Christies Impressionist and Modern Sale: Picasso, Giacometti and Juan Gris

Written By Unknown on Kamis, 30 Januari 2014 | 21.16

Uma Nair
30 January 2014, 04:27 PM IST

Christie's Impressionist and Modern Art Evening Sale in London on February 4, 2014 sets the bar for rare and important works from distinguished sources to be offered at auction this season. Presenting discerning, informed and passionate international collectors with 48 lots spanning almost a century, the sale is led by Femme au costume turc dans un fauteuil, 1955 by Pablo Picasso, which comes to the market for the first time in over 55 years (estimate: £15-20 million).

It also features works from exceptional collections including: Modern Masters: Works from an Important Private Swiss Collection, an historic group led by a magnificent still life by Juan Gris, Nature morte à la nappe à carreaux, 1915 (estimate: £12-18 million) and Piet Mondrian's iconic Composition No. 2 with Blue and Yellow, 1930 (estimate: £8-12 million), please click here for a separate release on the collection; Trois homes qui marchent I, one of Alberto Giacometti's famous multi-figure compositions, dating to the height of his oeuvre, from The Property of the Museum of Modern Art, New York, Sold to Benefit the Acquisitions Fund (estimate: £6.2-8 million); Les cylindres colorés, 1918, by Fernand Léger, formerly in the collection of Louis Carré, the celebrated art dealer who was closely associated with the artist (estimate: £5-7 million); and Property from the Estate of Ayala Zacks Abramov, featuring Henry Moore's Mother and Child with Apple (estimate: £2.5-3.5 million). The enduring appeal of the Impressionist era is exemplified by L'Eglise de Varengeville; soleil couchant, 1882, by Claude Monet (estimate: £4-7 million). Estimates range from £150,000 to £20 million, with a pre-sale estimate of £94,150,000 to£134,900,000. Christie's evening auctions of Impressionist, Modern and Surrealist Art on 4 February have a total pre-sale estimate of £137.1 million to £199.5 million).

Says Jay Vincze, International Director and Head of The Impressionist and Modern Art Department, Christie's London: "This stellar sale presents international collectors and institutions with rare opportunities to acquire exceptional works with illustrious provenance by key impressionist and modern masters. The global market for this category continues to expand and deepen year on year, underpinned by passion for the beauty of the period and an increasingly far reaching appreciation and understanding of the importance of late 19th century and early 20th century art movements. We are very privileged to be offering the distinguished private Swiss collection which includes a magnificent still life by Juan Gris as well as some of the most important examples of De Stijl works ever to be seen on the market, many of which were acquired directly from the artists, with whom the collectors had significant relationships. We are also very honoured to be offering Picasso's powerful portrait of his great love Jacqueline Roque, which comes to auction for the first time in over 55 years. Such a major work from this important series has not been seen at auction since 'Femme accroupie au costume turc, Jacqueline' was sold at Christie's New York for $30.8 million in November 2007."

FEMME AU COSTUME TURC DANS UN FAUTEUIL

Pablo Picasso painted Femme au costume turc dans un fauteuil on 20 November 1955. This picture is one of a small group of portraits showing Jacqueline Roque in the costume of an 'odalisque', a woman of the harem. The identification of the model is clear from comparison with other works from the selected series, and also with portraits that Picasso had created of her during the course of 1954 and 1955; indeed, a little over a year before he painted Femme au costume turc dans un fauteuil, he had drawn an intimate image of Jacqueline's face showing the nose, as here, facing to the right while the rest appeared predominantly orientated towards the left. That had been one of Picasso's early depictions of Jacqueline: while they had met in 1952, when she was assisting Suzanne Ramié in the workshop in Vallauris where Picasso made his ceramics, it was only later in 1953 that she had become established as the artist's partner, especially following the final rupture with Françoise Gilot in September that year. Femme au costume turc dans un fauteuil therefore dates from relatively early in this relationship and is a colourful, tender celebration of Jacqueline, whom Picasso would marry six years later and who would become one of the most important muses of the artist's entire life.

Giacometti

'In the street people astound and interest me more than any sculpture or painting. Every second the people stream together and go apart, then they approach each other to get closer to one another. They unceasingly form and re-form living compositions in unbelievable complexity' (Giacometti, quoted in R. Hohl, 'Form and Vision: The Work of Alberto Giacometti', pp. 13-46, Alberto Giacometti: A Retrospective Exhibition, exh. cat., New York, 1974, p. 31).

Trois hommes qui marchent I is an early lifetime cast of one of Alberto Giacometti's famous multi-figure compositions, showing three men passing each other as though in a street. This work was conceived around 1948 and cast by 1951. It therefore dates from what is considered to be the height of Giacometti's creative powers, a window of several years during which he honed the iconic vision for which he is now famed - his elongated, stick-thin figures - and produced a string of masterpieces tapping into this new artistic solution. It is a reflection of the importance of Trois hommes qui marchent I that casts of it are held by several museums, as are casts of many of the related works from the era. Of all of Giacometti's subjects, it is perhaps the striding man that is most recognised; its fame has been increased because it is so emblematic of Giacometti himself, who often wandered around Paris' streets, a twentieth-centuryflâneur. Here, the three figures are weaving their way past each other, connected yet isolated, the perfect embodiment of city life and the human condition during the post-war years of existentialism. 

JUAN GRIS

Nature morte à la nappe à carreaux (The checked tablecloth) is a large-scale landmark painting by Juan Gris dating from 1915, a watershed year in which he shifted further from his earlier Analytical Cubism to the more lyrical Synthetic Cubism. The importance of this picture is reflected in the fact that it has featured in a number of significant collections since its execution, including that of one of the greatest patrons of Cubism, Dr G.F. Reber of Lausanne. Gris' move away from Analytical Cubism is demonstrated in the sheer exuberant energy of Nature morte à la nappe à carreaux, which features an explosion of objects, seemingly radiating from a point in the lower centre of the composition. There is a sense of dynamism to this composition, accentuated by its sheer size, which is at odds with the more static still life works that he often created; this was a characteristic that marked out his pictures of 1915 in particular. Indeed, it was making specific reference to Nature morte à la nappe à carreaux and another work from the same year that Gris' friend, dealer and biographer Daniel-Henry Kahnweiler later wrote: 'Apparently Gris' ideal of architectural grandeur can only be realised with a static subject. But during the summer of 1915 he produced a series of pictures which are full of movement' (D.H. Kahnweiler, Juan Gris: His Life and Work, trans. D. Cooper, London, 1969, p. 126). 


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