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Lot 583
After John Kay (1742 - 1826); 'Petticoat Government', coloured print, 18cm x 13.5cm, after Rowlandson Delin; Man on horseback conversing with a Lady, monochrome print, 22cm x 18.5cm, a C20th French boudoir scene, mezzotint, 31.5cm x 14.5cm and a still life of flowers in a vase, oil on board, 18cm x 14cm (4)
Lot 11
LÉONARD TSUGUHARU FOUJITA (1886-1968)Maternité signed and inscribed 'Foujita Paris' (lower right)gouache, watercolour, brush, pen and India ink and gold leaf on paper23 x 17.5cm (9 1/16 x 6 7/8in).Executed circa 1957Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenanceGalerie Claude Bernard (1957).Private collection.Anon. sale, Christie's, New York, 15 November 1990, lot 147.Sayegh Collection, France.Acquired by the present owner (2020).ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'École de Paris, 10 April - 23 June 1991, no. 47 (later travelled to Tokyo; titled 'Mère et Enfant').LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 57.92 (illustrated p. 458).Léonard Tsuguharu Foujita may not have converted to Catholicism until 1959, but he took an early interest in painting ecclesiastical subjects from 1917. Maternité was executed circa 1957 and shows the artist's understanding of this traditional religious subject as an intimist and tender depiction of a mother and a child. Born in Japan into a high-ranking Samurai family, Foujita was attracted to Western culture and France in particular at a very early age. As Sylvie Buisson explains, Foujita's love affair with France began very early in Tokyo whilst stood in front of a painting by Claude Monet. As a child, he would also be fascinated by the church that was located on his school path. At school, he studied French with the Marianist brothers, a Catholic branch that looked to the Madonna as a model of faith and spirituality and emphasised the importance of Jesus not only as the Son of God, but as the Son of Mary. A monumental sculpture of the Virgin Mary was placed in the courtyard that he passed daily. Foujita arrived in Paris in 1913 and quickly became a key figure of the bohemian art scene, meeting painters, sculptors and writers of the Montmartre and the Montparnasse districts. Along with his peers Picasso, Soutine, Kisling, Zadkine, van Dongen and Modigliani, he was one of the main figures of the first École de Paris. This term, coined by the art critic André Warnod in 1925, refers to the group of avant-garde artists who came to exercise their talents in the capital between 1905 and 1930. Although all the artists in this movement had their own particular style, they came together around the idea of developing artistic modernity. Foujita's success was almost immediate and his originality soon charmed the public at the Galerie Chéron and Galerie Paul Pétrides. Through meetings in Parisian bars and cabarets he was introduced to the Tout-Paris, the fashionable and affluent elite of the city, and became a well-known figure of this bustling and fascinating milieu of the interwar years. Foujita later returned to Japan to act as an official painter of the Imperial Army during the Second World War. His work was criticised by some of his peers for being war propaganda, but he remained appreciated and protected by wealthy patrons who enabled him to return easily to Paris in the 1950s, accompanied by Kimiyo, his new wife. This was the start of a new era for Foujita, who settled once again in Montparnasse, but to lead a rather quieter life. It was during this more mature and settled period that the present work was executed. Maternité is a gentle and delicate image, reflecting Foujita's unwavering optimism. The present work, with its soft and elegant figures set in a timeless scene, proves that his art remained untouched by the horror of war and man's cruelty. The depiction of the mother and child has always been an important subject in Western art, whose origins are rooted in the religious presentation of the Virgin and Child. The French word 'maternité' emphasises the secular relationship between the woman and her offspring, and indeed in the present work there is no aureole or halo to denote the holiness of the figures. However, the religious connotations