10 Prints. Henri Matisse (1869-1954), Portfolio: Dix Danseuses

Henri Matisse (1869-1954) 

Danseuse assise, from: Dix danseuses (Duthuit-Matisse 480) 

lithograph, 1927, on Arches wove paper, signed in pencil, numbered 18/130, (there were also five on China and 15 on Japan paper), published by Galerie d'Art Contemporain, Paris, the full sheet

Henri Matisse (1869-1954) 

Danseuse debout, acoudée, from: Dix Danseuses

lithograph, 1925-26

Arches wove paper, signed in pencil, numbered 83/130

L. 460 x 280 mm., S. 505 x 330 mm.

Henri Matisse (1869-1954) 

Danseuse allongée, Tête accoudée, from Dix danseuses (Dethuit 486)

lithograph, 1927, on watermarked Arches paper, 

signed in pencil, numbered 53/130

L. 155 x 416 mm., S. 326 x 502 mm. 

Henri Matisse (1869-1954) 

Danseuse étendue (Dancer Extended), from Dix Danseuses (Ten Dancers)

  Lithograph, on Japanese paper

10 X 16.5 in (25.4 X 41.91 cm)

Creation Date:  1927

Edition Number:  10/15

Signed

Henri Matisse (1869-1954) 

Danseuse au Divan au Pliee en Deux 

Original lithograph 

Year: 1927 

Framed Size: 30" x 24" 

Sheet Size: 19 1/2" x 12 1/2" 

Hand signed 

Henri Matisse (1869-1954) 

Danseuse au Fauteuil en Bois

Original lithograph

Year: 1927

Edition: 113/130

Sheet Size: 19 3/8" x 13"

Hand signed in pencil

Henri Matisse (1869-1954) 

Danseuse couchée, from Dix Danseuses

Lithograph on wove paper

 13 X 19.62 in (33.02 X 49.85 cm)

Creation Date:  1925

Edition Number:  52/130

Signed

Henri Matisse (1869-1954) 

Danseuse Étendue au Divan [Mains À la Nuque] 1927

Original lithograph printed in black ink on China paper.

Signed in pencil lower right Henri Matisse.

10 15/16 x 18 1/16 inches

Henri Matisse (1869-1954) 

Danseuses Endormie au Divan, c. 1925-6

Lithograph on Arches paper 

Signed by the artist in pencil and numbered

12 ¾ x 19 ¾ in. (32.4 x 50.2 cm.)

Henri Matisse (1869-1954) 

Danseuse au Tabouret, from Dix Danseuses, 1925-26

Lithograph

17 7/8 x 10 3/4 inches

Sheet: 25 3/8 x 18 1/2 inches

Edition of 130

Signed and numbered

12 Art Works, Our Art Newsletter for August 8, 2015

Il Guercino (1591-1666), ‘Saint Sebastian,’ circa 1632-1634. Image courtesy of Federico Castelluccio

Federico Castelluccio, the actor/artist/collector who recently discovered a Guercino masterpiece half-length Saint Sebastian, circa 1632-1634, will now exhibit the painting at the Princeton University Art Museum as a special installation, this week through late January. This will mark the first time this painting has ever been on public view in the United States. More

Artist, Michelle Poler, Wears Bikini in the New York Subway in 100 Day Performance Piece. More

Joan Miró, Signes et meteores (1958).

Baden-Württemberg, Germany. A recent analysis carried out by the state's court of audit showed that some 500 public artworks produced as part of the 1950s municipal program are unaccounted for, or missing. Since 2010, the state has purchased artworks for €2 million ($2.2 million).

Alina Kopytsa, Elias Kirsche, “Art Walk with Nude Accent” (2014) (all photos by W. Winkler, courtesy Thomas Zollinger)

On August 21, the world’s first official, naked public performance art festival will occur in the streets of Biel, Switzerland, featuring projects from 18 international artists. More

Lyonel Feininger Segelschiffe (1919

Among the missing works are important modernist pieces such as the 1958 lithograph Signes et météores (from an edition of 100) by Joan Miró, and a 1919 woodcut by Lyonel Feininger titled Segelschiffe. More

English Heritage's Alice Tate-Harte conserving Titian's Mistress (Credit: English Heritage/Lucy Millson-Watkins

A British art restorer was shocked when an ordinary painting she was cleaning turned out to be the work of the Italian master Titian. Alastair Sooke tells her story. More

Marco Cochrane, “Truth Is Beauty” (2013) (photo by torroid/Flickr)

A 55-foot-tall steel mesh sculpture of a naked, dancing woman that lights up with 3,000 LED bulbs dazzled Burning Man attendees in 2013, but residents of Bay Area city San Leandro — where it will reside permanently as of next summer — are split on its artistic merits. More

