Louis-Dreyfus Family Collection 2019

Daubigny Drawings for the Voyage en Bateau

Works on Paper and Small Oils from the Louis-Dreyfus Family Collections

This catalogue accompanies an exhibition on view from May 2 to May 24, 2019

Jill Newhouse Gallery 4 East 81 st Street New York, NY 10028 Tel ( 212 ) 249-9216 email: info@jillnewhouse.com

www.jillnewhouse.com

Many thanks to Christa Savino, Gallery Director, and Liliya Lifanova, Registrar

copyright 2019 jill newhouse llc design by lawrence sunden, inc.

J I L L N EWH O U S E

Works on Paper and Small Oils from the Louis-Dreyfus Family Collections

in association with coleman bancroft llc

Jill Newhouse Gallery 4 East 81 st Street New York, NY 10028 Tel ( 212 ) 249-9216 email: info@jillnewhouse.com www.jillnewhouse.com

photo: gloria baker photography

Great collectors come along very rarely, and even more rarely with the open heart and generous spirit that William Louis-Dreyfus brought to each acquisition. I had the privilege and pleasure of having him visit the gallery and of selling him works of art, several of which are on view here now. We hope that the next generation of owners will appreciate each object the way William did. – Jill Newhouse William Louis-Dreyfus was a true collector. He went about building his collection with infectious enthusiasm and individuality, always open to look, think and consider what it was that made a work of art good, bad or indifferent. The result is a most personal collection, one in which each object reflects William’s idea of quality and commitment in the making of art, regardless of the art world’s ever shifting fads and fashions. – Fred Bancroft

c a t a l o g u e

Théodore Rousseau french, 1812–1867 Seascape, c. 1830 Oil on panel 2 ⅞ by 5 ½ inches ( 7 . 5 by 14 . 3 cm)

Monogram lower right; red wax seal of the estate sale on reverse. Inscribed verso with the inventory number 10875 by Galerie Durand-Ruel provenance Purchased from the artist by Galerie Durand-Ruel and Galerie Brame (inventory number verso), between 1866–69 ;

Private collection, France; Galerie Sant Lucas, Vienna; Coleman Bancroft, LLC; William Louis-Dreyfus, 2015.

Théodore Rousseau french, 1812–1867 Landscape in the Auvergne, c. 1830 Graphite on paper 11 ½ by 8 ¾ inches ( 29 . 2 by 22 . 2 cm) Stamped lower left provenance Estate of the artist; sale, Sotheby’s London, July 8 , 2015 , lot 203 ; William Louis-Dreyfus, 2015 .

Théodore Rousseau french, 1812–1867

Cottages under the Trees, c. 1842 Pen and ink with watercolor on paper 5 ⅛ by 7 inches ( 13 . 3 by 17 . 7 cm) Signed lower right provenance sale, Sotheby’s New York, November 8 , 2012 , lot 98 ; Shepherd Gallery, New York; Coleman Bancroft, LLC; William Louis-Dreyfus, 2014 .

This fully worked watercolor relates to a painting of the same title.

Théodore Rousseau french, 1812–1867 Trees near a Stream, c. 1845 Charcoal on light-blue paper 5 by 7 ⅞ inches ( 12 . 7 by 20 cm) Signed lower left provenance Private collection, Paris; Jill Newhouse; William Louis-Dreyfus, 2010 . exhibitions

New York, Jill Newhouse Gallery. The Figure and the Forest in 19th- Century French Photographs and Drawings . December 6 – 22 , 2004 , no. 43 . bibliography Michel Schulman. Théodore Rousseau 1812–1867, catalogue raisonné de l’oeuvre peint . Paris: Les Editions de l’Amateur, 1999 , drawing supplement, no. 30 .

