolved into his series' paintings. In<br />
April 1883, Monet moved to a house in Giverny, Eure, in Upper Normandy,<br />
where he planted a large garden and there he painted for much of the rest<br />
of his life. Monet's fortunes began to change for the better as his dealer Paul<br />
Durand-Ruel had increasing success in selling his paintings. His popularity<br />
soared in the second half of the 20 th century, when his works traveled the world<br />
in museum exhibitions that attracted record-breaking crowds and marketed<br />
popular commercial items featuring imagery from his art.<br />
Pierre-Auguste Renoir<br />
The son of a tailor from Limoges, Pierre-Auguste Renoir (1841 - 1919) started<br />
working as an apprentice at the age of fourteen in a porcelain decorator’s shop.<br />
In 1862, with the money he earned painting cloth fabric, he enrolled at the<br />
School of Fine Arts. Renoir joined the Gleyre studio and became friends with<br />
Monet, Bazille and Sisley. He participated in all of the Impressionist exhibitions,<br />
except for those in 1880 and 1886, when he stayed away due to a falling out<br />
with Degas. Although it may seem curious today, Renoir sold few of his works<br />
and his financial situation was anything but comfortable. Renoir devoted most<br />
of his paintings to portraiture work. One must remember, at the time it was a<br />
question of survival for artists. From sketches to more ambitious portraits, Renoir<br />
played all the notes of fashionable art’s music of the period. Every element of<br />
20 th century Parisian society, with its flamboyant figures or dark characters, was<br />
represented by the herald of Impressionism. He covered his canvas with dabs<br />
of bursting colour arranged in tight patterns, creating colour transparency at the<br />
surface, truly a new spatial coherence for the period, while underneath lay a real<br />
pictorial revolution, radically modern, ending in a deluge of criticism. Renoir’s<br />
fame began when his work was accepted at the Salon. His favourite themes<br />
were landscape, portraiture and still life. He mastered the art of capturing the<br />
reflection of air and the smile and charm of his characters.<br />
Henri Matisse<br />
Henri Matisse (1869 - 1954) was born in Cateau-Cambresis, France. He studied<br />
at university level for one year, winding up in the legal research department. He<br />
stumbled on painting while convalescing and entered the School of Fine Arts<br />
(Bouguereau studio) before moving on to the Gustave Moreau studio where he<br />
met Albert Marquet, André Thomas Rouault, Charles Camoin and Henri Manguin.<br />
In 1898 he met André Derain. In 1905, at the Salon de l’Automne, Fauvism was<br />
born. Matisse, who would front the movement, stood out thanks to his instinctive<br />
confidence in radiant colours. This was an art form, as far as he was concerned,<br />
that was both fashionable and sophisticated, but mainly characterised by his<br />
invention of wide-open fields of colour. Matisse turned portraits into landscapes;<br />
after a Pointillist period (a myriad of little dabs of colour applied to canvas, all<br />
of the hues would vibrate in a sort of chromatic dream). The genius lies in the<br />
disposition of a painting’s elements, the true art being the perfect arrangement<br />
of the ensemble, the decoration, while excluding the superfluous. The exhibition<br />
of his 100 th anniversary in New York was greeted by the American critics as<br />
“the most beautiful exhibition in the world”! Every Matisse show brings in the<br />
crowds, and visitors know today the privileged place Matisse occupies in the<br />
history of 20 th century art. This is partly due to the absolute power he breathed<br />
into the colours that danced on his canvas. Matisse is a legend and every one<br />
of his exhibitions is a huge success.<br />
Raoul Dufy<br />
Raoul Dufy (1877 - 1953) was born in Le Havre, France. After graduating from<br />
the École nationale supérieure des Beaux-Arts in Paris, Dufy became hugely<br />
influenced by Impressionist landscape painting from the likes of Claude<br />
Monet and Camille Pissarro. The discovery of the work of Henri Matisse<br />
shortly afterwards in 1905 was a revelation to Dufy and directed his interest<br />
towards Fauvism. From that point on Dufy began actively incorporating and<br />
improvising with the Fauvist colour palette in this landscapes and views of the<br />