The winner of the 4th annual Eldon + Anne Foote Edmonton Visual Arts Prize is Julian Forrest. More

Julian Forrest

Perceptual Disorders (after Keret)

2014

oil on canvas

two panels at 72x60 inches

Julian Forrest

Conversation 16

2014

oil on canvas

60x72 inches

Julian Forrest

A Gulf So Dark 2013

Oil on canvas

60 x 60 inches

The Vatican is now closer to home with the arrival of “Michelangelo’s Sistine Chapel: The Exhibition” to the Montreal convention centre, where it kicks off a three-month run this week. Vancouver and Toronto are next on the list of cities in what is planned as a 10-year tour around the world. More

Fading beauty of Matisse and van Gogh's masterpieces: Chemical reaction is turning famous paintings BROWN

The discovery was made by the European Synchrotron Radiation Facility. They found that the cadmium yellow pigment is reacting with sunlight. This causes it to degrade to another compound that is beige. Shown is Matisse's The Joy of Life painting before (left) and after (right) the effect. More

In the article, the team calls for the development of an international protocol to identify and help preserve 'at risk' paintings. More

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

14 Works, Art For Today June 20, 2015; George Elbert Burr, Henri Matisse, Louis Icart, Luigi Lucioni, Lyonel Feininger, Marc Chagall,

Marc Chagall

LES AMOUREUX DE VENCE

Dimensions:  28.54 X 39.17 in (72.5 X 99.5 cm)

Medium:  oil on canvas

Creation Date:  1957

Signed

Marc Chagall

Femme de Potiphar

Dimensions:  21.06 X 15.35 in (53.5 X 39 cm)

Medium:  Etching

Creation Date:  1958

Edition Number:  80/100

Marc Chagall

Moses Striking the Rock

Dimensions:  17.52 X 13.58 in (44.5 X 34.5 cm)

Medium:  Color lithograph

Creation Date:  1966

Edition Number:  from an edition of 250 copies on ARCHES wove paper

ANGEL OF PARADISE

By Marc Chagall

Dimensions: 13.98 X 10.24 in (35.5 X 26 cm)

Medium: Lithograph printed in colours

Creation Date: 1956

Signed

Edition Number: edition of 6500

DAVID AND BATHSHEBA, FROM THE BIBLE

By Marc Chagall

Dimensions: 13.98 X 10.24 in (35.5 X 26 cm)

Medium: Lithograph printed in colours

Creation Date: 1956

Signed

George Elbert Burr

Oaks in Winter #2

Dimensions:  9 X 6.75 in (22.86 X 17.14 cm)

Medium:  drypoint

Creation Date:  1930

Signed

George Elbert Burr

Winter #2

Dimensions:  6.88 X 9.88 in (17.48 X 25.1 cm)

Medium:  drypoint

Signed

Henri Matisse

Femme nue dans un intérieur

Dimensions:  9.06 X 11.61 in (23 X 29.5 cm)

Medium:  Pen and India ink on paper

Creation Date:  1925

Signed

Henri Matisse

A Maison de la Pensee Francaise

Dimensions:  31 X 22.5 in (78.74 X 57.15 cm)

Medium:  Vintage lithograph

Signed

Louis Icart

Loves Awakening

Dimensions:  8.56 X 11.25 in (21.74 X 28.58 cm)

Medium:  etching in colors

Creation Date:  1933

Signed

Luigi Lucioni

Two Silos

Dimensions:  7.25 X 11.88 in (18.42 X 30.18 cm)

Medium:  etching

Creation Date:  1942

Edition Number:  edition of 250

Signed

Luigi Lucioni

The Mill

Dimensions:  6.63 X 9 in (16.84 X 22.86 cm)

Medium:  etching

Creation Date:  1932

Signed

ARCHITECTURE WITH STARS II

By Lyonel Feininger

Dimensions: 16.25 X 28.25 in (41.28 X 71.76 cm)

Medium: oil on canvas

Creation Date: 1945

Signed

Marc Chagall

Bouquet près de la fenêtre

Dimensions:  47.25 X 59 in (120.02 X 149.86 cm)

Medium:  oil on canvas

Creation Date:  1959 - 1960

Signed

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8 Rarely Seen Works by Henri Matisse, Lyonel Feininger, Pablo Picasso, Pierre Bonnard, and Pierre-Auguste Renoir

Lyonel Feininger

1871 - 1956

HORN PLAYER IN THE VILLAGE

signed Feininger (lower left) and dated Donnerstag d. 1. April. 1915 (lower right)

watercolour and pen and ink on paper

image size: 20.3 by 26.4cm.; 8 by 10 3/8 in.

sheet size: 24.1 by 30.7cm.; 9 1/2 by 12 1/8 in.

Executed on 1st April 1915.

