Property from a Prominent International Collector

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The following eight works from a Prominent International Collector exude a deep appreciation for the finest examples of artists engaged in explorations towards their personal definitions of the sublime. Diverse in its content, the depth breadth of the collection marks an authentic connoisseurship and engagement with modern cultural history.  The collection is led by an exceedingly rare Cubist collage by Alexander Archipenko, complimented by an early oil by Man Ray, a richly painted still life by Pierre-Auguste Renoir, and a superb Bauhaus watercolor by Wassily Kandinsky.

Impressionist & Modern Art Day
17 May | New York

Property from a Prominent International Collector

  • Alexander Archipenko, Composition: Two Figures. Estimate $180,000–250,000.
    Known primarily as a sculptor, this rare collage by the artist modulates space through a Cubist visual vocabulary and a vibrant primary palette. Formerly owned by the artist’s widow, this important work encapsulates the artist’s renowned innovative spirit.

  • Eugène Boudin,Trouville, Les Jetées, Marée Basse. Estimate $50,000–70,000.
    The present work is a charming depiction of one of Boudin’s most iconic and treasured subjects, Trouville, which had become a fashionable summer destination for the French elite. This view of the harbor is a study of nature’s ever moving quality in relation to the humans which inhabit it, with rocking boats being docked and strolling vacationers in contrast to the seemingly stormy skies.

  • Auguste Herbin, La Marne Aux Evirons De Meaux. Estimate $80,000–120,000.
    Ashimmering vision this work shows Herbin at the beginning of his involvement with the Fauve movement. Combining deft brushwork and color blocking with a sensitive and emotive use of color, it forebodes his eventual rapid evolutions towards Cubism and pure abstraction.

  • Wassily Kandinsky, Ohne Titel (Untitled). Estimate $250,000–350,000.
    This dynamic watercolor was created at what is perhaps considered the absolute zenith of the artist’s career. Executed in 1922, the same year the Kandinsky joined the faculty of the Bauhaus in Berlin and while the Russian Revolution continued with gusto, the present work is indicative of the influence of Russian avant-garde and Suprematist theory upon the artist.

  • Fernand Léger, Nature Morte Aux Trois Fruits . Estimate $100,000–150,000.
    Representing Purism at its finest, this gouache focuses on the pictorial elements of color and form, with the titular subjects delineated in strong, black lines and silhouetted against the verticality and density of the bottles in the background. Compositional elements are bound together in a flattened but spatially ambiguous plane, with objects and ground merging into a single, unified space. Rendered in bright, mostly primary colors, it is remarkably contemporary in nature for having been executed in 1927.

  • Man Ray, Landscape (A Tree Grows In Brooklyn). Estimate $100,000–150,000.
    This charming early oil by Man Ray displays the deep influence of German Expressionism upon the artist. This dreamy oil is a harbinger to the overtly surrealist paintings he would soon begin to produce, while the hard edged lines of the forms speak to his eventual foray into some of his most iconic photographs.  

  • Pierre-Auguste Renoir, Fille Au Corset Bleu (Une Blonde Aux Yeux Bleus, Vue De Trois Quarts Sur Un Fond Jaune). Estimate $400,000–600,000.
    A depiction of Jeanne Samary, an acclaimed actress at the Comédie-française and Renoir’s muse from 1877 to 1880, this works showcases the artist’s mastery of pastel. Reserved for his most intimate portraits, Renoir felt the medium most effectively caught the sitter’s “fleeting shadow of emotion.”

  • Pierre-Auguste Renoir, La Cafetiére. Estimate $150,000–250,000.
    Painted with careful attention to light and shadow, La Cafetière presents a rare subject for the artist and is a superb example of Renoir’s achievement in the still-life genre. As was the case for many of the Impressionist painters, Renoir did not need to rely on the trompe l'oeil techniques that had been utilized by artists for centuries in order to render still lifes. Instead, he drew upon his own creative ingenuity and his initial impressions of his subject, rendering it with extraordinary freshness.

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