The Gallery Collection

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6 6 S T . J A M E S ’ S S T R E E T , L O N D O N S W1A 1 N E , U K

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THE GALLERY COLLECTIONI M P R E S S I O N I S T / M O D E R N / C O N T E M P O R A RY

St e r n P issa r ro G a l l e r y

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CAMILLE PISSARRO (1830 –1903)

Le Ru de Montbuisson, Louveciennes Oil on canvas46 x 55.5 cm (181⁄ 8 x 217⁄ 8 inches)Signed lower right, C. PissarroPainted circa 1869

Provenance Alfred Daber, Paris The Lefevre Gallery (Alex Reid & Lefevre), London (acquired from the above in 1950)Robert Morley, London (acquired from the above in 1951)Annabel Morley, London Dr. W. Eisenbeiss, Zurich Private Collection, USA

ExhibitedLondon, The Lefevre Gallery (Alex Reid & Lefevre), Géricault to Renoir, 1951, no. 23 London, The Lefevre Gallery (Alex Reid & Lefevre), XIXth and XXth Century FrenchPaintings and Drawings, 1960, no. 29

LiteratureChristopher Lloyd, Pissarro, London, 1992, no. 8 Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique despeintures, vol. II, Paris, 2005, no. 136, illustrated p. 127

Louveciennes was merely seventeen kilometers outside Paris yet, with its idylliclandscape and unobstructed views, it was a favourite destination for Pissarro andseveral of his contemporaries, including Renoir, Monet and Degas. Indeed, Pissarro’searly paintings from Louveciennes are not only among the most important works of hiscareer, they are also among the very first truly Impressionist compositions ever painted.It was in the wake of this period in the artist’s career that critic Armand Silvestre referredto him as “basically the inventor of this painting,” while Paul Cézanne proclaimed morethan thirty years later that Pissarro was in fact “the first Impressionist” (as quoted inRalph E. Shikes & Paula Harper, Pissarro, His Life and Works, 1980, p. 78).

Le Ru de Montbuisson, Louveciennes offers superb evidence of the artist’s earlyImpressionist approach and, in its virtuosic adaptation of subtle tonal relationships, itreveals Pissarro’s profound understanding of the effects of light on color. Meanwhile itspainterly surface exemplifies the artist’s characteristic brushstroke, which during thisperiod was precise and tightly clipped; even in the dim and atmospheric backdrop of aclouded sky one can observe the premeditated significance of each stroke .

CAMILLE PISSARRO (1830–1903)

Juin, Temps Pluvieux, Eragny Oil on canvas 66.7 x 82.7 cm (261⁄ 4 x 321⁄ 2 inches)Signed and dated lower right, C. Pissarro 98

ProvenanceR. and C. Gérard Frères, Paris (circa 1930); sale, Crédit municipal, Paris, 20 March 1933Otto Zieseniss, Paris (by 1934)Louise Zieseniss, Paris (by descent from the above, 1938)Private collection, Paris (by descent from the above, until 1962)Wildenstein & Co., Ltd., London (acquired from the above)Clive Runnells, Chicago (acquired from the above)Bequest from the above to the Art Institute of Chicago, 1963Sold by the Art Institute of Chicago

ExhibitedParis, Musée de l’Orangerie, Centenaire de la naissance de Camille Pissarro, February-March 1930, no. 95New York, Wildenstein & Co. Inc., Olympia’s Progeny, October-November 1965, no. 71Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June-August1980, no. 26Tokyo, Isetan Museum of Art; Fukuoka Art Museum and Kyoto Municipal Museum of Art,Rétrospective Camille Pissarro, March-July 1984, no. 59Tokyo, The Seibu Museum of Art and Fukuoka Art Museum, The Impressionist Tradition:

Masterpieces from the Art Institute of Chicago, October 1985-April 1986, no. 58Nagaoka, Niigata Prefectural Museum and Nagoya, Aichi Prefectural Museum ofArt, Masterpieces of Modern Art from the Art Institute of Chicago, June-September1994, no. 18