Mediterranean. Subsequent contact with Paul Cézanne around 1910 calmed<br />
the technique of the young artist, whose work continued to develop, and in<br />
1920 the influence of Cubism led to the culmination of his unique approach.<br />
Living respectively in Venice, Sicily and Morocco, Raoul Dufy designed the<br />
now famous ‘Electricity Fairy’ in 1937 for the Paris International Exhibition. His<br />
love for traveling would take him to New York in 1950. In 1952, he received the<br />
grand prize for painting in the 26 th Venice Biennale. After his death in 1953, he<br />
was buried near Henri Matisse in the Cimiez Monastery Cemetery, a suburb of<br />
the city of Nice. Raoul Dufy’s exhibitions have been extensive, with his works<br />
shown in major museums internationally. His paintings can be found in many<br />
of the world’s most renowned major private and public collections such as the<br />
Museum of Modern Art, New York; the Musée D’Orsay, Paris; the Hermitage<br />
Museum, St. Petersburg; and many others.<br />
134 135
Kees van Dongen<br />
When he arrived in Paris on July 12, 1897, van Dongen (1877 - 1968) had only<br />
a few paintings under his arm and an almost empty suitcase with two meagre<br />
notebooks and a few stray pencils. The artist survived on a few odd jobs here<br />
and there. Returning to Rotterdam’s red light district, van Dongen would live<br />
among the pretty ladies of the night, selling the odd sketch here and there to<br />
local papers. Back in Paris for the second time in 1900, van Dongen would do<br />
some portraiture work for local, illustrated journals. Lady luck would finally smile<br />
on him. Fénéon, the famous art critic of the time, published a few of his sketches<br />
in the Revue Blanche and showed them to Vollard, the famous art dealer, who<br />
decided to exhibit his work. At the time, van Dongen lived at 23, lace Ravignac –<br />
later to be known the world over as the Bateau Lavoir. Sketching for the satirical<br />
journal Assiette au Beurre for which he would illustrate entire issues on several<br />
occasions, van Dongen was finally making a living and could devote himself to<br />
painting. He quickly became one of the key figures of the Fauvist movement.<br />
This striking character with his full, red beard, dressed in a sailor’s white uniform<br />
became, with Picasso, one of the big stars of the Bateau Lavoir. His paintings are<br />
dominated by an extreme sensitivity. To the artist, the very act of painting was<br />
in itself like quenching a carnal desire. Like Vlaminck, van Dongen created his<br />
own style without studying at the School of Fine Arts. He would move on to high<br />
society portraiture work (Brigitte Bardot sat for him in 1954), but remained ever<br />
faithful to a somewhat violent chromatic style remaining from his Fauvist years.<br />
Fernand Léger<br />
Born in Argentan, France, Fernand Léger (1881 - 1955) trained as an architect<br />
from 1897 to 1899. Knowing his calling was in arts, he enrolled at the School of<br />
Decorative Arts between 1902-1903 while he was also studying at Académie<br />
Julian. A turning point in Léger’s art came in 1907 when he attended the Cézanne<br />
retrospective at the Salon d'Automne, and he began to focus on drawing and<br />
geometry in his paintings. In 1909, Léger moved to Montparnasse where he<br />
met leaders of the avant-garde movement such as Robert Delaunay, Jacques<br />
Lipchitz and Marc Chagall. Léger along with Metzinger, Gleizes, Le Fauconnier<br />
were known as the Cubists, they presented the concept of Cubism to the public.<br />
During this period Léger began with his own interpretation of Cubism typified<br />
with the predominance of cylindrical forms in his paintings. From 1920, after<br />
his military service in World War I, Léger’s paintings took on a more mechanical<br />
approach with strong contours and evenly blended colours. In 1927, his style<br />
evolved to adopt a more organic and irregular form. From 1945 onwards Léger<br />
paid a greater emphasis on the theme of the common man, such as the use of<br />
common objects in his paintings as the core subject. Besides painting, Léger<br />
was also involved in film projects, book illustrations, murals, stained glass<br />
windows, mosaics, ceramic sculptures and even set designs for theatre. Always<br />
