- KEES VAN DONGEN (1877-1968) DUTCH/FRENCHKees
KEES VAN DONGEN (1877-1968) DUTCH/FRENCHKees van Dongen, "Place Vendôme, Paris", etching on paper, 13 ¼ x 10 ¼ inches, signed in the plate lower right, from an edition of 500, in 1939.
- CORNELIS V. DONGEN (1877-1968) DUTCH
CORNELIS V. DONGEN (1877-1968) DUTCH FRENCHCornelis Theodorus Maria "Kees" Ville de Nice, (Marcelle Leoni), Van Dongen, Janvier - Mars 1959, Galerie Des Ponchettes", coloured lithographic poster, signed in blue ink lower right within the image & with dedication to Monsieur Liverant lower right, printer Mourlot Imp Paris, 26.5 x 18.25 inches. Condition: small tear lower left edge, 3 micro tears top left edge. Provenance: The Estate of Joseph Liverant.
- Kees van Dongen 1877–1968. collection
Kees van Dongen 1877–1968. collection of three works. 1950, 1963, lithograph in colors. 25¾ h × 20 w in. result: $1,000. estimate: $1,000–1,500. Lot includes: Jean-Marie with a Flower in his Mouth, Jean-Marie dans le Port and Bouquet of Flowers. These works are proofs. Provenance: Collection of Charles Albert, Paris | Collection of Gertrude Stein, New York
- AFTER KEES VAN DONGEN O/B PAINTING,
AFTER KEES VAN DONGEN O/B PAINTING, TABBY CAT PORTRAITAnthony Pates (United Kingdom, 20th Century) oil on board painting after Kees (Cornelis Theodorus Maria) Van Dongen (Netherlands/Holland/France, 1877-1968) depicting a long-haired brown tabby cat with green eyes and a pink bow against a brown background. Signed with monogram "A C K P" lower right. Elgin Fine Art, Bath label with additional pencil inscriptions and black ink stamp, en verso. Housed in a giltwood frame with black and red trim. Sight: 6" H x 4 3/4" W. Framed: 9" H x 8" W.
Condition:
Overall very good condition. Minute paint flake/loss, lower center, to cat's tail.
- ATTR KEES VAN DONGEN, W/C/P "LEDA &
ATTR KEES VAN DONGEN, W/C/P "LEDA & THE SWAN"(Dutch, 1877- 1968), signed. Framed, not examined out of frame. This is possibly a variant study of the watercolor created by Van Dongen for the frontispiece of the book "Venise" Paris 1925. Staining along lower border, a few small stains. Frame size: 21 1/4" high, 18 1/2" wide. Provenance: Property of a CT Estate.
Condition:
Any condition information included in our lot descriptions is not the equivalent of a written condition statement, and the absence of condition information does not imply that the lot is free of defects. Our auction lot descriptions reflect our effort to provide accurate, objective and fair information on all lots for sale, and we encourage bidders to request written condition statements and large file images on any lots of interest by emailing condition@woodburyauction.com. We also strongly advise that you or someone on your behalf inspect the lot personally before bidding. All lots are sold "as is" and "where is" and neither we nor any consignor makes any warranties or representation of any kind or nature with respect to the property. There are no returns and no refunds based on condition
- TWO FRAMED PIECESTwo Framed Pieces to
TWO FRAMED PIECESTwo Framed Pieces to include, After Kees van Dongen (1877-1968) "Two Ladies" watercolor and pencil on paper signed lower left with initials V.D. 4.375" x 3.875" along with, Edouard Vuillard (1868-1940) "At the Hatmaker" pencil or pencil with charcoal on buff paper signed lower right EV miscellaneous writing on left side of drawing 6.625" x 5.25"
Condition:
All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past. Condition: Reports are available by request and answered in the order they are received starting the week of the sale.
- KEES VAN DONGEN "RECLINING NUDE" LITHOGRAPH
KEES VAN DONGEN "RECLINING NUDE" LITHOGRAPH Kees van Dongen (French/Dutch, 1877 - 1968), "Reclining Nude," lithograph, artist's proof, signed in pencil lower center. Image: 12.5" H x 17.5" W; frame: 19.5" H x 25" W.