Théodore Rousseau french, 1812–1867 A Garden in Barbizon (View from the Artist's Studio), c. 1850–55 Oil over ink on panel 4 ⅞ by 7 ⅞ inches ( 12 . 4 by 20 cm) Signed lower left provenance Goupil & Cie, Paris; M. Knoedler & Co., New York, purchased from above, May 27 , 1881 , Stock number 3312 , titled Village ; Charles Stewart Smith, New York, purchased from above, September 19 , 1881 ; Chester Dale, New York; Louise Marock, New York, received as gift from above; George Buchanan, New York in 1985 , by descent from above; thence to his widow, Mary Jane Buchanan; Robert Simon Fine Art; Coleman Bancroft LLC; William Louis-Dreyfus. bibliography Michel Schulman. Théodore Rousseau 1812–1867 catalogue raisonné de l’oeuvre graphique . Paris: Editions de l’Amateur–Editions des catalogues raisonnés, 1997 . no. 465 , p. 257 ; Amy Kurlander, Simon R. Kelly, and William Griswold . The Untamed Landscape: Théodore Rousseau and the Path to Barbizon [exhibition, Morgan Library and Museum, New York, 26 September 2014 – 18 January 2015 ]. New York: The Morgan Library and Museum, 2014 . under no. 44 , p. 122 , not illustrated. This painting is the view of a neighbor’s garden from Rousseau’s studio window in Barbizon. Michel Schulman records a fully worked drawing of the same subject and size, now in a private collection (Shulman, 1997 , catalogue raisonné de l’oeuvre graphique , no. 607, illustrated). Stanley Moss, Riverdale, New York, purchased from above; his sale, Sotheby’s New York, February 9 , 1999 , lot 17 ;

Théodore Rousseau french, 1812–1867 Cloud Study over the Barbizon Plain, c. 1855 Oil on panel 8 ½ by 11 ⅞ inches ( 21 . 6 by 30 . 2 cm) Signed lower right provenance

Thomas Colville Fine Art; Coleman Bancroft, LLC; William Louis-Dreyfus, 2014 .

Honoré Daumier french, 1808-1879 Head of a Man, c. 1860 Pen and ink on paper 4 ⅞ by 3 ¾ inches ( 12 . 4 by 9 . 5 cm) provenance with Eugene Thaw & Co., New York;

Dr. and Mrs. Arthur J. Barsky, New York, by 1968 ; sale, Sotheby’s, New York, October 9 , 1996 , lot 20 ; sale, Sotheby’s, New York, Nov. 6 , 2003 , lot 118 ; William Louis-Dreyfus, 2003 . bibliography 9

K. E. Maison, Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolours, and Drawings , Greenwich, Conn.: New York Graphic Society, 1968 , Vol. 2 , no. 25 , p. 31 , pl. 4 .

Honoré Daumier french, 1808–1879 Three Attentive Spectators

Pen and ink with watercolor on paper 4 by 4 ¾ inches ( 10.2 by 12 . 06 cm) provenance

sale, Hotel Drouot, Paris, November 18 , 1946 , lot 5 ; sale, Galerie Charpentier, Paris, March 24 , 1952 , lot 4 ; Private collection, Paris, by 1968 ; William Louis-Dreyfus, 2009 . bibliography 9 K. E. Maison. Daumier Drawings , New York: T. Yoseloff, 1960 . no. 101 , p. 26 ; K. E. Maison, Honoré Daumier: Catalogue Raisonné of the Paintings, Watercolours, and Drawings , Greenwich, Conn.: New York Graphic Society, 1968 , Vol. 2 , no. 489 , p. 165 , pl. 167 . Daumier’s often satirical depictions of contemporary life reveal an acute perceptiveness and deft artistry. His interest in the drama of the theater and scenes in the courtroom extended beyond the main players and often focused on the particular reactions of the spectators. As in the related work A Theater Audience (Metropolitan Museum of Art, pen and black ink, gouache, and watercolor over black chalk, 1972 . 118 . 203 ) in our drawing, Daumier ignores the drama on the stage altogether, and focuses on the reactions of the crowd.

Jean François Millet french, 1814–1875 Peasant Woman (the Artist’s Wife) Leaning on a Sheaf of Wheat , c. 1850–53 Crayon noir on paper 4 ⅛ by 3 ⅜ inches ( 10 . 5 by 8 . 6 cm) provenance Jill Newhouse Gallery; William Louis-Dreyfus, 2010 . The figure depicted so intimately in this drawing has been identified by Alexandra Murphy in a 2009 letter as Millet’s common-law wife Catherine Lemaire. Although not specifically related to Millet’s major painting of this period Harvesters Resting (Ruth and Boaz) , now in the Boston Museum of Fine Arts, our drawing was done at that same time, and according to Murphy, represents a spontaneous moment that caught the painter’s eye.

