Art Blog: June 2015

24 Works By Pierre Bonnard - Sold in June, 2015

CORBEILLE DE FRUITS, MA ROULOTTE À VERNONNET, CABANONS AU CANNET, MARINE DANS UN PORT DU MIDI, LA CHARMILLE, JEUNES FEMMES AU BORD DE LA MER, SOUS L’ARBRE, PAYSAGE STYLISÉ (LE GRAND-LEMPS), MATIN BLEU OU PETITE RIVIÈRE, JEUNE FEMME AU TORSE DÉNUDÉ, MARINE SAINT-TROPEZ OU LES ARBRES ET LA MER, JARDIN AU BORD DE LA SEINE, NU DEBOUT, LA SEINE À VERNON, OR LA RISÉE SUR LA RIVIÉRE, FEMME COUSANT DANS UN JARDIN (AVEC ENFANTS), LE DOUBLE PIN OR LES DEUX PINS (ENVIRONS DE CANNES), DANS LA RUE, LA FEMME À L'OMBRELLE, FEMME DEBOUT DANS SA BAIGNOIRE (FROM MAITRES ET PETITS MAITRES D’AUJOURD’HUI), [BOUVET, 94], PLACE LE SOIR" FROM "QUELQUES ASPECTS DE LA VIE DE PARIS, LA FEMME AU CHIEN, PLACE CLICHY, LE BAIN, LA TOILETTE ASSISE, MAN IN FROCK COAT

CORBEILLE DE FRUITS

Pierre Bonnard

Dimensions: 12.01 X 11.97 in (30.5 X 30.4 cm)

Medium: oil on canvas

Creation Date: 1921

Signed

MA ROULOTTE À VERNONNET

Pierre Bonnard

Dimensions: 21.65 X 27.44 in (55 X 69.7 cm)

Medium: oil on canvas

Creation Date: 1912

CABANONS AU CANNET

Pierre Bonnard

Dimensions: 26.77 X 37.01 in (68 X 94 cm)

Medium: oil on canvas

Creation Date: 1933

Signed

MARINE DANS UN PORT DU MIDI

Pierre Bonnard

Dimensions: 9.96 X 12.8 in (25.3 X 32.5 cm)

Medium: watercolour and pencil on paper

LA CHARMILLE

Pierre Bonnard

Dimensions: 10.94 X 14.41 in (27.8 X 36.6 cm)

Medium: oil on panel

Creation Date: 1901

JEUNES FEMMES AU BORD DE LA MER

Pierre Bonnard

Dimensions: 13.12 X 10.5 in (33.34 X 26.67 cm)

Medium: oil on canvas

Creation Date: Circa 1917

SOUS L’ARBRE

Pierre Bonnard

Dimensions: 20.25 X 23.62 in (51.44 X 60.01 cm)

Medium: oil on canvas

Creation Date: 1915

Signed

PAYSAGE STYLISÉ (LE GRAND-LEMPS)

Pierre Bonnard

Dimensions: 13.75 X 9.5 in (34.92 X 24.13 cm)

Medium: oil, charcoal and pen and black ink on canvas

Creation Date: Circa 1890

Signed

MATIN BLEU OU PETITE RIVIÈRE

Pierre Bonnard

Dimensions: 20.88 X 28.75 in (53.02 X 73.03 cm)

Medium: Oil on canvas

Creation Date: 1927

Signed

JEUNE FEMME AU TORSE DÉNUDÉ

Pierre Bonnard

Dimensions: 10.62 X 8.75 in (26.99 X 22.22 cm)

Medium: oil on board laid down on panel

Creation Date: 1892

MARINE SAINT-TROPEZ OU LES ARBRES ET LA MER

Pierre Bonnard

Dimensions: 22.62 X 28.5 in (57.47 X 72.39 cm)

Medium: Oil on canvas

Creation Date: 1911

Signed

JARDIN AU BORD DE LA SEINE

Pierre Bonnard

Dimensions: 33.88 X 30 in (86.04 X 76.2 cm)

Medium: Oil on canvas

Creation Date: Circa 1912

NU DEBOUT

Pierre Bonnard

Dimensions: 7.48 X 5.39 in (19 X 13.7 cm)

Medium: oil, pen and ink and pencil on paper

Creation Date: after 1900

Signed

LA SEINE À VERNON, OR LA RISÉE SUR LA RIVIÉRE

Pierre Bonnard

Dimensions: 19.75 X 26.88 in (50.16 X 68.26 cm)

Medium: oil on canvas

Creation Date: 1927

Signed

FEMME COUSANT DANS UN JARDIN (AVEC ENFANTS)

Pierre Bonnard

Dimensions: 14.69 X 9.65 in (37.3 X 24.5 cm)

