Andre Derain

André Derain * (Chatou 1880–1954) Landscape near Bandol, signed A. Derain, oil on canvas (relined), 32.3 x 41 cm, framed, (PS) Provenance: Lord Radcliffe Marlborough Fine Art, London (gallery label on the stretcher) Private collection, Japan Exhibitions: Knoedler, New York, 1930 Cincinnati Art Museum, 1930 Storran Gallery, London 1936, no. 5 Roland, Browse and Delbanco, London 1935 Storran Gallery, London 1938, no. 14 Wildenstein, London 1957, cat. no. 52, p. 20 Marlborough Fine Art, London, Oct - Dec 1961 Literature: Michel Kellermann, André Derain, Catalogue raisonné de l’’’’oeuvre peint, vol. 2, Paris 1996, cat. raisonné. no. 572 (with ill.)

Lot Description Andre Derain (1880-1954) Madame Matisse au kimono signed 'a derain' (lower right) oil on canvas 31¾ x 25 5/8 in. (80.5 x 65 cm.) Painted in Collioure, summer 1905 Provenance Boris J. Fize, Paris (by 1951). Galerie Hervé Odermatt, Paris. Acquired from the above by the present owner, 1972. Pre-Lot Text PROPERTY OF A PRIVATE EUROPEAN COLLECTION Literature G. Hilaire, Derain, Geneva, 1959, p. 192, no. 71 (illustrated; titled La Femme au châle and dated 1908; with inverse dimensions). J.-P. Crespelle, The Fauves, Neuchâtel, 1962, p. 8, no. 31 (illustrated in color; titled La Femme au châle and dated 1908). G. Diehl, Derain, New York, 1964, p. 20 (illustrated in color; titled Woman with Shawl and dated 1908). M. Giry, Fauvism, Origins and Development, New York, 1981, p. 270, no. 33 (illustrated in color; titled La Femme au châle). M. Kellermann, André Derain, Catalogue raisonné de l'oeuvre peint, 1895-1914, Paris, 1992, vol. I, p. 226, no. 363 (illustrated). S. Pagé et al., André Derain: Le peintre du "trouble moderne," exh. cat., Musée d'art moderne de la Ville de Paris, 1994, p. 468, no. 33. J. Klein, Matisse Portraits, New Haven and London, 2001, pp. 70-71 (illustrated, p. 70, fig. 41). Exhibited Paris, Musée national d'art moderne, Le fauvisme, June-September 1951, p. 20, no. 46 (illustrated, p. 19; titled Femme au châle). Paris, Galerie Charpentier, Cinquante tableaux importants de André Derain, May-September 1955, no. 10 (illustrated; titled La femme au châle). Paris, Galerie Charpentier, Les Fauves, March-May 1962, no. 35 (titled La femme au châle and dated 1908). Marseille, Musée Cantini, Derain, June-September 1964, no. 16 (illustrated; titled La femme au châle; with incorrect dimensions). New York, The Museum of Modern Art; San Francisco Museum of Modern Art and Fort Worth, The Kimbell Art Museum, The "Wild Beasts": Fauvism and Its Affinities, March-October 1976, p. 41 (illustrated; titled Woman with a Shawl). Céret, Musée départemental d'art moderne and Cateau-Cambrésis, Musée départemental Matisse, Matisse-Derain, Collioure 1905, un été fauve, June 2005-January 2006, pp. 32-33, no. 120 (illustrated, p. 32; illustrated again in color, p. 183; titled La Femme au châle, Mme Matisse en kimono). View Lot Notes > We are grateful to the Comité Derain and to Wanda de Guébriant for their assistance in cataloguing this work. Derain probably painted this magnificent portrait of Madame Matisse in August 1905 during the famous summer which he spent with Matisse in Collioure prior to the now celebrated Salon d'Automne--when fauvism exploded with startling effect on the unsuspecting Parisian art world. Amélie Matisse is here depicted in the elegant, patterned Japanese kimono which she often wore and in which she was painted by Derain as well as her husband and several other of his fauve colleagues. No other painting of Madame Matisse in her kimono devotes so much attention to this article of clothing, emphasizing the sensuous cascade of blue arabesques which contrasts so vividly with the white of the robe. Derain has presented his sitter wrapped in the softly draping folds of her dressing gown holding a red fan and sitting pensively with one elbow resting on a table for support. The abstracted background of greens and reds serves to heighten the imposing presence of the sitter and calls to mind the same colors that Matisse used in the background of his famous portrait of Madame Matisse La raie verte (fig. 1) painted in September 1905 and now in the Copenhagen Staatens Museum for Kunst. In mid-May Matisse left Paris with his wife and family to visit Amélie's parents in Perpignan. They then continued on to spend the summer in Collioure, a small Mediterranean fishing village near the border with Spain. On 25 June Matisse sent Derain a postcard inviting him to come to join them: "I cannot insist too strongly that a stay here is absolutely necessary for your work...if you take my advice you will be glad of it" (quoted in H. Spurling, The Unknown Matisse: The Early Years, New York, 1999, p. 316). Derain did not hesitate to accept, and arrived in Collioure on July 7th. There Derain and Matisse, often working side-by-side, embarked on a summer of painting that would change the course of modern art. It is in the context of this momentous historical moment that this radiant canvas of Amélie becomes a seductively talismanic emblem, marking the sense of unity and common purpose towards which the two artists were working. The