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42.  ALEXANDER COOSEMANS (1627-1689)

Nature morte aux fruits sur un entablement

 

Huile sur panneau parqueté. Avec certificat.
Dimensions : 37 x 51,5 cm

Provenance :
Collection privée / Private collection, Gand / Ghent Belgium
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Still life with fruits on an entablature, oil on parquet panel 37 x 51,5 cm. With certificate.

Antwerp painter of still lifes of flowers, fruits and game but also of Vanities, he became in 1641 the pupil of Davidszoon de Heem, the most famous Dutch painter at the time for still lifes. Master of the Guild of Saint Luke in 1645, he left shortly after for Italy where he worked on orders for the Palazzo Doria-Pamphili-Landi, on the one hand in Rome at the Palazzo Doria Pamphili, in Genoa on the other. leaves at the Palazzo del Principe, also called “Villa di Andrea Doria.

Coosemans returned to Antwerp in 1651 and remained there until the end of his life. He painted far more varied still lifes than his master de Heem, preferring dramatic light effects in artificial settings. His stay in Italy will greatly influence his style.

 

25 000 – 30000 EUR


43.  BERNARD BUFFET (1928-1999)

Nature morte aux poires et bouteille, 1951

 

Huile sur toile signée et datée en haut à droite.
Provenance : Collection privée, Sud de la France.

Dimensions : 60 x 92 cm
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Still life with pears and bottle, 1951
Oil on canvas 60 x 92 cm. Signed and dated upper right.

Provenance : Private collection, South of France.

French expressionist painter born in Paris, friend of Pierre Bergé who will guide him for eight years, Bernard Buffet represents characters as well as faces, nudes, animals, landscapes, interiors, still lifes and of course clowns in an easily recognizable geometric pictorial style made of black and dark strokes, crossings and characters.

Bernard Buffet is considered as a “miserable expressionist” by representing in his paintings modest appearances or death, his art reflects an intense feeling. Avant-garde, he will seek above all the expression by the firmness of the drawing of their features and by the strong treatment of certain details.

 

80 000 – 120000 EUR


44.  CESAR (1921-1998)

Sans titre, 1969

 

Compression d’une Goggomobil rouge, modèle “Isar” de 1959.

Oeuvre publiée dans les archives de Madame Denyse Durand-Ruel sous le numéro 6806.

Provenance :
– Collection de la Galerie Anne et Jean-Pierre Roger rassemblée depuis 1960
– Collection privée Aix-en-Provence, acquis du précédent en 2014.

Le compression présentée appartient à la série des Goggomobil, un véhicule qui ressemblait à une gigantesque boîte à chaussures sur roulettes. Il s’agit du modèle Isar sorti de la chaîne en novembre 1959 chez Hans Glas, un constructeur allemand, reprenant le nom d’une rivière bavaroise. Et l’esprit de César en fera une compression prodigieuse.

Dimensions : ca. 60 x 40 x 16 cm
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Untitled, 1969
Compression of a red Goggomobil, model “Isar” from 1959.

Work published in the archives of Madame Denyse Durand-Ruel under number 6806.

Provenance:
– Collection of the Anne and Jean-Pierre Roger Gallery gathered since 1960
– Aix-en-Provence private collection, acquired from the above in 2014

The compression presented belongs to the Goggomobil series, a vehicle that looked like a gigantic shoebox on wheels. This is the Isar model that came off the line in November 1959 at Hans Glas, a German manufacturer, taking the name of a Bavarian river. And Caesar’s mind will make a prodigious compression of it.

Dimensions: ca. 60 x 40 x 16 cm

 

60 000 – 80000 EUR


45.  MAURICE DE VLAMINCK (1876-1958)

Route du hameau avec personnage

 

Peinture à la gouache sur papier, signée en bas à droite.

Provenance : Collection privée, Monaco

Dimensions : 46 x 55 cm
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Village road with figure, gouache on paper signed lower right.

