Modern & Post-War British, Impressionist & Modern and Contemporary Art Highlights Come to New York Ahead of London Sales

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Modern & Post-War British, Impressionist & Modern and Contemporary Art Highlights Come to New York Ahead of London Sales

  • Henri Matisse, Vase d'anémones, 1946.
    Estimate £4,000,000–6,000,000 ($5,200,000–7,800,000)
    Coming from the estate of the esteemed artist and collector Enrico Donati, Vase d’anemones is a vibrant example of Henri Matisse’s late still-life paintings. It reflects Donati’s sophistication of taste and his vision in the promotion of European Modern and Surrealist Art in 20th century America.
  • Camille Pissarro, Le Boulevard Montmartre, fin de journée, 1897.
    Estimate £3,500,000–5,000,000 ($4,550,000-6,500,000)
    Depicting the busy Parisian street with its pavement, buildings and trees bathed in a warm glow of the setting sun, Le Boulevard Montmartre, fin de journée is an outstanding work from one of the most important series of Pissarro’s urban views. The excitement and spectacle of the city at the fin-de-siècle is brilliantly evoked by the artist’s handling of paint and the elegant composition.
  • René Magritte, La magie noire, 1946.
    Estimate £2,500,000–3,500,000 ($3,250,000-4,550,000)
    La magie noire of 1946 is one of the purest and most elegant examples of the now-celebrated theme that preoccupied Magritte in the 1940s: that of a female nude in an unidentified landscape. The model for this series was the artist's wife Georgette Berger and her image is depicted in a classical manner, abiding by the laws of conventional beauty and proportion.
  • Marc Chagall, La calèche volante, circa 1925.
    Estimate £2,000,000–3,000,000 ($2,500,000-3,500,000)
    Depicting a characteristic wooden house reminiscent of Chagall’s native Vitebsk, La calèche volante is a smaller version of a painting of the same title, now in the collection of The Solomon R. Guggenheim Museum in New York. A night-time scene suddenly flooded with bright light, this image has been linked to the sun god rising in his chariot, combining the everyday with the magical.
  • Pierre Bonnard, Nu assis, jambe pliée, circa 1909.
    Estimate £800,000–1,200,000 ($1,040,000-1,560,000)
    In Nu assis, jambe pliée Bonnard depicts Marthe, his longtime companion and muse, who inspired a majority of his paintings of nudes in interior settings. Discussing Bonnard's portrayals of Marthe, Sarah Whitfield wrote: 'Marthe is almost always seen in her own domestic surroundings, and as an integral part of those surroundings.’ (S. Whitfield, 'Fragments of Identical World', in Bonnard (exhibition catalogue), Tate Gallery, London, 1998, p. 17).
  • Alfred Sisley, Les bords du Loing à Moret, 1886.
    Estimate £1,000,000–1,500,000 ($1,300,000- $1,950,000)
    Capturing the splendor of nature, Sisley uses quick and lively brushstrokes to capture the gentle movement of the trees in this summery pastoral depiction of the banks of the Loing. This painting was first owned by the British-American collector Desmond Fitzgerald, an influential engineer in both the development of railroads in the West, and later water works in major American cities. A supporter of French and American Impressionists, Fitzgerald became a close friend of Monet and frequently visited the artist in Giverny.
  • Henri Le Sidaner, Maisons Blanches, le soir, Quimperlé, 1919.
    Estimate £120,000–180,000 ($156,000-234,000)
    Maisons Blanches, Le Soir, Quimpelé wonderfully exhibits Henri Le Sidaner’s unique sensitivity to quiet and poetic beauty, an artistic temperament that came to define his painterly corpus. Devoid of figures, the artist captures the fleeting exquisiteness of a pure moment and effortlessly depicts the transitory atmosphere of the small town of Quimpelé in Brittany.
  • Pierre-Auguste Renoir, Panneau de fruits et fleurs, 1915.
    Estimate £350,000–350,000 ($325,000–455,000)
    In Renoir’s Panneau de fruits et fleurs the artist pays close attention to light and shadow in his sumptuous fruit and floral arrangement. Painted in 1915, this work formed part of a large painted border which Renoir had initially intended to use as a decorative frame for his Portrait of Madame de Galea (1915). Panneau de fruits et fleurs now stands alone as an exquisite example of the artist’s mastery of the still-life genre and the impressionist techniques that he and his colleague Claude Monet introduced at Impressionist exhibitions in Paris.
  • Edgar Degas, Quatre danseuses, circa 1902.
    Estimate £250,000–350,000 ($325,000–455,000)
    An elegant example of Degas’s fascination with the medium of dance, Quatre danseuses is a tender example of Degas’s ability to capture snapshots of intimacy outside of the meticulously practiced routine of ballet. Degas’s fascination with the subject matter first developed in the 1860s as he would regularly attend the ballet, opera and the circus. These spectacles of performance provided Degas with an endless source of inspiration and he delighted in sketching the performers in the flesh as he saw them.
  • Max Pechstein, An der Ostsee (By the Baltic Sea), 1934.
    Estimate £250,000–350,000 ($325,000–455,000)
    An der Ostsee is a boldly coloured expressionist landscape depicting the Baltic coast, displaying Pechstein’s employment of confident brushwork and exaggerated forms that characterise the Die Brücke group’s approach to painting. Hailed by many as the leader of the German Expressionists, Pechstein’s use of clear forms and vibrant colours instils the scene with a profound feeling of harmony and simplicity, and reflects the artist’s love for this wild region of the Pomeranian countryside.
  • Otto Mueller, Akt unter Bäumen (Nude under Trees), circa 1923.
    Estimate £100,000–150,000 ($130,000- 195,000)
    Akt Unter Bäumen (Nude under Trees) executed circa 1923 is an important example of Otto Mueller’s mature work. Celebrated for his nudes and landscapes, the atmosphere and overall tone is one of lyrical timelessness, allied to the grand tradition of nineteenth century figure painting, which accentuates the ideal of a harmonious return to nature.
  • Karl Hofer, Mädchen mit Laute, 1946.
    Estimate £180,000–250,000 ($234,000- 325,000)
    Regarded as one of the most prominent figures of Expressionism, Karl Hofer’s Mädchen mit Laute was painted only a few years after the end of World War II, a time of great hardship for the artist who was denounced by the Nazi regime. By 1946, Hofer began to recover from this experience, and the vivid palette and calm optimism of the present work reflects his newfound positivity.
  • Joan Miró, Tête, 1971.
    Estimate £200,000–300,000 ($260,000-390,000)
    Tête brilliantly demonstrates Joan Miró’s distinctive poetic language that is embedded in his works, allowing complete freedom of interpretation for the viewer. By the 1970s, Miró had developed a much bolder style and in the present work, the antiquated brown Japanese paper powerfully juxtaposes with the bright abstract forms within the composition.
  • Auguste Rodin, Le Baiser, Reduction No. 3.
    Estimate £200,000–300,000 ($260,000–390,000)
    Conceived in 1886 and cast in bronze by the Barbedienne Foundry, Paris in an edition of 105 between 1898 and 1919.