Pablo Picasso
1881 - 1973
LE CHEVALIER ET LES PAGES
dated Vallauris jeudi 22.2.51. (lower centre)
pen and brush and ink, wash and gouache on paper
50.3 by 65.7cm.
19 3/4 by 25 7/8 in.
Executed in Vallauris on 22nd February 1951.

Henri Matisse
1869 - 1954
FEMME À L'OMBRELLE
signed Henri Matisse (lower left); signed Henri Matisse and dedicated à M et Mme Abel Desjardins, souvenir affectueux, Dec. 1919 on the reverse
oil on canvasboard
23.7 by 19cm.
9 1/4 by 7 1/2 in.
Painted in Nice in 1919.

Painted in 1919, portraying his model seated in front of an open window in his Mediterranean studio. The model posing in a chair was a popular subject during this period, and the supple curves of her body and the rich, textural contrasts of her clothing are beautifully executed in the present work. Indeed, Matisse makes his model, the young Antoinette Arnoud, the focus of this lively and unusually direct composition. She is depicted close-up, filling the pictorial field as she reclines against the chair that is loosely sketched in the background. She assumes a rather flirtatious pose, with her rose coloured parasol held at a jaunty angle and Matisse achieves a heightened sense of immediacy through his use of a broad diagonal set against the green vertical of the shuttered French door which frames the composition. This concentration on his model, and the attention that Matisse pays in rendering the elegant florals of her dress, anticipate some of his later portraits of fashionable women and illustrate his skill in harmonising bold colour planes with decorative patterns. More

Pablo Picasso
1881 - 1973
NATURE MORTE
signed Picasso (upper left); dated 6 Avl 44 on the reverse
oil on canvas
60 by 92cm.
23 5/8 by 36 1/4 in.
Painted on 6th April 1944.

In early April 1944 Picasso painted several still-lifes featuring a candle and a cafetiere on a table-top, executed in his studio on the rue des Grands-Augustins. Because of the restrictive circumstances of occupied Paris, Picasso made a habit of painting at night or behind heavily shaded windows, and the chromatic severity of many of his pictures from this time conveys the ambiance of these conditions. Like other works from this series, this seemingly simple composition of a traditional genre reflects multi-layered symbolism. As is the case with so much of Picasso’s art, he imbues the most innocent subject matter with an erotic undertone. In the case of Nature morte, the images of the cafetiere and the fruit bowl carry Freudian connotations, acting as symbols of male and female sexuality. More

Pablo Picasso
1881 - 1973
DEUX PERSONNAGES (LA LECTURE)
signed Picasso (lower left) and dated Boisgeloup 30 mars XXXIV (along the top); dated Boisgeloup 30 mars XXXIV on the stretcher
oil on canvas
81 by 65cm.
32 by 25 1/2 in.
Painted in Boisgeloup on 30th March 1934.

Picasso's striking portrayal of two women reading belongs to the extraordinary group of canvases inspired by Marie-Thérèse Walter, his beloved mistress during the early 1930s. Distinguished by their rich colouration, harmonic curves and sweeping arabesques, these exceptional pictures are renowned as Picasso's most euphoric, sexually-charged, fantastical and inspired compositions, and they rank among the most instantly recognizable works of 20th century art. Of all the manifestations of Picasso's exceptionally prolific career, it is during his 'Marie-Thérèse period' when his creative force was at its most powerful. Among the most evocative of these pictures is Deux personnages also known as La Lecture, created when Marie-Thérèse was firmly at the centre of Picasso's artistic and private universe. More

Henri Matisse
1869 - 1954
FEMME À L'OMBRELLE VERTE
signed Henri Matisse (lower right)
oil on canvasboard
41 by 33cm.
16 1/8 by 13cm.
Painted in Nice in 1919.

Femme à l'ombrelle verte was painted during the early months of 1919 at the Hôtel Méditerranée et de la Côte d’Azur in Nice. Matisse took his first room at the Méditerranée in November 1918 and, returning to Nice each autumn, would continue to reside there for the next three years, deriving inspiration from the Italian-style ceilings, old rococo decor and sunlit interiors. As Jack Cowart writes, describing Matisse’s room there: ‘This hotel would become for Matisse a most fertile, expansive environment… His first room had shuttered, double French doors opening out onto a balcony with a carved or cast balustrade [...]. Models were chosen to pose on the balcony, holding brightly colored red, green, or orange umbrellas. These parasols not only shaded them from the sun but also provided a soft irradiation of colored light that Matisse would capture on canvas’ (J. Cowart, ‘The Place of Silvered Light’, in Henri Matisse, The Early Years in Nice, 1916-1930 (exhibition catalogue), op. cit., p. 24). More

Pierre Bonnard
1867 - 1947
CABANONS AU CANNET
signed Bonnard (lower left)
oil on canvas
68 by 94cm.
26 3/4 by 37in.
Painted in 1933.