Adolphe Appian french, 1818–1898 View of an Estuary near Martigues Black chalk on paper 6 ¼ by 14 ⅛ inches ( 15 . 9 by 35 . 9 cm) Signed lower right provenance Private collection, New York; Jill Newhouse Gallery; William Louis-Dreyfus, 2010 .

A painter of the Ecole Lyonaise, Appian began his art studies by specializing in fabric and textile decoration. He was so skillful that he was sent to Paris to further his studies as a painter, and there he became friendly with Corot and Daubigny both of whom were major influences, teaching him plein-aire technique as well as etching. From 1853 on, Appian exhibited regularly at the Salon, winning the gold medal in 1888 . He is perhaps best known today for his rich, heavily worked charcoal drawings of landscapes that mark the beginning of a movement in that medium, later seen in the drawings of Courbet and Seurat. Appian travelled around France throughout his career recording local landscapes. He and his family spent many summers in the area of Martigues in the south of France where he often painted the many varied waterways of the area.

Jozef Israëls dutch, 1824-1911 The Seaweed Gatherers Return, 1864 Watercolor on paper 7 ⅜ by 16 inches ( 18 . 7 by 40 . 6 cm) Signed and dated lower right provenance sale, Sotheby’s, Tel Aviv, October 20 , 1992 , lot 3 ; William Louis-Dreyfus, 1992 . exhibitions Washington, DC, Four Seasons Hotel, 2003 to 2010 .

Born in Groningen Netherlands, Jozef Israëls studied painting in Amsterdam and Paris, taking classes with artists such Horace Vernet and Paul Delacroche. His early career focused on portraiture and history painting but in the 1850 s, an illness kept him in the fishing village of Zandvoort, introducing him to the lives of the poor fishermen and their families. He turned his attention to intimate scenes of their daily lives, thereby finding the major themes of his art. In 1870 he moved from Amsterdam to The Hague and thereafter became one of the leading members of the Hague School.

Jozef Israëls dutch, 1824–1911 The Sick Room, c. 1895 Watercolor on card 4 by 7 ¾ inches ( 10 . 2 by 19 . 7 cm) Signed lower right provenance sale, Sotheby’s, Tel Aviv, October 20 , 1992 , lot 4 ; William Louis-Dreyfus, 1992. exhibitions Washington, DC, Four Seasons Hotel, 2003 to 2010 . bibliography Max Eisler, Josef Israels . London: Studio, 1924 , pl. 24 , illustrated.

Helen Searle american, 1834-1884

Crabapples , c. 1877 Oil on paper on card 2 ¾ by 8 inches ( 7 by 20 . 5 cm) Inscribed upper left provenance Thomas Colville Fine Arts; William Louis-Dreyfus, 2009 .

Born in Vermont to the architect Henry Searle, Helen Searle began painting still lives at a young age. By her late 20 s she was exhibiting at arts societies and in 1866 she had a one woman show at the National Academy of Design in New York. Soon after, she moved to Dusseldorf to study with Johann Wilhelm Preyer whose style became a huge influence on her work. Searle found success during this time, exhibiting at local German galleries and gaining commissions and in 1872 , she returned to the US to establish a studio in Washington DC. In 1876 , after marrying an American artist, James William Pattison ( 1844 – 1915 ), they moved to an artist colony just north of Paris in Ecouen. Soon after, a still life was accepted for the Salon of 1879 . In 1882 , they moved back to the States where she remained, continuing to paint with success.

