DODD

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WATLRHOUSL & DODD
P U 8 L | S H L D 8 Y
THL
F|NL ART F|LL
| N TH| S | SSUL
KARLL APPLL
M|LTON AvLRY
GLORGLS 8RAQUL
ALAN DAv|L
GLORGL GROSZ
LD| T| ON 39
SPR| NG 2013
ALEXANDER CALDER
Amer|can 1898-1976
Ba||oons, 1968
S|gned & dated 1968
Gouache on paper
30.25 x 22.5 |n / 77 x 57 cm

Pr|vate co||ect|on, France

(acqu|red d|rect|y from the art|st}
Th|s work |s reg|stered
at the Oa|der Foundat|on
Arch|ves A25792
FLRNAND LLGLR
ROY L|CHTLNSTL|N
HLNR| MART|N
HLNRY MOORL
ALFRLD MUNN|NGS
LM|L NOLDL
PA8LO P|CASSO
OD|LON RLDON
LOU|S vALTAT
TOM WLSSLLMANN

/ +44 20 7534 0301
i





/ +44 20 7534 0302
c


/ +44 20 7534 0303
s


/ +44 20 7534 0300
7

17:51 Page 2
In 1876 Jean-Franois Raffalli embarked upon a series of
determinedly realist paintings. These brought him to the
attention of the Naturalist writers Zola, Huysmans and Duranty,
who in turn introduced him to the Impressionists who also met at
the Caf Guerbois. He was taken under the wing of Edgar
Degas, who invited Raffalli to participate in the Impressionist
exhibitions of 1880 and 1881, an action that bitterly divided the
group. Monet was worried Raffalli would dominate the 1880
exhibition with his outsized display of 37 works and in protest
chose not to exhibit. After the 1881 exhibition Monet returned
and Raffalli was the one to be excluded. Nonetheless, a hugely
ALBERT LEBOURG
French 1849-1928
La cte Sainte-Catherine
Rouen
Signed
Painted in 1918
Oil on canvas
19.75 x 29 in /
50 x 73.5 cm
Provenance
Private Collection, France
This work will be included
in the forthcoming Albert
Lebourg Catalogue critique
being prepared by
Rodolphe Walter of the
Wildenstein Institute
JEAN FRANOIS RAFFAELLI
French 1850-1924
Larrt de lomnibus, Paris
Signed Painted circa 1890 Oil on panel 12.25 x 18.25 in / 31 x 46 cm
Provenance:
Private collection, Aix-en-Provence; Private collection, Paris
Ferdinand du Puigaudeau was born in Nantes, then the main city
of Britanny, and after travelling to Italy and Tunisia to hone his
artistic skills he returned there. In 1886 he met the two most
important artists to settle in the region, Paul Gauguin and mile
Bernard, and continued working alongside them throughout the
dawn of the School of Pont-Aven which arrived two years later.
While the two masters continually pushed the boundaries,
eventually laying the foundation stones of modern art,
Puigaudeau painted in a resolutely more traditional manner. In
1889, during a trip to Belgium, he befriended the Group of XX,
particularly Guillaume Vogels, Jan Toorop and James Ensor.
At about this time he also met the realistic painter and sculptor
Constantin Meunier, and it is perhaps this artists work that
Puigaudeaus most closely resembles.
Nonetheless Britanny remained central to Puigaudeaus career.
Apart from a productive stay in Venice in 1904, and living briefly
at Batz-sur-Mer, his native region provided most of his subject-
matter. He painted scenes from the daily lives of the Breton
people, their festivals and ancient ceremonies, and the triumphs
and tragedies of their hard day-to-day existence.
Above:
FERDINAND DU PUIGAUDEAU
French 1864-1930
Fte Pont-Aven
Signed
Painted circa 1900
Oil on canvas
13 x 16.25 in / 33 x 41 cm
Provenance:
Kaplan Gallery, London
Left:
GASTON PRUNIER
French 1863-1927
Brouillard sur la Tamise
Signed
Painted in 1933
Oil on canvas
19.75 x 25.5 in / 50 x 65 cm
successful one-man show in 1884 proved a consolation. The
writer of rebours, J K Huysmans, wrote of him as un Millet
Parisien. Subsequently, the catalogue to the Metropolitan
Museum New York notes of a Raffalli in its collection: The
sensitive handling in the finished pictures and their grayish
tonality brightened with touches of colour anticipate Utrillo.
Perhaps more than any other artist, Picassos late oeuvre is held
in high esteem by critics and collectors. As with all walks of life
the 1960s was a decade of transformation, when popular artists
looked to a new future: visual art was now a mixture of
performance, design, fashion and (importantly) hype. Yet
amongst this maelstrom of artistic invention Picasso looked to
the history of art and notably to the glorious age of 17th Century
Spain and Holland. Picasso wanted his legacy to run in the same
vein as that of Rembrandt and his hero Velasquez.
Never seen on the market since it was painted in 1967, Le
Peintre is a tour de force of Picassos late work. Here the artist is
asking the audience to consider his oeuvre as a worthy extension
to the vast legacy of the old masters. We see the artist in a semi-
abstract pose with a 17th century costume, coiffeur, moustache
and high purple collar. Above all it is the inventive composition
that is staggering: the profile is made up of a single brushstroke
that sweeps down the centre of the canvas creating a balance to
the thick swirls of hair to the right of the pose. Each part of the
painting is innovative though carefully structured to create a
painting which, as with everything involving this artist, could
never be plain.
Perhaps the best person to judge his late work, his biographer
John Richardson, summed up his late period perfectly: a
phenomenal finale to a phenomenal oeuvre. A similar oil to Le
Peintre which shares the same title was sold in 2007 for $3.5m
and another sold at Christies this February for 3.5m. The
highest price paid at auction for a work from this series was the
$6.5m paid for another 1967 canvas in 2007.
PABLO PICASSO
Spanish 1881-1973
Le Dejeuner sur lherbe
Signed & dated 1961
Pencil on paper 10.75 x 16.5 in / 27 x 42 cm
Provenance:
Galleria del Millione, Milan; Acquired from the above in 1963
Literature:
Christian Zervos, Pablo Picasso: oeuvres de 1961 a 1962, vol. 20, Paris,
1968, no. 77, illustrated
PABLO PICASSO
Spanish 1881-1973
Le Peintre
Signed
Painted in 1967
Oil on canvas
36.25 x 28 in /
92 x 71 cm
Provenance:
Galeria Gaspar, Barcelona;
Thence by descent to the
present owners
Literature:
Christian Zervos,
Pablo Picasso: oeuvres
de 1965 a 1967,
vol 25, Paris, 1972,
no 358, illustrated;
The Picasso Project,
Picassos Paintings,
Watercolours,
Drawings and Sculpture,
The Sixties II, 1964-67,
San Francisco, 2002
Pablo Picasso was unarguably the most important artist of the
20th Century. He redefined painting in a manner unlike any other
artist and his career ploughed its own path through the many
different movements that appeared throughout his long career.
Picassos artistic journey is legendary and stretched from his
childhood as the son of a mediocre artist in a small village near
Barcelona to the vast wealth of the 1960s in the Cap dAntibes
on the French Riviera.
The artistic, philosophical and cultural changes that took place in
the first half of the 20th Century were vital to Picasso flourishing.
