Lot Description
Claude Monet (1840-1926)
Les demoiselles de Giverny
signed and dated 'Claude Monet 94' (lower left)
oil on canvas
25½ x 39¼ in. (65 x 100 cm.)
Painted in 1894
Les demoiselles de Giverny
signed and dated 'Claude Monet 94' (lower left)
oil on canvas
25½ x 39¼ in. (65 x 100 cm.)
Painted in 1894
Provenance
Isaac Montaignac, Paris (circa 1895).
Galeries Georges Petit, Paris.
Dr. Francisco Llobet, Buenos Aires (acquired from the above, circa 1920-1923).
Private collection, Buenos Aires (by descent from the above, until 1999).
Acquired by the present owner, circa 1999.
Galeries Georges Petit, Paris.
Dr. Francisco Llobet, Buenos Aires (acquired from the above, circa 1920-1923).
Private collection, Buenos Aires (by descent from the above, until 1999).
Acquired by the present owner, circa 1999.
Literature
G. Geffroy, Claude Monet, sa vie, son temps, son oeuvre, Paris, 1922, p. 209.
B. de Portalègre, "La Collection Llobet" in L'amour de l'art, nos. 6 and 7, Paris, June and July 1930, pp. 261 (no. 6; illustrated) and 285 (no. 7).
L. Venturi, Les archives de l'Impressionnisme, Paris, 1939, vol. I, p. 359.
D. Wildenstein, Claude Monet, Biographie et catalogue raisonné, Lausanne, 1979, vol. III, p. 179, no. 1383 (illustrated).
D. Wildenstein, Claude Monet Catalogue raisonné, Cologne, 1996, vol. III, p. 573, no. 1383 (illustrated).
B. de Portalègre, "La Collection Llobet" in L'amour de l'art, nos. 6 and 7, Paris, June and July 1930, pp. 261 (no. 6; illustrated) and 285 (no. 7).
L. Venturi, Les archives de l'Impressionnisme, Paris, 1939, vol. I, p. 359.
D. Wildenstein, Claude Monet, Biographie et catalogue raisonné, Lausanne, 1979, vol. III, p. 179, no. 1383 (illustrated).
D. Wildenstein, Claude Monet Catalogue raisonné, Cologne, 1996, vol. III, p. 573, no. 1383 (illustrated).
Exhibited
Paris, Galerie Durand-Ruel et Cie., Monet, May 1895, no. 44.
Buenos Aires, Primer Salón de la Sociedad Amigos del Arte, Colecció Francisco Llobet, July 1924, no. 46 (illustrated).
Buenos Aires, Asociacion Amigos del Arte, Exposicion de Pintores Impesionistas, Coleccion F. Llobet, August 1932, no. 10.
Buenos Aires, Museo Nacional de Bellas Artes, El Impresionismo francés en las colecciones argentinas, September-October 1962 (illustrated).
Buenos Aires, Primer Salón de la Sociedad Amigos del Arte, Colecció Francisco Llobet, July 1924, no. 46 (illustrated).
Buenos Aires, Asociacion Amigos del Arte, Exposicion de Pintores Impesionistas, Coleccion F. Llobet, August 1932, no. 10.
Buenos Aires, Museo Nacional de Bellas Artes, El Impresionismo francés en las colecciones argentinas, September-October 1962 (illustrated).
Impressionist and Modern Art Evening Sale
1 May 2012
New York, Rockefeller Plaza
Georges Braque (1882-1963)
Mandoline à la sonate
signed 'G Braque' (lower left)
oil on canvas
25 5/8 x 31 7/8 in. (65 x 81 cm.)
Painted in 1939-1940
Mandoline à la sonate
signed 'G Braque' (lower left)
oil on canvas
25 5/8 x 31 7/8 in. (65 x 81 cm.)
Painted in 1939-1940
Provenance
Aimé Maeght, Paris.
Gustav Zumsteg, Zurich.
Theodore Schemp & Co., New York.
Paul and Ruth Tishman, New York (acquired from the above, March 1953).
By descent from the above to the present owners.
Gustav Zumsteg, Zurich.
Theodore Schemp & Co., New York.
Paul and Ruth Tishman, New York (acquired from the above, March 1953).
By descent from the above to the present owners.