LiteratureF. Neugass, “Camille Pissarro” in Deutsche Kunst und Dekoration, December1930, p. 161 (illustrated)L.R. Pissarro and L.Venturi, Camille Pissarro, son art-son oeuvre, Paris, 1939, vol. I, p. 228, no.1055 (illustrated, vol. II, pl. 212) C. Kunstler, Pissarro, villes et campagnes, Lausanne, 1967, p. 49 (illustrated incolour, pl. 23)C. Lloyd, Camille Pissarro: Towards a Reassessment in Art International, 1985, p. 65 (illustrated)R. Brettell, French Impressionists, New York, 1987, pp. 112 and 118 (illustrated in colour, p. 115)Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critiquedes peintures, Paris, 2005, vol. III, p. 759, no. 1214 (illustrated in colour)

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Vachère dans une ClairièreGouache on card25 x 21 cm (97⁄8 x 81⁄ 4 inches)Signed and dated lower left, C. Pissarro 1890

ProvenancePrivate Collection, France

The work will be included in the forthcoming Catalogue critique des pastels et gouaches de Camille Pissarro being prepared by Joachim Pissarro and Claire Durand-Ruel Snollaerts under the sponsorship of the Institute Wildenstein.


Entrée du Village d’EragnyOil on canvas46.5 x 38 cm (181⁄ 4 x 15 inches)Stamped lower right, C. P. Circa 1884

ProvenanceFrankhauserGalerie Rousso, Paris (c.1948)Acquired in the 1950s by a Private Collection, FranceGalerie Pierre Levy, ParisPrivate Collection, France

ExhibitedLondon, Marlborough Fine Art, French Masters of the XIX & XX century, June 1950, no. 52

LiteratureJoachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro, Critical Catalogue of Paintings, 2005, no. 753, Vol. III, p. 501

Ludovic-Rodo Pissarro knew of this painting and it is mentioned in the documents for the supplement to his 1939catalogue raisonne of his father’s works.


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Le Chemin, Paysage HivernalOil on canvas37.5 x 28.5 cm (143⁄ 4 x 111⁄ 4 inches)Signed and dated lower right, C. Pissarro 1862

ProvenanceMme Feyeux, ParisBénézit Collection, Paris E.J. van Wisselingh, Amsterdam (bought 1952) Private Collection, New York (bought from E.J. Wisselingh 1955)Private Collection, Paris

ExhibitedAmsterdam, E.J. van Wisselingh & Co., Maîtres Français des XIX et XX Siècles, June-July 1952, Cat. no. 25

LiteratureJoachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro, Critical Catalogue of Paintings, 2005, no. 63, vol.II, page 74


Lisière du BoisOil on canvas25.5 x 37 cm (10 x 149⁄ 16 inches)Signed and dated lower left, C. Pissarro 67

ProvenanceGalerie Romanet, ParisPrivate Collection, Switzerland

LiteratureJoachim Pissarro and Claire Durand-Ruel Snollaerts (Wildenstein Institute), Pissarro, Critical Catalogue of Paintings, 2005, no. 113, Vol. II, p. 105


1716

ALBERT LEBOURG (1849–1928)

Bord de Seine à la BouilleOil on canvas46 x 85 cm (181⁄ 8 x 331⁄ 2 inches)Signed and inscribed lower left, a. Lebourg la Bouille

ALBERT LEBOURG (1849–1928)

Village et Promeneurs en Bord de SeineOil on canvas39.5 x 72.5 cm (151⁄ 2 x 281⁄ 2 inches)Signed lower left, a. Lebourg

detail

detail


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ARMAND GUILLAUMIN (1841–1927)

La Roche de l’Echo, Creuse, 1895Oil on canvas73 x 92 cm (283⁄4 x 361⁄8 inches)Signed lower right, Guillaumin

