4/05/2021 News Stories & Press Release, Impressionist, Modern & Post War Art
Roseberys London: Roseberys are proud to present the first Impressionist, Modern, Post War & Contemporary Art auction of the year on Wednesday 26 May. This sale will be the first auction to be split into two, Impressionist & Modern Art starting at 11am, and Post War & Contemporary Art starting at 2pm.
Tess O’Brien, Head of sale comments, ‘This year we are delighted to divide the sale into two parts, firstly the Impressionist and Modern section will take place, then the Post War and Contemporary will follow, later in the afternoon. The two different sales have a wide selection of highlights from all genres. In the Impressionist and Modern section, we have a wonderful Private Collection, as well as a rare Lempicka. In the Post War and Contemporary section, we have works from Rotella to Ben Enwonwu; also included in this section is a wonderful Greek collection.’
Leading the highlights within the Impressionist and Modern sale is lot 36, coming with an estimate of £30,000- £50,000. The work on offer is by the Sonia Delaunay, a multi-disciplinary abstract artist and key figure in the Parisian avant-garde. Titled ‘Le Guépard’, created in 1972, this work is no.1918 in the artist's archive and is a preparatory design for the lithograph 'Le Guépard'. This piece, through its depiction of an assemblage of bold geometric shapes in bright, contrasting colours, exemplifies Delaunay’s signature style. Delaunay also produced art across a range of media, focusing particularly on paint and print, and featured this piece, as a gouache design for a lithograph, neatly encapsulates this aspect of the artist’s work. The influence of a number of key artistic movements, to which Delaunay was exposed whilst living in Paris at the beginning of the twentieth century, can all be found featured in the artists work. Delaunay’s interest in using a series of flat, geometric shapes to depict the world around her demonstrates the effect of Cubism on her practice, whilst her use of vivid colour suggests the influence of Fauvism espoused by contemporaries such as Henri Matisse and André Derain. In Delaunay’s work we see a confluence of these styles which has, nonetheless, been transformed into something new and unique at the hand of the artist. Indeed, this work is a key example of the movement, labelled 'Orphism', which was pioneered by Delaunay and her husband Robert Delaunay. Orphism was shaped heavily by the colour theory promoted by Pointillists such as Paul Signac and Georges Seurat, and as such can be understood as an exploration of the concept of vision and perception. This approach in general rejected figurative representation in favour of a focus on form and colour, the effects of which are strikingly evident in this work offered to the market at Roseberys. Delaunay was a central figure in contemporary intellectual and artistic circles, and received recognition for her work within her lifetime. She was a board member of the Salon de Realités Nouvelles, an association of artists with a focus on abstract art established in 1946. She was the first living female artist to have a retrospective at the Louvre, held in 1964, and was awarded the position of Officer of the Legion d’Honneur in 1975. Works by Delaunay are currently held in a number of prestigious international collections, including the Musée National d’Art Moderne in Paris, the Museum of Modern Art in New York, and the Hermitage Museum in St Petersburg.
Following on from this highlight is lot 107, an oil on canvas, measuring 125x89cm, titled ‘Sunset in a forest’ by Russian artist, Julius Sergius von Klever (1850-1924), starting with a price of £13,000. Klever first studied under the German artist Konstantin von Kügelgen before enrolling at the Imperial Academy of Fine Arts in St Petersburg, where his teachers included Sokrat Vorobiev and Mikhail Clodt. His first solo exhibition was held in 1874, at the Imperial Society for the Encouragement of the Arts, also in St Petersburg. This work comes with a provenance from a private collection. James Butterwick, a leading expert in the field of Russian art, has confirmed the authenticity of this work.