remain obvious: the child's outstretched hand, whose two fingers make the distinctive Christian sign of blessing, is an undeniable reference to the religious origins of this subject. For Foujita though, the Madonna, the mother and the woman came together as one entity, hence perhaps the title Maternité, a more secular and universal choice than 'Virgin and Child'. Similarly, the child has a very lively charm, unlike the usual figures of the Christ Child.Delivering an original vision of this traditional subject, Foujita also took inspiration from the past and used artistic codes historically attached to this motif. In the gothic tradition for example, the figures stood out on a golden background, which recalled the supernatural and miraculous character of the subject. This was also used to metaphorically suggest to the viewer that it was from this majestic image that Christian faith radiated. Thus the present work is reminiscent of the static elegance seen in the figures of Giotto and of the Northern Italian schools, which are known to have inspired Foujita. The expressive treatment of the mother's hands in the present work echoes that of artists such as Carlo Crivelli (1435-1495), whose Madonnas cradled their child with exaggeratedly long hands, creating a cocoon for the child and emphasising the figure's protective role. Foujita was similarly inspired by the Italian Renaissance, during which the Virgin was typically painted in a more realistic manner to emphasise the idea that she was first and foremost a mother. The gracefulness of her body was emphasised, giving an impression of serenity and maternal softness to this image of devotion, as in Raphael's Madonna del Granduca. The forms are pure and simple, but the arabesques formed by the figure are strongly accentuated and the neck elongated.Yet Maternité is not devoid of modernity. Of mutual influence, the artists of the Montparnasse circle left a lasting impression upon each other. In the present work, one recalls the long and slender figures of Amedeo Modigliani, whose slim faces and almond eyes bear a strong resemblance to the mother in Maternité. One could also think of Constantin Brâncuși's style, his experimentation in modelling human form and his investigation into purity and cleanliness of line. Although it is more subtle, the influence of the Cubist revolution is also visible in Foujita's use of local colour, which focuses on the subject seen under a flat light with no adjustments for form with shadows or colours. Moreover, the present work is characteristic of Foujita's style from the 1920s onwards. It combines the fine black line reminiscent of the distinctive ink line of traditional Eastern paintings, with an absence of perspective and the sinuous line of traditional Japanese pictorial art. Foujita himself described this dialogue of influence and inspiration in the 1950s - 'My body grew up in Japan, but my painting grew up in France' - as he became a Japanese painter who joined the world of Western painters. His adoption of the name 'Léonard' when he was baptised, as a tribute to Leonardo Da Vinci, confirmed his debt to Italian primitive painting and to the Florentine and Sienese Madonnas of the 15th and 16th centuries. But Foujita remained true to this double culture and strove to blend them both in a style that would remain his. Indeed, regardless of the Western origin of the present subject, the Japanese calligraphic tradition is still evident in the precision and finesse of the l... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 8
LOUIS ANQUETIN (1861-1932)Elégantes, scène de rue signed and dated 'Anquetin 88' (lower right)pastel, charcoal and wash on paper51.3 x 59cm (20 3/16 x 23 1/4in).Executed in 1888Footnotes:The authenticity of this work has been confirmed by Brame & Lorenceau. This work is included in the Louis Anquetin archives.ProvenanceEdouard Borderie Collection, Paris (acquired in 1946).Bernard & Betty French Collection, Kidderminster (acquired from the above circa 1947).Cyril Lavenstein Collection, Kidderminster (acquired from the above in 1956).Private collection, UK (acquired from the above in 1977).Thence by descent to the present owner.Louis Anquetin rose to fame in the late 1880s among the