Perhaps in any other generation his views and methods would
have been too coarse, too different and too shocking to be taken
seriously. Paris in 1900 was a place and time when all artists
chose to revolt against the Classical and without Picasso the
upheaval would not have had its hero. It needed his overbearing
ego to captain the revolution.
Over the course of a few years (1959-1962) Picasso was
besotted by the theme of Djeuner sur lherbe, as he had been
with Velasquezs Las Meninas too. The 1863 painting by Manet
was to be hugely influential to a number of 20th Century artists
since it played with the ideas of societal hierarchy, sexuality and
the anti-establishment sentiment of the time. Yet for Picasso the
choice of Djeuner to reinterpret was a challenge of
composition more than a right-on social agenda. In this study,
not seen on the market since 1963, Picasso shows the group in
a flat line drawing without any shading or nuanced modelling of
form. The composition is an interplay of several Picasso tricks,
such as the depiction of the subject on the right of the work
otherwise faceless except the dark pencil that leaves a clear
profile. This piece is amongst the rarest seen on the market since
it is a fully finished work, unfettered by indecision and re-working
of composition.
GEORGE GROSZ
German 1893-1957
Strassenszene, Berlin
Signed and inscribed Quallen Inscribed Jugendzeit on the reverse
Executed in 1925 Watercolour on paper 20 x 30 in / 50.5 x 76.5 cm
Provenance:
The artist; Galerie Alfred Flechtheim, Berlin; Art Institute of Chicago,
Chicago, The 11th International Exhibition: Water Colors, Pastels,
Drawings, Monotypes, and Miniatures, 1931, no 104;
Oscar F. Mayer, Chicago, acquired from the above; By descent
Exhibited:
Berlin, Galerie Alfred Flechtheim, George Grosz, 1926, no 6
This watercolour will be included in the forthcoming catalogue raisonn of
works on paper by George Grosz, by Ralph Jentsch
FERNAND LGER
French 1881-1955
Elment de Fauteuil
Inscribed elment de fauteuil Executed circa 1931
Pen and India ink on paper 14.5 x 12.25 in / 37 x 31 cm
Provenance:
Lucien Lefebvre-Foinet, Paris
Literature:
Jean Cassou and Jean Leymarie, Fernand Lger Drawings and
Gouaches, 1973, no. 166, illustrated p. 21
The great deflater of German greatness, George Grosz wrote:
My drawings expressed my despair, hate and disillusionment.
In the work above, Grosz depicts a smartly dressed but vacuous
couple walking down the street. The woman sports a large pink
hat and a diminutive dog wearing an over-sized blue bow; the
fleshy-faced man is carried by stick-thin legs. To the right is a
sharply-dressed man wearing a smug, self-satisfied grin. The
artist first titled the watercolor Jugendzeit, or youth, a cynical
title as the figures youthful days have obviously long passed.
In 1931, Grosz retitled the work Quallen, or jellyfish, to
emphasize the unfocused insipidness of the figures.
In the introduction to his book ber Alles die Liebe (Love Above
All), published in Berlin in 1930, Grosz refers to the characters in
the book who are obviously very similar to those depicted in this
watercolour:
The title shows that the subject here is interpersonal relations.
Fine, but one should not expect that my drawings would
resemble illustrations of usual lovers idyll. Realist that I am, I sum
my pen and brush primarily for taking down what I see and
observe, and that is generally unromantic, sober, and not very
dreamyhurrah for progress, human relations in general and
reproduction in particular.
HANS RICHTER
German 1888-1976
Zeppelin
Signed
Painted in 1916
Oil on board
23 x 20 in /
58.5 x 51 cm
Provenance:
The Hans Richter Estate
ALEXANDER CHARLES ROBINSON
American 1867-1952
Lago Maggiore
Signed & dated 1924
Oil on canvas
23.5 x 36.25 in /
60 x 92 cm
Hans Richter is famous today as one of the hugely influential
Dada Group, and as an avant-garde film-maker who claimed
(erroneously) to have made the first ever abstract film. Zeppelin,
above, is one of the very finest of his early pre-Dada works and
shows an extraordinary talent. Richter studied in Berlin in 1908
and in Weimar in 1909, but his first exposure to modern art only
came in 1912 when he visited exhibitions by Der Blaue Reiter
group. At the initial Autumn Salon (Herbstsalon) in 1913, he
distributed the Futurist Manifesto published by Marinetti who he
had met in Berlin that year. In his very early works Czanne and
the Cubo-Futurists proved a strong influence, while Richters
Violoncello of 1914 and his Orchestra of the following year
have all the hallmarks of the dynamic Futurism typical of
compositions by Francis Picabia in 1912-1913.
Richter was wounded during World War I and arrived in
Switzerland in 1916, where he joined the initial Dada group,
attracted to them not least on account of their anti-military
stance. By 1917 Richter was still producing works of an
Expressionist nature, notably his Visionary portraits, but during
his Zurich period, together with Viking Eggeling, he started to
explore the extension of painting in
terms of time and the development of
abstract images in space. By 1917,
he had already embarked on a series
of black and white abstract
compositions along the lines of the
Zurich Dadaists, culminating in his
Dada Orchestra of 1918.
ODILON REDON
French 1840-1916
Soucis, bleuets et roses dans
un vase blanc -
Flowers in a White Vase
Signed Oil on board
20.75 x 16.25 in /
52.5 x 41.5 cm
Provenance:
Etienne Bignou, Paris;
D.W.T. Cargill, Lanark;
The Lefevre Gallery, London;
Mrs Louis Dreyfus;
Hirschl & Adler, New York;
Roland, Browse & Delbanco,
London;
N. Gutmann, 1967;
Galerie de lElysee, Paris;
Alice Tully, New York, c1973;
Christie's New York, 9th
November 1994, Lot 27;
Private collection, USA
Exhibited:
O.R., Paris, 1926, no. 7, p. 9;
O.R., Glasgow, 1926, no. 1;
The Lefevre Gallery, XIXth
Century French Masters,
1950, no 16;
Acquavella Galleries, Odilon
Redon, 1970, no 14, repr.
Wildenstein, New York,
Masterpieces in Bloom,
1973, no 53;
Hirschl & Adler,
Retrospective of a Gallery,
1973, no 77, repr.
Literature:
Alec Wildenstein,
Odilon Redon: Catalogue
Raisonn de lOeuvre Peint et
Dessin, Vol III, Fleurs et
paysages
(Paris: Wildenstein Institute,
1996), cat no 1579,
illus in black and white, p 147
Emile Hennequin wrote in Revue Artistique et Litteraire, on 4th
March, 1882 that: From now on M. Odilon Redon should be
considered one of our mastersan outstanding master who,
aside from Goya, has neither ancestor nor follower: Somewhere
on the boundary between reality and fantasy he has conquered a
desolate domain which he has peopled with formidable
phantoms, monsters, monads (and) composite beings
Odilon Redon was at the forefront of Symbolism, the esoteric
movement in French art arising in the late 1880s as a rejection of
Realism and Naturalism. Symbolists asserted that by examining
dreams and mythology, mysticism and the depths of their
imaginations they would arrive at a deeper level of truth. Redon
said that his aim was to put "the logic of the visible at the service
of the invisible. Thus they did not adhere to illusionistic
descriptions of nature in the way that the Romantics and Realists
had before them, nor did they see the world purely in terms of
colour and light as the Impressionists did. Rather, by
working within the domain of the mystical, the
primordial, the mythological and the spiritual, the art of
the Symbolists was intended to express Natures true
underlying ideals. They did not concede that their
approach was any less of a truthful and honest way to
depict the natural world, which they ultimately viewed
as mysterious and ill defined.