- KEES VAN DONGEN (ATTRIB), WATERCOLOR
KEES VAN DONGEN (ATTRIB), WATERCOLOR PORTRAIT Attributed to Kees Van Dongen (Dutch 1877-1968), Spanish Dancer with Rose, watercolor on paper, bears signature lower right, bears gallery label verso, 16.5"h x 14"w (sheet)
- GROUP (9) VINTAGE ART EXHIBITION POSTERS
GROUP (9) VINTAGE ART EXHIBITION POSTERS Includes: Rouault Pere Ubu, National Gallery of Canada, 1972-27; Le Corbusier, Musee de Lyon, 1956; Giacometti, Galerie Maeght; Alberto Giacometti, Galerie Maeght; Coudrain, Galerie Seder (pencil signed by Coudrain); Matisse Dessins, Dina Vierny, 1970; Henri Matisse, Grand Palais, 1970; Henri Matisse Gravures, Galerie Adrien Maeght, and Van Dongen, Musee Cantini-Marseille, 1969; 29"h x 22"w (largest), 23.5"h x 17"w (smallest)
- Five Coffee Table Books
comprising Susanne
Five Coffee Table Books
comprising Susanne M. Low's, "A Guide to Audubon's Birds of America"; Paul D. Frost's "Birds of Prey"; Ron Van Dongen's "Bloom"; Richard Avedon's "Performance"; and Jimmy Nelson's "Before They Pass Away".
Property from a Palm Beach Collection
- ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA
ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA (1908 - 1999), THE MIME (MARCEL MARCEAU), LITHOGRAPH, 19 1/2"H X 8"WArbit Blatas, New York / France, Lithuania, (1908 - 1999) The Mime (Marcel Marceau), lithograph Numbered 188/200 lower left. Signed lower right. Biography from Papillon Gallery: Arbit Blatas (né Nicolai Arbitblatas) was born in Kaunas, Lithuania on November 19, 1908. He was a precocious talent who began exhibiting in his native country at the age of 15. Soon afterwards, he left for Paris and, at the age of 21, became the youngest member of an illustrious group of artists known as the School of Paris. When Blatas was 24, the Jeu de Paume in Paris acquired its first painting of the young artist, who had already become a colleague and friend of many of the great figures of the Paris art world, such as Vlaminck, Soutine, Picasso, Utrillo, Braque, Zadkine, Léger and Dérain. He was to paint and sculpt them all, as well as Bonnard, Vuillard, Matisse, Dufy, Van Dongen, Cocteau, Marquet and many others. His 30 portraits in oil and bronze are considered a unique document of the painters and sculptors of that dynamic period in 20th-century French painting.. In the 1930s, Blatas exhibited in London and New York, as well as in his adoptive home of Paris. Fleeing Nazi-occupied Europe in 1941 for the United States, Blatas became an American citizen and solidified his reputation among the front ranks of contemporary American painters. After the war, Blatas divided his life between New York and France, where, in 1947, he was elected a life member of the Salon D'Automne. His life-size bronze of his colleague and friend Chaim Soutine, created in 1967, was highly admired by André Malraux. In 1987, the City of Paris installed the statue in Montparnasse in the square of the Gaston Baty and conferred on Blatas the Médaille de Vermeil. A life-size statue of another close friend and colleague, Jacques Lipchitz, now stands in the garden of the Hotel de Ville next to the Museum in Boulogne. In 1978, Arbit Blatas was named Chevalier de la Légion d'Honneur by the French Government for his contribution to French art as an outstanding member of the School of Paris. In 1994 he was promoted to the rank of Officier de la Légion d'Honneur. The Holocaust Blatas' parents were deported from Lithuania in 1941. His mother died in the Studthof concentration camp. His father miraculously survived Dachau; after the war, Blatas returned to France to bring his father with him to the United States. After the death of his mother, Blatas turned his back on the Holocaust until the late 1970s, when it burst forth in the artist's oeuvre and remained a recurring theme in many major works. His black-and-white drawings memorializing the unspeakable events of that time appeared in the 1978 American television series, "Holocaust." The drawings became the basis for four public memorials, consisting of seven powerful bas-reliefs, known as The Monument of the Holocaust, now on permanent display in four countries: Italy, France, The United States and Lithuania. The first edition of this monument was installed in the historic Ghetto of Venice on April 25th, 1980, the National Holiday of Liberation from the Nazis. On that occasion, Mayor Mario Rigo decorated Blatas with the gold medal Venezia Riconoscente. On September 19th, 1993, in the same Historic Ghetto of Venice, President of Italy Oscar Scalfaro honored Blatas by personally dedicating his sculpture The Last Train, a