Coming with an estimate of £15,000- £20,000, is lot 101, an oil on canvas by Russian artist, Vikentiy Pavlovich Trofimov, (1878-1956). Titled ‘The River Ob’ completed around 1928-29, and measuring 74x94cm, this work was acquired from the family of the artist by a private collection. It was also formerly included within the exhibition, Moscow Branch of The Union of Soviet artists, according to the label on the reverse. Russian painter Vikentiy Pavlovich Trofimov studied at the Stroganof Art School in Moscow, where he became a close friend of fellow painter Ignaty Nivinsky. This work belongs to the artist's Siberian series of works painted in the late 1920s when the artist lived and worked in the city of Omsk as a head of Vrubel Art College. This piece is typical of Trofimov’s work, with his confident application of paint in vibrant blues and greens imbuing the expansive view of water, which is another favourite theme of the artist, with a further sense of vitality and animation. Works by Trofimov are held in the collections of numerous Russian museums, including the State Historical Museum, Tyumen Regional Museum of Fine Arts, the Shchusev Museum of Architecture, and the Voronezh Regional Museum, among others.
Estimated to make between £2,000- £3,000, is lot 37, titled ‘Jade et Coral’ painted in oil on canvas in 1926 by Russian/French artist Serge Charchoune, (1889-1975). Charchoune studied at the Moscow Academy of Art before travelling to Paris in the early 1900s, where he studied under Henri Le Fauconnier. It was here that Charchoune was introduced to Cubism, the influence of which can be seen in the geometric abstraction of much of his work, including in this piece. He lived in Barcelona during WWI, where he met the artists Marie Laurencin, Francis Picabia and Albert Gleizes, after which he joined, and quickly became a leading figure of, the Dada movement. Charchoune was, therefore, involved in some of the central artistic developments of the early twentieth-century Europe. Charchoune’s work is in the collections of the Museum of Modern Art in New York, Centre Georges Pompidou, and the Moscow Museum of Modern Art. Retrospectives of his work have been held at the Pompidou, the Russian Museum in St Petersburg, and the Pushkin Museum in Moscow. This work comes with a provenance from Drouot-Richelieu, Paris, 15 December 2008, lot 187; Aktis Gallery, London, where purchased by a Private Collector in 2012; thence by decent.
Another work on offer by a Russian/French artist is lot 32. Coming with an estimate of £2,000- £3,000 is work by the artist Leopold Survage (1879-1968). Titled ‘Composition à l'oiseau’ this work comes with a provenance from Cornette de Saint-Cyr, Paris, 22 November 1998, lot 55; Artcurial, Paris, 6 December 2005, lot 50; Pillon, Paris,12 March 2006, lot 231, Private Collection, London.
An oil on board, measuring 13x17.5cm, painted in 1909, depicting the Notre Dame, by French artist Henri le Sidaner, (1862-1939) comes with an estimate of £6,000- £8,000 in the sale. This work will be included in the forthcoming supplement to the Le Sidaner Catalogue raisonné being prepared by Yann Farinaux-Le Sidaner. A certificate of inclusion from Yann Farinaux-Le Sidaner dated 2002 accompanies this lot. This oil is a characteristic piece by the French artist Henri le Sidaner. Le Sidaner was a contemporary of the Post-Impressionists and established an artist’s colony with Eugène Chigot in Étaples, where painters such as Eugene Boudin, Gerard Barry, and Frank O’Meara were also working. This work is a classic example of Le Sidaner’s instantly recognisable style, whilst also demonstrating the range of artistic movements which influenced his work. This painting’s subject-matter, of the hazy city view incorporating the play of light on the river, displays a strong affinity with the work of the Impressionists, recalling in particular the work of Claude Monet, who was similarly preoccupied with the impact of the changing light on the appearance of a scene. Le Sidaner’s technique, which is exhibited so strikingly in this piece, also reveals the influence of Impressionism and Pointillism on his artistic approach. His confident application of bold, unblended brushstrokes and his embrace of painting en plein air displays the influence of Georges Seurat and Édouard Manet, among others, on his practice. Le Sidaner’s paintings are in a number of prominent collections across the world, including the National Gallery of Art in Washington D.C., the Tate Gallery in London, the Chicago Art Institute and the Musée d’Orsay in Paris. This work comes with a provenance from Tajan, Paris, 2 December 2002, lot 56; Sotheby's, Olympia, 20 March 2003, lot 42; Private Collection, London; thence by descent.