Private collection, Monte-Carlo

Dimensions: 46 x 55 cm

Disciple and great friend of Derain who took him to an exhibition of Van Gogh which would mark a milestone in his career, he became directly attached to the Fauvist movement of which he would become one of the most brilliant representatives. He paints canvases using pure colors, simplifying the forms, placing his touches in flat areas or sometimes divisionist.

Although he experienced a brief cubist period, he returned after the war to realistic and then expressionist figuration where he represented still lifes and countryside landscapes in darker tones, creating strong impastos.

 

3 000 – 6000 EUR


46.  HARRY MARINSKY (1909-2008)

” The Great Bird”

 

Importante sculpture en bronze à patine verte reposant sur une base en marbre. Signé sur la queue avec cachet du fondeur Tommasi en-dessous. Épreuve d’artiste, édition sur 7.

Provenance : atelier de l’artiste enregistré dans ses archives.

Dimensions : h. 58 cm
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Important green patina bronze sculpture on a marble base. Signed on the tail with Tommasi foundry mark below. Artist’s proof, edition of 7.

Provenance: artist’s studio recorded in his archives.

Dimensions: h. 58 cm

 

6 000 – 12000 EUR


47.  LADISLAS KIJNO (1921-2012)

Composition

 

Peinture à la technique mixte sur papier froissé signé en bas à gauche.
Dimensions : 93 x 62 cm
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Composition
Painting in mixed media on crumpled paper 93 x 62 cm, signed lower left.

Born in Warsaw, Ladislas Kijno was a French painter. He moved with his family to France in 1925, settling in the community of Nœux-les-Mines in the Pas-de-Calais. Before becoming a painter he studied philosophy with Jean Grenier.

In 1991, the French magazine L’Amateur d’Art was devoted to him, with an interview with Jean-Pierre Thiollet entitled “Ladislas Kijno: ‘Je suis un moine de l’Art!’

 

10 000 – 15000 EUR


49.  GEORG KOLBE (1877-1947)

Jeune femme à genoux

 

Sculpture en bronze à patine cuivrée brun-vert nuancé, signée en ciselé d’un monogramme en ligature sur la plante du pied gauche et poinçonné numéro “2”. Exécuté entre 1929 et 1935, ce bronze a été fondu par la Fonderie d’Art Hermann Noack, Berlin (pas de marque de fonderie).

Provenance :
– Possiblement Karl Nierendorf, New York 1937,
– Possiblement achetée par Margaret et Samuel Lewisohn, New York,
– Collection privée, Monte-Carlo.

Expositions :
New York, The Metropolitan Museum of Art, The Lewisohn Collection: A Catalogue of the Paintings, Watercolors and Drawings, Prints, and Sculpture Shown in a Special Exhibition, November 2 – December 2, 1951, no. 168, p. 22 (illustrated, p. 85)

Littérature :
– Richard Scheibe, ed., Georg Kolbe in 100 Lichtdrucktafeln, Marburg, 1931, no. b, p. 76 (another example illustrated);
– R. Binding, Georg Kolbe, Berlin, 1933, n.n., p. 12 (another example illustrated).
– New York, The Metropolitan Museum of Art, The Lewisohn Collection: A Catalogue of the Paintings, Watercolors and Drawings, Prints, and Sculpture Shown in a Special Exhibition, November 2 – December 2, 1951, no. 168, p. 22 (illustrated, p. 85)
– Ursel Berger, Georg Kolbe, Leben und Werk, mit dem Katalog der Kolbe-Plastiken im Georg Kolbe Museum Berlin, Berlin, 1990, no. 115, p. 313 (another example illustrated).

Note :
Ce modèle a été conçu en 1928 et coulé à 13 exemplaires en 1928/29. Il y aura une autre fonte en 1935, portant le total à environ 20 exemplaires. Le modèle que nous vous présentons appartient à l’un des deux premiers moulages réalisés par la fonderie d’art Hermann Noack, Berlin. Comme beaucoup de bronzes de Georg Kolbe sans socle, ce bronze ne porte pas de cachet du fondeur. Normalement, les bronzes de Kolbe ne sont pas numérotés, à l’exception de ceux expédiés aux États-Unis. Selon Berger, seuls les moulages fabriqués pour l’exportation vers les États-Unis étaient numérotés, exclusivement «1» ou «2», car des droits moins élevés étaient perçus pour le premier et le deuxième moulage; en conséquence, la numérotation ne dit pas grand-chose sur l’ordre des modèles. En effet, le bronze actuel ne peut pas vraiment être identifié comme étant de la première ou de la seconde fonte.