La coupe du devenir was painted in about 1894, when
Redon was still struggling for acceptance within the
Parisian art world. While often misunderstood and
scorned by his contemporaries, the artist was to
become a master to future generations of painters,
including the Belgian group, Les XX and the Nabis in
France. La coupe du devenir depicts a young boy,
probably the artists son Ari Redon, as the
personification of unspoiled youth and innocence.
Surrounded by bursts of varying shades of purple and
yellow, he gazes in wonderment into a luminous chalice
filled with vices. The large purple shadow that falls
between the figure and the cup unifies the elements of
the composition and also provides a barrier between
the boy and his temptations.
Redons career followed an atypical trajectory which led
him from his early, colourless, monochromatic years to
the later production of colourful oils and pastels, such
as the still life on the facing page Soucis, bleuets et
roses dans un vase blanc. Redons early noirs
depicted a world of fear, mysterious forces, and
strange visions., but the portrayal of the invisible by
means of the visible is what links these earlier demonic
pieces with the late still lives, which still keep the magic
touch but in a different way. They are evocations of a
miraculous beauty beyond realistic rendering.
Redon began his series of flower paintings, both in oil and pastel,
after 1900, when he was in his sixties. His interest in colour was
revived by the young Nabis and neo-Impressionist painters, and
it came to be the chief focus of these still lives. Meanwhile,
Redon noted his art depended upon a gift of delicious
sensuality, which can with a little of the most simple liquid
substance reconstitute or amplify life, leave its imprint on a
surface, from which will emerge a human presence, the supreme
irradiation of the spirit.
Soucis, bleuets et roses dans un vase blanc is a wonderful
example of Redons enchanting floral arrangements in which he
presents a bouquet of flowers positioned asymmetrically in an
indeterminate, vacuous space. From the top of the simple white
vase bursts forth a veritable symphony of radiant flowers
comprised of bright orange, vermilion and vibrant blue, tempered
with the regularity of green leaves throughout. By placing the
ODILON REDON French 1840-1916
La Coupe du Devenir (L'Enfant a la coupe)
Executed circa 1894 Oil on canvas laid down on board
19.25 x 13.75 in / 49 x 35 cm
Provenance:
Rene Philipon, Paris; M. Huc, Paris
Baron Robert de Domecy, France (acquired circa 1910);
Private collection (by descent from the above and sold: Sothebys New
York, 1993, lot 22; Private collection, acquired at the above sale;
Sothebys New York, 2007, lot 16;
Private collection, acquired at the above sale
Exhibited:
Chicago, The Art Institute of Chicago; Amsterdam, The Van Gogh
Museum; London, Royal Academy of Arts, Odilon Redon, Prince of
Dreams, 1840-1916, 1994-95, no 118;
Frankfurt, Schirn Kunsthalle Frankfurt, Darwin: Art and the Search for
Origins, Feb 5 May 3, 2009
Literature:
Alec Wildenstein, Odilon Redon, Catalogue Raisonn, tudes et grandes
dcorations, vol. IV, Paris, 1998, no 2569, illustrated p 242;
Pamela Kort and Max Hollein, Darwin: Art and the Search for Origins
(Cologne: Wienand Verlag GmbH and Schirn Kunsthalle Frankfut, 2009),
cat no 114, illus p 161
vase toward the bottom of the composition, floating against a
murky, brownish hued background, the flowers emerge upward
and outward with an explosive radiance, emanating the very
sensuality which Redon strove to express.
This sensuality is further evoked by the fluidity with which he
handles the paint; Redon was able to achieve a similar lush and
flowing sensibility with oil paints as he did when working in
pastels. Here the paint gracefully caresses the surface of the
panel and shimmers with a rich luster, imbuing his flowers with a
visceral sense of vitality and demonstrating both the
extraordinary technique and the artistic sensitivity of this rare and
unparalleled artist.
LOUIS VALTAT
French 1869-1952
Dans le jardin
Signed Painted in 1901 Oil on canvas 9.5 x 13 in / 24 x 33 cm
Provenance:
Given to Doctor Sauze; Private Collection, France
Literature:
J. Valtat, Louis Valtat catalogue de loeuvre peint, 1869-1952,
Volume I, Neuchatel, 1977, no 312, reproduced p 35
GEORGES DESPAGNAT
French 1870-1950
Le Lavandou
Signed
Painted circa 1899-1905
Oil on canvas
29 x 36.5 in /
73.5 x 92.5 cm
Provenance:
Durand-Ruel, Paris & New York;
Toledo Museum of Art, Toledo
(a gift from the above by 100
museum members), 1906;
Sale: Sothebys New York,
8th November 2006, lot 239;
Richard Green, London;
Private Collection, Monaco
Exhibited:
Toledo Museum of Art, Toledo,
Exhibition of One Hundred
Paintings by the Impressionists
from the Collection of Durand-
Ruel & Sons, Paris,
1905, no 24
Literature:
The Toledo Museum of Art,
European Paintings,
Toledo, 1976, no 279,
illustrated p 58
HENRI LEBASQUE
French 1865-1937
Le jardin vu de la fentre
Signed
Painted circa 1906
Oil on board
23 x 29.5 in /
58.5 x 75 cm
Literature:
Denise Bazetoux,
Henri Lebasque,
catalogue raisonn,
2008, Vol I, no 1144,
illustrated
GUSTAVE LOISEAU
French 1865-1935
Vue de Saint-Cyr-du-Vaudreuil
Signed
Painted circa 1925
Oil on canvas
19.75 x 23.5 in / 50 x 60 cm
Provenance:
Private Collection, France
Simliar to Loiseau in much of his early oeuvre, Henri Lebasque
was besotted with nature and his family. His two children, Marthe
and Nono, feature prominently in his painting. This delightful
depiction of the view from a window is almost certainly the view
from his house in Provence where he spent so much of his life.
The image is swiftly and spontaneously painted but the technique
he employs is exceptional, particularly in showing the
transparency of the curtain to the right. Henri Lebasques market
is very strong at present: in the past decade 10 works have sold
at auction for more than $500,000 and in 2011 a spectacular
large canvas made over $1m.
Gustave Loiseau developed his love of painting when his family
moved to Pontoise in 1884, a village of significant importance as
Czanne and Pissarro had painted the village and its environs
extensively. Loiseaus early work, from 1890-1900 is absolutely in
keeping with his main inspiration the Impressionist works of
Pissarro and Monet - and he exhibited with the Impressionists in
the 5th exhibition in 1891. Yet he grew into an artist with a keen
eye for and a very distinct handling of the paint surface. In his
1920s paintings we see a thick, cross-hatched style which
enables Loiseau to apply paint in great thick strokes, creating the
most astonishing texture and depth of colour.
Louis Valtats oeuvre is astonishing in its breadth and quality, from
the heavily worked paintings of the 1890s to the flamboyant
1920s still-lifes. From an important period in Valtats career, Dans
le jardin is impulsive and sketchy in its execution but completely
vivid in its portrayal of a sweet scene presumably painted en
plein air. Louis Valtats paintings command over $1m at auction
and his earlier, pre-1905 examples are especially sought after.