passionate about art, Léger taught at Académie Vassilieff in Paris, then in 1931<br />
at the Sorbonne, after which in 1942, he formed own Académie Fernand Léger<br />
in Paris. After World War II, Léger moved to the United States where he taught at<br />
the Yale School of Art and Architecture (1938 - 1939), Mills College Art Gallery in<br />
Oakland, California during 1940 - 1945, before he returned to France where he<br />
revitalised his art school. Amongst the many students Léger has taught, some<br />
subsequently became internationally renowned artists; notably Marcel Mouly,<br />
Tsuguharu Foujita and Sam Francis. Léger’s works are some of the most highly<br />
prized in the art world and collected by prestigious museums and astute art<br />
collectors around the world.<br />
Pablo Picasso<br />
Pablo Picasso (1881 - 1973) was born in Málaga, Spain, the son of an art<br />
teacher who went by his mother’s family name. In 1891, Picasso studied at the<br />
Coruna School of Fine Arts where his stunning canvases were quickly remarked.<br />
Following a stay in Barcelona, Picasso set up shop in Paris in 1904 where he<br />
again was immediately noticed. Picasso, as a person, perfectly represented<br />
the obstacles to overcome in the conquest of 20 th century art. Starting off as<br />
a post-Impressionist, he turned to Paris, during his blue period, delving into a<br />
language made up of symbols; this would crescendo during his pink period<br />
with more classic tones. His revolution against all things academia would last<br />
until his 1907 masterpiece Les Demoiselles d’Avignon where every last notion<br />
of Cubism was abandoned. Thereafter, the world would see a succession of<br />
new ideas. His genius would express itself in the paintings of course, but also<br />
through other artistic channels, from writing theatre pieces to sculpting, ceramics<br />
and engraving. This undefeated star of the art market, for his works of classic<br />
and yet revolutionary genius, dominated his century.<br />
Georges Braque<br />
Georges Braque (1882 - 1963) was a French painter, collagist and sculptor best<br />
known for having founded Cubism alongside Picasso, which revolutionised 20 th<br />
century painting. His paintings consist primarily of still lifes that are remarkable<br />
for their robust construction, low-key colour harmonies, and serene, meditative<br />
quality. In his work, objects are fragmented and reconstructed into geometric<br />
forms, fracturing the picture plane in order to explore a variety of viewpoints.<br />
Merging aspects of the sculptural with the pictorial, Braque was also an innovator<br />
in the use of collage, inventing a technique known as papier collé. At seventynine,<br />
Braque became the first living artist to be accorded a solo exhibition at<br />
the Louvre and was awarded state honours at his funeral in 1963. His work is<br />
held in the permanent collections of the world’s foremost museums including<br />
The Museum of Modern Art, New York; The Metropolitan Museum of Art, New<br />
York; Tate <strong>Collection</strong>, London; The Albertina, Vienna; The National Gallery of<br />
Art, Washington D.C.; The Art Institute of Chicago; The Solomon R. Guggenheim<br />
Museum, New York; Musée d’Art Moderne de la Ville de Paris; Kunsthaus Zurich;<br />
The Phillips <strong>Collection</strong>, Washington D.C.; the Centre Georges Pompidou, Paris;<br />
and the San Francisco Museum of Modern Art.<br />
136 137
Marc Chagall<br />
Marc Chagall (1887-1985) was born Moishe Shagal in Vitebsk, Russia (today’s<br />
Belarus) to a very devout and humble Hasidic-Jewish family of nine children.<br />
The first years of his life were influenced by numerous trips to his grandfather’s<br />
farm, where he became familiar with Jewish customs, Russian folklore and<br />
learned to play the violin – the traditional musical instrument in Russian-Jewish<br />
culture. Memories from his early years later became strong recurring themes<br />
in his work that would reflect nostalgia for his village and landscape, as well<br />
as an ongoing fascination with animals and the daily affairs of his rural and<br />
farming environment.<br />
When he was 20, Chagall moved to St. Petersburg to receive lessons in painting<br />
from Nicholas Roerich and Léon Bakst, with whom he asserted his talents as a<br />
colourist. He became interested in the work of pioneer painters, including Paul<br />