Paul Gauguin french, 1848-1903 Little Breton Boy, c. 1888 Compressed charcoal, red chalk, and white gouache with touches of graphite 7 ⅞ by 7 ⅞ inches ( 20 by 20 cm) provenance Wildenstein & Co., Inc., New York, by 1949 ;

Mr. and Mrs. George N. Richard, New York, by 1958 ; sale, Christie’s, New York, May 13 , 1987 , lot 103 ; William Louis-Dreyfus, 1987 . exhibitions New York, Wildenstein & Co., Drawings through Four Centuries , 1949 , no. 59 ; Chicago, The Art Institute of Chicago, and New York, The Metropolitan Museum of Art. Gauguin , February-May 1959 , no. 77 ; New York, The Guggenheim Museum. Gauguin and the Decorative Style , June-October 1966 , no number; New York, The Metropolitan Museum of Art, The Lure of the Exotic, Gauguin in New York Collections , 2002 , no. 14 . bibliography 5/2019 John Rewald. Gauguin Drawings . New York: Yoseloff, 1958 , no. 9 , p. 24 ; Daniel Wildenstein, Sylvie Crussard, and Chris Miller. Gauguin: A Savage in the Making: Catalogue Raisonné of the Paintings (1873 – 1888) . Milano: Skira, 2002 . Vol. II, p. 413 , under no. 295 ; Ronald Pickvance. The Drawings of Gauguin . London: Hamlyn, 1970 , p. 22 , pl. 17 . Our drawing relates closely to a small oil on panel Little Breton Boy of 1888 (Private Collection, Catalogue Raisonné of the Paintings (1873 – 1888) , no. 295 , illustrated). Both are likely related to a larger work of the same year titled Young Bathers of Brittany , 1888 (Kunsthalle Hamburg). In their 2002 exhibition catalogue for the Metropolitan Museum show The Lure of the Exotic, Gauguin in New York Collections , Ives and Stein suggest that the children Gauguin portrayed in his Brittany works reveal the anguish the painter suffered at leaving his own children behind in Copenhagen to pursue his artistic career.

Edouard Vuillard french, 1868-1940 Zinnias on the Table at Vaucresson , 1921–23

Pastel on paper mounted to board 19 ⅝ by 20 ⅛ inches ( 50 by 51 cm) Signed lower right provenance David David-Weill, Paris; Seized by the Nazis during the German occupation, 1939 – 45 ; returned in 1954 ; with Galerie Schmit, Paris, 1973 ; Private collection, Paris; sale, Hotel Okura (Ader), Tokyo, June 19 , 1990 , lot 34 ; Collection of Pierre Louis-Dreyfus; William Louis-Dreyfus, by descent from above. exhibitions New York, Museum of Modern Art. Edouard Vuillard . excat. ed. Andrew Carnduff Ritchie. New York: Simon and Schuster, 1954 . Cleveland Museum of Art, January 26 –March 14 and MoMA, April 7 –June 6 , 1954 , p. 104 (as Still Life , c. 1928 ) loaned by Madame David-Weill, Neuilly; Munich, Haus der Kunst Munchen. Edouard Vuillard, Xavier Roussel . March 16 –May 12 , and Musée de l’Orangerie, May 28 –September 16 , 1968 . excat. ed. Pierre Georgel. Roetherdruck: Darmstadt, 1968 , no. 168 , illus (German ed), no. 162 , illustrated (French ed); Paris, Galerie Schmit. Tableaux de maîtres français, 1900 – 1955 . May 16 –June 16 , 1973 . no. 67 , illustrated. bibliography Repertoire des biens spolies en France 1947 , p. 241 , no. 5402 ; Antoine Salomon, Guy Gogeval, and Mathias Chivot. Vuillard, The Inexhaustible Glance: Critical Catalogue of Paintings and Pastels . 1 st ed. New York: Rizzoli International through St. Martin’s Press, 2003 , Vol. III. no. xi – 36 , p. 1315 .

The Closerie des Genets at Vaucresson was the holiday home Vuillard rented from 1917 – 1925 .