SIR ALFRED MUNNINGS
English 1878-1959
Somewhere the sun is shining
Signed Painted circa 1911 Oil on canvas
25 x 30 in / 64 x 76.5 cm
Provenance:
sale: Sotheby's, London, 13 May 1987, lot 75;
Richard Green, London;
Private collection, London (purchased from the above circa 1988)
Exhibited:
London, Leicester Galleries, Pictures of Horses, Hunting and Country Life
by A J Munnings, 1913, no.18;
Norwich, Castle Museum, Loan Collection of Pictures Illustrating the work
of A J Munnings RA, 1928, no.84;
London, Royal Academy, Diploma Gallery, Exhibition of Works by Sir
Alfred J Munnings, KCVO, PPRA, 1956, no.15;
London, Sotheby's, An English Idyll, A Loan Exhibition of Works by Sir
Alfred Munnings, 2001, no.28
Literature:
A. J. Munnings, An Artist's Life, 1950, pp.226-7
Somewhere the sun is shining is a spectacular work from Sir
Alfred Munnings early years, painted in Norfolk in 1911. In An
Artists Life he wrote how he was in the garden of The Bush pub
in Costessey: Quite by chance, just as I was starting to work,
two strolling singers turned up. She was singing the popular
song of the day, Somewhere The Sun Is Shining. There was a
soothing, idle holiday atmosphere about its garden.
Munnings popular reputation is still coloured by the speech he
gave in 1949, retiring as President of the Royal Academy, that
was broadcast to millions by BBC radio. A vitriolic attack on
modern art and specifically the influence of Czanne, Matisse
and Picasso, Munnings was himself clearly under the influence of
alcohol. A film entitled Summer in February, about Munnings
bohemian years in Cornwall from 1912-14, is to be released in
the UK in June this year. It is, however, unlikely to reveal much
about his astonishing talents as an artist, dealing primarily with
the artists life with his first wife, Florence, whose relationship with
Gilbert Evans, a friend of the couple, led to her suicide in 1914.
At the age of 16, Marie-Franois Firmin-Girard enrolled at the
cole des Beaux-Arts in Paris, initially studying under the Swiss
painter Charles Gleyre, and then under Jean-Lon Grme (see
below), the academic master of orientalism and anecdotal history
paintings. By the late 1870s, when Jules Cav was pursuing his
studies, William Bouguereau held equal status as an academic
master, and in fact that artists distinctive softness of texture (as
opposed to the harder-edged detail of Grme) can be seen in
the gentle and refined self-portrait illustrated right.
Left:
MARIE-FRANOIS FIRMIN-GIRARD
French 1838-1921
Aprs le bal
Signed & dated 1869
Oil on canvas
9.5 x 13.5 in / 24 x 34 cm
Below :
JULES CYRILLE CAV
French 1859-1940
Autoportrait
Signed & dated 1893
Oil on canvas
10.5 x 7.75 in / 27 x 19.5 cm
Left:
JEAN-LEON GEROME
French 1824-1904
Les Deux Augures
Signed & dated 1861
Oil on canvas
25.75 x 19.75 in / 65.5 x 50 cm
Blanche Hosched-Monet, born in 1865, was the second
daughter of Ernest and Alice Hosched, who during the late
1870s shared a house in Poissy with Claude and Camille Monet.
Camille died in 1879 and finally Claude and Alice married in
1892.
Blanche started painting some time in her teens under Monets
guidance. She was attracted to Monets style and subject matter,
and since Monet did not wish for her to study in an academy, he
encouraged her and gave her casual instruction. Blanche began
submitting works to the Salon in 1888, but she was not
accepted that year. Seven of her paintings appeared at the Salon
des Indpendants in 1905, where Durand-Ruel purchased one of
her works. From about 1914 Blanche ceased painting almost
entirely, having taken over the running of the estate at Giverny as
well as looking after her step-father, and only recommenced
painting upon his death in 1926.
Right:
BLANCHE HOSCHED-MONET
French 1865-1947
Au bord de la mer
Signed Painted circa 1905
Pastel on paper
10 x 12.5 in / 24 x 31.5 cm
Below:
OCTAVE GUILLONNET
French 1872-1967
Baigneuses sous les glycines
Signed Painted circa 1925
Oil on canvas
32 x 26 in / 81 x 66 cm
Provenance:
Private collection, London
Right:
EMILIO GRAU-SALA
French 1911-1975
The Paddock, Paris
Signed Dated 1969 on verso
Oil on canvas
19.25 x 23.5 in / 48.5 x 60 cm
Provenance
Private Collection, United Kingdom
auction have all been recorded in the past decade.
As a marketable commodity, Flints watercolours have the
advantage of being both numerous and fairly even in quality; thus
good examples are not too hard to find with prices easy to
compare. But the artist himself was notably touchy when
questioned on their quantity: Prolific? No: the completion of a
picture involves much thought and time. Industrious? Certainly.
Flints attitude to art was extremely straightforward and he had
no time for academic isms: I have always painted for fun. If it
ceased to be fun, I would stop painting. His work is deliberately
and single-mindedly frivolous. Flint maintained a characteristic
modesty about his astonishing technical facility. As a fellow artist
recorded: He says he would be a very poor fish if after three-
quarters of a centurys continual practice he hadnt subjected his
chosen medium to obedience. Flint was meticulous about his
materials: paper and colours had to be of the best quality, while
favourite brushes were preserved for years. Painting on the
Scottish coast in 1929 he lost his big water-colour brush; the
next day he found it washed up on the tide and, after cleaning, it
was returned to active service until his death 40 years later.
While Russell-Flint is justifiably most famous as a watercolourist,
his much rarer oil paintings remain highly sought-after. The
painting above, of Moira Shearer depicted in three different
poses, is among the most important of these. It was painted in
1946, two years before the eventual release of Michael Powell
and Emeric Pressburgers The Red Shoes. The New York Star
described Shearer as "a delicate, red-haired sprite full of modesty
and grace, whose dancing is light, flame and spirit, a sentiment
Russell-Flint captures perfectly in his oil painting.
The works of Sir William Russell Flint have the rare distinction of
never having been out of fashion. That is not to say they have
always been the height of modishness, but their prices have
always remained relatively high and they have always appealed to
a sector of the art market. At the time of his retrospective at the
Royal Academy in 1962 (only the sixth ever to be granted to a
living artist) prices for his works ranged from 400-2,000 while
his signed prints reached 100 each even though there were
thousands of them available. By 1972 the record auction price
for one of his watercolours was more than double that of any
work by say Tissot (current record: over 5m). Even the roller-
coaster ride of the late 1980s saw only a steady rise in his prices.
Today one might justifiably think that Russell-Flints are not quite
to the current aesthetic taste. Yet that is certainly not borne out
by auction results. Just four years ago a stunning oil painting by
Flint sold at Sothebys London for over 300,000 ($557,000).
Then in December 2010 an unusually large watercolour with
tempera sold at the same auction rooms for 205,000
($320,000). Indeed, the five highest prices for his works at
SIR WILLIAM RUSSELL FLINT
English 1880-1969
Rhythm of the Ballet - Moira Shearer in The Red Shoes
Signed Painted in 1946
Oil on canvas 22.5 x 44.5 in / 57 x 113 cm
Provenance:
Frost & Reed, London (ref 42139), circa 1950;
Private collection, USA;
Waterhouse & Dodd, London, 1987;
Private collection, London
Exhibited:
London, Royal Academy, 1946;
Port Sunlight, The Lady Lever Art Gallery,
Theatrical Exhibition, 1949, no 49
Published as a limited edition print Rhythm of the Ballet in 1948
JEAN-FRANOIS RAUZIER French Born 19521
Beaux-Arts
Diasec mounted C-Type print Edition of 8 58 x 98 in / 150 x 250 cm
The above painting comes from the collection of Henri Bousquet
(1865-1953), an eminent linguist, businessman, international
political analyst and financier. He was also a respected historian
and bibliophile, with a library apparently totalling more than
50,000 books, as well as an art collector. La valle du Lot is
one of six oil paintings by Henri Martin that were in his collection.