Medium: oil and grattage on panel

Creation Date: 1894

Signed

LE DOUBLE PIN OR LES DEUX PINS (ENVIRONS DE CANNES)

Pierre Bonnard

Dimensions: 20.12 X 23.62 in (51.12 X 60.01 cm)

Medium: oil on canvas

Creation Date: 1914

Signed

Pierre Bonnard

DANS LA RUE, LA FEMME À L'OMBRELLE

Dimensions: 11.22 X 9.45 in (28.5 X 24 cm)

Medium: oil on board laid down on panel

Creation Date: 1894

Signed

FEMME DEBOUT DANS SA BAIGNOIRE (FROM MAITRES ET PETITS MAITRES D’AUJOURD’HUI), [BOUVET, 94]

Pierre Bonnard

Dimensions: 11.5 X 7.25 in (29.21 X 18.42 cm)

Medium: Lithograph on wove

Creation Date: 1925

Signed

Edition Number: 66/100

PLACE LE SOIR" FROM "QUELQUES ASPECTS DE LA VIE DE PARIS

Pierre Bonnard

Dimensions: 10.88 X 15.19 in (27.62 X 38.58 cm)

Medium: Color lithograph

Creation Date: 1899

Edition Number: Edition of 100

LA FEMME AU CHIEN

Pierre Bonnard

Dimensions: 19.75 X 9.75 in (50.16 X 24.76 cm)

Medium: Color aquatint, etching and roulette

Creation Date: 1924 - 1925

Signed

Edition Number: 175/200

PLACE CLICHY

Pierre Bonnard

Dimensions: 19.75 X 25.63 in (50.16 X 65.1 cm)

Medium: Color lihograph on cream wove paper

Creation Date: 1922

Edition Number: 17/100

LE BAIN

Pierre Bonnard

Dimensions: 15.55 X 10.83 in (39.5 X 27.5 cm)

Medium: Lithograph on chine volant

Creation Date: Circa 1926

Edition Number: from the edition of 50

LA TOILETTE ASSISE

Pierre Bonnard

Dimensions: 13.12 X 8.62 in (33.34 X 21.91 cm)

Medium: Lithograph on Arches paper with partial watermark

Creation Date: 1925

Signed

Edition Number: from an edition of 25

UNTITLED

Pierre Bonnard

Dimensions: 6.88 X 4.63 in (17.48 X 11.76 cm)

Medium: etching

Creation Date: 1930

Signed

MAN IN FROCK COAT

Pierre Bonnard

Dimensions: 12.75 X 9.75 in (32.38 X 24.76 cm)

Medium: lithograph

Creation Date: 1924

Signed

6 Works By Henri Matisse - June 28, 2015

LES BOULES DE NEIGE

Henri Matisse

Dimensions: 9.84 X 14.02 in (25 X 35.6 cm)

Medium: oil on board

Creation Date: 1900

Signed

PORTRAIT D'YVONNE

Henri Matisse

Dimensions: 16.1 X 10.67 in (40.9 X 27.1 cm)

Medium: oil on canvas

Creation Date: 1919

Signed

JEUNE FILLE SOURIANTE

Henri Matisse

Dimensions: 17.75 X 13.38 in (45.08 X 33.97 cm)

Medium: Conté crayon on paper

Creation Date: Circa 1940

Signed

Henri Matisse

TÊTE, MARIE JOSÉ

Dimensions: 21.5 X 14.96 in (54.6 X 38 cm)

Medium: brush and ink on paper

Creation Date: 1947

Signed

L'ÉVENTAIL DE MADEMOISELLE MALLARMÉ

Henri Matisse

Dimensions: 12.99 X 10.24 in (33 X 26 cm)

Medium: pencil on paper

Signed

PORTRAIT DE FEMME

Henri Matisse

Dimensions: 12.95 X 10 in (32.9 X 25.4 cm)

Medium: pen and ink on paper

Creation Date: 1943

Signed

4 Drawings, RELIGIOUS ART by the Old Masters! Infidelity

Jacques-Louis David - PARIS 1748 - 1825 BRUSSELS

THE RAPE OF LUCRETIA

Black chalk heightened with white chalk;

inscribed, signed and dated, upper right: donné à Michel Stapleaux / par David. Brux. / 1825 and dedicated and signed, lower right: à ma bru. Annette. / David

In an armed camp outside Rome, Tarquinius, Collatinus and Junius are drinking together. The previous night, a group of soldiers rode home unexpectedly to Rome to check on their wives, all of whom were caught betraying their husbands, with the single exception of Collatinus' wife Lucretia. Junius, whose wife was among the faithless majority, goads young Tarquinius, the king's son, into testing Lucretia's chastity himself. The impulsive prince calls for his horse and gallops off to the city alone.