products of this spectacular Collioure summer were seen in the fabled salle VII of the 1905 Salon d'Automne, on whose walls hung a group of the sun-drenched paintings by Matisse and Derain as well as some by their friends--Vlaminck, Manguin, Camoin, Marquet--and a few fellow travelers. Largely composed of patches, dashes and blocks of paint, these canvases hardly appeared to coalesce into what would then have been regarded as finished and unified pictures. Moreover, the painters employed brilliant, exaggerated chroma that superseded any tones one was accustomed to seeing in nature, at least as the previous century had viewed the world, and beyond anything even the Impressionists had been bold enough to execute even in their heyday. These brash paintings--whose "colours became sticks of dynamite...primed to discharge light," as Derain later characterized them (quoted in ibid., p. 323)--sorely challenged, exasperated and even outraged viewers and commentators alike. The critic Louis Vauxcelles called these hot young painters "les fauves"--"the wild beasts"--a sobriquet, or epithet depending on one's point of view, that has withstood the test of time. Fauvism taken as a movement was more the invention of the critics than any sort of program or agenda that the artists themselves had put together and planned to promulgate. They merely wished to paint freshly conceived, vital pictures in the strongest possible colors. They did not refer to themselves as "fauves" until much later on, when they began to recall and ponder those early days of their careers. What visitors saw in salle VII was not any kind definitive artistic statement, but more the evolution of a movement in progress that since the turn of the new century had been gathering steam, and lurched forward by fits and starts until it finally achieved in the autumn of 1905 this sensational epiphany. Matisse, for example, later claimed that landscapes he had painted in Corsica in 1899 displayed "glimmers of Fauvism" (quoted in M. Giry, op. cit., p. 67). A significant strand of this evolving phenomenon came into being when Derain and Vlaminck, fellow inhabitants of Chatou, met on a train to Paris in 1900. On the return trip their train was derailed in a minor accident, after which they walked home together, talking at length about themselves and discussing their ideas on painting. Sensing compatibilities in their outlook and purpose, they began to share a studio, and ended up becoming the two-artist School of Chatou. "Vlaminck suggested that their meeting marks the beginning of Fauvism itself," John Elderfield has written. "They went out painting in Chatou. Vlaminck later recalled, 'I looked at his picture. Solid, skillful, powerful, already a Derain... I spun my canvas around. Derain looked at it in silence, nodded his head and declared, 'Very fine.' That was the starting point of all Fauvism!'" (quoted in exh. cat., op. cit., 1976, p. 30). Matisse recalled having met Derain during the winter of 1898-1899, when they were both studying at the Paris art academy run by Giuseppe Camillo, for which Eugène Carrière provided the students' "correction" sessions. "I was well aware of the very serious and painstaking work of this highly gifted young artist," said Matisse (quoted in M. Giry, op. cit., p. 92). Matisse met Derain again in March 1901 while viewing the Van Gogh retrospective at Galerie Bernheim-Jeune, to which Matisse had loaned three drawings from his own collection. There Derain introduced Matisse to Vlaminck, and a short time later Matisse visited their studio in Chatou. According to Vlaminck, he was greatly impressed, and returned the next day, telling the two men, "I couldn't sleep all night, I want to see it again" (quoted in ibid.). "The painting of Derain and Vlaminck did not surprise me," Matisse later wrote, "for it was close to the researches I myself was pursuing. But I was moved to see that these very young men had certain convictions similar to my own" (quoted in J. Elderfield, exh. cat., op. cit., 1976, p. 30). Vlaminck would later boast that it was during his visit to their studio that Matisse was converted to Fauvism. In any case, all three painters whom Elderfield called "the most important of the Fauves... the most daring pictorially" (ibid., p. 13) had connected with each other. Derain performed his obligatory period of military service between September 1901 and September 1904, three years that were in many respects an ordeal for him, worst of all keeping him from painting and thereby dealing a major setback to his plans and ambitions. "He had already realized, in theory at least," Elderfield has written, "that a new, more colorful, simpler form of painting was ready to be born" (ibid., p. 30). Keeping in touch with both Matisse and Vlaminck helped him through this difficult period. He wrote to Vlaminck, "I am aware that the realist period in painting is over. We are about to embark on a new phase... I believe that lines and colors are intimately related and enjoy a parallel existence from the very start... Thus we may find a field, not novel, but more real, and, above all, simpler in its synthesis" (quoted in