Cézanne, Vincent van Gogh, Henri de Toulouse-Lautrec and Henri Matisse.<br />
He settled in Paris in 1911 and rented a studio at La Ruche that he shared with<br />
Amedeo Modigliani and Chaïm Soutine. It was there that he became influenced by<br />
Fauvism and painters using pure, bright and clear colour. His first exhibition took<br />
place at the Salon des Indépendants in 1912. Living in Paris, he met Guillaume<br />
Apollinaire, Blaise Cendrars and Fernand Léger with whom he became friends.<br />
He returned to Vitebsk and WWI forced him to stay in Russia until 1922. There,<br />
he founded a museum and an art school, and began creating theatre settings<br />
and decors. In 1915, he married Bella Rosenfeld and their daughter Ida Chagall<br />
was born subsequently. His love for his wife became one of the primary subjects<br />
of his work, reflecting the rapture of being in love. The couple moved to Berlin in<br />
1922 and returned to Paris, ‘his second Vitebsk’, in 1923, and became a French<br />
citizen in 1937. Chagall founded a new studio and became acquainted with Sonia<br />
and Robert Delaunay and Louis Marcoussis, who further developed his interest<br />
in Surrealism. The Second World War, which threatened Jewish communities<br />
across Europe, forced him and his family to flee to New York in 1941, where<br />
he remained until 1948. After the death of his beloved wife and muse Bella in<br />
1944, Chagall stopped painting for several months; such was the effect of her<br />
passing. In 1946, he met Virginia Haggard with whom he had a son, David<br />
McNeil. That same year the MoMA in New York compiled a retrospective of his<br />
work and a series of solo exhibitions were subsequently organised throughout<br />
Europe in 1947 (Paris, Amsterdam, Bern, Zurich). When Chagall returned to<br />
France in 1948, he had become famous and was celebrated worldwide. He<br />
settled in Vence, in the south of France, where he met Pablo Picasso and Aimé<br />
Maeght became his art dealer. Virginia left him in 1952, and the same year he<br />
met Valentina (Vava) Brodsky, who would become his second wife. Chagall<br />
started using a wider range of mediums and techniques: engraving, mosaic,<br />
stained glass, murals and ceramics, and was appointed to create several major<br />
commissions as the ceiling of the Opera Garnier, Paris. In 1966 Chagall’s Bible<br />
illustrations were exhibited at the Louvre, Paris, making him one of the very few<br />
artists to have had their work exhibited in the prestigious museum during their<br />
lifetime. In 1973 the Marc Chagall Museum was inaugurated in Nice, France.<br />
Jean Dufy<br />
Jean Dufy (1888 - 1964) was born in Le Havre, the seventh of eleven children.<br />
The painter cultivated his artistic sensibility by strolling around the Le Havre port<br />
and reading Baudelaire, Mallarmé, and Rimbaud. He then discovered Matisse,<br />
Derain, Marquet, and Picasso at the 1906 Le Havre exposition. Matisse’s work<br />
with its dazzling light and violent, boisterous colours, showed Jean Dufy his true<br />
calling. After his military service from 1910 to 1912, Jean moved to Paris. In his<br />
first watercolours, which were shown at the Berthe Weill gallery in 1914, muted<br />
tones and sombre browns, blues, and reds mingle with the hatching technique<br />
he inherited from Cézanne by way of his brother Raoul Dufy. From the 1920s to<br />
1930s, successive exhibitions in Paris and New York put Jean in the public eye<br />
for the first time. His knack for working with colour became apparent through<br />
his use of patchworks of colourful squares and bold distributions of light. Jean’s<br />
interest in music inspired many depictions of pianists and orchestras. Having<br />
lived mostly in Paris, for Jean Dufy, blue was an insatiable source of inspiration<br />
for the Gates of Paris, the streets, the horse-drawn carriages, the Eiffel Tower,<br />
the sky, and the Seine. Port scenes from his home in Normandy were also<br />
frequently depicted in his œuvre. He is an internationally renowned painter with<br />
frequent expositions in Paris and the United States, and with works displayed<br />
in the collections of the most prestigious European and American museums<br />
including the Musée National d’Art Moderne and the Centre Georges Pompidou<br />
in Paris, the Albertina Museum in Vienna, the Art Institute of Chicago and the<br />
MoMA in New York.<br />
