ataste of art -...

ATASTEOF ART

� is catalogue was created by and with the support of the following wonder� l people.

We would like to thank Bailly Gallery’s teams in Geneva and Paris :

Hélène Bailly and her co-workers.

Charly Lagouy for his hard work, enthusiasm, abili� for not “cracking under pressure” and elegance.

Clara Al Sidawi for her artistic skills, professionalism, resilience, strong character and kind heart.

Aurelie Beiderlinden-Francin for her organisational skills, precision, and kindness.

Marie Chatel for truly helping us with our organisation, notes and sales with a smile.

Chloé Mayot for her devotion, effi ciency, endurance and bubbly character.

Valérie Sax for her dedication, patience and beauti� l smile.

Adélaïde Génin for all her hard work, great writing skills and gentle nature.

Vincent Dos Santos for his inner and outer strength and sense of humour.

Samir Boujddaini for his effi ciency, hard-working nature and for always being there when needed.

Specialists, experts and museum curators around the world who included our works

into outstanding exhibitions.

Hanna & Charly Bailly

To Patricia and Charles Bailly...

ATASTEOF ART

BAILLY GALLERY

10, rue de l’Hôtel de Ville1204 GenevaTél. +41 22 827 24 24

25, quai Voltaire75007 ParisTél. +33 1 42 60 37 33

baillygallery.com

TABLES

Alfred Sisley (1839-1899). Printemps, paysanne sous les arbres fruitiers 10 - 13

� eodore Wores (1859-1939). Promenade à To� o 14 - 19

Achille Laugé (1861 - 1944). Le chemin bordé de chardons 20 - 21

Louis Valtat (1869 - 1952). Madame Valtat au jardin Anthéor 22 - 23

Alexej von Jawlens� (1864 - 1941). Portrait de Madame Sid 24 - 25

Georges Lacombe (1868-1916). Mauvais conseil 26 - 29

Henri-Edmond Cross (1856 - 1910). Pérouse, le Campanile de Santa Maria Nuova 30 - 33

Pierre-Auguste Renoir (1841-1919). Modèle à la main dans les cheveux 34 - 35

Albert Marquet (1875-1947). Le Vapore� o 36 - 37

Georges Braque (1882-1963). Uranie 38 - 39

Jean Dubuff et (1901-1985). Site Aléatoire avec 6 personnages 40 - 43

A Taste of Art - Bailly Gallery

PROLOGUE

To celebrate our third participation at TEFAF Maastricht, as well as the tenth anniversary of Bailly Gallery, we are

proud to present our fi nest artworks selected exclusively for this prestigious event.

We welcome you to discover and enjoy our presentation and the stories behind each of these rare masterpieces.

A Taste of Art - Bailly Gallery

To our present and � ture collectors...

PROVENANCE

Franco-Swedish Konstgalleriet Gallery, Stockholm,

2-4 December 1936 sale, lot 114 (under “Blommande

fruk� räd” half-page illustrated in the catalog)

Collection Jacob Wallenberg, Stockholm

Private collection

EXHIBITIONS

Nationalmuseum, Stockholm, exhibition organised by

Föreningen Fransk Konst, “Frankrike genom konstnärsögon”

(France through artist’s eye’s) May 9th - June 2nd 1941, n°390

(under the title “Landskap med blommande fruk� räd”).

Liljevalchs Konsthall, “Cézanne till Picasso. Fransk konst

i svensk ägo”, September 1954, n°342

(under the title “Fruit trees - Blommande frukträd”).

Sensations de Nature / de Courbet à Hartung,

July 4th to October 12th, 2015, Musée Gustave Courbet in

Ornans.

Alfred Sisley : Impressionist Master, January 21st to May 21st

2017, Bruce Museum, New York.

Sisley l’impressionniste, June 10th - October 15th 2017,

Hôtel de Caumont, Aix-en-Provence.

BIBLIOGRAPHY

� is work will be included in the new edition

of the catalogue raisonné of the work of Alfred Sisley

by François Daulte currently in preparation.

“Every picture shows a spot with which the artist

has fallen in love.” Alfred Sisley.

� is painting was executed circa 1865-66 when Alfred Sisley

stayed in Marlo� e, a small commune south of the forest of

Fontainebleau in the Seine-et-Marne department in France.

� e luxurious vegetation of the small town and its surroundings

inspired Sisley to paint this rural scene. � e painter illuminated

this scenery depicted in tones of green and brown with the

bright white of the majestic trees in blossoms. � e entire scene

is imbued with the tranquilli� and quietness inherent to Sisley’s

oeuvre. � e only human presence lies in the silhoue� e of the

woman standing underneath the trees. � roughout his career,

Sisley almost completely dedicated his art to the representation

of landscapes and only rarely deviated to fi gure painting.