By 1920 Henri Martin had achieved an enviable position in the art
world. During the 1890s he had exhibited throughout Europe, at
many of the important exhibitions of Symbolist art, and most of
his major works had already been acquired by museums. In
1905 he received the Croix de la Lgion dhonneur, in 1914 he
became a Commandeur of the order, and in 1918 he was
elected a member of the Institut Franais.
However, for such an established artist his critical reputation has
fluctuated to an unexpected degree, to the extent that he was
considered a re-discovered artist in the mid-1980s, when his
work increased tenfold in price between 1986 and 1990. During
his early career Puvis de Chavannes hailed Martin as his heir and
successor, but both D S MacColl and Paul Desjardins declared
the use of pointillist technique as inappropriate for a monumental
painting in reference to the stunning 18 foot canvas Serenity
which now hangs in the Muse dOrsay. In 1897 Paul Signac
wrote that Henri Martin and Cladel have looted us ... they now
pass as the inventors of Pointillism. Of course this betrays
Signacs own insecurity, for like many artists Martin only adopted
the short dashes of colour and coloured shadows of pointillism
without bothering with the finer points of chromatic theory. His
interest was confined to the decorative potential of the technique,
working in a broader, less systematic manner, applying paint in
feathery brushstrokes of fragmented colour. Having adopted the
technique from his first master, Ernest Laurent, and the great
Italian painter, Segantini, he used it primarily to impart a
shimmering, ethereal light to his subjects. This he used with as
great effect in his early Symbolist works, as in the ostensibly
more naturalistic panoramic views such as this of the valley near
his home at Marquayrol, near Labastide du Vert in the Lot valley.
HENRI JEAN GUILLAUME MARTIN
French 1860-1943
La valle du Lot
Signed Painted circa 1920
Oil on canvas 32.75 x 35 in / 83 x 89 cm
Provenance
Collection Henri Bousquet, France
Born near Vienna in 1874, Richard Mauch went on to exhibit with
the Secessionist exhibitions of both Munich and Vienna. His still
life above is a relatively orthodox painting but contains elements
of Secessionist art in the background vertical stripes, and strong
forms. In the 1980s this work passed through the hands of
Walker Bagshawe, one of the most stylish galleries of the time
who specialised in Secessionist works of art. They would often
re-frame works in elaborate reproductions of Secessionist frames
and so this still life comes resplendent in a huge (and historically
accurate) pink and gold confection.
The jewel-like painting illustrated below by Mose Kisling is a
wonderful example of the artists later style. Indeed, though small,
with its lively use of colour and impasto it is among the best of
his post-1918 works. Having served in both World Wars he
emigrated to America in 1940 and settled in California, exhibiting
in New York, at the Whitney, and at the Barnes Foundation in
Philadelphia. Kisling returned to France in 1946 and settled again
in the South of France, at Sanary-sur-Mer in Provence where the
street he lived on was named after him. A retrospective of his
works was organised in Paris in 1984 at the Grand Palais.
MOISE KISLING
Polish 1891-1953
Arbres en fleurs
Signed
Oil on canvas
6.25 x 9.5 in / 16 x 24 cm
Provenance:
Collection Kisling, Paris
Literature:
Jean Kisling,
Kisling 1891-1953,
text by Joseph Kessel,
Volume I, 1971,
Edition Jean Kisling, Turin,
reproduced p 297 no 100
RICHARD MAUCH
Austrian 1874-1921
Afternoon Coffee
Signed & dated 1914
Oil on canvas
21 x 28 in / 54 x 71 cm
Provenance:
Walker Bagshawe,
London;
Private collection,
London (acquired from
the above in 1988)
EMIL NOLDE
German 1867-1956
Junges Friesenmdchen
Signed Executed circa 1925-30
Watercolour on paper
18.5 x 13.5 in / 47 x 34 cm
Exhibited:
Dsseldorf, Galerie Wilhelm Grosshennig,
Deutsche und Franzsische Kunstwerke
des 20 Jh, no. 18
Provenance:
Margarete & Wilhelm Grosshennig, Dsseldorf;
Private Collection, Germany;
Galerie Margret Heuser, Dsseldorf;
Acquired from the above by the previous owner
The authenticity of this work has been confirmed
by Dr Martin Urban of the Nolde Stiftung, Seebll
CHRISTIAAN KAREL APPEL
Dutch 1921-2006
Composition 1949
Signed & dated 1949
Gouache on board 16 x 22 in / 40 x 56 cm
Provenance:
Private collection, Paris
Emil Nolde (born Emil Hansen) grew up in Nolde, Prussia, the
son of a peasant farmer. He was not a widely established name
until well into his career indeed he did not consider himself an
independent artist until the age of 31 as he was previously a
talented furniture maker and craftsman working in Karlsruhe
(Northern Germany). Nolde was a member of the small but
brilliant Die Brcke movement in 1906-07 which was to become
one of the most influential movements in the history of art. He
met and formed a great friendship with Karl Schmidt-Rottluff who
was to become a great influence during their painting sojourns
on the island of Als in Denmark. It was after his decision to leave
Die Brcke that he met two of his great influences: Edvard
Munch, whom he met in 1907, and James Ensor, with whom he
stayed in 1911. Emil Nolde is considered one of the truly great
German avant-garde painters of his time and he radically
changed the approach of a German artistic community still
enthralled by the saccharine influence of mid-19th Century neo-
classical painting.
His works on paper evoke the same fervour amongst collectors
as his largest oils, since he worked almost uniquely in the
medium of a wet paper and dye. The dye used was a type of
heavily-concentrated watercolour wash. Nolde would wet the
paper before applying the dye and the pigment could be diluted
without losing its bright colour.
In this work entitled Junges Friesenmdchen, depicting a
beautiful blonde girl, the colours are expertly handled to create
swirl of golden locks and an elegant profile. Originally owned by
Galerie Wilhelm Grosshenig the provenance of this work is near
perfect, unseen on the public market for a generation and
acquired over ten years ago by the previous owner; TEFAF 2013
will be the first time the piece has been seen publicly since the
Galerie Grosshenig exhibition in Dusseldorf in 1980.
Similar works on paper have been sold at auction for prices in
excess of 180,000 and recently a landscape sold for over
325,000 in the February sales in London.
Christiaan Karel Appel (simply known as Karel Appel) studied at
the Rijksakademie van Beeldende Kunsten in Amsterdam during
the German Occupation from 1940 to 1943 and it was there he
met the young painter Corneille (Guillaume van Beverloo) and
Constant (Constant Nieuwenhuys) who became close friends.
This collaboration produced one of the key movements in 20th
Century European post-war art. Heavily influenced by the art of
Paul Klee, the semi-abstract paintings of Picasso and early 19th
Century Primitivism CoBrA was the headline act of post-war
northern European painting. CoBrA painted and sculpted in a
manner completely at odds with the masterpieces of old; the
highly finished, glassily varnished works of 16th century Dutch
and Flemish painting.