post-Impressionist artists, and was instrumental in the birth of Cloisonnism. Élégantes, scène de rue, executed in 1888, is a prime example of the artist's work from this key period. Anquetin studied at the Beaux-Arts de Paris in the studio of Fernand Cormon. Cormon was a pompier artist who painted large, academic subjects of historical inspiration which were welcomed by the Third Republic and deemed official art. Yet his atelier attracted many avant-garde painters who would radically separate themselves from academism and noble subjects (historical or allegorical), such as Vincent van Gogh, Henri de Toulouse-Lautrec and Émile Bernard. Remaining in this atelier for four years, Anquetin and his peers would inspire each other – the former's influence on van Gogh for example is particularly visible in works such as Avenue de Clichy, cinq heures du soir which preceded van Gogh's famous The Cafe Terrace on the Place du Forum by a year.Paul Gauguin would eventually also join these artists, and van Gogh named the group 'les artistes du petit boulevard'. Translating to 'the artists of the small boulevard', the name referred to the areas they worked around Montmartre, near the Boulevard de Clichy and the Boulevard de Rochechouart. The title was also to distinguish themselves from other well-established artists such as Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, who were termed 'les artistes du grand boulevard'. These artists worked in more elegant neighbourhoods and exhibited in major galleries, whereas Anquetin, van Gogh, Toulouse-Lautrec and Bernard would still exhibit in small cafés and restaurants. At the 1888 Salon des Indépendants, the critic Édouard Dujardin announced in the Revue Indépendante that Louis Anquetin had created a new genre, which he termed 'Cloisonnism'. This referred to a new post-Impressionist style of painting with bold and dark contours around flat areas of colours and simplified forms. It is said that the idea came to Anquetin when he was at his parents' house as he looked up outside through a glass door with coloured tiles. Also inspired by the Japanese prints collected by his friend Vincent van Gogh, Anquetin became transfixed by the different shades and colours that this stained glass gave the outside world. Dujardin's article immediately propelled Anquetin to fame. Élégantes, scène de rue was executed during that pivotal year of 1888. In accordance with the technique of Cloisonnism, the main figure in the present work, dressed in green, is delineated by a thick black line that creates a compartmentalisation of the forms whilst following the folds of her garment. Seen from behind, she crosses a boulevard whilst gazing to her right, beyond the composition. A second woman, holding an parasol, looks directly at her, whilst a gentleman seated in a carriage beyond contemplates them both. Anquetin builds the composition through a triangle of looks, which follows the path of each protagonist's gaze as it bounces from one figure to the other. In this enigmatic trio where no interest is reciprocal, the painter relegates the male gaze to the background of the composition and foregrounds instead the female gaze.The contrast between the elegantly depicted central figure and the more caricature-like appearance of the man in the carriage and the woman in purple – whose loud make-up hints she is a prostitute looking for a client - is characteristic of Anquetin's work and seen in works such as Élégante à l'Élysée Montmartre, 1888, in the Art Institute of Chicago. The more carefully constructed figure draws our attention away from the darker elements at play, nonetheless placing Anquetin as an observer of urban life in the late 1880s. Anquetin worked on a thematically linked group of works exploring the morals and behaviours of lesbian relationships, such as the one at the Van Gogh Museum in Amsterdam, which is very similar to the present work. As Richard Thomson explains, 'at the turn of the decade, Anquetin treated this specific theme on a number of occasions, representing the woman in her carriage on the lookout, the eye contact from carriage to pavement, and the pedestrian woman using her tongue to signal a passing vehicle' (R. Thomson, The Troubled Republic: Visual