The present work depicts a view near Bonnard’s house Le Bosquet at Le Cannet, and is a wonderful example of the rich nature and captivating light of the south of France that provided an important source of inspiration for the artist. Situated above Cannes on the Côte d’Azur, Le Bosquet was surrounded by lush vegetation that could be seen from the house. Both the villa and the town itself offered the artist a wide array of subjects to paint, resulting in powerful, boldly coloured compositions. As Jörg Zutter wrote: ‘By 1931 Le Bosquet was Bonnard’s favourite place to work and in 1939 it became the couple’s permanent home. The house and its surroundings provided an ideal work environment for the artist, who continued to paint studies of Marthe, often standing in the bathroom or lying in the tub. He also painted still lifes, self-portraits, interiors and the views onto the countryside from different windows and doors’ (J. Zutter in Pierre Bonnard: Observing Nature (exhibition catalogue), National Gallery of Australia, Canberra, 2003, p. 61). More

Pierre-Auguste Renoir
1841 - 1919
FEMME À LA TOQUE NOIRE OR TÊTE DE JEUNE FEMME OR PORTRAIT DE FEMME EN BUSTE AU CHAPEAU NOIR
signed Renoir (lower right)
pastel on paper
60.8 by 46.5cm.
24 by 18 1/4 in.
Executed circa 1890.

Whilst Renoir’s work of the early 1880s had been defined by his return to a classically-inspired and more formal style that reasserted the importance of the drawn line in his work, by 1890 he had returned to a warmer and more delicate handling. In Femme à la toque noire this new warmth is emphasised by Renoir’s exquisite use of the pastel. Renoir worked in this medium throughout his life and its powdery effervescence was well-suited to his singular style. Pastel allowed him to reconcile the fresh spontaneity afforded by drawing, with the colour that was so fundamental to his aesthetic. François Daulte suggests: ‘If he frequently used that medium to depict those near and dear to him, it was because pastel, which combines color with line, gave him the possibility of working rapidly to capture in all their vividness the rapid flash of intelligence and the fleeting show of emotion’ (F. Daulte, Pierre-Auguste Renoir: Water-colours, Pastels, and Drawings in Colour, London, 1959, p. 10). In the present work Renoir’s choice of medium imbues the painting with spontaneous intimacy and brings a fresh vivacity to his subject.  More

Pierre-Auguste Renoir

1841 - 1919

PORTRAIT DE CLAUDE MONET

signed Renoir (lower left)

charcoal on paper

52 by 41cm.

20 1/2 by 16in.

Drawn circa 1890.

Renoir’s earliest depictions of his fellow artist date from this first period of Impressionism. In the summer of 1873 he visited Monet at his house at Argenteuil and painted the artist at work in his garden and a year later - in the months after the exhibition - he joined the Monet family there once more, painting a touching portrait of the artist’s wife and young son in the garden of their home. He also painted a number of more formal portraits including a picture of the artist at his easel, Claude Monet (fig. 1), now in the Musée d'Orsay in Paris. Over the following decades the two artists maintained their friendship, although by the time Renoir drew this portrait of Monet around 1890, they had ceased exhibiting their work with the original Impressionist group. They both had already attained considerable commercial success, and Renoir in particular was now regarded as the most sought-after portrait painter in Paris. More

Pablo Picasso

1881 - 1973

LA RENCONTRE

signed P. Ruiz Picasso (lower left)

pastel on paper

54 by 42cm.

21 1/4 by 16 1/2 in.

Executed in Barcelona in 1899.

La Rencontre illustrates Picasso’s immediate responsiveness to this world of new influences. Embracing the modern sensibility that would characterise his depictions of Parisian life the following year, the work is characteristic of Picasso’s acute and perceptive observation of his surroundings. It also reveals his increasing receptivity to new modes of expression. The pastel is applied thickly – almost sensuously - in bold swathes of colour which Picasso uses to delineate space and evoke atmosphere. This new approach to form and colour is reflected in the development of his drawing over this period as he gradually abandoned the academic technique of modelling in favour of bolder lines and the use of blocks of white or black to suggest depth. This shift was influenced by the prevailing spirit of Catalan modernisme and specifically by his work on graphic projects – most famously in the design for a menu for Els 4 Gats – which emphasised a flatter, more linear style and the use of colour to create a dynamic of depth and movement in the composition. As John Richardson observed of this critical period, it ‘reveals an astonishingly rapid advance not just in acuity of observation and technique but in drama and style. Everything has more of an edge to it’ (J. Richardson, A Life of Picasso. Volume I: 1881-1906, London, 1991, p. 109).  More