Joan Miró<br />
Joan Miró (1893 - 1983) was born in Catalonia, Spain, son of a goldsmith and<br />
watch-maker. After a brief stint at Barcelona’s School of Fine Arts, Miró quickly<br />
abandoned the Cubism of his début. One of his pieces was purchased by<br />
Hemingway as early as 1922. He was one of the artists who signed the Surrealist<br />
Manifesto in 1924. The marvellous, the process of automated movement and<br />
fantasising were, as of the 1920s, ever present in his works. His acutely precise<br />
sketches, his half-fantastic, half-familiar universe and his now famous “arabesque”<br />
remain an essential part of his creation. In 1926, in Russia, he created the costumes<br />
and set designs for the Diaghilev ballet production of “Romeo and Juliet” with<br />
Max Ernst. His work turned abstract during World War II, even if the surrealist<br />
undercurrent remains. The familiar shapes Miró introduced us to become but<br />
mere symbols. His sublime exaltation, the blazing gleam of his yellows, blues,<br />
greens, reds, mastered with such virtuosity, and the typical ever-present forms<br />
still excite the masses today. Miró’s arabesque is just as famous as the distinct<br />
line he sketched. Miró will forever occupy an important place in the annals of<br />
art history and his market value is always very high.<br />
138 139
Salvador Dalí<br />
Salvador Dalí (1904 - 1989) was a Spanish artist born in Figueres, Catalonia. He<br />
studied at the Academia de San Fernando in Madrid. Painter, sculptor, writer<br />
and experimental film-maker, Dalí is considered one of the greatest Surrealist<br />
artists, using uncanny dream imagery to depict bleak yet strangely sunlit dream<br />
worlds with meticulously painted common objects manipulated and morphed into<br />
bizarre creations, resonating with his rich imagination and perpetual interest in<br />
Freud’s theory of the subconscious. His most famous work is probably his 1931<br />
painting The Persistence Of Memory – now part of the Museum of Modern Art<br />
collection in New York - showing melting clocks in a landscape setting. Several<br />
museums are devoted entirely to his works, including the Dalí Theatre and<br />
Museum, in Figueres, Spain, the Salvador Dalí House Museum, in Cadaques,<br />
Spain, and the Salvador Dalí Museum in Florida. He is represented in some<br />
of the most prestigious institutions such as the Museum of Modern Art in New<br />
York, the Tate Modern in London, the Reina Sofia National Museum in Madrid,<br />
and the Museum Ludwig in Cologne, among others.<br />
Jean Dubuffet<br />
Born in Le Havre, France, Jean Dubuffet (1901-1985) is considered the founding<br />
father of the Art Brut movement in the 1940s. Rejecting traditional fundamentals<br />
of art and institutionalised culture, Dubuffet twice declared to leave the world of<br />
art before devoting himself full time in 1942. His interest in artworks produced<br />
by people working outside of aesthetic norms, such as children, prisoners and<br />
psychiatric patients, became the core of his artistic philosophy. He remains one<br />
of the most controversial Post-War French artists in history. Dubuffet’s œuvre<br />
includes paintings, collages, sculptures and monuments. Retrospectives of<br />
his works have been held at the Palazzo Grassi in Venice, the Tate Gallery in<br />
London, the Centre Georges Pompidou in Paris and the Solomon R. Guggenheim<br />
Museum in New York. During the last ten years of his life, Dubuffet made a series<br />
of works on paper. In the artist’s own words, these works were ‘excursions of<br />
the mind into no man’s land.’ Expanding his colour palette and revisiting collage<br />
techniques from earlier periods in his career, these more intimate drawings<br />
embody the artist’s signature structural approaches to colour and form. Dubuffet<br />
did not want to create ‘beauty’, he created ‘truth’ and his art scandalised the<br />
French artistic scene at the time. His works with tints and textures comparable<br />
to mineral and organic matter evoke a sense of energy and vitality. In his later<br />
years, the artist revisits the more spontaneous imagery from his beginnings,<br />
but this time with strong colours. His multi-faceted work is an infinite source of<br />
inspiration for numerous artists. It is and will remain a large chapter of art history.<br />
André Lanskoy<br />
