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Autumn Show 2021
21 September - 22 October 2021

Autumn Show 2021

Past viewing_room
  • Connaught Brown is delighted to present Autumn 2021 The exhibition is comprised of works by Renoir, Rodin, Matisse, Degas, Pissarro,...

    Connaught Brown is delighted to present Autumn 2021

     

    The exhibition is comprised of works by Renoir, Rodin, Matisse, Degas, Pissarro, Bonnard, pascin, dufy, picasso, feininger, riopelle, moore, poliakoff, dubuffet, kusama, turnbull, hodgkin, lobo christo and scott

     

     

  • EDGAR DEGAS 1834-1917 , Danse Espagnole, c.1885

    EDGAR DEGAS, Danse Espagnole, c.1885

    Stamped ‘Degas’, the foundry mark ‘A.A. Hébrard Cire Perdue’ and numbered ‘20/F’

    Conceived circa 1885, Paris Bronze 16.26 x 6.9 x 6 ½ in, 41.3 x 17.6 x 16.6 cm

    EDGAR DEGAS 1834-1917

    Danse Espagnole, c.1885

    Edgar Degas’ art is inextricably associated with depictions of dancers. They are by some distance his most frequently painted subject matter and the same is also true of his sculpture. Of the 74 wax models which survived and have been cast in bronze, 40 depict dancers in various poses. His art is therefore that of dance, both in subject matter and the lyrical energy which that entails.

     

    The present sculpture, La danse espagnole  stands out amongst Degas’ three-dimensional works for its spontaneous sense of licence and sensuality, characteristics that clearly relate to its Spanish theme.

    This work comes with exemplary provenance, having been with Galerie Beyeler, Knoedler & Co., and Richard Feigen, each a resounding testimony to the beauty and quality of the work.

  • Ezra & Cecile Zilkha, Green Room (Larger version of this image opens in a popup).
    Edgar Degas (Larger version of this image opens in a popup).
    Degas, The Dancing Class, ca. 1870, The Metropoleitan Museum, New York (Larger version of this image opens in a popup).
    Ezra & Cecile Zilkha, Green Room (Larger version of this image opens in a popup).

    Ezra & Cecile Zilkha, Green Room 

    • Auguste Rodin L'éternel printemps, second état, 4ème réduction, dite aussi "no.2'", 1884 Bronze This reduction was conceived in 1898 and cast by the Alexis Rudier foundry in 1927 9 3/4 x 13 x 7 7/8 in, 24.7 x 33 x 20 cm Inscribed 'Rodin', stamped with foundry mark and stamped with raised signature 'A. Rodin'
      Auguste Rodin
      L'éternel printemps, second état, 4ème réduction, dite aussi "no.2'", 1884
      Bronze
      This reduction was conceived in 1898 and cast by the Alexis Rudier foundry in 1927
      9 3/4 x 13 x 7 7/8 in, 24.7 x 33 x 20 cm
      Inscribed 'Rodin', stamped with foundry mark and stamped with raised signature 'A. Rodin'
    • Pierre Bonnard, Jeunes Femmes dans la Rue, c.1922
      Pierre Bonnard, Jeunes Femmes dans la Rue, c.1922
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    • Edgar Degas Danse Espagnole, c.1885 Bronze 16.26 x 6.9 x 6.5in, 41.3 x 17.6 x 16.6cm Stamped 'Degas', the foundry mark 'Cire Perdue A.A. Hébrard' and numbered '20/F' Conceived circa 1885 and cast after 1919 in an edition of 20 numbered A to T plus 2 casts reserved for the Degas heirs marked HER.D and HER by the A.A. Hébrard Foundry, Paris
      Edgar Degas
      Danse Espagnole, c.1885
      Bronze
      16.26 x 6.9 x 6.5in, 41.3 x 17.6 x 16.6cm
      Stamped 'Degas', the foundry mark 'Cire Perdue A.A. Hébrard' and numbered '20/F'