Déjà vers 1930, la Kniende était offerte par deux galeries new-yorkaises dirigées par des propriétaires d’origine allemande, Erhard Weyhe et la galerie Buchholz. Aussi Karl Nierendorf dans sa galerie de New York a offert le Kniende. Une photo de 1937 montre Karl Nierendorf dans sa galerie à New York entouré de plusieurs bronzes de Lehmbruck, Sintenis et Mataré. Sur une base derrière lui, on peut voir le “Kniende” de Kolbe, qui est très probablement exactement le nôtre. Un an plus tard, la galerie Buchholz, représentante new-yorkaise de la galerie Curt Valentin à Berlin, présente à nouveau le “Kniende” dans une exposition en 1938.

En 1951, notre bronze est présenté au Metropolitan Museum of Art dans une importante exposition consacrée à la collection Lewisohn et jusqu’à sa vente en novembre 2019, il sera conservé dans cette collection privée.
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Kniende (Kneeling woman)
Bronze with medium copper brown-green patina 51.5 x 22 x 23 cm (20 1/4 x 8 5/8 x 9 in.). Signed and incised with a monogram in ligature on sole of left foot and punched number “2”. Executed between 1929 and 1935, this work is a lifetime cast. Cast by art foundry Hermann Noack, Berlin (no foundry mark)

Provenance:
– Possibly with Karl Nierendorf, New York in 1937;
– Where possibly bought by Margaret V. and Samuel A. Lewisohn, New York;
– Private Collection Monte-Carlo.

Notes:
This model was conceived in 1928 and cast in 13 examples in 1928/29. There was another lifetime cast in 1935 bringing the total to ca. 20 examples. The present example belongs to one of the first two casts made by the art foundry Hermann Noack, Berlin. Like many bronzes by Georg Kolbe without plinth, the present bronze does not have a stamp by the foundry.

In 1951 the present bronze has been exhibited at The Metropolitan Museum of Art in an important show dedicated to The Lewisohn Collection. Until its sale in November 2019 the bronze was kept in that private collection.

 

50 000 – 100000 EUR


50.  ERNST LUDWIG KIRCHNER (1880-1938)

Le manoir, 1916

 

Huile sur toile signée “E.L. Kirchner” en bas à droite, cachet Estate Be/Ab2 au verso avec inscription “Ste… Nachlass E.L. Kirchner Be/Ab2”.

Dimensions : 46,5 x 38,5 cm

Provenance :
– Collection privée d’Ernst Ludwig Kirchner,
– Galerie R.N. Ketterer, Campione 1964,
– Sotheby’s New-York, 14 mai 1980,
– Collection Friedrich Wilhelm Waffenschmidt, Cologne-Monaco.

Exposition :
Galerie Ketterer, Campione 1964, catalogue n°64 avec photo couleur en illustration.

Litterature :
– Gordon, Donald E.: Ernst Ludwig Kirchner. Mit einem kritischen Katalog sämtlicher Gemälde, Munich 1968, WVZ.-Nr. 468 with b/w ill.
– Album des Künstlers Nr. II, Ernst Ludwig Kirchner Archiv, Wichtrach, Foto Nr. 113 (unpublished)

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Mansions, 1916
Oil on canvas signed lower right E. L. Kirchner. Verso with Estate stamp: Be/Ab2. Also inscribed on stretcher: Ste… Nachlass E.L. Kirchner Be/Ab2.