At Collatinus' house in Rome, Lucretia is patiently spinning with her servants Bianca and Lucia. She longs for her absent husband. As the women prepare for bed, there is a knock at the door: Tarquinius. Though fearful, they cannot refuse to offer the prince hospitality.

As Lucretia sleeps, Tarquinius creeps into her bedroom and awakens her with a kiss. She begs him to go, but certain that she desires him, he rapes her.

The following morning, Lucia and Bianca are glad to discover that Tarquinius has already left the house. Lucretia enters, calm but obviously devastated. She sends a messenger asking Collatinus to come home. Bianca tries to stop the messenger, but Collatinus arrives at once (accompanied by Junius). He comforts his wife lovingly, but she feels that she will never be clean again. She stabs herself and dies. All mourn. Junius plans to use this crime by the prince to spark a rebellion against the king. More

Felice Giani - SAN SEBASTIANO CURONE 1758 - 1823 ROME

PAOLO AND FRANCESCA SURPRISED BY GIANCIOTTO MALATESTA

Pen and brown ink and watercolour

280 by 407 mm

Giovanni Malatesta (died 1304), known, from his lameness, was the eldest son of Malatesta da Verucchio of Rimini.

From 1275 onwards he played an active part in the Romagnole Wars and factions. He is chiefly famous for the domestic tragedy of 1285, recorded in Dante's Inferno, when, having detected his wife, Francesca da Polenta (Francesca da Rimini), in adultery with his brother Paolo, he killed them both with his own hands. More

Circle of Charles-Joseph Natoire

THE BETROTHAL OF THEAGENES AND CHARICLEA

Pen and brown ink and wash over red chalk, heightened with white

462 by 695 mm

Chariclea, the daughter of King Hydaspes and Queen Persinna of Ethiopia, was born white because her mother gazed upon a painting of the naked Andromeda just after her rescue by Perseus while Chariclea was being conceived. Fearing accusations of adultery, Persinna gives her baby daughter to the care of Sisimithras, a gymnosophist, who takes the baby to Egypt and places her in the care of Charicles, a Pythian priest. Chariclea is then taken to Delphi, and made a priestess of Artemis. Theagenes, a noble Thessalian, comes to Delphi and the two fall in love. He runs off with Chariclea with the help of Calasiris, an Egyptian who has been employed by Persinna to find Chariclea. They encounter many perils: pirates, bandits, and others. The main characters ultimately meet at Meroe at the very moment when Chariclea is about to be sacrificed to the gods by her own father. Her birth is made known, and the lovers are happily married.

Jan Wellens de Cock (ca. 1470-1521)

Lot and his daughters

oil on panel

62 × 80 cm (24.4 × 31.5 in)

Lot is a person mentioned in the biblical Book of Genesis chapters 11–14 and 19. Notable episodes in his life include his travels with his uncle Abram (Abraham), his flight from the destruction of Sodom and Gomorrah, during which Lot's wife became a pillar of salt, and the seduction by his daughters so that they could bear children. More

Jan Wellens de Cock (c. 1480 – 1527) was a Flemish painter and draftsman of the Northern Renaissance. He was probably born in Leiden in Holland but settled in Antwerp. In 1506 Jan is recorded in the archives of the Guild of Saint Luke in Antwerp as having accepted an apprentice called 'Loduwyck'. On 6 August 1502 Jan Wellens de Cock married Clara, the daughter of Peter van Beeringen. Jan Wellens de Cock was probably identical to the 'Jan de Cock' that worked as a servant to the guild of 'Onze-Lieve-Vrouw Lof' for which he executed many commissions over the next few years. In 1507 de Cock was paid for painting angels and restoring the Holy Ghost at the altar of this guild in Antwerp Cathedral. These works were probably lost in the "beeldenstorm" of 1566. In 1511 the guild paid de Cock for cutting a woodblock for a print to use in the guild's procession. This is the only indication that de Cock, to whom several prints have been attributed, was indeed active as a block cutter. More

Why is an artwork left unfinished?

Perino del Vaga (1501-1547),

Holy Family with Saint John the Baptist, 1528-37.

Oil on panel. Courtesy the Courtauld Gallery

The answer, as a new exhibition at London’s Courtauld Gallery demonstrates, is not always straightforward. Here, curator Dr Karen Serres talks to Lavender Au about the show and 'incomplete' works by del Vaga, Rembrandt, Monet, Cézanne and more

Rembrandt Harmensz van Rijn (1606-1669),

Artist drawing from the model (unfinished).

Courtesy the Courtauld Gallery

Many of the works on display were set aside by a dissatisfied artist or left incomplete upon their death, providing a fascinating insight into the interrupted artistic process.

Claude Monet,

Vase of Flowers, 1881-2,

Oil on canvas.