His artistic vision was entirely directed by the elements of

nature and their varie� of combinations. Alfred Sisley executed

this beauti� l oil on canvas at an early stage in his career. � e

artist demonstrates here his affi nities with the values of the

School of Barbizon, especially the painting en plein air.

Working outdoor allowed him to realistically capture the

evanescent eff ects of light on nature.

In the mid 1860’s, Sisley applied his paint in broad brush-

works, fi rmly defi ning the elements in the composition as this

canvas perfectly demonstrates. In Printemps, Paysanne sous lesarbres fruitiers, the artist fl awlessly rendered the reminiscent colours

of spring with its customary talent to depict the countryside.

Born in 1839 in Paris to British parents, Alfred Sisley spent

most of his life in France. In 1957, he went to London to study

business but stopped and returned to Paris in 1861. � e next

year, he enrolled at the Ecole des Beaux-Arts within the work-

shop of Charles Gleyre where he met Claude Monet and

Pierre-Auguste Renoir. � eir shared interest in outdoor painting

and in an accurate depiction of light led to the development

of the Impressionist movement in the next decade.

10 - 11 A Taste of Art - Bailly Gallery

ALFRED SISLEY (1839-1899)

Printemps, paysanne sous les arbres fruitierscirca 1865-66Signed lower le� : A.Sisley.Oil on canvas46,5 × 56 cm / 18.3 × 22.04 in.68 × 77 cm / 26.8 × 30.3 in. (with frame)Certifi cate of authentici� issued by the Comité Alfred Sisley dated 26th of January 2012.

Detail


PROVENANCE

Possibly, Prince Henry of Bourbon-Parma,

Count of Bardi (1851-1905) (acquired from the artist’s

exhibition at Dowdeswell & Dowdeswell, London, 1889)

Private Collection, Sweden

� ence by descent (and sold Uppsala Auktions Kammare,

December 1, 2009, lot 84, illustrated and as cover)

EXHIBITIONS

Tsukuji Gallery, To� o, November 1887

Chicago, Interstate Industrial Exposition (Art Hall), 1888

New York, Richard Gallery, April 1888

London, Dowdeswell & Dowdeswell, 1889

London, Royal Academy, 1890, no. 125

(as Returning from the cherry groves, To� o, Japan)

BIBLIOGRAPHY

“An Interesting Display of Pictures of Japan by an American

Artist”, New York Herald, April 22nd, 1888, p. 6

(as Coming Home from the Cherry Groves)

“Mr. � eodore Wores’ Pictures”, � e Japan Daily Mail,

August 31st, 1889, p. 190 (as Coming Home from the Cherry Groves)

� eodore Wores, “An American Artist in Japan”, � e Century,

vol. 38, no. 5, September 1889, illustrated p. 675

Henry Blackburn, ed., Academy Notes, London, 1890, p. 8,

no. 125, illustrated p. 39

“� e Royal Academy”, � e Anthanaeum, May 24th, 1890, p. 677

“A California Artist Honored Abroad”, � e Morning Call,

San Francisco, March 15th, 1891, p. 8

� eodore Wores, An American Artist in Meiji Japan, exh.

cat., Pacifi c Asia Museum, Pasadena, California, May 5th,

1993-January 23rd, 1994, illustrated p. 125

(a photograph from the artist’s album, and recorded as lost)

Kristen M. Jensen, � e American Salon: � e Art Gallery

at the Chicago Interstate Industrial Exposition, 1873-1890,

Ph.D. diss., � e Ci� Universi� of New York, 2007, vol. II, p. 496

� e Oriental Culture always fascinated californian painter

� eodore Wores. In 1885, the artist embarked for the fi rst

time on a journey to Japan where he lived until 1887. In our

beauti� l oil on canvas, the painter depicts a purely Japanese

scene occurring in the streets of To� o. A man draws a two-

wheeled cart in which sit two young women. � ose “pulled

rickshaws” were invented in Japan in the 1860’s and soon

became an inexpensive and very popular mean of transpor-

tation in the country.

All the characters are dressed in traditional clothes. In

his Japanese landscapes, Wores frequently represented fl owers

that were, to him, inseparable from the life, art and culture of the

people. In this urban scenery, he introduced sumptuous

cherry tree blossoms, symbolising the beau� of renewal and

evolution, which enhances the entire scene. Every element in

this painting renders the wealth and splendour of the material

Wores sees around him.

Wores’ extremely detailed and precise s� le, combined

with the composition of the picture, evokes the medium of

photography that was rapidly developing at the time. � e

artist painted a scene in motion, capturing an instant of the

Japanese lifes� le. He was aware of his role as interpreter of

Japanese culture and was determined to capture its essence

in the most objective way, revealing the locals’ daily lives.

THEODORE WORES (1859-1939)

Promenade à To� o1887Stamped, signed, located and dated lower le� : � eo. Wores / Tokio 1887Oil on canvas117 × 81 cm / 46.1 × 31.9 in.164 × 128 cm / 64.6 × 50.4 in. (with frame)


Born in San Francisco, � eodore Wores was one of

the fi rst pupils to a� end the San Francisco School of Design.