Appel had his first show in Groningen in 1946 and in 1949 he
participated with the CoBrA artists in the Stedelijk Museum
Amsterdam; this seminal show generated a huge amount of
controversy amongst the conservative press. In 1948 Appel
joined CoBrA (taken from: Copenhagen, Bruxelles, Amsterdam)
together with Corneille and Constant. The new art of the CoBrA-
group was not popular in the Netherlands but it did find a warm
welcome in Denmark. CoBrA encouraged and intensified the
exchange of a 'childish', spontaneous, artistic language. Appel
used brightly colour paints, simple outlines and vaguely figurative
elements throughout his career but his best works stem from the
late 1940s to the mid 1960s. From the 1950s onwards Appel
chose to live in Paris where his fame and importance grew. In
1954 he was awarded the UNESCO award at the Venice
Biennale. Years before his death in 2006 Appel established the
Karel Appel Foundation, whose purpose is to preserve the artists
legacy. After years of being shunned by his home city of
Amsterdam, Appel is now highly revered and in 2006 a major
retrospective took place at the Meulensteen Art Museum.
Composition, 1949 is a signature example of Appels work from
the late 1940s there is a sense of naivety and simplicity that is
immediately attractive. The figures illustrated are signature to his
work: dreamy motifs of animals, pets and stick-lined beings that
roam the surface of the paper. There is certainly a homage to
Paul Klees drawings in this work. Over the course of every
artists career a specific year is posthumously seen to be of huge
significance: for Appel 1949 was the year it was the year the
first CobrA show took place in Amsterdam. In 2008 a work on
paper from 1951 fetched almost $200,000 at auction and there
have been 6 works reaching prices in excess of $100,000.
TOM WESSELMANN
American 1931-2004
Nude Painting Print
Signed & dated 1980,
titled, numbered 14/50 and
inscribed Oil on canvas
executed in the artists studio
on the overlap.
Oil on canvas
24.25 x 26 in / 61.5 x 66 cm
Provenance:
Edward Tyler Nahem Fine Art,
New York;
Peder Bonnier Gallery,
New York;
Private Collection, Italy;
Acquired by the previous
owner circa 1998
Intended as an edition of 50
identical paintings of which
only 41 were realized
This work is recorded in the
archive of The
Tom Wesselmann Estate,
New York
DAMIEN HIRST
English Born 1965
Hope and love and peace
(+ Peace and hope and love; 2 triptychs)
Signed
Executed in 2008
Butterflies, manufactured diamonds and household gloss on canvas
22 x 36.8 in (each inc. frame) /
56 x 93.5 cm (each inc. frame)
The American art historian Lucy Lippard classified the five "hard-
core" New York pop artists as Wesselmann, Warhol, Lichtenstein,
Rosenquist and Oldenburg. The phrase encapsulates the flip and
brash promiscuity of his imagery, especially the 100-piece Great
American Nude series of the 1960s, with flat billboard colours
and faceless but curiously erotic naked women painted with ruby
Mae West lips.
The concept that an object or work of art might become iconic
(in that vastly overused word of today) by its repeated
reproduction was central to Pop art - a concept that reflected
the modern world in terms advertising, mechanised reproduction
and consumerism. The work above is an interesting play upon
this. Wesselmann habitually duplicated, reproduced and re-used
his compositions in a variety of media, as silk screens,
lithographic prints, and liquitex paint originals. But none of
these have the strength, the impact, and sense of uniqueness
as a hand-painted oil painting. So, playing upon a tradition of
artists from Rembrandt to Damien Hirst, Wesselmann had his
studio assistants make 50 original oil paintings of this single
work. In fact only 41 were completed, suggesting that
mechanised means of production were more reliable than
human assistants.
Between 1963 and 1966 Lichtenstein produced a series of
landscapes in a combination of Rowlux (patterned plastic) and
Magna (his favoured acrylic resin paint). Today examples of
these are in the Los Angeles County Museum, MoMA in New
York and the Kunstmuseum in St Gallen, Switzerland.
A letter in AEQAI described the examples in the major
retrospective show at the Art Institute of Chicago in 2012:
Rowlux is a special, lenticular plastic that provides a
dimensional op-art effect; think Las Vegas or 60s drum sets.
Lichtenstein uses two different patterns of Rowlux to represent
sky/land or sky/ocean. He adheres a somewhat uneven ribbon
of hand painted paper that delineates sky from land or ocean
and brings us to a place of imagining this as a riveting sunset,
all pink swirly reflections in some faraway ocean. Carefully
arranged dots on the canvas underneath are off-kilter from the
metal screen dot openings, creating a moir, Op-art effect.
These paintings offer up differing impressions as you move to the
right or left, and this is another way Lichtenstein works out
movement, and potential multiple views like his Cubist
predecessors. Seldom seen, these optical landscapes show
Lichtensteins restless search for varied materials to explore
common iconography.
The exhibition in which these works are included, which toured
from Chicago to the National Gallery in Washington DC, will be at
the Tate Modern, London, from 21st February 27th May, and at
the Centre Pompidou, Paris, from 3rd July 4th November.
ROY LICHTENSTEIN
American 1923-1997
Landscape
Signed & dated 1963 Rowlux and magna on board
17.25 x 21.75 in / 41 x 55.5 cm
Provenance:
Leo Castelli Gallery, New York;
Galleria Gian Enzo Sperone, Rome;
Private Collection, Italy (acquired circa 1998)
This work is registered at the Roy Lichtenstein Foundation no RL0250
MILTON AVERY
American 1885-1965
Rothko
Signed Dated 1932 on the reverse
Oil on linen laid down on board
23.75 x 18.25 in / 60.5 x 46.5 cm
Provenance:
Estate of the artist;
Gallery Reese Palley, Atlantic City, NJ;
Private collection, Rye Brook, New York,
circa 1971
Avery had that inner power which can
be achieved only by those gifted with
magical means, by those born to
sing. Mark Rothko (quoted in H
Arnason & M Prather, A History of
Modern Art, London, 1998, p. 434).
Averys paintings fit neither the genre
of Social Realists nor American Scene
painters of the 1920s and 1930s
because subject matter to Avery was
always secondary to colour and form.
Yet, his fidelity to reality did not
conform to the ideals of the
Abstractionists who gained popular
acclaim after the War. Averys
harmonious and sparsely composed
canvases of simplified forms and flat
colour did, however, courageously
inspire subsequent Color Field painters
such as Mark Rothko and Adolph
Gottlieb. In the late 1920s, the three artists met while showing at
the Opportunity Gallery, a city-run gallery that provided exhibition
space for emerging artists. Throughout the 1930s, Rothko and
Gottlieb would frequently visit Averys home to view his work and
discuss art, and their families often went on vacations together in
Massachusetts and Vermont. Rothko openly acknowledged his
artistic debt to Avery, stating in his 1965 eulogy for his mentor,
The instruction, the example, the nearness in the flesh of this
marvelous manall this was a significant factone which I shall
never forget.
In 1932, Avery and his family moved to an apartment on 72nd
Street. Shortly thereafter, Rothko moved across the street from
the Averys and visited them nightly. Avery frequently sketched
and painted the cast of characters who passed through his
home, including that of Rothko. The present portrait captures the
brooding, melancholy character of the young artist, who was 29
and still signing his work Rothkowitz.
Directly facing the viewer, Rothko stares out with dark,
inscrutable eyes that are overshadowed by his strongly arching
eyebrows. Averys bold use of non-naturalistic color and flair for
distortion are present in the pale whiteness, full red lips, and
black hair of his subject, creating a vivid impression of the
intensity of his character. The close-cropped format, with the
sitter isolated against a flat background, is typical of the work
that dominated the New York art scene in the 1920s and 1930s.