Courtesy the Courtauld Gallery

Not many people realise Monet’s Vase of Flowers is unfinished. But in his correspondence, he writes about how he just cannot express the light falling on the flowers and the leaves to his satisfaction. In some places he has scraped paint off while, in others, he has painted over dried paint. Every so often he must have returned to this painting and added a few brushstrokes in an attempt to improve it.

Honoré Daumier (1808-1879),

Don Quixote and Sancho Panza, 1869-1872.

Oil on canvas.

Courtesy the Courtauld Gallery

Others occupy a more ambiguous territory: The impressionists were widely criticised for displaying works that looked unfinished and the late nineteenth century saw clashes between artistic intention and public reception.

Paul Cézanne (1839-1906),

Turning Road (Route Tournante), circa 1905.

Oil on canvas.

Courtesy the Courtauld Gallery

Edgar Degas 1834–1917

Woman at a Window 1871–2

Oil paint on canvas

613 x 459 mm

Acknowledgment: CHRISTIE'S, UNFINISHED... WORKS FROM THE COURTAULD GALLERY ,

The toilet, the intimate birth - Delightful New Parisian Show

An exhibition at Paris's Musée Marmottan Monet invites you into the bathrooms of the beauties of yesteryear, thanks to the voyeuristic brushstrokes of greats like Claude Monet, Henri de Toulouse-Lautrec,Pierre Bonnard, and Berthe Morisot.

Wladyslaw Slewinski, Etude.
Photo: Musée Marmottan Monet

This is the first time such a subject, unique and indispensable, is presented in the form of exposure.In these works that reflect the daily practices one might think trivial, the public will discover the pleasures and surprises of a depth somewhat expected. More

Pierre Bonnard, Nude in the Tub.
Photo: Musée Marmottan Monet

Edgar Degas, Woman in Her Bath Sponging Her Leg (ca. 1883).
Photo: RMN-Grand Palais.

Artist unknown, southern Netherlands, The Bath (ca. 1500).
Photo: Frank Raux/Musee de Cluny, via RMN.

Presumed portrait of Gabrielle d'Estrees and the Duchess of Villars in the Bath, artist unknown, late 16th century.
Photo: Musee de la Societe Archeologique.

Georges de La Tour, Woman Catching a Flea (1638).
Photo: Philippe Bernard/Musee Lorrain.

Eugene Lomont, Young Woman at Her Toilette (1898).
Photo: Musée Marmottan Monet.

Acknowledgment: Art Net

18 Works by MOHAMMED AL-SHAMMAREY, Iraqi American Artist

"Handle With Care", 2011. Archival photograph on canvas, 17.5 x 54 inches.

MOHAMMED AL-SHAMMAREY, born in Baghdad, Iraq, 1962; is a self-taught artist. He is a member of the UNESCO International Association for Plastic Arts (AIAP), the Iraqi Artist Association, and the Iraqi Society of Plastic Artists. His work has been exhibited in the Middle East, North Africa, and Europe, including the 9th Cairo International Biennale, 2003–2004; the Frankfurt International Book Fair, 2004 and 2005; and Imagining the Book International Biennial, Alexandria Library, Egypt, 2005. In 2004, he received an award from the Festival of Mediterranean People, Bisceglie, Italy, and in 2003, the prize of Arab Pioneers from the Arab Pioneers Festival under the patronage of the Arab League. His body of work comprises video art, photography, book art, painting, and sculpture. He currently lives in the United States. More

Handle with Care 1 2013,

112cm x 92cm

Giclee Print

Mohammed Al Shammarey’s work focuses on the humanistic elements of Islamic philosophy.

"Traditional White" 2013

Archival print on cold-pressed watercolor paper

41 x 33 inches.

Shammarey’s works have been heavily influenced by the literature and poetry of the Middle East, particularly the writings of the Persian poet Rumi and the Palestinian poet Mahmoud Darwish, as well as the Mesopotamian Gilgamesh epic.

"Longing III", 2011.

Photograph on archival paper,

30 x 24 inches.

‘Without.’ This word anticipates a hotheaded young man emphatically stating: “Without love! Yes, how can we live life without love!” For a man of my age, and I am fifty and come from a country that makes one’s hair white quite prematurely, love is luck or a coincidence one chances upon.

Darwish
giclee printed on Epson Velvet fine art watercolour paper
43 3/8 x 35 3/8in. (110 x 90cm.)

Love is a state for which I don’t prepare even as I hope for it. I will be content with another word befitting a man of fifty, destined for the pathology of loneliness, feelings of nonchalance and fear of the future. It is a word I always felt intuitively without grasping: Yearning!

"Majority of One (Red),"

112X140cm, 2014.

There are numerous practices and desires such as these in my Islamic culture but they are based on experiments in meditation and discipline, some of which are harsh, others requiring constant journey, solitude, asceticism, and a non-recognition of any temporal authority and the dedication of one’s soul to Allah alone.”