HENRY MORET (1856 –1913)

Le FaucheurOil on canvas60.7 x 73.2 cm (237⁄ 8 x 287⁄ 8 inches)Signed lower left, Henry Moret

ProvenancePrivate Collection, France (acquired circa 1930s)By descent to the present owner

This work will be included in the forthcoming Henry Moret catalogue raisonné currently in preparation by Jean-Yves Rolland and is accompanied by a certificate of authenticity from him dated 18th June 2012

ProvenancePrivate CollectionArthur Tooth & Sons Ltd, London Private Collection, Sydney

ExhibitedAustralian Historical and Contemporary Paintings, Drawings and Sculpture

LiteratureEdouard des Couneres, Armand Guillaumin, Paris 1924, p. 61 Georges Senet et Dominique Fabiani, Armand Guillaumin: Catalogue Raisonné del’œuvre Peint, 1971, no. 346

This work will be included in the second volume of the catalogue raisonné currently in preparation by the Comité Guillaumin.


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HENRI MANGUIN (1874–1949)

Toulon, Les AvisosOil on canvas46 x 61 cm (181⁄8 x 24 inches)Signed lower left, ManguinPainted circa 1926

ProvenanceAcquired from the artist by Marcel Bernheim, Paris in February 1927

LiteratureLucile et Claude Manguin, Marie-Caroline Sainsaulieu, Henri Manguin, Catalogue Raisonné de l’Œuvre Peint, éd. Ides et Calendes, Neuchâtel 1980,no. 851, illustrated. p. 282

HENRI MANGUIN (1874–1949)

Le Barrage de SuresnesOil on canvas60 x 73 cm (235⁄ 8 x 283⁄ 4 inches)Signed lower left, Manquin

ProvenanceAcquired from the Artist in 1939 by Léon Madlyn and has remained in the family since then

LiteratureLucile et Claude Manguin, Marie-Caroline Sainsaulieu, Henri Manguin, Catalogue Raisonné de l’Œuvre Peint,éd. Ides et Calendes, Neuchâtel 1980, no. 1102, illustrated. p. 346


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GEORGES D’ESPAGNAT (1870 –1950)

Bouquet dans un Pot RougeOil on canvas 41 x 33 cm (161⁄8 x 13 inches)Signed with initials, upper left

MAURICE DE VLAMINCK (1876–1958)

Vase de FleursOil on canvas56.2 x 38.4 cm (213⁄ 4 x 151⁄ 8 inches)Signed lower left, Vlaminck

This work will be included in the forthcoming catalogue critique of Maurice de Vlaminck’s paintings, drawings and ceramics being prepared by Maïthé Vallès-Bled and Godeliève de Vlaminck under the sponsorship of theWildenstein Institute and is accompanied by a letter from the Wildenstein Institute dated 21st March 2005.


24 25

PIERRE MONTÉZIN (1874 –1946)

Paysage aux VachesOil on board41 x 54 cm (161⁄ 8 x 211⁄ 4 inches)Signed lower right, P Montezin

This work is accompanied by a certificate from Cyril Klein-Montézin, the artist’s grandson, issued on 14th June 2006,certificate no. 485.

MAXIMIL IEN LUCE (1858 –1941)

Printemps Saint-Ay de la Loire, circa 1910Oil on canvas64.8 x 50.5 cm (251⁄ 2 x 197⁄ 8 inches)Signed lower right, LuceInscribed as titled on the stretcher

ProvenanceHammer Galleries, New York Private collection, New York

ExhibitedParis, Galerie Dru, M. Luce, Apr. 11-30, 1921, no. 36 (as La Loire a Saint-Ay), possibly

LiteratureJean Bouin-Luce, Denise Bazetoux, Maximilien Luce: Catalogue Raisonne de l’œuvre Peint, Paris, 1995,

vol. 3, p. 177, no. 745, illus


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JEAN DUFY (1888 –1964)

Paris, La Tour Saint-JacquesWatercolour44 x 55 cm (173⁄ 8 x 215⁄ 8 inch)Signed and dated 1922

This work is accompanied by a copy certificate from Jacques Bailly dated 10th March 2010 and will be included in Vol. III of the catalogueraisonné currently in preparation.