He continued his artistic education in Europe at the Royal

Academy in Munich before moving back to California. � eodore

Wores and his masterpieces stand at the centre of an inter-

national exchange of art and culture in the late 19th century,

when Japonism substantially infl uenced numbers of Western

artists. However, unlike most of these artists, Wores truly

immersed himself in the Eastern culture. His art appears as

an authentic testimony of the local habits and customs that

he directly observed and experienced. � e original gilded

frame enhances the painting. In To� o, Wores commissioned

a Japanese cra� sman to produce a series of frames, including

this one with its elaborate and impressive carvings of trees

and birds.

Detail

Details


Detail

PROVENANCE

Private collection, Switzerland.

BIBLIOGRAPHY

� e painting will be included in the forthcoming

Catalogue Raisonné de l’oeuvre d’Achille Laugé currently

being prepared by Mrs Tamburini.

Flicker and colours, from the yellow to the purple, through the

green and the orange, build this landscape with monumental

power. A tour de force both in terms of composition and colour,

inspired by the work of Georges Seurat. � e la� er, inspired

by the writings of Charles Blanc and the work of the chemist

Michel-Eugène Chevreul, created between 1884 and 1891

six founding paintings of the divisionist movement. Achille

Laugé is one of the first admirers of the Sunday A� ernoonat the Grande Ja� e Island directed by Seurat and presented in

1886 at the last exhibition of the Impressionists.

From then on, he disregarded his apprenticeship, which

began in 1881 at the Beaux-Arts in the studio of Cabanel and

Laurens, and turned to a divisionist touch. A quasi-scientifi c

work of mixing tints that pleased this former student in pharmacy.

In 1888, Laugé, a native of Arzens in the Aude, found his

most important source of inspiration: the South. � e painter

se� led fi rst in Carcassonne before returning to Cailhau in 1895

at the death of his father. When in Paris, he encountered

diffi culties in art and was judged too avant-garde by some.

However, in 1894 he participated in the Salon des Independants,

and many exhibitions were devoted to him in Parisian galleries

during the years 1910 to 1920.

� anks to the support of merchants, collectors and critics,

such as Albert Saraut, Achille Astre and Maurice Fabre de

Gasparets, he succeeded in selling his canvases and in establi-

shing his position as a renown artist.

ACHILLE LAUGÉ (1861-1944)

Le chemin bordé de chardons1897Signed and dated lower right: A.Laugé / 97Oil on canvas52.5 × 80 cm / 20.7 × 31.5 in.81 × 109.5 / 31.9 × 43.1 in. (with frame)Certifi cate issued by Mrs Nicole Tamburini, dated March 8th, 2017.



PROVENANCE

French private collection

Swiss private collection

BIBLIOGRAPHY

Jean Valtat, Louis Valtat,

Catalogue de l’oeuvre peint 1869-1952, vol. I, Neuchâtel, 1977,

no. 334, illustrated p. 38

Born in Dieppe, Normandy, Louis Valtat fell in love with

the Var coast and stayed a few months in Agay and in

Anthéor near Saint-Raphaël in the late 1890’s. In 1899, he

built a house there, where he lived during half of the year

until 1914.

Our beauti� l oil on canvas illustrates a profoundly

personal scene in which Louis Valtat pictured his young wife,

Suzanne, whom he married in 1900 in Versailles. She soon

became the artist’s favourite model. � is composition combines

Valtat’s preferred themes: his wife and his garden in Anthéor

where he enjoyed growing the fl owers and fruits that he

passionately represented in his works. His love for a serene

life and nature is always perfectly expressed in his paintings.

Suzanne is portrayed here meandering amidst the luxuriant

fl owers. She illuminates the entire scene with her bright white

dress. Two other unidentifi ed silhoue� es are depicted in the

background. Unlike Suzanne, they are wearing darker clothes,

as a reminder that the main subject of the painting - and, by

extension, of Valtat’s life - is his lovely wife. Best known for his

resplendent landscapes and fl ower compositions, Louis Valtat

is one of the most highly regarded painters of the Post- Impres-

sionist period.

At the turn of the 20th century, he and other avant-garde

pioneers began to experiment with brushstrokes, resulting in

heavy applications of paint.

� e time that the artist spent in the Mediterranean region

had an infl uence on his s� le as he intensifi ed his use of colours,

evoking the intense light of southern France. His technique

is perfectly representative of Valtat’s relationship with the

Fauve movement. Indeed, Valtat was infl uenced by contem-

poraries such as Henri Matisse, Charles Camoin, Henri Manguin,

Maurice de Vlaminck and André Derain, with whom he

exhibited at the 1905 Salon d’Automne - a tremendous break-

through for the entire movement. Somehow Valtat stayed

apart from the Fauve group and never completely adopted

their extreme boldness in the treatment of form and colour.