monument honoring the 50th anniversary of the deportation of the Jews from the Venetian Ghetto. The second edition of The Monument of the Holocaust was dedicated at the Shrine of the Unknown Jewish Martyrs in Paris on April 23, 1981. The third edition was placed by the Anti-Defamation League in Hammerskjold Plaza, across from the United Nations in New York on April 25, 1982. In 2009, this edition was installed permanently at the Hebrew Union College-Jewish Institute of Religion in New York City. In 2003, the fourth and final edition of this powerful series of sculptures was donated posthumously by his widow as part of the consecration of the memorial at Fort Nine in Blatas' native Kaunas, Lithuania, the notorious location from which Blatas' parents were deported in 1941. Marcel Marceau and The Threepenny Opera Two other major subjects became leitmotifs in Blatas' work: Marcel Marceau and The Threepenny Opera. Both inspired the artist in paintings, sculpture, and a third medium for which Blatas became widely appreciated: Lithography Beginning in the 1950s, the artist's great friend, Marcel Marceau, appears in all shapes, poses and sizes: from large portraits to small-scale studies, to sculptures, to sets of lithographs that capture the famous mime in mid-air. Through a magical coincidence, Blatas attended the world premiere of The Threepenny Opera in Berlin in 1928; the groundbreaking musical theatre work by Kurt Weill and Berthold Brecht would inspire Blatas for the next 70 years. His canon of work depicting scenes and characters from The Threepenny Opera includes 18 portraits, 10 sculptures, several large canvases and sets of color and black-and-white lithographs. The outstanding preface by the legendary Lotte Lenya, Weill's widow, to the first edition of Threepenny Lithographs, published in 1962, pays tribute to Blatas' profound understanding of the work. In 1984, the Threepenny Opera exhibition was displayed at Venice's Teatro Goldoni; in 1986, at the Museum of the City of New York and the Goethe Institute in Toronto. In May 1994, the Grosvenor Gallery in London presented the exhibition called "Arbit Blatas and his World of Music and Theatre." In 2000 and 2001, respectively, the entire Threepenny Opera collection appeared as part of Kurt Weill Centenary celebrations at Belmont College, Nashville, Tennessee, and the Leubsdorf Gallery, Hunter College, New York. Career as Stage Designer During the 1970s and 1980s, Blatas designed scenery and costumes for nine international opera productions in collaboration with his wife, the renowned mezzo-soprano, Regina Resnik, as stage director. These productions included Elektra (Teatro La Fenice, Venice; Teatro Sao Carlos, Lisbon; Opéra du Rhin, Strasbourg); Carmen (Hamburg State Opera); Salome (Teatro Sao Carlos); Falstaff (Teatre Wielki, Warsaw; Teatro la Fenice; Teatro Sao Carlos; Festival of Madrid); The Queen of Spades (Vancouver Opera Association; Sydney Opera House); and The Bear and The Medium (Teatro Sao Carlos). The 1980s and 1990s saw major exhibitions of Blatas' work, including several devoted to the School of Paris. In Venice, in 1982, the School of Paris portraits became a major exhibition at the Church of San Samuele under the joint auspices of the Mayor of Paris, Jacques Chirac, and the Mayor of Venice, Mario Rigo. Le Musée Bourdelle offered the first major exhibition in Paris of the portrait collection in 1986. In 1990, the entire collection of the School of Paris, portraits, drawings and bronzes, were shown at the Musée des Années Trentes in Boulogne-Billancourt, which subsequently acquired the entire collection now permanently installed in galleries dedicated to Blatas. In 1996, the Eastlake Gallery of New York presented Blatas in an exceptional exhibition entitled "Aspects of Venice." In 1997, the Beacon Hill Gallery, also in New York, presented a landmark exhibition of more than 100 of Blatas' works. From September 2008 through July 2009, the 100th anniversary of the birth of Arbit Blatas was celebrated in "Arbit Blatas: A Centenary Exhibition," at the Hebrew Union College-Jewish Institute of Religion in New York. This exhibition brought together all the major themes and media of Blatas' diverse oeuvre for the first time: French and Venetian landscapes, music and theatre subjects in painting, sculpture and lithographs, the School of Paris in sculpture, and scenic designs. The Holocaust was honored in the fourth edition of Monument of the Holocaust and four towering, major paintings. Blatas was an artist of enormous range. His vivid colors and joie de vivre extend through his entire canon of paintings: landscapes, portraits and still-lifes. The distinguished French art critic, Jean Bouret, summed the artist up this way: "He is color, his palette is color, exuberant and sensual, as is the man." On the other end of Blatas' artistic spectrum, the noted Italian art historian Enzo di Martini wrote of the Monument of the Holocaust: "In complete contrast to his paintings, these bronzes are hammered and chiseled in anger and tragedy." Arbit Blatas passed away on April 27, 1999 at his home in New York City. lithograph Dimensions: 19 1/2"H x 8"W
- ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA
ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA (1908 - 1999), ZIZI, LITHOGRAPH, 20"H X 8 1/4"W (PLATE)Arbit Blatas, New York / France, Lithuania, (1908 - 1999) Zizi, lithograph Numbered 180/200 lower left and signed lower right. Biography from Papillon Gallery: Arbit Blatas (né Nicolai Arbitblatas) was born in Kaunas, Lithuania on November 19, 1908. He was a precocious talent who began exhibiting in his native country at the age of 15. Soon afterwards, he left for Paris and, at the age of 21, became the youngest member of an illustrious group of artists known as the School of Paris. When Blatas was 24, the Jeu de Paume in Paris acquired its first painting of the young artist, who had already become a colleague and friend of many of the great figures of the Paris art world, such as Vlaminck, Soutine, Picasso, Utrillo, Braque, Zadkine, Léger and Dérain. He was to paint and sculpt them all, as well as Bonnard, Vuillard, Matisse, Dufy, Van Dongen, Cocteau, Marquet and many others. His 30 portraits in oil and bronze are considered a unique document of the painters and sculptors of that dynamic period in 20th-century French painting.. In the 1930s, Blatas exhibited in London and New York, as well as in his adoptive home of Paris. Fleeing Nazi-occupied Europe in 1941 for the United States, Blatas became an American citizen and solidified his reputation among the front ranks of contemporary American painters. After the war, Blatas divided his life between New York and France, where, in 1947, he was elected a life member of the Salon D'Automne. His life-size bronze of his colleague and friend Chaim Soutine, created in 1967, was highly admired by André Malraux. In 1987, the City of Paris installed the statue in Montparnasse in the square of the Gaston Baty and conferred on Blatas the Médaille de Vermeil. A life-size statue of another close friend and colleague, Jacques Lipchitz, now stands in the garden of the Hotel de Ville next to the Museum in Boulogne. In 1978, Arbit Blatas was named Chevalier de la Légion d'Honneur by the French Government for his contribution to French art as an outstanding member of the School of Paris. In 1994 he was promoted to the rank of Officier de la Légion d'Honneur. The Holocaust Blatas' parents were deported from Lithuania in 1941. His mother died in the Studthof concentration camp. His father miraculously survived Dachau; after the war, Blatas returned to France to bring his father with him to the United States. After the death of his mother, Blatas turned his back on the Holocaust until the late 1970s, when it burst forth in the artist's oeuvre and remained a recurring theme in many major works. His black-and-white drawings memorializing the unspeakable events of that time appeared in the 1978 American television series, "Holocaust." The drawings became the basis for four public memorials, consisting of seven powerful bas-reliefs, known as The Monument of the Holocaust, now on permanent display in four countries: Italy, France, The United States and Lithuania. The first edition of this monument was installed in the historic Ghetto of Venice on April 25th, 1980, the National Holiday of Liberation from the Nazis. On that occasion, Mayor Mario Rigo decorated Blatas with the gold medal Venezia Riconoscente. On September 19th, 1993, in the same Historic Ghetto of Venice, President of Italy Oscar Scalfaro honored Blatas by personally dedicating his sculpture The Last Train, a monument honoring the 50th anniversary of the deportation of the Jews from the Venetian Ghetto. The second edition of The Monument of the Holocaust was dedicated at the Shrine of the Unknown Jewish Martyrs in Paris on April 23, 1981. The third edition was placed by the Anti-Defamation League in Hammerskjold Plaza, across from the United Nations in New York on April 25, 1982. In 2009, this edition was installed permanently at the Hebrew Union College-Jewish Institute of Religion in New York City. In 2003, the fourth and final edition of this powerful series