GUSTAVE LOISEAU (1885–1935)

Le Pont Henri IV – ParisOil on Canvas54.2 x 65 cm (213⁄ 8 x 255⁄ 8 inches)Signed lower right, G. LoiseauPainted in 1918

ProvenanceGalerie Art-Mel, Paris


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MARC CHAGALL (1887–1985)

Etude pour la Nuit de VenceIndian ink, oil and on canvasboard on plywood28.4 x 34.8 cm (113⁄16 x 1311⁄16 inches)Stamped lower left, Marc Chagall Executed circa 1952-56

ProvenanceCollection of the artist. Timothy Yarger Fine Art, Beverly Hills, California

This work is accompanied by a replacement photo-certificate of authenticity from the Comité Chagall.

T H E G A L L E R Y C O L L EC T I O N

S C H O O L O F P A R I S

C U B I S M

C O N T E M P O R A R Y


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Les Amoureux aux Fruits ou Deux TêtesInk wash, gouache, pastel, India ink and black crayon on paper 65.7 x 51 cm (257⁄ 8 x 201⁄ 8 inches)Signed and dated lower right, Marc Chagall 1950

This work is accompanied by a photo-certificate of authenticity from the Comite Chagall, dated 5th April 2013.


La Cruche aux Fleurs et Fruits, 1929Gouache and ink on paper67.1 x 51.8 cm (263⁄8 x 203⁄8 inches)Signed lower right, Marc ChagallPainted circa 1980

ProvenancePerls Galleries, New YorkGalerie de l’Elysée, Paris (Alex Maguy) Thence by descent to the present owner

This work is accompanied by a photo-certificate of authenticity from the Comité Chagall, dated 21st April 2013.


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MOISE KISLING (1891–1953)

Paysage de ProvenceOil on canvas46 x 55 cm (181⁄8 x 215⁄8 inches)Signed lower left, Kisling Painted in 1919

This work is accompanied by a certificate of authenticity from Jean Kisling, the Artist's son, and will be includedin the forthcoming catalogue raisonné currently being prepared by him and Marc Ottavi.

LOUIS MARCOUSSIS (1878 –1941)

La Seine et la Tour Eiffel, Vue d’un BalconOil on canvas33 x 66 cm (131⁄ 2 x 261⁄ 4 inches)Signed lower left, MarcoussisPainted in 1925

ProvenanceThe Artist’s StudioAlice Halicka, Paris (Madame Louis Marcoussis, by descent)Blanche Fabry Tézé, New York

ExhibitedParis, Galerie Pierre, Peintures, gouaches et fixés de Louis Marcoussis, April-May 1925, no. 20

This work is accompanied by a certificate of authenticity from Alice Marcoussis (née Halicka), the artist’s wife, dated July 3rd 1973.


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HENRI HAYDEN (1883– 1970)

Vue d’un VillageOil on canvas65 x 92 cm (25 x 36 inches)Signed and dated lower left, Hayden 1921Inscribed verso, Hayden V-1921

HENRI HAYDEN (1883–1970)

Nature Morte à la Bouteille de Bass et à l’as de TrèfleOil on canvas54 x 65 cm (211⁄ 4 x 25 5⁄8 inches)Signed lower right, HaydenPainted in 1919

Provenance E.J. van Wisseling and Co., AmsterdamLucienne Rosenberg, ParisPrivate Collection, ParisPrivate Collection, California

This work is accompanied by a certificate of authenticity from Pierre Célice dated 29 July 2011.