ibid., pp. 30-31). Following his release from the army, Derain felt he had learned all he could from Vlaminck and his work. He was then 24 years old. Matisse was eleven years his senior, a married man supporting a family, who, while still struggling with financial issues and yet to establish his career in the public eye, had gathered many useful contacts, and moved among several circles of fellow painters who shared progressive ideas. Derain now began to gravitate towards Matisse, who acted very kindly on the young man's behalf, in an almost avuncular way, encouraging Derain to send four paintings to the 1905 Salon des Indépendants, all of which were sold. Matisse seemed to hold the key to a new kind of painting, yet as Elderfield has pointed out, "It was Derain, however, who increasingly showed himself ready to match Matisse in ambition, and who was even at times in advance of him. Fauvism is widely thought of as Matisse's invention as Cubism was at one time seen as Picasso's alone; but just as it was Braque who produced the first true Cubist paintings, so Derain's work was more surely Fauvist before Matisse's" (ibid., p. 34). Derain needed help from Matisse in the spring of 1905. His father had cut him off from funds that enabled him to paint, believing that becoming an artist was a poor career choice for his son. Derain's parents hoped to steer young André into a more lucrative and--an even greater consideration--a suitably reputable, bourgeois profession. Derain invited Matisse to Chatou to help him make his case, and made a point of asking his friend to bring his wife along. Madame Matisse was glad to oblige; as Gertrude Stein later wrote, in the voice of her companion Alice B. Toklas, "Derain...was of all Matisse's friends the one that Madame Matisse liked best" (The Autobiography of Alice B. Toklas, New York, 1933, p. 42). Mme. Matisse had in early 1905 woven an "écran tapisserie" based on a colorful study by Derain of a parrot, which she exhibited at the Indépendants that spring. This plan worked like a charm. "Carefully disguised as a bourgeois couple of impeccable respectability," Spurling has written, "the pair successfully persuaded Derain's parents against their better judgment to accept André's choice of painting as a profession. Mme. Derain remained unconvinced, but her husband, impressed by his son's success at the Indépendants, handed over 1,000 francs, on the strength of which Derain [later] packed up and headed for Collioure" (op. cit., p. 316). In Collioure the two painters spent as much time as possible out of doors trying to capture the landscape in bright and vibrant tones of pure color. Slowly they began to move away from the divisionism of the neo-impressionists towards a less fragmented application of paint to the picture surface preferring instead to express themselves in stronger, more blocked swathes of colors. Derain wrote to Vlaminck about this change in his work towards the end of July saying he had renounced divisionism (see A. Derain, Lettres à Vlaminck, suivie de la correspondance de guerre, Paris, 1994, p. 155, letter of 28th July) and the results of these changes can be seen in such works as Port de Pêche (fig. 2) and Madame Matisse au kimono. Matisse, however, continued to be more bound to divisionism and moved away from it at a slower pace than the more adventurous Derain. It would appear that the present work was painted after the move away from divisionism in the latter half of Derain's stay in Collioure. In late July, Matisse had moved with his family from the Hôtel de la Gare where Derain had also been staying to a larger space in the Sorlier house overlooking the port on the Voromar in the heart of Collioure. This move gave him greater space and a studio in which to work; it was probably in this studio, which both painters used when the poor weather prevented them from working outside, that the present work was painted. Matisse would subsequently appear to have been influenced by the strong blocks of abstract color that Derain used for the background of this work and whose greens and reds he himself used in the background to La raie verte (fig. 1), his portrait of Mme. Matisse which he painted in September 1905 shortly after his return from Collioure. Matisse and Derain were inseparable both in the open air and inside during poor weather. As Joséphine Matamoros writes, "When it rains, or when the storm roars, Matisse works on his portraits; that summer, he often painted Amélie dressed in her Japanese robe. When she posed for the ink drawing Madame Matisse en japonaise (fig. 3), Matisse worked on the right side of his model, while Derain set himself up on the left and created the painting Madame Matisse au kimono, with the same pose and the same fan, with an abstract background--only the table upon which rests the elbow of Amélie is identifiable. He lightly sketches the motifs of the kimono, while Matisse emphasizes these motifs and works them into arabesques" (quoted in "L'Incidence du site de Collioure et du Paysage dans l'oeuvre de Matisse et Derain" in exh. cat., op. cit., 2005, p. 18). In this same exhibition catalogue, Jack Flam also