Previously unknown to the Avery Foundation and never publicly
exhibited since its purchase in about 1971, this portrait is an
exciting discovery. Three other portraits of Rothko by Avery are
known, with the present work being the earliest, largest, and
most complete. A 1933 oil portrait (Museum of Art, Rhode Island
School of Design) and a related pencil study (Dr. and Mrs. Marvin
Klein) show the artist with a thoughtful air, his head tilted and a
pipe in his mouth. A later 1936 drypoint (National Portrait Gallery)
depicts Rothko in profile, again smoking a pipe, and without
glasses.
GEORGES BRAQUE
French 1882-1963
Composition, 1958
Signed Painted circa 1958 Oil on paper
17 x 26.25 in / 42 x 65.5 cm
This work will be reproduced in the forthcoming Catalogue raisonne de
loeuvre de Georges Braque being prepared by Mme S Mangin, Editor,
Galerie Maeght
Painted by the artist as a preliminary sketch for the cover of the book
Nouvelles sculptures et plaques gravees de Georges Braque, Editions
Albert Morance, Gregg Associates, Brussels, Belgium, 1960
This work is accompanied by a certificate of authentication
from Mme S Mangin
Georges Braque and Pablo Picasso, Roped together like
mountaineers.. (to quote Braque himself), changed the visual
arts forever with their odyssey to re-invent painting through
Cubism from 1907-1914. According to Braque the composition
of a painting should be conveyed through the artists idea of what
best fits the canvas, not copied from nature as Classical painting
theory intended. The earliest examples of Cubism were greeted
with disdain by critics, including Louis Vauxcelles who gave the
style its moniker. For many admirers of his work, George
Braques summit as an artist actually came some 40 years after
the founding of Cubism with his exceptional Studio series of
1947. There were few artists more celebrated during his career
and Braque exhibited at the Louvre in 1961, one of the first
artists to do so during their lifetime, before receiving a state
funeral in 1963.
As seen in this work, towards the end of his career Georges
Braque experimented with flat colours in a manner not dissimilar
to Matisse around the same time. Whereas Matisse used cut-out
paper collage to create vast shapes of colour Braque used paint,
and this work is a brilliant indication of the artistic path he trod
from his earliest years in Paris. In Composition Braque is
cleverly playing with the simplest of forms to create the cover for
an edition of a collection of his sculptures and engravings:
Nouvelles sculptures et plaques graves de Georges Braque,
Brussels, 1960. The colours and composition are reminiscent of
the simple, elegant stained glass windows designed by Henri
Matisse in the stunning chapel at Vence. Composition is a good
example of a mature artist trying a new, innovative way of seeing.
The colour theories of the young American painters would have
been inspirational to a man of Braques pioneering spirit and
perhaps Rothko could have influenced the present work.
Braques top price at auction, over $10m, was fetched for his
1953-54 La Treille. The artists most important work to appear
at auction in the last 30 years was his 1911 masterpiece entitled
Femme lisant which made 6.6m in 1986.
and freer still of having to find a
meaning for them." In short, the
reclining figure motif allowed him
perfect scope to experiment with
forms within the boundaries of a
given composition, and not to
have to explain himself each time.
Moore only ever produced female
reclining figures, believing the
female form to be the perfect
embodiment of life and survival. Chadwick however regularly
paired male and female figures, their forms recognisable from the
triangular or square faces, often polished to a high gold. It was
the relationship between the male and female forms that creates
the tension and dynamic in these works. Chadwick's sculpture
oscillated between pure abstraction and figurative art in the same
way that Moore's did. However one may trace a more linear
progression from the pure abstraction of his early works to the
figures he has become most associated with. Our work, dating
from the early 1970s, is a prime example of this emergent mature
style, where the angular bodies convey a surprisingly languid
grace.
On this page we display two small bronzes by two of Britain's
greatest sculptors, Henry Moore and Lynn Chadwick. Both works
are instantly recognisable as being by their respective creators,
so iconic have their styles become. Both were created within 5
years of each other and both are reclining figures. One might ask
why the theme of the reclining figure was such a powerful draw.
On a very basic level, the forms solve a few technical problems
for an artist. It is a great deal easier to spread the weight of the
bronze across the ankles, rear and elbows of a reclining figure
than to support the entire weight on small feet, but of course the
answer is much more complex. Moore admitted that he was
obsessed by only two subjects, the 'Mother and Child' and the
'Reclining Figure' - indeed he began producing reclining figures in
the 1920s and never stopped, stating that "I want to be quite
free of having to find a reason for doing the Reclining Figures,
HENRY MOORE
English 1898-1987
Reclining Figure - Points
Signed and numbered 6/9 on base
Conceived in 1969 Bronze
6.5 x 4 x 4.25 in / 16.5 x 10 x 11 cm
Provenance:
Dominion Gallery, Montreal;
Private Collection, Canada
Literature:
A. Bowness, ed, Henry Moore,
Sculpture and Drawings 1964-73,
London, 1977, vol 4, p 56, no 603
(another cast illustrated, p 57)
In 1951 Georges Folmer signed the manifesto of the Groupe
Espace, and in 1960 he founded the Groupe Mesure and was
elected President. The aim of both groups was to bring about a
synthesis of the arts, to unite painting, design, sculpture,
architecture and design - Lart dans la vie. Many of Folmers
paintings from this time onwards have an architectural feel, a
sense heightened by his increasing use of blues and greys.
Left:
GEORGES FOLMER
French 1895-1977
Composition 1960
Signed Painted in 1960
Mixed media on board 74.5 x 49 in / 189 x 124 cm
Exhibited:
Pontoise, Muse de la Ville de Pontoise, 1988;
Nancy, Muse des Beaux-Arts, Folmer et labstraction gomtrique,
1993;
Rennes, Muse des Beaux-Arts, Georges Folmer, 2010, p.82
Literature:
Carine Florentin, Georges Folmer (1895-1977) Catalogue raisonn de
loeuvre peint et sculpt, Paris 1997, Vol II, no.174P
Below (shown in 3 different positions):
GEORGES FOLMER
French 1895-1977
Roto-peinture double
Signed on verso Conceived and constructed in 1963
Mixed media on wood panels in three pieces, with two rotating panels
34 x 21 in / 86 x 53 cm
Exhibited:
Geneva, Organisation Mondiale de la Proprit Intellectuelle, Georges
Folmer, 2010, p.29;
Rennes, Muse des Beaux-Arts, Georges Folmer, 2010, p.109
Literature:
Carine Florentin, Georges Folmer (1895-1977) Catalogue raisonn de
loeuvre peint et sculpt, Paris 1997, Vol III no.39CA
Georges Folmers paintings from the 1950s onwards tend to be
exercises in pure abstraction, with only the most oblique
references to the natural world. Nonetheless in many of his
compositions he constructs an elaborate 3-dimensional space,
with suggestions of interior and exterior space. Here there are
suggestions of views through window frames, shapes that twist
and turn and touch (or more often almost touch) other shapes on
a wholly different plane, forms that float ambiguously, playing
tricks and defying preconceptions. Folmers use of black is
crucial to this, with its suggestion of emptiness, nothingness,
infinity. He would also combine matte and gloss black within the
same composition, giving the effect of shadows.