    One of the most celebrated sculptures in Western art, Rodin’s Le Baiser Réduction, No. 3 shows the ill-fated lovers from the fifth canto of Dante’s Inferno - Paolo and Francesca - who were banished for their adulterous passion and doomed to spend eternity in an embrace. The viewer becomes immersed in the spiralling rhythms of the entwined bodies and the sensuous finish of smooth limbs against the pitted rock. The work’s pertinence to Rodin’s contemporaries was immediate and its continued relevance in today’s visual culture has solidified the sculpture’s legacy.
  • Pierre-Auguste Renoir, Gerbe d'anémones, circa 1905.
    Estimate £350,000–450,000 ($455,000-715,000)
    In Renoir’s Gerbe d’anémones, painted circa 1905, the artist has demonstrated his painterly talents on the virtuoso rendering of a bunch of multi-coloured anemones. The canvas is exceptional for the free and vigorous handling of the paint, which animates the sensuous profusion of blossoms and conveys the effect of a motif rapidly perceived.
  • Euan Uglow, Beautiful Girl Lying Down, 1958-59.
    Estimate £300,000–500,000 ($393,000–655,000)
    Austere and compelling, yet equally sensuous and ethereal, Beautiful Girl Lying Down is an early and emblematic example of Uglow’s career-long inspection of the human form. Uglow combines measure with a painter’s eye, to create images in which the model has a presence that is almost physical and yet remains psychologically at a distance. It lends his works a haunting, poetic quality that has a similar power to that of his peers Freud, Bacon and Auerbach, alongside whom he was shown at the Tate’s recent All Too Human exhibition.
  • Ben Nicholson, Still Life (Speckled), 1949.
    Estimate £400,000–600,000 ($525,000–790,000)
    In this stellar example, Nicholson dances elegantly between line and form, colour and texture, between representation and abstraction, weaving layers of variations together to create a modernist re-telling of the classic still life. His paintings of the 1940s are clearly indebted the Synthetic Cubism of Picasso and Braque, but Nicholson gives this a British twist through his palette of greens, blues and dirty pinks and his attention to the physical surface, which he carves and scores, lending the work an earthy, physical quality of its own.
  • Imbued with vibrant energy and charisma, Big Snow pays homage to one of Jean-Michel Basquiat’s sporting heroes, Jesse Owens, the black athlete who won four gold medals in the 1936 Olympics.
  • Rudolf Stingel, Untitled, 2012.
    Estimate £1,200,000–1,800,000 ($1,566,000-2,350,000)
    A beguiling example of Rudolf Stingel’s celebrated opus of carpet paintings, Untitled (2012) evinces an ethereal spectral trace of an ancient and opulent Oriental rug.
  • Glenn Brown, Declining Nude, 2006.
    Estimate £700,000–1,000,000 ($915,000-1,305,000)
    Merging rich historical allusion with a distinctly contemporary approach, Glenn Brown’s deftly painted Declining Nude (2006) exemplifies the artist’s unique visual practice.
  • Albert Oehlen, Untitled, 2005.
    Estimate £600,000–800,000 ($785,000–1,045,000)
    Masterfully oscillating between gestural abstraction and representation, Albert Oehlen’s painting Untitled (2005) presents a visually complex and enthralling mix of colour and movement.

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