remarks on the two artists working together to paint Mme. Matisse over the course of that summer: "Amélie posed a number of times for the two artists. When she posed in oriental attire on the rocks of Ouille for La Japonaise au bord de l'eau (fig. 4), Derain drew Matisse as he was painting this work (fig. 5). And when Derain painted a portrait of Amélie Matisse in the same outfit, Matisse executed a finely detailed drawing in brush and ink, representing his wife seen from the other side" (quoted in "Matisse à Collioure, évolution du style et datation des tableaux 1905-1907," ibid., p. 33). The kimono of Mme. Matisse was clearly an article of clothing dear to her and one she was happy to wear both indoors and out. It appears in a painting of 1904 by Matisse of his wife on the terrace of Signac's boathouse in St. Tropez (fig. 6) and also in two almost identical works by Charles Camoin and Albert Marquet of early 1905 (fig. 7 and fig. 8) in which Mme. Matisse is seen working on the tapestry of a parrot after a design by Derain which was exhibited at the Salon des Indépendants in 1905. It is, however, only in this marvelous, radiant portrait of Amélie by Derain that the kimono itself takes center stage. The curves and sweeps of the blue arabesque motif are beautifully rendered and complement the curves of the sitter, as she looks pensively downwards amidst the swirls and folds of her robe. The elegant arcs and soft lines of Amélie's peignoir contrast with the straight lines of the table and the abstract greens and reds of the background, which themselves serve to heighten the intimacy of the setting where Mme. Matisse is sitting for her husband and her favorite of his painter friends. On August 24th, Derain left Collioure taking the boat to Marseilles to visit Henri Manguin at L'Estaque and on the 2nd September Matisse too left Collioure as the summer drew to an end. Matisse returned in later years but Derain never again came closer than Cadaques which he visited in 1910 with Picasso. The heroic "été fauve" of 1905 in Collioure was over but it was not until that October, in the famous Salle VII of the Salon d'Automne, that the world was to see the fruit of their labors. This wonderful sensitive portrait of the reserved Amélie Matisse, echoed by Matisse's own drawings of the same subject, was not exhibited in the celebrated room: it was perhaps too tender and intimate for public exhibition, but it remains, nevertheless, a striking testament to the community and shared goals that bound the two artists together as they worked to produce paintings that changed forever our perception of color and were, only a few short weeks later, to shock the world. (fig. 1) Henri Matisse, Portrait de femme (La raie verte), 1905. Statens Museum for Kunst, Copenhagen. Barcode: 28855248 (fig. 2) André Derain, Port de pêche, Collioure, 1905. Private collection. Barcode: 28855255 (fig. 3) Henri Matisse, Madame Matisse en Japonaise, 1905. Private collection. Barcode: 28855330 (fig. 4) Henri Matisse, La Japonaise au bord de l'eau, 1905. The Museum of Modern Art, New York. Barcode: 28855279 (fig. 5) André Derain, Matisse peignant Madame Matisse en Japonaise au bord de l'eau, 1905. The Metropolitan Museum of Art, New York. Barcode: 28855262 (fig. 6) Henri Matisse, La terrasse, St-Tropez, 1904. Private collection. Barcode: 28855231 (fig. 7) Albert Marquet, Mme Matisse brodant, 1905. Private collection. Barcode: 28855217_fig (fig. 8) Charles Camoin, Mme Matisse brodant, 1905. Musée d'Art Moderne, Strasbourg. Barcode: 28855224

** Andre Derain 1880-1954 (French) Nature morte charcoal on paper h:46 w:62 cm. embossed markings upper left Provenance: D.G. Kekekian, New York. Estate of Elizabeth Norcott. Sale: Christie's New York, October 8, 1987, lot 107. Important collection, New York. Estimate $ 4,000-6,000

André Derain (1880-1954) Paysage de Provence oil on panel 8 5/8 x 10 5/8 in. (22 x 27 cm.) Painted circa 1913 With the inscription on the reverse 'Je certifie que ce tableau est d'André Derain Janv. 1916 Henri Matisse'. Erik Werenskiold, Oslo, and thence by descent to his grandson; sale, Sotheby's, London, 16 October 1991, lot 116. Private collection, Great Britain, by whom acquired at the above sale and thence by descent to the present owner. M. Kellermann, André Derain, catalogue raisonné de l'oeuvre peint, Vol. I, 1895-1914, Paris, 1992, no. 254 (illustrated p. 151). Henri Matisse confirmed the authenticity of some of André Derain's unsigned works while he was at the front during World War I enabling the sale of works by the atist's wife.

Lot 59 Andre Derain French, 1880-1954 Nude in Repose and Standing Nude : A Double-sided work Estate stamped Atelier/Andre Derain (lr) [verso]; numbered 17432 (lr) [recto] Charcoal on Ingres laid Canson & Montgolfier paper 18 5/8 x 25 inches Provenance: Estate of the artist C Estimate $2,000-3,000 Taped along right verso edge to the mat with 4 small pieces of tape. Few longer pieces of tape at right verso edge. Matburn. Tiny loss at bottom center. Some of the pigment on the verso has been smudged. Minor handling creases. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.