33
33

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

Henri Charles Manguin
LES OLIVIERS À CAVALIÈRE
Estimate
1,000,0001,500,000
LOT SOLD. 1,150,000 USD
JUMP TO LOT
33

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION

Henri Charles Manguin
LES OLIVIERS À CAVALIÈRE
Estimate
1,000,0001,500,000
LOT SOLD. 1,150,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

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New York

Henri Charles Manguin
1874 - 1949
LES OLIVIERS À CAVALIÈRE
Signed Manguin and dated 1906 (lower right)
Oil on canvas 
32 1/4 by 26 in.
81.5 by 65.5 cm
Painted in 1906.
Read Condition Report Read Condition Report

Provenance

Galerie Bernheim-Jeune, Paris (acquired from the artist in March 1907)

Curt Hermann, Munich (acquired from the above in May 1907)

Galerie E. Druet, Paris

Henri Manguin, Paris (acquired in 1935)

Lucile Manguin, Saint-Tropez (by descent from the above circa 1949)

Galerie de Paris, Paris

Private Collection (acquired from the above in 1976 and sold: Christie's, Paris, September 28, 2002, lot 20)

Private Collection (acquired at the above sale and sold: Christie's, New York, May 10, 2007, lot 284)

Acquired at the above sale



Acquired at the above sale

Exhibited

Munich, Frankfurt, Dresden, Karlsruhe, & Stuttgart, Ausstellung Französischer Künstler, 1906-1907, no. 82

Paris, Musée d'Art Moderne, 53e exposition, Société des Artistes Indépendants, 1942, no. 1969

Berne, Kunsthalle, Les Fauves, 1950, no. 70, illustrated in the catalogue

Paris, Galerie Charpentier, Autour de 1900, 1950, no. 112

Paris, Galerie Brame, Manguin, peintre du fauvisme, 1954, no. 25 (titled Les Oliviers à Menton)

Albi, Musée Toulouse-Lautrec, Henri Manguin, peintures, aquarelles, dessins, 1957, no. 26, illustrated in the catalogue (titled Les chênes-lièges)

Paris, Salons de couture Manguin, Henri Manguin: toiles fauves 1903-1907, 1958, no. 6 (titled La Pinède à Cavalière)

Paris, Galerie de Paris, Manguin: Peintures de Saint-Tropez, 1960, no. 19

Aix-en-Provence, Galerie Lucien Blanc, Manguin, 1961, no. 4 (titled Les Oliviers à Menton)

Paris, Galerie de Paris, Manguin, tableaux fauves, 1962, no. 39, illustrated in the catalogue

Neuchâtel, Musée des Beaux-Arts, Manguin, 1964, no. 51, illustrated in the catalogue

Cagnes, Château-Musée, Manguin, 1965, no. 24, illustrated in the catalogue

Nice, Palais de la Méditerranée, Henri Manguin, plus de cent cinquante oeuvres, 1969, no. 24, illustrated in the catalogue

Düsseldorf, Städtische Kunsthalle, Henri Manguin, 1969, no. 34

Berlin, Neuer Berliner Kunstverein, Henri Manguin, 1970, no. 36

Paris, Galerie de Paris, Centenaire Henri Manguin, 1973, no. 33

Tokyo, Kanazawa, Les Fauves, 1974, no. 32, illustrated in the catalogue

Saint-Tropez, Chapelle de la Miséricorde, Henri Manguin, 1976, no. 7, illustrated in the catalogue

Literature

Pierre Cabanne, Henri Manguin, Neuchâtel, 1964, no. 79, illustrated p. 110

Lucile & Claude Manguin, Henri Manguin, Catalogue raisonné de l'oeuvre peint, Neuchâtel, 1980, no. 208, illustrated p. 105

Catalogue Note

Painted at the height of the Fauvist movement, the present landscape ranks among the most important of Manguin's entire production.   The picture dates from 1906, when the bold colors and expressive brushwork of the Fauves took hold of the avant-garde, and Manguin was at the forefront of this movement along with his colleague Henri Matisse. The year before exhibiting at the legendary 1905 Salon d'automne exhibition, Marquet, Matisse and Camoin "worked that autumn with Jean Puy in Manguin's collapsible studio behind the apartment on the rue Boursault. Marquet and Manguin responded once again to Matisse's Divisionist enthusiasm: all three painted each other and their nude model with a gaiety and gusto that owed more to Luce's slapdash style as Divisionist than to Signac's rigor. Winter was the season of intrigue, cabals and furious lobbying behind the scenes as different art-world factions drummed up support on the various committees that would control who showed what and how at next year's exhibitions. Charles Guérin enlisted Matisse in December for the Salon d'Automne's planning meeting, instructing him to bring Manguin, Marquet and any other sympathizers he could muster" (Hilary Spurling, The Unknown Matisse, A Life of Henri Matisse: The Early Years, 1869-1908, New York, 1998, p. 295).

Manguin went on to create brilliantly colorful and emotionally expressive canvases that rivaled those of his colleagues.  Charles Terrasse writes, "A painting by Manguin is a concert of strong colors in which a true red dominates red-oranges, purple violets, deep blues, dark greens, and golden yellows. Lines, shapes, everything is strong. Everything is striking. It is an exalted painting that warms the heart and gives joy" (in Jean-Louis Ferrier, The Fauves: The Reign of Colour, Paris, 1992, p. 132).

Impressionist & Modern Art Evening Sale

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New York