ProvenanceHirschl & Adler, New YorkRoland, Browse & Delbanco, London (acquired from the above in 1962)Acquired from the above by the present owner in 1968

To be included in the forthcoming Hayden Catalogue Raisonné being prepared by Pierre Célice

This work is accompanied by a certificate of authenticity from Pierre Célice dated 4th May 2011.


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CLAUDE VENARD (1913–1999)

Tour EiffelOil on canvas117 x 89 cm (461⁄ 8 x 35 inches)Signed lower right, C. VENARD

CLAUDE VENARD (1913–1999)

King and QueenOil on canvas135 x 165 cm (531⁄ 8 x 65 inches)Signed lower left, C. VENARDPainted circa 1965


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MAURICE UTRILLO (1883 –1955)

Château de Nangis (Seine-et-Marne)Gouache on paper34 x 50 cm (133⁄8 x 195⁄8 inches)Signed lower right, Maurice, Utrillo, V,Inscribed lower left, Château de Nangis (Seine-et-Marne)

ProvenanceGalerie Moos, Genf 1935Private Collection, Basel

MAURICE UTRILLO (1883 –1955)

Rue de BanlieueOil on card, laid on panel44.8 x 58.5 cm (173⁄8 x 23 inches)Signed lower right, Maurice UtrilloPainted circa 1914

ProvenancePrivate Collection, France

LiteratureJean Fabris & Cédric Paillier, L’Œuvre Complet de Maurice Utrillo, Association Maurice Utrillo éditeur, Paris, 2009, p. 379, no. 315 under the title Rue de Banlieue

Authenticity of this work has been confirmed by Gilbert Pétridès and Jean Fabris.


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MOISE KISLING (1891–1953)

Still LifeOil on canvas40.5 x 33 cm (16 x 13 inches)Signed lower left, Kisling

ProvenanceC. Guichardaz, ParisPrivate Collection, United Kingdom

LiteratureJean Kisling, Kisling 1891-1953, Turin 1982, Vol. II, no. 28

This work is accompanied by a certificate of authenticity from Jean Kisling dated 5th December, 1990.

OSSIP ZADKINE (1890 –1967)

The Three GracesWatercolour on paper62 x 45 cm (241⁄2 x 133⁄4 inches)Signed and dated lower right, O. Zadkine 28


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FERNANDO BOTERO (b.1932)

Woman with Red Bow and DogMixed media on paper41 x 30.5 cm (161⁄ 8 x 12 inches)Signed and dated lower right, Botero 08

This work is accompanied by a certificate of authenticity from the artist.

FERNANDO BOTERO (b.1932)

Venus, 2003Oil on canvas100 x 75 cm (393⁄ 8 x 291⁄ 2 inches)Signed and dated lower right, Botero 08

This work is accompanied by a certificate of authenticity from the artist.


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LÉOPOLD SURVAGE (1879 –1968)

Homme et OiseauCasein and pencil on panel55 x 45.5 cm (215⁄8 x 177⁄8 inches)Signed and dated lower right, Survage 45

ProvenanceGalerie Françoise Friedrich, Cologne.Acquired from the above by the present owner in 1980

Eric Brosset has confirmed the authenticity of this work.

FÉRNAND LEGER (1881–1955)

Etude pour Gaz de FranceMixed media and gouache on paperSheet size: 39.5 x 48.5 cm (151⁄2 x 191⁄8 inches)Monogram stamp, F.L.

This work is accompanied by a photo certificate from Iris Hansma, Paris, October 4th 2012.

On the verso of the work, certificate of authenticity from the artist’s widow, Nadia Léger, with another on verso of framefrom the Fondazione Pagora di Legnano, 1st October 1972.


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DAMIEN HIRST (b.1965)

Beautiful Cannibalistic Electofetish Fighting in the Lava Beds Who Got My Eyeball?Paper Spin Painting (with butterflies)

Butterflies and acrylic on paperDiameter: 71.1 cm (28 inches)Signed lower centreExecuted in 2008

ProvenancePrivate Collection, London

This work has been authenticated by the Hirst Authentication Committee, London.