LYNN CHADWICK
English 1914-2003
Two Lying Figures on Base II
Stamped with the artist's monogram and with the
Pangolin Editions Foundry mark (on the base)
Conceived in 1974, this edition is number 6 from an
edition of 8.
Bronze Length: 17.75in / Length: 45cm
Provenance:
Private Collection, South Africa;
Private Collection, USA
Literature:
D. Farr & E. Chadwick,
Lynn Chadwick, Sculptor,
1997, no 680 (another from
the edition illustrated, p 292)
relatively inexpensive. Her work is included in any serious
exhibition covering the art of the period, not least the inaugural
exhibition of the Tate St Ives in 1993. She is represented in most
if not all of the best public collections of Modern British art,
including major institutions such as the Tate, V&A Museum and
the National Gallery of Modern Art in Edinburgh.
introduction by Patrick Heron and Skull Form II, illustrated on
the facing page, was exhibited at Gimpel Fils in 1951 as part of a
survey of British Abstract Art.
Barns-Graham deserves to be seen as a pioneer of post-war
British abstraction. Compared to artists with whom she exhibited
and worked alongside, the prices for her seminal works are
Above:
WILHELMINA BARNS-GRAHAM
Scottish 1912-2004
Olive Green Squares over Vermillion
Signed on verso Painted in 1968
Oil on canvas 36 x 48 in / 91 x 121 cm
Literature:
W Barns-Graham: A studio life, Lynne Green
(Lund Humphries 2001). Illus p 200, fig 122
Provenance:
Direct from the Estate of the Artist
Left:
WILHELMINA BARNS-GRAHAM
Scottish 1912-2004
Relief, Sicily
Signed, titled & dated 1955 on verso
Oil on wood relief 9 x 9 in / 23 x 23 cm
Provenance:
Direct from the Estate of the Artist
Like Alan Davie, also featured in these pages, Barns-Graham
was a Scot who attended the Edinburgh College of Art and who
became closely associated with the second generation of artists
resident in the Cornish town of St Ives. Unlike Davie, who tended
to stay for summers only, Barns-Graham made St Ives her
permanent home, and became one of the most recognisable and
highly regarded artists of her generation.
Barns-Graham was an early arrival in St Ives, moving down to
the town shortly after the arrival of Ben Nicholson and Barbara
Hepworth at the outbreak of World War II. At this time, her
canvases were largely figurative, but by the late 1940s she had
developed an abstract style which displayed the admiration she
had for Nicholson's work. Her early paintings and reliefs also
bear comparison the work of John Wells and Peter Lanyon - all
of whom were active exhibitors with the St Ives Society of Artists
until the modernist schism of 1949 that ultimately led to the
foundation of the Penwith Society (of which Barns-Graham was a
founder member).
With her modernist credentials now assured, she began showing
at some of the exhibitions and galleries that helped define the
emergent post-war abstract
movement. Her first solo
exhibition in London was held
at the Redfern Gallery in
January 1952 after an
WILHELMINA BARNS-GRAHAM
Scottish 1912-2004
Skull Form II
Signed & dated 1951
Oil on canvas 20 x 24 in / 50.5 x 60.5 cm
Literature:
W Barns-Graham: A studio life, Lynne Green
(Lund Humphries 2001). Illus P 143, fig 71
Provenance:
Direct from the Estate of the Artist
WILHELMINA BARNS-GRAHAM
Scottish 1912-2004
Untitled
Signed & dated 1952
Oil on canvas
16 x 30 in / 40 x 76 cm
Provenance:
Direct from the Estate of the Artist
Alan Davie is often feted as Scotland's greatest living painter. Of
course, this kind of casual accolade is often applied to an artist
of a certain age, rather like a lifetime achievement award to an
actor at a film ceremony, but in Davie's case the moniker might
actually do him a disservice. For a start, it dismisses his
achievements in other fields, not least his poetry and his
considerable talent as a classical and jazz pianist. More
importantly, it also underplays just how important an artist he has
been on a global stage throughout his 70 year career. Davie's
breakthrough as a painter occurred in 1948 when a meeting with
Peggy Guggenheim led to a series of acquisitions and an entre
into the vibrant and emerging New York art scene. By 1956 he
had held his first exhibition at the Catherine Viviano Gallery in
New York. More than perhaps any other British artist, Davie
embraced the prevailing trends in American art at the time and
his work shares a common thread with De Kooning, Motherwell
and Pollock - all of whom he met. Something of Pollock's mark
making is echoed in Davie's work at the time with both artists
sharing an interest in Jungian theory and 'automatic drawing'.
Retrospective exhibitions followed in 1958, at the Wakefield Art
Gallery, The Whitechapel (London) and the Walker Art Gallery
(Liverpool). By the year of our work (1963) Davie was arguably at
the height of his fame. He was selected to represent Britain at
the 7th Sao Paulo Bienal and won the Painting Prize. 17 of his
paintings were then toured throughout South America by the
British Council. His work can be found in many of the world's
greatest collections, not least the Metropolitan Museum (New
York), MOMA (New York), Tate Gallery (London) and of course the
Scottish National Gallery of Modern Art (Edinburgh).
ALAN DAVIE
British Born 1920
Machine for Witch Watching No.3
Signed, inscribed with titled and Opus ref and dated 1963
Opus 0.519.B
Oil on canvas 48 x 60 in / 122 x 152 cm
Exhibited:
Gimpel Fils (where acquired by current owner)
Brian Crouch began his art education at Brighton College of Art
in 1948 before completing his post-graduate studies at the Royal
Academy Schools in 1956. Two of his paintings were selected by
Jack Beddington for his 1957 publication 'Young Artists of
Promise' - and this early promotion led to a string of important
solo and group exhibitions and a short connection with the
Wildenstein Gallery (1957-63) and the London Group. His
abstracted landscapes of the early 1960s, often featuring the
skyline of Battersea in South London, bear comparison to his
more famous peers. City in Winter has echoes of the early work
of Alan Reynolds, and there is a hint of Bryan Wynter's striking
abstracts in Red City Night.
Of his work, Crouch has stated that "through the search for the
elusive tension between the abstract and the seen, I am involved
in a precarious balancing act in which I aim to create a world
parallel with and sympathetic to nature, but not descriptive of it."
Although Crouch has not yet received the critical or commercial
recognition of some of his peers, he has still acquired an
impressive CV including a solo exhibition at Gallery 7 in Hong
Kong in 1994, and in 1995 an exhibition of his works on paper
was held at the Pallant House Gallery in Chichester.
Crouch continues to live and work in his studio on the Welsh
borders (where he has been since 1987), and our paintings come
directly from the artist.
Above:
BRIAN CROUCH
English Born 1929
Red Night City
Signed & dated 1962
Oil on canvas 48 x 30 in / 122 x 76 cm
Provenance:
The artists studio
Right:
BRIAN CROUCH
English Born 1929
City in Winter
Signed Painted in 1962
Oil on canvas 30 x 24 in / 76 x 60 cm
Provenance:
The artists studio
WATLRHOUSL & DODD
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LD| T| ON 39
SPR| NG 2013
ALEXANDER CALDER
Amer|can 1898-1976
Ba||oons, 1968
S|gned & dated 1968
Gouache on paper
30.25 x 22.5 |n / 77 x 57 cm

Pr|vate co||ect|on, France

(acqu|red d|rect|y from the art|st}
Th|s work |s reg|stered
at the Oa|der Foundat|on
Arch|ves A25792
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TOM WLSSLLMANN
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