Nevertheless, this painting executed in 1901 is a prime example

of Louis Valtat’s fi rst experimentations with Fauvism.

LOUIS VALTAT (1869 - 1952)

Madame Valtat au jardin, Anthéor1901Signed and dated lower right: L. Valtat / 1901Oil on canvas130 × 162.5 cm / 51.2 × 63.4 in.144 × 178 cm / 56.7 × 70.1 in. (with frame)


PROVENANCE

Private collection

Redfen Gallery, Londres

John Levy

Private collection

EXHIBITIONS

1962, New York, Marlborough-Gerson Gallery

1960, London, Redfen Gallery, no.43

1956, London, Redfen Gallery, no.40

1912, Wiesbaden Museum

BIBLIOGRAPHY

Alexej Von Jawlens� , Catalogue Raisonné

of the Oil Paintings, vol. I, 1890-1914,

illustrated under n°88, p.97

� is oil on cardboard perfectly refl ects Alexej von Jawlens� ’s

work from the beginning of the 20th century. � is composition,

commanded by broad and free brushstrokes, off ers a variation of

blue tones contrasting with the bright yellow used for the face.

Diff erent planes of colours are separated through darker linear

contours, can o� en be found in Jawlens� ’s works.

Portrait de Madame Sid is telling of the stylistic influ-

ences that shaped the artist’s oeuvre, especially the impact of

the Fauve movement. � is painting was executed circa 1905,

the same year he met the Fauve painters at the Salon

d’Automne.

A� er this encounter, Jawlens� developed his reliance

upon colours as a mean of visual expression. Paul Gauguin

also had an indirect infl uence on the work of the artist through

Jan Verkade, a former student of Paul Gauguin and friend of

Jawlens� whom he met in Munich at the time this painting

was executed.

During his career, Alexej von Jawlens� o� en returned

to painting portraits. � is subject allowed him to explore the

range of human emotions. In this composition, the model

seems calm and asleep. Depicted in profi le with closed eyes,

she distances herself from the viewer, which prevents her

quietude from being disturbed. � e artist � lly demonstrates

his talent at rendering peace� lness while using an expressive

touch.

Born in Russia, Alexej von Jawlensy studied at the Art

Academy of St. Petersburg. Around the mid 1890’s, he moved

to Munich, to pursue his artistic training. In 1905, he travelled

in France where his encounters with artists such as Henri

Matisse had a profound impact on his oeuvre. Drawing on

what he saw and experienced in France and in Munich, he

developed a personal s� le that contributed to the elaboration

of German Expressionist paintings. Today, the largest

collections of works by Alexej von Jawlens� are kept at the

Museum Wiesbaden, where he took up residence in 1922, and

at the Museum Ostwall in Dortmund, Germany. His works

are also exhibited in France (Lyon, Musée des beaux-Arts),

in Austria (Albertina, Vienna), in Russia (Hermitage Museum,

Saint Petersburg) and in the United States (Art Institute of

Chicago and Norton Simon Museum, Pasadena).

ALEXEJ VON JAWLENSKY (1864 - 1941)

Portrait de Madame Sidcirca 1905Signed lower right: A. Jawlens� Oil on cardboard53 × 49 cm / 20.9 × 19.3 in.82.5 × 78 cm / 32.5 × 30.7 in. (with frame)


PROVENANCE

Private collection of Martine Foltz-Lacombe

Private collection, Switzerland

(acquired from the previous owner)

EXHIBITIONS

Exposition du Groupe, Paris, Galerie Bernheim, 1907, N.26.

Exposition de la Société Nationale des Beaux-Arts,

Paris, 1908, N.1993.

Sculptures sur bois de Georges Lacombe, Paris,

Galerie Hessel, 1912.

Salon d’Automne, paris, 1920, N.1270.

Les peintres de Pont-Aven et leurs amis, Paris,

Galerie Maurs, 1946, N.49.

Bonnard, Vuillard et les Nabis, Paris,

Musée National d’Art Moderne, 1955, N.112.

Cent sculpteurs de Daumier à nos jours, Saint-Etienne,

Musée d’Art et d’Industrie, 1960, N.31.

Les Sources du XXe siècle, Paris,

Musée National d’Art Moderne, 1960-1961, N.359.

Gauguin et ses amis, Musée de Pont-Aven, 1961, N.99.

Les Nabis et leurs amis, Mannheim,

Kunsthalle, 1963-1964, N.150.

Georges Lacombe, le “nabi-sculpteur”, Paris,

Galerie André Paci� i, 1969, N.7.

Georges Lacombe, 1868-1916, Versailles,

Musée Lambinet, 1984, N.19, illustrated p.41.

Georges Lacombe 1866-1916, Pont-Aven,

Musée de Pont-Aven, 1998, N.41, illustrated p.62.