André Lanskoy (1902 - 1976) was born Andrei Michailovich Lanskoy in Moscow,<br />
Russia and in 1921, after a short stay in Crimea and Constantinople, André<br />
Lanskoy settled down in Paris, where he stayed for the rest of his life. In Paris,<br />
he started painting more regularly, as he said: “Literally in the first night I<br />
started to paint and I haven’t stopped since”. He had the chance to meet with<br />
numerous artists such as Serge Poliakoff and Nicolas De Staël. Their works<br />
were an important influence to Lanskoy’s style. He devoted his life exclusively<br />
to painting. He spent several years involved in the Abstraction movement of the<br />
1940s and was considered a leading figure of the School of Paris. Rejecting<br />
the austerity of Geometric Abstraction, Lanskoy opted for a style characterised<br />
by lyricism, gestural spontaneity and immediacy. He would become the ideal<br />
ambassador of Tachism (derived from the French word “tâche” for stain)<br />
movement, a European equivalent to the American Lyrical Abstraction. Lanskoy<br />
exhibited regularly in Paris since the beginning of his career. After 1937, he<br />
studied Paul Klee and Wassily Kandinsky and the style of his works gradually<br />
transitioned towards Abstraction. After 1942, he painted only abstract works.<br />
The interaction of form and colour became the major theme running through his<br />
œuvre. Lanskoy exhibited prolifically in Europe and the United States during his<br />
lifetime and is now in the collections of many major museums around the world.<br />
Hans Hartung<br />
Hans Hartung (1904 - 1989) was born in Leipzig, Germany, and studied art in<br />
Leipzig and in Dresden before moving to France where he would work for most<br />
of his life. Hartung is an important abstract painter and is considered a master of<br />
the Lyrical Abstraction art trend in Europe and Action Painting. He was inspired<br />
by old masters like Rembrandt and Goya as well as the German Expressionists<br />
but was also influenced by Kandinsky’s abstract work, as Hartung’s own style<br />
gradually approached abstract and more gestural works. The importance of<br />
colours akin to Expressionist works remains a key element of Hartung’s corpus.<br />
He started exhibiting more widely in Parisian venues since the late 1940s and<br />
was already lauded by art critics. Hans Hartung met and exhibited with artists<br />
such as Alexander Calder, Wassily Kandinsky, Piet Mondrian, Joan Miró and<br />
many others in Paris. A prolific artist, he worked with various other media besides<br />
paintings, such as etchings, drawings, watercolours and lithographs. The artist<br />
further developed his scratching method in the 1960s by adding larger tools<br />
and new types of paints to his works. His art demonstrates a spontaneous and<br />
rhythmical nature that heavily influenced American abstract artists of the 1960s.<br />
His works have been exhibited in museums and galleries in Europe and worldwide.<br />
Pierre Soulages<br />
Pierre Soulages was born in 1919 in Rodez, a region in Southern France where<br />
prehistoric and Romanesque artefacts abound. Soulages went to Paris in 1938,<br />
where he encountered the exhibitions of Picasso and Cézanne, and briefly studied<br />
at the École des Beaux-Arts. Soulages’ career as a painter began in 1946, when<br />
he and his wife, Colette, moved to Paris. Within a year he became known for<br />
his bold black-and-white abstractions. Self-taught and not a member of artistic<br />
140 141
movements, he explored the painter’s means of expression and developed his<br />
own nondescriptive and poetic style. “When speaking of light, in connection with<br />
black, this sounds paradoxical. However, in reality, black is a colour of light.<br />
You cannot imagine there to be light without black being there, also”, Soulages<br />
explained. Abstract painting, which until WWII had been a peripheral mode<br />
of expression in France, was at this time emerging as the new French style.<br />
Soulages was one of the painters responsible for this development. The painter<br />
is most known for his unique ‘Outrenoir’ (Beyond Black) works that explore the<br />
relationship between black and light. On the eve of his 100 th birthday, Soulages<br />
is both exhibited and collected in major international private and public collection<br />
and has an eponymous museum in his hometown of Rodez.<br />