Culture and Social Debate in France, 1889-1900, London, 2004, p. 38). These images were discreet and relied on codes that were mostly insider knowledge, which made them an even more appealing subject for artists like Anquetin or Toulouse-Lautrec who were never reluctant to show controversial subjects at the turn of the century and explore the hidden side of Parisian society. A trip to Belgium and Holland with Henri de Toulouse-Lautrec and Jos Albert in 1894 however, prompted a shift in Anquetin's work towards a more classical style, heavily inspired by Old Masters such as Rubens and Rembrandt. He became a teacher and taught his pupils the 'retour au métier' ('return to the craft'), rather than encouraging them to strive for modernity and experimentation. The present work thus marks a poignant end to his most creative and innovative period.For further information on this lot please visit Bonhams.com
Lot 46
JOSÉ PINAZO MARTÍNEZ (Rome, 1879 - Madrid, 1933)"Still life of fruit".Oil on canvas.Signed in the lower left corner.Size: 94 x 68,5 cm; 121 x 84,5 cm (frame).Painter and sculptor, son of Ignacio Pinazo Camarlench, he was born in Rome when his father was a pensioner there, and when he was two years old he returned to Valencia with his family. In his early years he began his training in the family workshop, after which he entered the San Carlos School of Fine Arts in Valencia. He soon began to make a name for himself at the National Exhibitions of Fine Arts, being awarded an honourable mention in 1895 and a third medal in 1897 and 1901. He also took part in the Universal Exhibition in Paris in 1900, winning a second medal. After this period he began a series of trips that took him to Paris, Rome and London, settling in Madrid on his return to Spain. He continued to take part in important official exhibitions, being awarded the second medal at the Spanish-French Exhibition in Saragossa in 1908, third at the Universal Exhibition in Brussels in 1910 and second at the International Exhibition in Barcelona in 1911. Finally, in 1915, he won the first medal at the National Exhibition of Fine Arts for his painting "Floreal". Pinazo Martínez began his career with a language clearly influenced by modernism and the naturalism and costumbrismo of Sorolla, although around 1918 he began a process of stylistic purification which led to a more sober language. Works by José Pinazo Martínez are currently held in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Museo Municipal de Málaga and other public and private collections.
Lot 47
JOSÉ PINAZO MARTÍNEZ (Rome, 1879 - Madrid, 1933).Still life.1911.Oil on canvas.Signed and dated in the lower left corner.Cracks in the frame. The canvas is cracked in the margin.Measurements: 74 x 56 cm; 95 x 77 cm (frame).Painter and sculptor, son of Ignacio Pinazo Camarlench, he was born in Rome when his father was a pensioner there, and when he was two years old he returned to Valencia with his family. In his early years he began his training in the family workshop, after which he entered the San Carlos School of Fine Arts in Valencia. He soon began to make a name for himself at the National Exhibitions of Fine Arts, being awarded an honourable mention in 1895 and a third medal in 1897 and 1901. He also took part in the Universal Exhibition in Paris in 1900, winning a second medal. After this period he began a series of trips that took him to Paris, Rome and London, settling in Madrid on his return to Spain. He continued to take part in important official exhibitions, being awarded the second medal at the Spanish-French Exhibition in Saragossa in 1908, third at the Universal Exhibition in Brussels in 1910 and second at the International Exhibition in Barcelona in 1911. Finally, in 1915, he won the first medal at the National Exhibition of Fine Arts for his painting "Floreal". Pinazo Martínez began his career with a language clearly influenced by modernism and the naturalism and costumbrismo of Sorolla, although around 1918 he began a process of stylistic purification which led to a more sober language. Works by José Pinazo Martínez are currently held in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Museo Municipal de Málaga and other public and private collections.