Wassily Kandinsky russian, 1866–1944 Lines, 1939

Watercolor and tempera on black paper 10 ¼ by 19½ inches ( 26 by 49 . 5 cm) Signed with monogram and dated lower left K 39 provenance Nina Kandinsky, Paris, until 1972 ; Galerie Beyeler, Basel, acquired in 1972 ; Pace Gallery, New York, 1973 ; Private collection; sale, Sotheby’s Parke-Bernet, New York, May 16 , 1979 , lot 69 B; sale, Christie’s, New York, May 20 th, 1983 , lot 159 ; Galerie Beyeler, Basel, 1982 – 87 ;

The Elkon Gallery, New York, from 1987 ; Private collection, Tokyo, acquired by 1992 ;

sale, Sotheby’s New York, November 17 , 1998 , lot 376 ; sale, Kunsthaus Lempertz, Cologne, June 7 , 2000 , lot 7 ; Private collection, c. 2000 ; sale, Sotheby’s, London, June 24 , 2014 , lot 348 ; Louis-Dreyfus Family Collections, 2014 . exhibitions Paris, Galerie Maeght. Kandinsky: Aquarelles et gouaches. Collection Privée de Madame W. Kandinsky , 1957 , no. 47 ; Nantes, Musée des Beaux-Arts. Aquarelles et gouaches de Wassily Kandinsky , April 1959 , no. 30 ; New York, The Museum of Modern Art. Kandinsky Watercolors , 1969 – 71 , no. 36 ; Toronto, Art Gallery of Ontario. Kandinsky Watercolors: exhibition first seen at the Museum of Modern Art, New York , May 23 –June 28 , 1970 , no. 37 , illustrated, as Line, Number 628 ;

Bern, Kunstmuseum. Wassily Kandinsky: aquarelle und gouachen , May 27 –July 18 , 1971 , no. 56 ; Basel, Beyeler Gallery. Kandinsky Aquarelle und Zeichnungen , June–July, 1972 , no. 71 , p. 63 , illustrated; Atlanta, Olympia Galleries. Abstract Art , 1976 ; New York, Elkon Gallery. Masters of the XXth Century , October 20 –December 23 , 1987 , illustrated in color; Düsseldorf, Kunstsammlung Nordrhein-Westfalen. Kandinsky kleine Freuden: Aquarelle und Zeichnungen , May 23 –August 2 , 1992 , no. 170 , illustrated. bibliography The Artist’s Handlist. Watercolors . 1939 , no. 628 , listed as Lignes (gouache). Vivian Endicott Barnett. Kandinsky Watercolours, Catalogue raisonné, 1922 – 44 , London: Sotheby’s Publications, 1994 , Vol. II, no. 1263 , p. 464 , illustrated. A pivotal figure in the development of abstract art of the twentieth century, the Russian born Kandinsky lived in Germany for much of his life before spending his last ten years very productively in Paris. Kandinsky had always worked simultaneously on canvas and on paper, but due in part to a wartime shortage of oil and canvas, his late years in Paris were particularly productive for works on paper. In fact, 250 works on paper were completed during the years 1934–1944 . Kandinsky considered these works on paper to be independent objects, not necessarily though sometimes related to oil paintings. During the years 1935 – 39 , Kandinsky revived a technique he had used in the early 1900 s of working on black backgrounds, either on black paper, or paper colored black, to which he would apply bright colorful pigments either in tempera or in pastel. Our work belongs to this group and is recorded in the artist’s own manuscript called Handlist as number 628 .

Saul Steinberg american, 1914–1999 For Cristina , 1965 Ink and crayon on paper 9 ⅜ by 10 ⅛ inches ( 24 . 1 by 26 cm) Signed and dated bottom right, inscribed bottom left provenance William Louis-Dreyfus.

Born in Râmnicu Sarat, Romania, Steinberg began his career studying philosophy at the University of Bucharest but opted not to finish his degree, instead enrolling as an architecture student at the Politecnico di Milano in Milan. Steinberg fled Italy in 1941 with the rise of the anti- Semitic policies, eventually settling in the United States. He went on to become one of the most recognizable illustrators of his generation, creating over 1 , 200 drawings for The New Yorker, including 87 covers. At the same time as his career as an illustrator soared, Steinberg was exhibiting paintings and drawings in galleries and museums. In 1946 , he was included in the critically acclaimed Fourteen Americans show at The Museum of Modern Art, New York, exhibiting along with Arshile Gorky, Isamu Noguchi, and Robert Motherwell, among others. Steinberg went on to have more than 80 one-artist shows in galleries and museums throughout the US, Europe, and South America.

Jill Newhouse Gallery

4 East 81 st Street New York, NY 10028