Les univers de Georges Lacombe 1866-1916, Versailles,

Musée Lambinet, 2012, N.42, illustrated p.94.

BIBLIOGRAPHY

Expositions diverses, L.Vauxcelles,

in Gil Blas, June 7th,1907.

La sculpture à la Nationale, in Sensations d’Art, 1909,

G.Denoinville.

Exhibition Georges Lacombe, by Gil Blas,

P.Muller, April 5th,1912.

Catalogue Raisonné Georges Lacombe

Sculptures-Peintures-Dessins, by Blandine Salmon and

Olivier Meslay, Charles and André Bailly Editeurs,

1991, illustrated in color p.17.

Georges Lacombe, 1868-1916, Catalogue Raisonné,

by Joëlle Ansieau, Somogy Editions d’Art,

September 15th,1998, illustrated under N.185.

Les univers de Georges Lacombe 1868-1916,

Silvana Editoriale, Musée Lambinet Versailles,

Maurice Denis Musée Départemental, 2012,

illustrated in color under the N.42.

Le Mauvais Conseil (� e Wrong Advice) depicts two women

interacting with one another. Two fi gures, gazing into each

other, mirror themselves and diverge at the same time. � e

young woman on the right displays her youth as she uncovers

her voluptuous body from a drapery. On the le� -hand side,

an old lady is depicted with wrinkles on her face that merge

with the folds of her veil and gown. � e fi gures, both repre-

sented in profi le, share a similar bodily expression, as one’s

veil visually responds to the other’s long beauti� l hair.

GEORGES LACOMBE (1868-1916)

Mauvais conseilC. 1906-1907Signed with the initials lower right: GLPolychrome wood85 × 50 × 5 cm (33.5 × 19.7 × 1.9 in.)


Here, there is - as found in Georges Lacombe’s

sculptures - a pa� ern of opposition. � e old woman is holding

something in her hands which could potentially account for

an element of temptation. Meanwhile, the young woman on the

right raises her le� hand as a sign of disapproval. Symbolism

strongly infl uenced Georges Lacombe and his representations

o� en carried an allegory or hidden message. Here, the opposition

of youth and maturi� , innocence and sin, clearly states that one

has been tempted and the other is yet to be (or perhaps not).

� e tension thus seems to lie in the young woman’s abili� to

avoid traps and mistakes, and foresee what is good and evil.

� e object that the old woman holds in her hands is

subject to insight� l questions. Does it remind of a money bag

or a forbidden fruit like the ones depicted in Paul Gauguin’s

Tahitian depictions? Whereas the artist’s work is evidently

embedded in a christian culture, an interest for developing his

own allegories as Gauguin did is also plausible. As exemplifi es

his master’s representation Tehura in Eu here ia œ (Where Are

You Going? or Woman Holding A Fruit?), 1893, Gauguin’s

paintings o� en depicted conversations or conspirational fi gures

that come into resonance or contradiction with one main

protagonist, something which strongly reminds of Lacombe’s

pair of women.

� e work also highlights Lacombe’s strong relationship

to materiali� . With a cabinetmaker as a father and an illustrator

as a mother, Lacombe was self-taught, and this artwork shows

how he could both carve wood and draw details to perfection.

Along with Paul Gauguin who he admired, Lacombe was

one of the two most well-known sculptors of the 20th century

who practised direct carving. In Gauguin’s workshop rue

Vercingétorix, Lacombe developed a similar technique with

fi nishings like polychrome tinting and waxing that are visible

in this work. � e sculptor used to roughly cut his wood with

an axe before defi ning precise and delicate traits with gouge

and chisels – a contrast of techniques and level of details that

are beauti� lly highlighted in Le Mauvais Conseil.Paul Gauguin, Hermitage Museum Moscow,Tehura in Eu here ia œ, 1893

As stated in the Catalogue Raisonné, this sculpture is

particularly important in the œuvre of Georges Lacombe as

it uniquely sums up signifi cant themes in the artist’s work.

First exhibited in 1907 at the prestigious Parisian Bernheim

gallery, this work shows infl uences from the Nabis, Gauguin’s

polychrome sculpted wood of Tahitians and interest in

primitive art. � e artist also shared strong ties with Paul

Sérusier and played a significant role in the school of

Pont-Aven.

