• 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.

    • Pierre-Auguste Renoir, Paysage à l'arbre, 1917
      Pierre-Auguste Renoir, Paysage à l'arbre, 1917
    • 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
    • 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
    • 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
  • 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
    • William Turnbull, Figure, 1992
      William Turnbull, Figure, 1992
    • Lyonel Feininger Architectural Composition I, 1940 Oil on canvas 24 x 36 in, 61 x 91.5 cm Signed ‘Feininger’ lower right and inscribed ‘Lyonel Feininger 1940, Architectural Composition I’ verso
      Lyonel Feininger
      Architectural Composition I, 1940
      Oil on canvas
      24 x 36 in, 61 x 91.5 cm
      Signed ‘Feininger’ lower right and inscribed ‘Lyonel Feininger 1940, Architectural Composition I’ verso
  • 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
    • Serge Poliakoff, Composition Abstraite, 1960
      Serge Poliakoff, Composition Abstraite, 1960
    • Henry Moore, Draped Woman on Block Seat, 1980
      Henry Moore, Draped Woman on Block Seat, 1980
  • Jean Dubuffet, Site avec 4 personnages, 20 September 1981
  • Baltasar Lobo, Jeune fille, 1968