Elsewhere in the sale entered onto the market with an estimate of £8,000- £12,000 is lot 14, by another French artist, Gaston La Touche (1854-1913). Titled ‘Maternité’ this oil on cradled panel measuring 76 x 80cm is dated back to 1910. This piece is a wonderful example of the work of the 19th-century French painter Gaston La Touche. The subject-matter of this painting, as an intimate depiction of a maternal scene, recalls the work of seventeenth-century European genre painters, whilst its execution displays the influence of artists such as Jean-Antoine Watteau and François Boucher. La Touche’s style also exhibits the influence of the Impressionist movement which was developing around him, as is evident in the free and loose application of paint, imbuing the scene with a sense of spontaneity and informality which is evident throughout much of the artist’s work. Despite combining these influences, this work exhibits La Touche’s own unique and instantly recognisable style which is evident, for example, in his liberal use of vibrant yellow tones in the window. Interestingly, the chair in which the mother is depicted as sitting in is still in the family's collection. La Touche was a member of the Societé National des Beaux Arts and the Societé des Artistes Francais, and was awarded the Legion d’honneur in 1900. His works are in prestigious collections around the world, such as the Musée d’Orsay in Paris, the Art Institute in Chicago, and the Art Gallery of New South Wales, Sydney. A particularly impressive example of La Touche’s work is on display at the Royal Pavilion in Brighton. We are grateful to Roy Brindley and Selina Baring Maclennan for their assistance in cataloguing this lot, which is to be included in the forthcoming catalogue raisonné currently in preparation. This painting comes with a provenance from a private collection in Paris, and was purchased from Alon Zakaim in London by the present owner.
Entered onto the market at £3,000- £4,000 is lot 35, a work by Polish artist Tamara de Lempicka (1898-1980). Measuring 23.6x14.4cm the graphite and wax crayon on paper titled ‘Composition Abstraite’ was done in 1923. Tamara de Lempick was a central figure in the Art Deco movement which developed in the early twentieth century. One of her most famous paintings is her self-portrait in a green Bugatti, which remains one of the defining images of the 1920s. Lempicka lived and worked in Paris in the 1920s and was therefore connected with the many artistic developments which were taking place in the city. Works such as this piece, in particular, illustrate the strong influence of the Cubism on Lempicka’s style, through its depiction of abstract forms with clean lines and sharp angles. This work comes with a provenance from Barry Friedman Ltd, New York; Robert Sandelson, London; Private Collection, London; thence by descent. It is included within the literature of Alain Blondel, 'Tamara de Lempicka, Catalogue Raisonné 1921-1979', Lausanne, 1999, no.A.16 p.432.
Lot 40 by twentieth-century Italian artist Giorgio Morandi (1890-1964) titled ‘Natura Morta (recto/verso)’ is another highlight on offer within the auction. The work in pencil, created in 1962, measures 24x33cm and come with an estimate of £6,000- £8,000. Despite studying the work of Italian masters whilst at the Academy of Fine Arts in Bologna, Morandi was most strongly influenced by that of later French artists, such as Paul Cezanne, Pablo Picasso, and Andre Derain. The impact of these artists on Morandi is instantly evident from his work, which almost exclusively consisted of still life. This piece exhibits all of the most recognisable features of Morandi’s work, including his tendency to strip back his representation of the objects around him to their most basic forms, imbuing his pictures with a meditative simplicity, and revealing his role as a significant precursor of the Minimalist movement. Morandi was awarded the first prize for painting at the 1948 Venice Biennale, followed by the grand prize at the 1957 Sao Paolo Biennale. Exhibitions of Morandi’s work have been held at the Peggy Guggenheim Museum, the Metropolitan Museum of Art in New York, and the Centre for Fine Arts in Brussels. His work is currently held at the Fitzwilliam Museum in Cambridge, the Scottish National Gallery of Modern Art in Edinburgh, and the Museum of Modern Art in New York. This work came from a private collection, Bologna; Sotheby's, London 26th October 1994, lot 36; Private Collection, London. It is included within the literature of Efrem Tavoni, 'Morandi Disegni. Catalogo generale', Milan: Electa, 1994 p. 227, no. 1962/69.