Detail


PROVENANCE

Galerie Bernheim-Jeune, Paris (acquired by 1910)

Eberhard Freiherr von Bodenhausen, Munich

Galerie Bernheim-Jeune, Paris

Karl Ernst Osthaus, Hagen

M. Vollmoeller, Switzerland

Jean Dufresne, Paris

Knoedler & Co., New York

(acquired from the above on September 11th, 1951)

Fine Arts Associates, New York

(acquired from the above on December 19th, 1952)

Harris Goldstein, Philadelphia

(acquired from the above and sold: Parke-Bernet Galleries,

Inc., New York, May 2nd, 1956, lot 84)

Fine Arts Associates, New York (acquired at the above sale)

Private Collection, New York (acquired from the above)

� ence by descent

EXHIBITIONS

Paris, Galerie Bernheim-Jeune, Henri-Edmond Cross,

oeuvres de la dernière période, 1910, no. 34

Paris, Galerie Bernheim-Jeune, La Faune, 1910, no. 79

Brussels, La Libre Esthétique,

Rétrospective Henri-Edmond Cross, 1911, no. 50

Paris, Galerie Bernheim-Jeune, La Montagne, 1911, no. 13

Paris, Galerie Bernheim-Jeune, Henri-Edmond Cross, 1913, no. 45

BIBLIOGRAPHY

Lucie Cousturier, “H. E. Cross” in L’Art Décoratif,

Paris, 1913, illustrated p. 121.

Adolphe Delvaux, “H. E. Cross” in La Plume,

March 15th, 1913, p. 612.

Félix Fénéon, “Le Dernier Carnet de H E Cross I”

in Bulletin de la Vie Artistique, May 15th, 1922, p. 229.

“Le Dernier Carnet de H E Cross II” in Bulletin

de la Vie Artistique, June 1st, 1922, pp. 254-56.

Lucie Cousturier, H. E. Cross, Paris, 1932, illustrated pl. 21.

Isabelle Compin, H. E. Cross, Paris, 1964,

no. 216, illustrated p. 321.

Andrea Pophanken & Felix Billeter, eds.,

Die Moderne und ihr Sammler, Berlin, 2001, p. 145.

Pérouse, le Campanile de Santa Maria Nuova was produced by

Henri Edmond Cross in the winter of 1908 a� er a visit to

Italy in the summer of the same year. � is work is part of a

group of fourteen paintings that the artist executed a� er his

trip. Cross was particularly seduced by Perugia, capital of the

region of Umbria and this beauti� l oil on canvas brings out

the long history of the ci� . � is view can be observed from the

highest place of Perugia, the Porta Sola, a door opened in the

Etruscan wall that once encircled the ci� . � e main subject

of the painting is the medieval church Santa Maria Nuova

and its campanile built in the 17th century. In the distance

on the le� , we can also discern the 12th century church Santa

Maria de Monteluce.

HENRI-EDMOND CROSS (1856 - 1910)

Pérouse, le Campanile de Santa Maria Nuova1908Signed and dated lower right: Henri Edmond Cross. 08Oil on canvas81.5 × 100.5 cm / 32 × 39 in.Included in the forthcoming Catalogue Raisonné of Henri Edmond Cross being prepared by M.Patrick Off enstadt.


� e only human presence lies in the silhoue� e of a woman

leaning over the wall, admiring the splendour of the vast

landscape. � is fi gure, almost indiscernible at fi rst, ingeniou-

sly directs the viewer’s gaze towards the central object of the

painting. In this composition, Cross fl awlessly expressed the

vibrant hues and the shimmering lights of this part of central

Italy. He used pink to paint the distinctive stones of the

campanile of the church Santa Maria Nuova, majestically

rising in the scenery. At the bo� om of the wall, the sunlit

roofs of the houses are sca� ered amidst the verdant vegetation,

rendered by the unexpected juxtaposition of blues, greens

and purples.

� e artist managed to create an illusion of depth by the

sole use of diff erent shades, subtly passing from the intense

tones on the foreground to so� er nuances of blue and pink

in the distance. � is work is a perfect example of Cross

mature work in which the loose and lively brushstrokes

captured the light and the colours of the Italian region

in all their intensi� . Originally from Douai, in the north of

France, Henri-Edmond Cross permanently se� led in the Var

department in 1891. He found in the south of France, and

in the Mediterranean region in general, an infi nite source

of inspiration. Along with Georges Seurat and Paul Signac,

Cross was one of the figures of the neo-impressionist

movement and one of the leading pioneers of Divisionism.

View from Porta Sole

Church of Santa Maria de Monteluce

Detail


PROVENANCE

Ambroise Vollard, Paris

Private Collection, France

EXHIBITIONS

Un autre Renoir, Musée d’Art moderne de Troyes,

June 17th - September 17th, 2017.

BIBLIOGRAPHY

Tableaux, pastels et dessins de Pierre-Auguste Renoir

by Ambroise Vollard, Edition Alan Wofsy, 1918,

p. 160, under the n. 631.

Guy-Patrice, Michel Dauberville, Renoir :

Catalogue Raisonné des Tableaux, Pastels, Dessins

et Aquarelles, Tome IV, illustrated under the n°3332,

Tête de femme, p.384.

� is work will be included at the Catalogue Critique

du peintre Pierre-Auguste Renoir being prepared by

the Comité Renoir at the Fondation Wildenstein.

