May 14, 2019
Artworks in Arcadja2480
Some works of Pierre BonnardExtracted between 2,480 works in the catalog of Arcadja
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PIERRE BONNARD (French 1867-1947) AN ORIGINAL LITHOGRAPH, "Le Coupe et le Compotier," PARIS, CIRCA 1925, ink on paper, signed in pencil L/R, attributed as a third state printing. 7" x 10" Condition: Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
Auction: Sotheby's -May 15, 2019 - New YorkLot number: 139
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LES MAMANS (LA FAMILLE COTTET) Pierre Bonnard 1867 - 1947 Signed Bonnard and dated94(toward lower left); signed Bonnard and dated 94(lower left); dedicated and signed A mon ami Cottet Bon.(lower right) Oil and pencil on board 13 7/8 by 10 5/8 in. 35.2 by 27 cm Painted in 1894. Provenance Charles Cottet, Paris (acquired from the artist) Sale: Hôtel Drouot, Paris, May 10, 1950, lot 82 Galerie Jacques Dubourg, Paris (acquired at the above sale) Emil G. Bührle, Zurich (acquired from the above in 1953) Galerie Krugier & Cie., Paris M. Knoedler & Co.,Paris Mme Brandolini, Paris (acquired from the above in 1969) Galerie Cazeau-Béraudière, Paris Acquired from the above on December 6, 2005 Exhibited Zurich, Kunsthaus Zurich,Exposition de la collection Emil G. Bührle,1958, no. 25 New York, The Museum of Modern Art; Los Angeles, Los Angeles County Museum of Art & Chicago, Art Institute of Chicago,Bonnard and His Environment, 1964-65, no. 5, illustrated in the catalogue (titledThe Cottet Family) Literature Jean& Henry Dauberville,Bonnard, Catalogue raisonné de l'oeuvre peint, 1888-1905, vol. I, Paris, 1992, no. 67, illustrated p.131
Auction: Sotheby's -May 14, 2019 - New YorkLot number: 11
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NATURE MORTE À LA LEVRETTE Pierre Bonnard 1867 - 1947 Stamped Bonnard (lower left) Oil on canvas 27 1/2 by 27 1/2 in. 70 by 70 cm Painted circa 1923. Estate of the artist,France Terrasse Family, France (by descent from the above and until at least 1974) Wildenstein & Co., Inc., New York The Wallis Foundation, Santa Barbara (acquired circa 1994 and sold: Christie\’s, New York, May 12, 1999, lot 38) Acquired at the above sale Exhibited London, Royal Academy of Arts, Pierre Bonnard, 1966, no. 154, illustrated in the catalogue (titled Levrette et nature morte and dated circa 1920-25) London, Fischer Fine Art, Ltd., A Journey into the Universe of Art, from Courbet and Corot to Bacon, Moore and Lindner, 1972, no. 5, illustrated in color in the catalogue Toyko, Nihonbashi Takashimaya Art Galleries; Kobe, Hyogo Prefectural Museum of Modern Art; Nagoya, Aichi Prefectural Museum & Fukuoka, Art Museum, Pierre Bonnard, 1980-81, no. 48, illustrated in color in the catalogue Geneva, Musée Rath, Pierre Bonnard, 1981, no. 50, illustrated in color in the catalogue New York, Wildenstein & Co., Inc., The Inquiring Eye of Pierre Bonnard, 1981, no. 29, illustrated in color in the catalogue Zurich, Kunsthaus & Frankfurt am Main, Städtische Galerie im Städelschen Kunstinstitut, Bonnard, 1984-85, no. 104, illustrated in color in the catalogue Lausanne, Fondation de l\’Hermitage, Pierre Bonnard et son monde enchanté, 1991, no. 46, illustrated in color in the catalogue Humlebaek, Louisiana Museum of Modern Art, Pierre Bonnard, 1992-93, no. 66, illustrated in color in the catalogue Munich, Kunsthalle der Hypo-Kulturstiftung, Bonnard, 1994, no. 95, illustrated in color in the catalogue Santa Barbara, Santa Barbara Museum of Art, Santa Barbara Collects: Impressions of France, 1998, no. 3, illustrated in color in the catalogue New York, The Metropolitan Museum of Art, Pierre Bonnard: The Late Still Lifes and Interiors, 2009, no. 1, illustrated in color in the catalogue Literature Michael Webb, \“Painter of \‘Luxe, Calme, et Volupté\’\” in Country Life, vol. CXXXIX, no. 3593, London, January 13, 1966, fig. 1, illustrated p. 68 Jean & Henry Dauberville, Bonnard. Catalogue raisonné de l'oeuvre peint, vol. III, Paris, 1973, no. 1207, illustrated p. 175 Mahonri Sharp Young, \“Letter from the U.S.A.: Bonnard\’s Inquiring Eye\” in Apollo, vol. 64, no. 237, London, November 1981, illustrated p. 341 An exceptional encapsulation of Bonnard\’s earlier oeuvre, Nature morte à la levrette marks something of a turning point in the artist\’s career. While the years which would follow this work reveal an artist increasingly emboldened by color and entranced by the light of Le