of sculptures was donated posthumously by his widow as part of the consecration of the memorial at Fort Nine in Blatas' native Kaunas, Lithuania, the notorious location from which Blatas' parents were deported in 1941. Marcel Marceau and The Threepenny Opera Two other major subjects became leitmotifs in Blatas' work: Marcel Marceau and The Threepenny Opera. Both inspired the artist in paintings, sculpture, and a third medium for which Blatas became widely appreciated: Lithography Beginning in the 1950s, the artist's great friend, Marcel Marceau, appears in all shapes, poses and sizes: from large portraits to small-scale studies, to sculptures, to sets of lithographs that capture the famous mime in mid-air. Through a magical coincidence, Blatas attended the world premiere of The Threepenny Opera in Berlin in 1928; the groundbreaking musical theatre work by Kurt Weill and Berthold Brecht would inspire Blatas for the next 70 years. His canon of work depicting scenes and characters from The Threepenny Opera includes 18 portraits, 10 sculptures, several large canvases and sets of color and black-and-white lithographs. The outstanding preface by the legendary Lotte Lenya, Weill's widow, to the first edition of Threepenny Lithographs, published in 1962, pays tribute to Blatas' profound understanding of the work. In 1984, the Threepenny Opera exhibition was displayed at Venice's Teatro Goldoni; in 1986, at the Museum of the City of New York and the Goethe Institute in Toronto. In May 1994, the Grosvenor Gallery in London presented the exhibition called "Arbit Blatas and his World of Music and Theatre." In 2000 and 2001, respectively, the entire Threepenny Opera collection appeared as part of Kurt Weill Centenary celebrations at Belmont College, Nashville, Tennessee, and the Leubsdorf Gallery, Hunter College, New York. Career as Stage Designer During the 1970s and 1980s, Blatas designed scenery and costumes for nine international opera productions in collaboration with his wife, the renowned mezzo-soprano, Regina Resnik, as stage director. These productions included Elektra (Teatro La Fenice, Venice; Teatro Sao Carlos, Lisbon; Opéra du Rhin, Strasbourg); Carmen (Hamburg State Opera); Salome (Teatro Sao Carlos); Falstaff (Teatre Wielki, Warsaw; Teatro la Fenice; Teatro Sao Carlos; Festival of Madrid); The Queen of Spades (Vancouver Opera Association; Sydney Opera House); and The Bear and The Medium (Teatro Sao Carlos). The 1980s and 1990s saw major exhibitions of Blatas' work, including several devoted to the School of Paris. In Venice, in 1982, the School of Paris portraits became a major exhibition at the Church of San Samuele under the joint auspices of the Mayor of Paris, Jacques Chirac, and the Mayor of Venice, Mario Rigo. Le Musée Bourdelle offered the first major exhibition in Paris of the portrait collection in 1986. In 1990, the entire collection of the School of Paris, portraits, drawings and bronzes, were shown at the Musée des Années Trentes in Boulogne-Billancourt, which subsequently acquired the entire collection now permanently installed in galleries dedicated to Blatas. In 1996, the Eastlake Gallery of New York presented Blatas in an exceptional exhibition entitled "Aspects of Venice." In 1997, the Beacon Hill Gallery, also in New York, presented a landmark exhibition of more than 100 of Blatas' works. From September 2008 through July 2009, the 100th anniversary of the birth of Arbit Blatas was celebrated in "Arbit Blatas: A Centenary Exhibition," at the Hebrew Union College-Jewish Institute of Religion in New York. This exhibition brought together all the major themes and media of Blatas' diverse oeuvre for the first time: French and Venetian landscapes, music and theatre subjects in painting, sculpture and lithographs, the School of Paris in sculpture, and scenic designs. The Holocaust was honored in the fourth edition of Monument of the Holocaust and four towering, major paintings. Blatas was an artist of enormous range. His vivid colors and joie de vivre extend through his entire canon of paintings: landscapes, portraits and still-lifes. The distinguished French art critic, Jean Bouret, summed the artist up this way: "He is color, his palette is color, exuberant and sensual, as is the man." On the other end of Blatas' artistic spectrum, the noted Italian art historian Enzo di Martini wrote of the Monument of the Holocaust: "In complete contrast to his paintings, these bronzes are hammered and chiseled in anger and tragedy." Arbit Blatas passed away on April 27, 1999 at his home in New York City. lithograph Dimensions: 20"H x 8 1/4"W (plate)