� e interest provoked by this painting is partly due to the

sensuali� that it radiates. � e heavy lay of the hair holds

a prominent position at a time where showing hair was

considered intimate whenever it was not tightly under

control or hidden under a hat. � e erotic quali� of hair is

common to many civilisations and in the nineteenth cen-

tury, with the onset of Romanticism, the freedom of fl owing

hair was heavily exploited as a vector of artistic modernism.

� e bourgeois culture of the time held that only women

of ill repute might dare to leave their houses without covering

their heads. Some of the Impressionists will later very deliberately

exploit this act of transgression, in particular those who

specialised in exploring representations of feminine intimacy,

such as Degas and Renoir. � is piece is the fi rst study for the

painting : Woman at the Fountain (La Source), 1910, which

can currently be found at the Museum of Fine Arts in Gi� ,

Japan. Notice that the stance of the hand in the hair is more

gracious in this study than in the fi nal painting.

PIERRE-AUGUSTE RENOIR (1841 - 1919)

Modèle à la main dans les cheveuxCirca 1910Signed bo� om right: RenoirOil on canvas34.5 × 47 cm / 13.6 × 18.5 in.67 × 80.5 cm / 26.4 × 31.7 in. (with frame)Certifi cate by � e Wildenstein Institute, dated September 25th 2015.

“La Source”, 1910, Museum of Fine Arts, Gifu - Japan

PROVENANCE

Galerie Moos, Geneva

Private Collection (acquired from the above)

Private Collection (by inheritance from above)

Private Collection, Switzerland

EXHIBITIONS

Geneva, Musée Rath, Trésors des collections Romandes

écoles etrangéres, 1954, no.170, p.32

Galerie des Granges, Geneva, Albert Marquet :

Rétrospective, exhibition catalogue, 1974,

illustrated under n°22

Geneva, Place Bourg-Du-Four, 1979

Albert Marquet is one of the painters who transformed the

landscape painting of the 20th century. He considered that

the landscape was an emotional vehicle rather than an image

of nature. In March 1936, the artist learnt that he was chosen

by the Venice Biennale to be the principal exhibitor of the

French section. � is painter from Bordeaux, who always

loved water, boats and harbour life, was so inspired by

Venice that he decided to stay four extra months.

Indeed, he loved the view from the four windows of his

bedroom and was so obsessed by Venice that he started to

paint without paying a� ention to the monuments in order to

only capture the light and the refl ection of the water. It was

then that this canvas was painted, in addition to about for�

others, each of them being unique and exhibited at the Galerie

Druet in December 1936.

As Claude-Roger-Marx said in 1939: “As diff erent as

Marquet is from the Impressionists, this is what he has in com-

mon with them [...] the fact that he likes to invent variations

on the same theme and show the same frameworks of shapes,

the same media receiving a diff erent existence according to

the time of the day or the season”. Instead of representing

Venice and its stones solidifi ed by the centuries, Marquet puts

the emphasis on its canals and shows the ci� as immaterial,

light and moving. � is allows him to stand out from all his

predecessors who painted the Sérénissime.

We can see in the foreground of our painting a vapore� o,

this famous boat serving as a canal bus in Venice since the

end of the 19th century and which inspired the title of the

canvas, sailing peace� lly through the captivating blue colour

of the water. � e basilica San Giorgio Ma� iore, the grand

canal and the basilica Santa Maria della Salute appear discreetly

in the background.

Even though Marquet’s travels allowed him to renew

his inspiration, his poet and colourist’s sensitivity gives a

singular uni� to his work.

Belonging to a private collection, our canvas has been

shown during the exhibition “Trésors des collections romandes,

Ecoles étrangères” at the musée Rath in Geneva in 1954, and

then at the Galerie des Granges in Geneva in 1974.


ALBERT MARQUET (1875-1947)

Le Vapore� o1936Signed lower right: Marquet ; Labels on the back: Galerie Moos, Geneva ; Museum Rath, Geneva.Oil on canvas65 × 81 cm / 25.6 × 31.9 in.91 × 107 cm / 35.9 × 42.1 in. (with frame)� is work will be included in the Catalogue Critique of the painted work of Albert Marquet in preparationby Mr. Guy Wildenstein for the Wildenstein Institute. Notice of inclusion as of May 30th, 2017.

Verso (detail)


PROVENANCE

Private Collection

EXHIBITIONS

Georges Braque-Henri Laurens quarante années d’amitié,

L’annonciade Musée de Saint-Tropez, France,

June 10th - October 8th, 2017.

BIBLIOGRAPHY

Exhibition catalogue, Georges Braque-Henri Laurens

quarante années d’amitié, L’annonciade Musée

de Saint-Tropez, France, June 10th - October 8th, 2017,

illustrated in color p.38 and referenced p.91.

In this painting, Georges Braque gave up his regular cubist

still lives to present a more singular and complex piece of art.