Pre-Lot Text
Property from the Collection of Paul and Ruth Tishman
Paul Tishman, a member of the long established New York construction and real estate family, is perhaps best remembered today in the field of collecting for African art. The collection of African art he and his wife Ruth assembled was among the finest in the world. A comprehensive selection of works was exhibited to great fanfare in a series of exhibitions from the late 1960s onwards, culminating in a show at the Metropolitan Museum of Art in 1981. Much of the collection was later gifted to the Smithsonian Institute where it serves as a cornerstone of the National Museum of African Art.
In addition, Mr. and Mrs. Tishman were significant collectors of Pre-Columbian, Post-Impressionist and twentieth-century art. Amongst other works, they owned two paintings by Cézanne of the most searching, experimental type, an important Fauve-period Vlaminck and a fine Cubist still-life by Picasso, executed at Cadaqués in the summer of 1910. It was perhaps unsurprising that lovers of African art found themselves drawn towards the pre-First World War avant-garde, most of whom had also fallen under the spell of so-called "Primitive" art. The collection, however, extended far beyond the early years of the century and boasted at least one important De Kooning drawing from 1951, a tour-de-force of energy and gesture.
Beyond Mr Tishman's collecting activitites, he was active in civic organizations, serving as a director of the Urban League, the Legal Aid Society and the New York League for the Hard of Hearing. He also was a member of the visiting committee of the African art department at the Metropolitan Museum of Art.
PROPERTY FROM THE COLLECTION OF PAUL AND RUTH TISHMAN
Paul Tishman, a member of the long established New York construction and real estate family, is perhaps best remembered today in the field of collecting for African art. The collection of African art he and his wife Ruth assembled was among the finest in the world. A comprehensive selection of works was exhibited to great fanfare in a series of exhibitions from the late 1960s onwards, culminating in a show at the Metropolitan Museum of Art in 1981. Much of the collection was later gifted to the Smithsonian Institute where it serves as a cornerstone of the National Museum of African Art.
In addition, Mr. and Mrs. Tishman were significant collectors of Pre-Columbian, Post-Impressionist and twentieth-century art. Amongst other works, they owned two paintings by Cézanne of the most searching, experimental type, an important Fauve-period Vlaminck and a fine Cubist still-life by Picasso, executed at Cadaqués in the summer of 1910. It was perhaps unsurprising that lovers of African art found themselves drawn towards the pre-First World War avant-garde, most of whom had also fallen under the spell of so-called "Primitive" art. The collection, however, extended far beyond the early years of the century and boasted at least one important De Kooning drawing from 1951, a tour-de-force of energy and gesture.
Beyond Mr Tishman's collecting activitites, he was active in civic organizations, serving as a director of the Urban League, the Legal Aid Society and the New York League for the Hard of Hearing. He also was a member of the visiting committee of the African art department at the Metropolitan Museum of Art.
PROPERTY FROM THE COLLECTION OF PAUL AND RUTH TISHMAN
Literature
F. Laufer, Braque, Bern, 1954, pl. 35 (illustrated in color).
Galerie Maeght, ed., Catalogue de l'oeuvre de Georges Braque, Peintures 1936-1941, Paris, 1961, p. 77 (illustrated).
J. Richardson, ed., Georges Braque, An American Tribute, New York, 1964, no. 19 (illustrated).
Galerie Maeght, ed., Catalogue de l'oeuvre de Georges Braque, Peintures 1936-1941, Paris, 1961, p. 77 (illustrated).
J. Richardson, ed., Georges Braque, An American Tribute, New York, 1964, no. 19 (illustrated).
Exhibited
Kunsthalle Bern and Kunsthaus Zurich, Georges Braque, April-July 1953, no. 86 (illustrated).
Edinburgh, The Royal Scottish Academy and London, The Tate Gallery, G. Braque, An Exhibition of Paintings, September-November 1956, no. 77 (illustrated, pl. 241).
New York, M. Knoedler & Co., Inc., G. Braque, The Late Years (1940-1963) and the Sculpture, April-May 1964, no. 19 (illustrated; incorrectly dated 1952).
Edinburgh, The Royal Scottish Academy and London, The Tate Gallery, G. Braque, An Exhibition of Paintings, September-November 1956, no. 77 (illustrated, pl. 241).
New York, M. Knoedler & Co., Inc., G. Braque, The Late Years (1940-1963) and the Sculpture, April-May 1964, no. 19 (illustrated; incorrectly dated 1952).
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