Midi, the present still life is one of thelast allusions to the earlier Intimist style whichBonnard and Vuillard developed at the turn of the century. Such works, typically of a small scale and decorative motif, often embodied quotidian interior living scenes replete with dishes, kitchen tables, domestic animals and the familiar figures of friends and family members. A careful study in spatial balance and color theory, the present work witnesses the artist at his finest, and refutes the comments of Picasso, who once famously derided Bonnard\’s work as \“a potpourri of indecision" (F. Gilot & C. Lake, Life with Picasso,1964, New York, pp. 271–72). Considered \“one of the most perfect pages Bonnard has ever written on a theme which he frequently took up throughout his life\” (Pierre Bonnard (exhibition catalogue), Musée Rath, Geneva, 1981, n.p.), Nature morte à la levrette presents a harmoniously balanced tableau, recalling not only the dark hues and chiaroscuro of Chardin, but also the subject matter and composition of the master\’s much-admired still life, The Buffet (see fig. 1). Much like Cézanne, whose experiments with depth and perspective resulted in numerous still lifes, Bonnard also carefully constructed his composition with flattened expanses and foreshortened angles (see figs. 2 & 3). Continuing in the Nabis tradition of decorative painting, Bonnard employs flat planes of color, building depth in the scene through the clever delineation of light and dark, read here as the blue-tinged whites of the table cloths which emerge from the red-brown wall. The dark lower half of the composition is offset by a weighty abundance of red and purple fruits, illuminated by purposeful strokes of green, yellow and white which find resonance in the highlighted sheen of the dog\’s coat. Bonnard\’s hazy definition and unusual configuration of his subjects lends an air of mystery to his compositions, as the viewer can never be certain of just what is before them, nor of where one form ends and another begins. While the dining scene and dog dominate the frame, the edges of the work seem to dance away, obscured by painterly daubs of white, purple and blue. Despite the bounty of fruit and dishware and the graceful silhouette of the greyhound, there is something decidedly humble about this setting. Unembellished linens drape casually over the table and shelf, matched by the stacks of white ceramic plates and bowls. This is not a statement of bourgeoise opulence, but a quiet reflection on a familiar space, tenderly imagined by its proprietor. Though the genre of the still life dates back to the Academy, it is Bonnard\’s idiosyncratic approach to painting which helps distinguish his scenes from those of the past. For Bonnard, painting was less about presenting an objective portrayal of the objects and people within the frame, and more about decoratively reconciling the reality of his subjects with his personal perceptions of them. While many of his contemporaries were painting en plein air or directly from life, Bonnard preferred to spend time with his subjects, often occupying the spaces and observing the subjects for weeks, months or even years before painting them from memory. For the remainder of his career, Bonnard would focus primarily on domestic spaces and the living creatures that inhabited them. Bathing scenes dominated these later works, as Bonnard increasingly spent more time at home with his beloved wife and ultimate muse, Marthe.
Auction: Christie's -May 14, 2019 - New YorkLot number: 311
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Pierre Bonnard (1867-1947) Le jardin de Vernon signed 'Bonnard' (lower right) oil on canvas 22 1/8 x 18 ½ in. (56.2 x 47 cm.) Painted circa 1927 Provenance Antoine Terrasse, Paris (nephew of the artist). Anon. sale, Sotheby's, London, 27 June 1989, lot 35. Anon. sale, Sotheby's, New York, 14 May 1997, lot 157. Acquired at the above sale by the late owner.
Auction: Christie's -May 13, 2019 - New YorkLot number: 42A
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Pierre Bonnard (1867-1947) La Terrasse ou Une terrasse à Grasse signed 'Bonnard' (lower left) oil on canvas 49 ¼ x 52 7/8 in. (125.3 x 134.4 cm.) Painted in Grasse, 1912 Provenance Galerie Bernheim-Jeune et Cie., Paris (acquired from the artist, 15 June 1912). Gaston Bernheim de Villers, Paris (acquired from the above, 1927). Acquired from the family of the above by the late owner, January 1961.