He juxtaposed on the same canvas diff erent elements refer-

ring to recurrent themes in his works, revealing some of his

interests such as ancient art and music. � e female profi le

associated with the star in the upper center of the painting

refers to Urania, the muse of Astronomy and Astrology in

Greek mythology. � is highly s� lised head is a recurrent motif

in the artist’s oeuvre. On the le� , a whirling line similar to

a F-key introduces the theme of music. Close friend to the

composer and pianist Erik Satie, Braque was a music lover

and played the violin, the fl ute and the accordion.

� is oil on canvas was executed circa 1942, during

the Second World War, whose impact on the painter’s work

must not be le� aside. � e Star of David situated in the upper

centre of the painting is a direct allusion to the events that

were occurring at that time in Europe. � e green used in the

background evokes the colour of German soldiers’ uniforms.

For Braque, austeri� is one of the main symptoms of the

international confl ict. His perception is perfectly discernible

GEORGES BRAQUE (1882-1963)

UranieCirca 1942Numbered on the back: 165Oil on original canvas65 × 91.5 cm / 25.6 × 36 in.69.6 × 96.6 cm / 27.4 × 38 in. (with frame)Mr Quentin Laurens, holder of moral right of Georges Braque, has kindly confi rmed that this work is referenced in the ar-chives of Georges Braque’s workshop.

here with the apposition of the diff erent elements on the

same plan, regardless of perspective, proportions or depth.

� is composition draws from his Cubist and Fauvism past,

allowing us to perceive each feature and bypass the drawbacks

of superposition, and avoid any hint of realism. � e earth tones,

� pical of Braque’s oeuvre, express here his resentment about

the war. Meanwhile, the golden lines and the silver-grey

silhoue� e with a brilliant red outline foretell the return of

hope and peace.

Georges Braque, French painter, sculptor and engraver

born in 1882, a� ended the Ecole des Beaux-arts in Le Havre,

where he grew up. He then moved to Paris and studied at the

Académie Humbert until 1904. During his career, he adopted

various s� les, such as Impressionism and Fauvism, before

becoming one of the pioneers of the Cubist movement along

with Picasso.

In 1847, Braque executed an engraved plaster of the same

composition, which expresses his taste for three-dimensional art.

Our painting was exhibited at the Musée de l’Annonciade

in Saint-Tropez during the “Georges Braques – Henri Laurens,

quarante années d’amitié” from June to October 2017.

PROVENANCE

Weintraub Gallery, New York

Daniel Templon gallery, Paris (December 1984)

Private Swiss collection, Neuchâtel, 1985

BIBLIOGRAPHY

Max Loreau, Catalogue des travaux de Jean Dubuff et,

Fascicule XXXV : Sites aléatoires,

Les Editions de Minuit, Paris, 1954,

illustrated under n°57, p.35.

In 1961, a� er a long period living in the south of France

during which he had reduced the sense of human presence

in his paintings, Dubuff et moved back to Paris where he

found a new vibrant atmosphere. � is revitalised ci� had an

explosive eff ect on his work, which then became an exuberant

celebration of humanity. Site Aléatoire avec 6 personnagesvibrates with a colour� l energy inducing a connexion between

the viewer and the six fi gures. All the characters have subtle

individual identities, are completely isolated, yet are woven

together by the heavy brushstrokes symbolising the energetic

spirit of civilisation. In this composition, the artist abandons

the concept of perspective in favour of a two-dimensional

presentation of space. � e almost indiscernible relief intro-

duced by the collage of the fi gures and the limited colour

pale� e of the artist create a simple, even naïve, but unique

visual eff ect.

Self-taught artist, Jean Dubuff et never completed his

studies at the Académie Julian in Paris, deciding to fi nd a new

artistic expression that rejected the conventions of his time.

Guided in his refl exion by an anti-cultural will, Dubuff et

eventually considered a new process of creation, a� empting

to reconnect with the origins of art. � is process emancipated

arts from the academic canon by freeing the creation from

any boundaries or conditions and, above all, by remaining

impervious to all the infl uences of the offi cial artistic culture.

� is new � pe of painting was named, in 1945, Art Brut.

“I have tried to draw the human effi gy (and all the

other subjects dealt with in my paintings) in an immediate

and eff ective way without any reference to the aesthetic” -

Jean Dubuff et.


JEAN DUBUFFET (1901-1985)

Site Aléatoire avec 6 personnagesMay 5th, 1982Monogrammed and dated lower right: J.D. 82 ; Label on the back: Galerie Daniel Templon, Paris.Acrylic and paper collage on paper laid down on canvas67 × 100 cm / 26.4 × 39.4 in.87.5 × 120 cm / 34.4 × 47.2 in. (with frame)

Detail

Photography :Mr Patrick Goetelen & Mr Julien Pepy

Design, photogravure and printing :Imprimerie Moutot, 92120 Montrouge, France

© 2018 - Bailly Gallery - GenevaAll rights reserved especially editing or reproductionby any means, present or future, known or unknown.

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