Georges Mathieu<br />
Georges Mathieu (1921 - 2012) is considered the leader of the Post-War artistic<br />
movement Abstraction Lyrique. He was born in Boulogne-sur-Mer, France. After<br />
studying law, philosophy and obtaining a masters degree in English, he was<br />
appointed as Professor of English at the Douai High School. It was at this time<br />
that Mathieu started to paint. The artist traveled to Paris, where he would take<br />
daily walks to and from the studio of Paul Fachetti, a famous photographer who<br />
regularly published in Vogue and Harper’s Bazaar. The two became friends.<br />
“You like painting and you should pursue it." A gallery that would become very<br />
important to him was opened in which art critic Michel Tàpies would exhibit The<br />
Significant and the Informal and Art Other along with Jean Dubuffet, Jackson<br />
Pollock, Sam Francis, Riopelle and, among others, Georges Mathieu. Mathieu’s<br />
arrival in Paris in 1947 coincided with the first shows of Abstraction Lyrique,<br />
one of the two branches of Post-War Abstraction popular in France. Thinker<br />
and painter, Mathieu would recognise his work in Wols, especially in his stains<br />
and projections. From that point on, the gesture became essential for the artist,<br />
making it his signature. Wild and baroque, the colours are jet-propelled onto<br />
the canvas. By the time he exhibited his work at René Drouin in 1950, Mathieu<br />
was already the master of his style; vigorous calligraphy, stunning chromatic<br />
aberration, Mathieu left an indelible mark on Post-War art. Mathieu vehemently<br />
developed his theories in favour of fostering a powerful artistic presence in public<br />
institutions, a part of his legacy, alongside his contributions to painting, tapestry,<br />
advertising and architecture. Mathieu’s works were exhibited internationally<br />
since the 1950s in galleries and institutions, with retrospectives held at Grand<br />
Palais and Jeu de Paume in Paris.<br />
al Set” group, Tàpies’ works would soon cross the Spanish border. The artist<br />
would be a regularly invited guest at most international two-year festivals and<br />
Parisian exhibitions. His paintings take on a dramatic aura with torn canvas<br />
stained with symbols and graffiti. Bloody fingerprints, garbage and a strange<br />
combination of everyday objects give his work a deeply human slant. One<br />
can ponder the silence that his pieces embrace, the sign of a grand master<br />
and a rarely equalled genius. It is rather interesting when you realise that his<br />
name means “wall” in Catalonian, especially when his paintings are so often<br />
associated with the dilapidated, graffiti stained walls seen in urban housing<br />
developments. His work was a harbinger of Nouveau Realism and Arte Povera<br />
trends. Tàpies is without a doubt a legendary artist whose major contribution to<br />
the art world cannot be denied and one of the most important Spanish artists<br />
on the international market today.<br />
A. R. Penck<br />
A. R. Penck, pseudonym of Ralf Winkler, (1939 - 2017) was a German Neo-<br />
Expressionist painter, printmaker, draftsman, sculptor, filmmaker, and musician<br />
known for his use of stick-figure imagery reminiscent of cave paintings. Widely<br />
recognised for his language of reduced figures and simplified symbols, A. R.<br />
Penck was a German artist whose career spanned over six decades. Fond of<br />
concepts emerging from the primitive and Art Brut styles, A.R. Penck developed<br />
his unique pictorial and sculptural techniques after he rejected the terms of art<br />
academies in Berlin during the 1950s. In 1957 he met artist Georg Baselitz, who<br />
became an important friend and influence. During the 1960s Penck developed<br />
a figural aesthetic of stick figures and uniform signs and symbols that recall<br />
prehistoric drawings. He also sculpted works from cardboard boxes, empty<br />
bottles, and other found objects. His aesthetic continued to develop into the<br />
early 1970s while he lived in what was then East Berlin. In the late 1970s Penck<br />
began working in wood to make totem like and tribal-art-inspired sculptures. A<br />
few years later he started to incorporate bronze and iron into his works, some of<br />
which reached monumental scale. In 1980 Penck requested permission to leave<br />
East Germany and was consequently stripped of his nationality. He settled in<br />