Dimensions: 46.5 x 38.5 cm

Provenance:
– Estate Ernst Ludwig Kirchner
– Galerie R. N. Ketterer, Campione (1964)
– Sotheby’s New York, 14th May 1980, lot 230
– Collection Friedrich Wilhelm Waffenschmidt, Cologne / Monaco (Waffenschmidt was founder of SATURN, a business like FNAC)

Exhibition:
– Gallery R.N. Ketterer, Campione 1964, Cat. no. 54 with color illustration

Literature:
– Gordon, Donald E.: Ernst Ludwig Kirchner. Mit einem kritischen Katalog sämtlicher Gemälde, Munich 1968, WVZ.-Nr. 468 with b/w ill.
– Album des Künstlers Nr. II, Ernst Ludwig Kirchner Archiv, Wichtrach, Foto Nr. 113 (unpublished)


German expressionist painter born in Bavaria, he is one of the founders of the association “Die Brüke”. Ernst Kirchner studied architecture at the Technical University of Dresden where he met Fritz Bleyl, then Erich Heckel and Karl Schmidt-Rottluff. The four of them founded the group Die Brücke (The Bridge) in 1905, whose program was drawn up in 1906 and exhibitions of paintings and engravings took place from that date. These artists do not claim any influence, even if Kirchner discovers the concept of “rapid drawing” in other contemporary painters and refers to the German Middle Ages, the drawings of Rembrandt and Japanese Art.

Due to health problems, lung disease and depression, aggravated by the consumption of alcohol and narcotics, Kirchner made several stays in a sanatorium, some of the walls of which he decorated (Königstein im Taunus in Hesse). In 1916, he was the victim of a car accident and he moved to Davos to paint many landscapes there.

In 1937, the Nazis declared his art degenerate and many of his paintings were destroyed.

 

150 000 – 300000 EUR


51.  ANTUM AUGUSTINCIC (1900-1979)

Moïse et les Dix Commandements

 

Sculpture en bronze à patine vert sombre reposant sur une base en marbre. Signée.

Provenance : Collection Gluck, Zagreb.

Notes : Modèle pour la tombe de Gluck, une sculpture en pierre sera érigée en 1932 et retirée en 1952.

Dimensions : h. 20 cm
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Moses with the 10 Commands, Bronze with dark-green patina on a marble base. Lifetime cast. Signed.

Total height: 20 cm

Provenance : Collection Gluck, Zagreb. Notes : Modello for the tomb of the Glucks, a sculpture in stone was erected in 1932, and in 1952 removed.

Croatian artist born in Klanjec, he studied sculpture at the College of Arts and Crafts in Zagreb under the direction of Rudolf Valdec, Robert Franges and Ivan Meštrović. After receiving a scholarship, he went to Paris to the School of Decorative Arts and perfected his skills with Injalbert. Influenced by Donatello, Michelangelo and Bourdell, he made his debut in 1925 at the Salon des Artistes Français then at the Salon des Indépendants.

From the 1930s, he intensified his commitment to the development of public monuments and quickly acquired a reputation as a master in this field, earning him the status of state sculptor. In 1970, he will donate all his works to his hometown of Klanjec, they will be exhibited from 1976 the Antun Augustincic Gallery.

 

1 800 – 2200 EUR


52.  PIERRE AUGUSTE RENOIR (1841-1919)

Portrait d’un jeune enfant, ca 1900

 

Huile sur toile signée de l’initiale “R” en bas à droite. Inscription sur le châssis “Galerie du Faubourg” avec adresse.
Dimensions : 12 x 11,5 cm

Provenance :
– Collection Ingrid Petterson, Suisse en 1982,
– Collection privée Suédoise,
– Collection Privée du Sud de la France

Œuvre reprise au Catalogue Raisonné de Wildenstein Plattner Institute New York.
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Portrait of a young child, ca 1900. Oil on canvas signed with an “R” lower right. Inscription on the back “Galerie du Faubourg” with an address.
Provenance :
– Ingrid Petterson collection, Switzerland 1982,
– Private collection, Sweden,
– Private collection, South of France

In Catalogue Raisonné by Wildenstein Plattner Institute, New-York.

 

50 000 – 100000 EUR

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