From Sisley to Ernst: Impressionist Day Highlights

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Launch Slideshow

The Impressionist & Modern Art Day Sale in London on 22 June is led by an outstanding group of sculptural works from an important private collection, including works by Henry Moore, Barbara Hepworth, Alberto Giacometti and Alexander Calder. A diverse selection of paintings and works on paper by the leading artists of the late 19th and 20th centuries also feature including beautiful landscapes and still lifes by Henri Martin, Albert Marquet and Moise Kisling alongside modern works by Pablo Picasso, Joan Miró and Rudolf Bauer. Click ahead to see highlights.

Impressionist & Modern Art Day Sale
London | 22 June 2017

From Sisley to Ernst: Impressionist Day Highlights

  • Max Ernst, Enfants jouant à l’astronaute. Painted in July 1969. Estimate £500,000–700,000.
    By the 1960s, Max Ernst was an established master of the contemporary art scene, with critical and popular support in Germany, France and America. The present work reveals the confidence of an artist at the height of his career drawing together themes and symbols which he had explored throughout his working life. However, the theme of cosmology took on new relevance in the 1960s, as it was the most critical decade of the space race, culminating in the moon landing in 1969.

  • Property from a Private English Collection.
    Gustave Loiseau, Rives de l’Eure en été. Painted in 1899. Estimate £250,000–350,000.
    In Rives de l’Eure en été , Loiseau has immortalised the most ephemeral and exquisite qualities of light to produce a painting of magical lightness and an intrinsic poetic quality that far surpasses the straight depiction of nature. The brilliant acuity of the artist’s observations of light and shade drawn directly from nature is matched only by the sublime harmony of his palette and brushwork.

  • Property from a Private Collection.
    Henri Le Sidaner, La Table devant la fenêtre. Painted in Versailles in 1921. Estimate £300,000–500,000.
    La Table devant la fenêtre  was painted in Versailles, where Henri Le Sidaner had first moved in 1903. Imbued with the luminous glow of late afternoon sun, the present work reveals Le Sidaner’s remarkable ability to distil the effects of light and atmosphere within his paintings.

  • © Succession Picasso/DACS 2017
    Property from a Distinguished Private Collection.
    Pablo Picasso, Adolescents, Aigle et Âne. Executed on 6th March 1967. Estimate £300,000–500,000.
    Adolescents, aigle et âne draws upon imagery from ancient and Biblical sources: the donkey, the eagle and the laurel wreath, symbols associated with victory as well as the virtues of humility and resilience. Picasso, however, appropriates these themes to his own end and in a colourful and whimsical composition, combines his characteristic humour and masterful draughtsmanship.

  • Property from a Private European Collection.
    Paul Delvaux, Etude pour ‘Jeune fille devant un Temple’. Executed in Choisel on 13th January 1949.
    Estimate £180,000–250,000.
    Etude pour ‘Jeune fille devant un temple’  is a superb example of Paul Delvaux’s alluring and feminine brand of mature Surrealist Art. The present composition contains many of the most iconic elements of Delvaux’s work since the 1930s; an enclosed piazza populated by dream-like, ambiguous figures, impressive classical architecture and a strong use of perspective.

  • Property from a Private Collection.
    Rudolf Bauer, Rondino. Painted in 1918. Estimate £200,000–300,000.
    Rondino  is a boldly coloured and vibrant example of Rudolf Bauer's dramatic Expressionist style, which he developed at Der Sturm between 1916 and 1920 during the time when he was first encountering the paintings of Wassily Kandinsky.

  • Taking Shape: 20th Century Sculpture from the Bloch Family Collection.
    Henry Moore, Reclining Figure. Conceived in 1957 and cast in bronze in an edition of 12 plus 1. Estimate £500,000–700,000.
    Sculpture is like a journey. You have a different view as you return. The three-dimensional view is full of surprises in a way that a two-dimensional world could never be.” – Henry Moore

  • Property from a Private European Collection.
    Max Pechstein, Landschaft mit Pferd und Reiter (Landscape with Horse and Rider). Painted in 1911.
    Estimate £350,000–550,000.
    Painted in 1911, during one of Max Pechstein’s extended stays by the Baltic Sea, Landschaft mit Pferd und Reiter is a wonderful example of the artist’s celebrated Brucke style and a powerful reflection of Pechstein’s search for the bond between man and nature, both in his life and in his art.

  • Taking Shape: 20th Century Sculpture from the Bloch Family Collection.
    Alberto Giacometti, Buste de Fraenkel. Conceived in 1956-59 and cast in bronze by the Susse Foundry, Paris in an edition of 6.
    Estimate £400,000–600,000.
    During the 1950s, Giacometti produced a series of busts which were more figural and naturalistic than his elongated figures of the post-war years. The sitter of the present bust , Dr Fraenkel, was for thirty years a close friend and confidante of Alberto Giacometti; the composition demonstrates the artist’s fascination at this time with the emotive command of a face.

  • Property from a Private Collection.
    Joan Miró, Couple d’amoureux dans la nuit. Executed in September 1967. Estimate £150,000–250,000.
    ‘The painting must be fertile. It has to give birth to a world. It doesn’t matter if you see flowers in it, figures, horses, as long as it reveals a world, something living.’ (The artist quoted in Joan Miró, 1893-1993 (exhibition catalogue), Fundació Joan Miró, Barcelona, 1993, p. 426).

  • Alfred Sisley, Saint-Mammès, circa 1885. Estimate £250,000 – 350,000
    He [Alfred Sisley] sought to express the harmonies that prevail, in all weathers and at every time of day, between foliage, water and sky, and he succeeded [...] He loved river banks; the fringes of woodland; towns and villages glimpsed through the old trees; old buildings swamped in greenery; winter morning sunlight; summer afternoons' (Gustave Geffroy, 'Sisley', in Les Cahiers d'Aujourd'hui, Paris, 1923)

  • Gino Severini, Abstraction, 1918. Estimate £300,000-500,000
    ‘He was - and this was his originality, even, doubtless, his greatness - he was the bridge between Futurism and Cubism' (Bernard Dorival, quoted in in Futurism (exhibition catalogue), Tate Modern, London, 2009, p. 242).

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