Cologne. His move to the West occurred when the Neo-Expressionist movement<br />
was gaining momentum, and his “neo-primitivist” style fit in seamlessly with the<br />
movement. He was recognised with numerous solo exhibitions at major museums<br />
around the world and participated in Documenta in Kassel, Germany, and in<br />
the Venice Biennale, Italy.<br />
Antoni Tàpies<br />
Antoni Tàpies (1923 - 2012) was born in Barcelona. The son of a bourgeois<br />
family from Catalonia, he started painting after recovering from a grave illness.<br />
Influenced by Miró, Klee and Max Ernst, Tàpies would quickly join the Abstraction<br />
movement after a stint with Expressionism. Member in 1942 of the “Dau<br />
142 143
INDEX<br />
Kees Van Dongen<br />
Le Manège de cochons,<br />
circa 1904<br />
Fernand Léger<br />
Profil et perroquet, 1940<br />
Fernand Léger<br />
Baigneuses sur la plage,<br />
1942<br />
Pablo Picasso<br />
Maison à Juan-les-Pins<br />
(La Villa Chêne Roc),1931<br />
p. 46<br />
p. 48<br />
p. 50<br />
p. 52<br />
Amedeo Modigliani<br />
Tête (Bice Boralevi), 1906<br />
Edgar Degas<br />
La Petite danseuse de 14 ans,<br />
1881<br />
Claude Monet<br />
Val de falaise, 1885<br />
Pierre-Auguste Renoir<br />
Étude pour le portrait de Coco,<br />
circa 1905<br />
Pablo Picasso<br />
Le Peintre et sa toile, 1964<br />
Pablo Picasso<br />
Portrait, 21 July 1970<br />
Pablo Picasso<br />
Buste de femme, 1971<br />
Pablo Picasso<br />
Nu debout et homme tenant<br />
un verre, 6 August 1972<br />
p. 16<br />
p. 24<br />
p. 26<br />
p. 28<br />
p. 54<br />
p. 56<br />
p. 58<br />
p. 60<br />
Pierre-Auguste Renoir<br />
Le Repas des vendangeuses,<br />
1895<br />
Henri Matisse<br />
Femme et bouquets,<br />
March 1940<br />
Henri Matisse<br />
Femme nue, 1935<br />
Raoul Dufy<br />
Epsom, la course, 1983<br />
Georges Braque<br />
Pichet et poisson, 1943<br />
Georges Braque<br />
Les Soleils,1946<br />
Marc Chagall<br />
La Fenêtre dans le ciel, 1957<br />
Marc Chagall<br />
L’Acrobate rouge,<br />
1963 – 1964<br />
p. 30<br />
p. 32<br />
p. 34<br />
p. 36<br />
p. 62<br />
p. 64<br />
p. 66<br />
p. 68<br />
Raoul Dufy<br />
Les Régates, 1935<br />
p. 38<br />
Raoul Dufy<br />
Paysage de Langres, 1933<br />
p. 40<br />
Raoul Dufy<br />
Dépiquages, circa 1948<br />
p. 42<br />
Kees van Dongen<br />
Les musiciens de rue<br />
p. 44<br />
Marc Chagall<br />
Amoureux aux bouquets dans<br />
le ciel aux deux couleurs,<br />
1974 – 1976<br />
p. 70<br />
Marc Chagall<br />
Les Amoureux le soir, 1949<br />
p. 72<br />
Marc Chagall<br />
Nu dans les champs,<br />
1937 – 1938<br />
p. 74<br />
Marc Chagall<br />
Mimosas et iris,<br />
circa 1964 – 1969<br />
p. 76
Jean Dufy<br />
Le Port (Entrée du port de<br />
Honfleur)<br />
Joan Miró<br />
Personnages-Oiseaux, 1976<br />
Joan Miró<br />
Femme, 1978<br />
Joan Miró<br />
Les Essències de la terra,<br />
1968<br />
Hans Hartung<br />
T 1983-E45, 1983<br />
Hans Hartung<br />
T1981-R29, 1981<br />
Pierre Soulages<br />
Peinture 81 x 54 cm,<br />
16 juin 1951<br />
Pierre Soulages<br />
Peinture 130 x 130 cm,<br />
25 octobre 2016<br />
p. 78<br />
p. 80<br />
p. 82<br />
p. 84<br />
p. 112<br />
p. 114<br />
p. 116<br />
p. 118<br />
Salvador Dalí<br />
L’Œil fleuri, 1944<br />
p. 88<br />
Salvador Dalí<br />
Page of Cups, 1971<br />
p. 90<br />
Salvador Dalí<br />
Angel in Ecstasy, 1966<br />
p. 92<br />
Salvador Dalí<br />
Don Chisciotte, Evocazione<br />
di Dulcinea… rinunzio ai miei<br />
diritti di gentiluomo, 1964<br />
p. 94<br />
Georges Mathieu<br />
Bonissan, 1972<br />
p. 120<br />
Georges Mathieu<br />
Composition, 1958<br />
p. 122<br />
Antoni Tàpies<br />
Grafisme sobre ocre, 1988<br />
p. 124<br />
A.R. Penck<br />
Untitled<br />
p. 126<br />
Salvador Dalí<br />
Space Elephant, 1980<br />
Salvador Dalí<br />
Rhinocéros Cosmique, 1956<br />
Salvador Dalí<br />
Vénus de Milo aux tiroirs,<br />
1964<br />
Jean Dubuffet<br />
Arabe, gazelle et trois<br />
palmiers, 1948<br />
A.R. Penck<br />
Ohne Titel, circa 1990<br />
p. 96<br />
p. 98<br />
p. 100<br />
p. 102<br />
p. 128<br />
Jean Dubuffet<br />
Site avec 5 personnages,<br />
10 March 1981<br />
André Lanskoy<br />
Étude pour une mosaïque,<br />
1976<br />
André Lanskoy<br />
Composition sur fond noir<br />
Hans Hartung<br />
T 1973-H45,1973<br />
p. 104<br />
p. 106<br />
p. 108<br />
p. 110
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