Lot 69
FRANCESC MIRALLES I GALAUP (Valencia, 1848 - Barcelona, 1901)."Jumping over a skipping rope".Oil on wood.Signed in the lower left corner.Size: 27 x 50 cm; 39 x 63 cm (frame).This painting is a magnificent example of Miralles's language, centred mainly on costumbrista themes of bourgeois life and the fin-de-siècle high society: a bourgeois costumbrista scene, captured with an elegant style and marked atmospheric sensitivity, with a descriptive brushstroke in the textures and loose in the backgrounds, expressive and exuberant. Thus, we see a refined treatment of the environment that surrounds him, of the bourgeoisie with whom he lives, in a work marked by the precious treatment of the material, the gracefulness of his drawing and the delicacy of his lighting.Francisco Miralles trained in Barcelona in the studio of Ramón Martí Alsina, where he was a fellow pupil of the members of the first generation of Catalan realists. Little remains of Miralles's output from this early period, although the dozen or so paintings we have tell us that he was a young painter who quickly learned to treat the figure with mastery, although he was not yet interested in landscape painting. Settled in Paris from the mid-1860s (around 1865-66), it is possible that he studied with Courbet on the advice of Martí Alsina, who also trained with the French master. Due to these influences, his youthful style, up to the late 1970s, is still vigorously realist. Later he evolved towards a style of feminine elegance, typically fin-de-siècle, with a Fortunyist-influenced technique. In Paris he popularised a refined style, centred mainly on costumbrist themes of bourgeois life and high society, mainly featuring female characters. In Paris Miralles lived a free and carefree life, at first depending financially on his family, and later supporting himself by his own means, thanks to the sales of his paintings through the most prominent dealer in Paris at the time, Goupil. At the same time, he took part in the Salon des Artistes Français between 1875 and 1896. He made several trips to Barcelona, and in fact exhibited from 1877 at the Sala Parés in that city. After several years spent between Paris and Barcelona, he returned to Barcelona for good in 1893. Francisco Miralles is represented in the MACBA, the Abbey of Montserrat and the Círculo del Liceo in Barcelona, as well as in important private collections.
Lot 93
LUIS ARCAS BRAUNER (Valencia, 1934 - Cambridge, United Kingdom, 1989)."Villarluengo", 1970.Oil on canvas.Signed and dated in the lower left corner.Measurements: 91 x 135 cm; 95.5 x 140 cm (frame).A landscape painter, although he also tackled portraits and still lifes, Luis Arcas began his training at the Escuela Superior de Bellas Artes de San Carlos in Valencia, where he also did complementary studies in engraving. He furthered his studies with the Pensión de Paisaje de El Paular (1953), and completed his training a year later. He subsequently obtained a painting pension from the Caja de Ahorros de Valencia (1958), a grant to study in Paris from the Albert-Álvarez Foundation (1958) and a grant from the Casa Velázquez awarded by the French Government and the Valencia City Council (1966). In 1974 he won the chair of life drawing at the Faculty of Fine Arts of the Polytechnic University of Valencia, and four years later he was appointed member of the Royal Academy of San Carlos. He was also a founding member of the group Arte Actual. He won numerous prizes throughout his career, including the silver medal at the 13th University Art Exhibition in 1952, the Extraordinary National Prize at the Fifth National Fine Arts Competition in Alicante in 1956, an honourable mention at the Sixth Autumn Salon of the Ateneo Mercantil in Valencia in 1960 and the prize awarded by the Diputación de La Coruña at the National Fine Arts Exhibition held in Barcelona that same year. Between 1954 and 1973 he showed his work in numerous exhibitions, both individual and collective, and among the latter it is worth mentioning for its importance the one entitled "75 Years of Valencian Painting", organised by the Valencia City Council in 1975. He also took part in the National Exhibitions in Madrid in 1954, 1960 and 1976, the Spanish-American Biennial in Barcelona in 1955, the Biennial of Spanish Contemporary Art in Paris and others. Likewise, the Caja de Ahorros de Valencia dedicated a retrospective exhibition to him entitled "Thirty years of professional life". Luis Arcas held individual exhibitions in Spain, France and Argentina.
Lot 723
Sven BERLIN (1911-1999)Still life with teapotOil on canvasSigned51 x 60cmCondition report: There are some minor pigment losses and cracking of paint, otherwise, the main issue is the black mould. We don't know the effect this has on the pigment (particularly the yellow pigment) The stretcher is wormed but not so as to harm the integrity of the work
Lot 286
Sven BERLIN (1911-1999)Still Life, FlowersOil on canvasSigned and dated '6291x61cmCondition report: This work is remarkably clean in comparison to many others. There are two small areas of paint loss (see photos) at the top of the work. The impasto paint looks fresh and unsullied. The canvas is reasonably taut but has a couple of soft areas where something may have been lent against it, but could be tightened. No major areas of concern.
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