Estimated to make £8,000- £12,000 is lot 2, work by French artist Maximilien Luce, (1848-1941), who was an important figure in the Neo-Impressionist movement. Titled ‘Le repos du labour, Méréville,’ the oil on board, measuring 33x51cm was painted in 1898. Luce trained in a range of practices, including woodcut engravings, before eventually focusing on oil painting. Luce was connected with a number of significant figures in the artistic landscape of contemporary France, training under Carolus-Duran, and becoming friends with artists such as Émile-Gustave Cavallo-Péduzzi and Léo Gausson. His work gained a number of supporters amongst his fellow artists, including Paul Signac, Félix Fénéon, and Camille Pissarro. Much of Luce’s work exhibits many of the characteristics of Pointillism, with Luce’s thinking having been heavily influenced by the Divisionist colour theories of Georges Seurat. Luce’s work was exhibited during his lifetime and after his death. Seven of his works were exhibited at the third Salon des Indépendents in the late nineteenth century, whilst a memorial exhibition of his work was held at the Bibliothèque Nationale de France in 1941. His work is held in a number of internationally significant collections, including the Chicago Art Institute, the Metropolitan Museum of Art in New York, the Musée d’Orsay in Paris, and the Thyssen-Bornemisza Museum in Madrid. It comes with a provenance from the Atelier of the artist; Collection of Frédéric Luce; Private Collection, Paris; Beaussant-Lefevre SARL, Paris, 12 April 2019, lot 167; Private Collection, London.
Lot 41 by renowned Spanish artist Joan Miró, (1893-1983), ‘Sans titre (letter)’ a crayon and coloured ink created in 1963, measuring 27.8x22cm comes with an estimate of £8,000- £12,000. This lot is accompanied with a certificate of authenticity from ADOM. This piece is one of two drawings in the sale by the Spanish artist Joan Miró. In 1920, after studying at art in Spain, Miró moved to Paris to join the bustling artistic community at Montparnasse, where he was witness to the development of Surrealism, Fauvism, and Cubism. Although he has been associated with these movements, which had a clear and unmistakeable influence on his work, Miró did not officially align himself with any of these movements. Instead, he combined elements from all of these approaches to develop his own unique style which defies any straight-forward attempt at categorisation. This can be seen clearly in this piece, which is a great example of Miró’s approach, with its rejection of formal representation or any obvious subject-matter, its interest in the exploration of shapes and colour, and it’s almost naïve flatness. Miró’s work has been exhibited throughout his lifetime and continues to be the subject of large-scale shows today. His first solo exhibition in Paris was held at Galerie la Licorne in 1921, whilst his presence on the American art scene was ensured by his representation by the Pierre Matisse Gallery in New York. His work was included in the Homage to Surrealism exhibition, which was held in 1959, alongside the art of contemporaries such as Salvador Dalí, Enrique Tabará, and Eugenio Granell. The largest retrospective of Miró was held at the Grand Palais in Paris in 2018, whilst two museums dedicated to the artist’s work, in Palma de Mallorca and Barcelona, have been established. This lot comes with a provenance from the Nicholas Gallery in Belfast; Private Collection; Morgan O'Driscoll, Dublin, where purchased by the present owner.
View the fully illustrated catalogue here
Wednesday 26 May, 11am
Viewing by appointment only contact email@example.com to book a time slot.
We will be facilitating time slot appointments of one hour each.
When making your booking please provide a contact telephone number and the number in your party up to a maximum of 2 people.
Sunday 23 May 10.00 am – 2.00 pm (Last appointment slot is 1.00 pm)
Monday 24 May 9.30 am – 5.00 pm (Last appointment slot is 4.00 pm)
Tuesday 25 May 10.00 am – 5.00 pm (Last appointment slot is 4.00 pm)
Please contact firstname.lastname@example.org for condition reports and further information.
Select your interests to receive news and catalogue updates.