ALEXANDER CALDER (1898 –1976)

La NoceGouache on paper57 x 77 cm (221⁄2 x 303⁄8 inches)Signed and dated lower right, Calder 74

ProvenanceGalerie Adrien MaeghtPrivate Collection, Paris

This work is registered in the archives of the Calder Foundation, New York, under registration Number A25116.


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JEAN MICHEL ATLAN (1913 –1960)

Sans TitreOil on canvas81 x 54 cm (455⁄8 x 283⁄4 inches)Signed lower right, Atlan

ProvenancePrivate Collection, Lille

LiteratureJacques Polieri, Atlan, Catalogue Raisonné de l’Œuvre Complet, Paris, 1996, no. 599, p. 332

A.R. PENCK (1923–2012)

The Right PointMixed med on canvas96 x 78.2 cm (373⁄8 x 303⁄4 inches)Signed lower left, A.R. PenckTitled and dated 1993 The Right Point a.r. penck on the upper overlay


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PAUL JENKINS (1923–2012)

Phenomena Winter HarthOil and sand on canvas66 x 122 cm (26 x 317⁄8 inches)Signed, titled and dated on verso, Paul Jenkins “Phenomena Winter Harth” 1978

PAUL JENKINS (1923–2012)

Phenomena A Certain Function HeldAcrylic on canvas100 x 81 cm (393⁄8 x 317⁄8 inches)Signed lower left, Paul Jenkins SSigned, titled and dated on verso, Paul Jenkins 1989 “Phenomena A Certain Function Held”Painted in 1989


5352

JEAN DUBUFFET (1901–1925)

Fruits de Feu du SolOil and collage on paper, laid on canvas61 x 76.2 cm (24 x 30 inches)Signed and dated lower left, J. Dubuffet 59

ProvenanceGalerie de France, ParisGalerie Knoedler, ParisCollection of Docter et Madame Milton Ratner, ChicagoThe David and Alfred Smart Gallery, ChicagoPrivate Collection, France

ExhibitedChicago, University of Chicago, Smart Gallery; Saint Louis, Missouri,Washington University Gallery, Jean Dubuffet, Forty Years of his Art, 1985(illustrated in exhibition catalogue p. 70)Paris, Galerie de France - Galerie Baudoin-Lebon, Dubuffet, Sols et Terrain,1956-1960, January-Mars 1988 (illustrated in exhibition catalogue p. 68)FRAC Auvergne, Jean Dubuffet, Alexandre Viallat: Les Années d’une Amitié,1953-1971, June-September 1991, no. 5 (illustrated in exhibition catalogue)

LiteratureM. Loreau, Catalogue des Travaux de Jean Dubuffet, fascicule XIV:Célébration du sol II, texturologies, topographies, Lausanne, 1970, no. 181(illustré p. 112)M. Loreau, Jean Dubuffet, Délits, Déportements, lieux du haut jeu, Lausanne,1971, p. 277

ANDRÉ MASSON (1896 –1987)

Chute du Reveur (Suite des Entrevisions)Oil on canvas100 x 73 cm (393⁄ 8 x 283⁄ 4 inches)Signed lower right, MassonSigned, titled and dated 1973 on the reverse

ExhibitedParma, Palazzetto Eucherio Sanvitale, André Masson Opere dal 1925 al 1974, no. 65

This work is accompanied by a certificate of authenticity from Diego Masson on behalf of le Comité André Masson dated 21st November 2012.


ZHANG DALI (b. 1963)

AK-47Acrylic on vinyl100 x 80 cm (395⁄ 8 x 311⁄ 2 inches)Signed on the reverse 2011

ZHANG DALI (b. 1963)

AK-47Acrylic on vinyl100 x 80 cm (395⁄ 8 x 311⁄ 2 inches)Signed on the reverse 2011

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