      Conceived circa 1885 and cast after 1919 in an edition of 20 numbered A to T plus 2 casts reserved for the Degas heirs marked HER.D and HER by the A.A. Hébrard Foundry, Paris
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    • Pierre-Auguste Renoir, Paysage à l'arbre, 1917
      Pierre-Auguste Renoir, Paysage à l'arbre, 1917
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    • Henri Matisse Femme Couchée, February 1928 Pencil on paper 12 3/4 x 20 1/8 in, 32.5 x 51 cm Signed and dated ‘février 1928 Henri Matisse' lower right
      Henri Matisse
      Femme Couchée, February 1928
      Pencil on paper
      12 3/4 x 20 1/8 in, 32.5 x 51 cm
      Signed and dated ‘février 1928 Henri Matisse' lower right
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    • Jules Pascin Jeune Fille au Café , 1927 Oil and crayon on canvas 36 1/4 x 29 1/8 in, 92.1 x 73.7 cm Signed 'Pascin' upper left
      Jules Pascin
      Jeune Fille au Café , 1927
      Oil and crayon on canvas
      36 1/4 x 29 1/8 in, 92.1 x 73.7 cm
      Signed 'Pascin' upper left
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    • Raoul Dufy L'atelier de l'artiste au Havre, 1929 Gouache and watercolour on paper 19 7/8 x 26 1/8 in, 50.5 x 66.3 cm Signed and dated 'Raoul Dufy 1929' lower left
      Raoul Dufy
      L'atelier de l'artiste au Havre, 1929
      Gouache and watercolour on paper
      19 7/8 x 26 1/8 in, 50.5 x 66.3 cm
      Signed and dated 'Raoul Dufy 1929' lower left
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  • LYONEL FEININGER 1871-1956 , Architectural Composition I, 1940

    LYONEL FEININGER,  Architectural Composition I, 1940 

    Signed ‘Feininger’ lower right, inscribed on stretcher Architectural Composition I’
    Oil on canvas,  24 x 36 in, 61 x 91.5 cm

     

     

    LYONEL FEININGER 1871-1956

    Architectural Composition I, 1940

    “New York is the most amazing city in its atmosphere, colour and contrasts, in the whole world.”

    Lyonel Feininger 

     

    Feininger returned to New York in 1937 and quickly became absorbed in the city, continually depicting its architecture and the skyline it formed. Architectural Composition I is an important example of Feininger’s New York period. It displays Feininger’s development of a delicate geometric style composed of interlocking translucent planes, suggestive of both light rays and architectural forms. By representing the metropolis as a dynamic world of rhythm and movement he highlights and accentuates the beauty of the city.

     

    Feininger loaned Architectural Composition I to MoMA for two exhibitions, one in 1944-5 and the next six years later in 1951-2. In 1956, the year he died, Feininger was chosen to be part of the American Pavilion at the Venice Biennale. Entitled American Artists Paint the City, the exhibition included Georgia O’Keffe, Jackson Pollock, Franz Kline and Willem de Kooning. Architectural Composition I was one of three Feininger paintings displayed. In the accompanying catalogue Katharine Kuh, curator of the Pavilion, described how Feininger ‘condenses and symbolizes all the shining lights of America’.

     

    Architectural Composition I MoMA 1944-5

    • Jean-Paul Riopelle, Composition, c.1974
      Jean-Paul Riopelle, Composition, c.1974
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    • William Turnbull, Figure, 1992
      William Turnbull, Figure, 1992
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    • Lyonel Feininger, Architectural Composition I, 1940
      Lyonel Feininger, Architectural Composition I, 1940
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  • Karlskirche in Vienna (Larger version of this image opens in a popup).
    Moore at work in the studio (Larger version of this image opens in a popup).
    Canberra, Fitzwilliam Museum, Cambridge (Larger version of this image opens in a popup).
    Moore at work in the studio, 1961 (Larger version of this image opens in a popup).
    Moore at Perry Green (Larger version of this image opens in a popup).

    Karlskirche in Vienna

  • HENRY MOORE 1898-1986 , Working Model for Hill Arches, 1972

    HENRY MOORE, Working Model for Hill Arches, 1972 

    Signed and numbered ‘3/9’ and stamped with foundry mark ‘H.Noack Berlin’
    Edition 3 of 9 Bronze 22 ⅝ x 42 ¾ x 26 ¾ in, 57.5 x 108.5 x 68 cm

    HENRY MOORE 1898-1986

    Working Model for Hill Arches, 1972

    Moore originally conceived Hill Arches to be placed in a field opposite his studio in Perry Green.

     

    Working models were an important part of Moore’s practice, with the artist using them to physicalise his ideal before scaling up to a larger size. The present work was a means for Moore to envisage the experience of walking round the sculpture, viewing each element from a different angle to see how they worked in harmony. The Henry Moore Foundation keeps both a bronze and plaster cast of Working Model for Hill Arches. Casts of Hill Arches can be found in the National Gallery of Australia, Canberra; Fitzwilliam Museum, Cambridge and opposite the Karlskirche in Vienna.

    • Henry Moore, Working Model for Hill Arches, 1972
      Henry Moore, Working Model for Hill Arches, 1972
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    • Serge Poliakoff, Composition Abstraite, 1960
      Serge Poliakoff, Composition Abstraite, 1960
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    • Henry Moore, Draped Woman on Block Seat, 1980
      Henry Moore, Draped Woman on Block Seat, 1980
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  • Jean Dubuffet, Site avec 4 personnages, 20 September 1981
    • Jean Dubuffet Site avec 4 personnages, 20 September 1981 Acrylic on paper mounted on canvas 26 3/4 x 20 in, 68.1 x 50.9 cm Signed and dated lower right 'J.D. 81'
      Jean Dubuffet
      Site avec 4 personnages, 20 September 1981
      Acrylic on paper mounted on canvas
      26 3/4 x 20 in, 68.1 x 50.9 cm
      Signed and dated lower right 'J.D. 81'
      Sold
    • Pablo Picasso, Bouquet de Fleurs
      Pablo Picasso, Bouquet de Fleurs
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    • Yayoi Kusama, Repetition GL.A, 1996
      Yayoi Kusama, Repetition GL.A, 1996
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  • Baltasar Lobo, Jeune fille, 1968
    • Howard Hodgkin Untitled (After Lunch), 1981 Oil, gouache and soft ground etching on Arches paper 22 1/4 x 29 7/8 in, 56.6 x 76 cm Initialled and dated 'HH '81' and inscribed 'After Lunch, 1980, overpainted 80-81' verso
      Howard Hodgkin
      Untitled (After Lunch), 1981
      Oil, gouache and soft ground etching on Arches paper
      22 1/4 x 29 7/8 in, 56.6 x 76 cm
      Initialled and dated 'HH '81' and inscribed 'After Lunch, 1980, overpainted 80-81' verso
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    • Baltasar Lobo Jeune fille, 1968 Bronze with brown and green patina 14 3/4 x 6 1/4 x 7 1/8 in, 37.6 x 16 x 18 cm Signed and numbered 'Lobo 4/8' and inscribed with foundry mark 'Susse Fondeur Paris' Conceived in 1968 and cast in an edition of 8 in 1969-70
      Baltasar Lobo
      Jeune fille, 1968
      Bronze with brown and green patina
      14 3/4 x 6 1/4 x 7 1/8 in, 37.6 x 16 x 18 cm
      Signed and numbered 'Lobo 4/8' and inscribed with foundry mark 'Susse Fondeur Paris'
      Conceived in 1968 and cast in an edition of 8 in 1969-70
    • William Scott Yellow Circle (II), 1963 Mixed media on paper 10 x 12 3/4 in, 25.4 x 32.4 cm Signed 'W. Scott' lower right Titled, dated and inscribed 'For Michael 1964 / No II / SR152/96' verso
      William Scott
      Yellow Circle (II), 1963
      Mixed media on paper
      10 x 12 3/4 in, 25.4 x 32.4 cm
      Signed 'W. Scott' lower right
      Titled, dated and inscribed 'For Michael 1964 / No II / SR152/96' verso
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    • Christo, The Gates (Project for Central Park, New York City), 1983
      Christo, The Gates (Project for Central Park, New York City), 1983
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    • Henri Matisse, Woman at the Piano, c. 1923-4
      Henri Matisse, Woman at the Piano, c. 1923-4
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    • Robert Motherwell Gauloises on Grey #29, 1972 Acrylic and pasted papers on Upsom board 23 1/2 x 9 3/4 in, 59.7 x 24.8 cm Signed with initials lower right 'RM'
      Robert Motherwell
      Gauloises on Grey #29, 1972
      Acrylic and pasted papers on Upsom board
      23 1/2 x 9 3/4 in, 59.7 x 24.8 cm
      Signed with initials lower right 'RM'
      Sold
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