Impressionist and Modern Art
Six to eight cataloged auctions each year
A long-standing specialty of Ader, Impressionist and Modern paintings have been passionately championed by the auctioneers of this art market institution since the late 19th century. In 1884, for example, the auction house organized the sale of works from Édouard Manet’s (1832–1883) studio, which included the iconic *Olympia*. The Modern and Contemporary Art department focuses on all the artistic movements of these periods of intense creative activity: Impressionism, Post-Impressionism, Cubism, Fauvism... A distinctive feature of Ader is its dedicated auctions, which present some fifty carefully selected works—most of which have never before appeared on the market—all of which come from private collections or estates. This high-quality selection reflects the department’s exacting standards and the trust its clients place in it.
A Message from the Department Heads
“There are always new discoveries to be made in the field of modern art, even regarding the period’s most renowned artists. We recently had the good fortune to rescue a painting by Camille Pissarro (1830–1903) from obscurity. The painting was unattributed when it arrived at our Neuilly office. After more than a year and a half of research, several technical and scientific analyses, and detailed comparisons with other works by Pissarro, this oil on canvas was added to the official catalog of the painter’s works. On the day of the auction, it sold for €358,400. This rediscovery was made possible thanks to the relationship of trust we built with the work’s owners, as well as Ader’s expertise in the field of modern art. We are confident that other works by great masters will thus be able to resurface.”
Contacts
Xavier Dominique
xavier.dominique@ader-paris.fr
Camille Maujean
camille.maujean@ader-paris.fr
Tanguy Faramin
tanguy.faramin@ader-paris.fr
Anna Gorska
anna.gorska@ader-paris.fr
3 Rue Favart, 75002 Paris
Phone: +33 (0)1 53 40 77 10
Upcoming Sales
Successful Auctions
Mary CASSATT (1844-1926) Portrait of a Young Woman in a White Hat, 1879 Oil on canvas. Signed and dated on the left. (Re-tooled). 46 x 38 cm Provenance : Estate of Madame B., Paris. Probably acquired around 1950 and kept in the family ever since. Exhibitions : - Cent Ans de Peinture française, Galerie Schmit, Paris, May 7 - June 7, 1969. - Pour mon plaisir : XIXe-XXe siècles, Galerie Schmit, Paris, May 12 - July 22 1982, catalog, no. 21, reproduced. Bibliography: - Adelyn Dohme Breeskin, Mary Cassatt, A Catalogue raisonné of the Oils, Watercolours and Drawings, Smithsonian Institution Press, Washington, 1970, no. 68, reproduced on p. 52. - Le Figaro, Vie Culturelle, La Face cachée des grands maîtres, May 26 1982, reproduced p. 28. We would like to thank Madame Elizabeth Royer for her provenance research on this work.
Result
1,216,000 EUR
Leonard Tsuguharu FOUJITA (1886-1968) Nude in the studio, 1925 Oil on canvas. Signed and dated lower left "Tsuguharu" in Japanese and "Foujita 1925". Signed on the back "Tsuguharu" in Japanese and "Foujita", monogrammed "F" at the top on the horizontal bar of the stretcher, titled and dated "Model 1925" on the central bar, located "à Paris" and signed "Tsuguharu" in Japanese on the right vertical bar. 126 x 60 cm Provenance: Edmée Lamiral Collection, Paris. By descent. Bibliography: Musée des Beaux-arts de Reims, La Collection Foujita - Catalogue des œuvres, Éditions Snoeck, 2018, positive print of our painting in gelatino-silver bromide on monochrome development paper of our painting, 30.4 x 24 cm, Inv.2014.3.637, reproduced p. 239; J. Roseman, Orthomatic silver gelatin-bromide negative glass plate of our painting, 29.8 x 23.8 cm, Inv. 2014.3.630, reproduced p. 237. We thank Madame Sylvie Buisson for the information she provided. A certificate from Madame Sylvie Buisson will be given to the buyer. The model of the painting is Edmée Lamiral, daughter of a sculptor from Boulogne Charles Paul Lamiral. Through her father, she frequented the entire artistic milieu of the interwar period and posed for several artists. Her presence next to a nude woman on one of the plates of the album "Les Femmes" in 1930, shows that she posed for several years for the Japanese artist. Here, the model immediately refers us to the sculpture. The halo on the left side of the body accentuates the modeling, bordering on mannerism. During his trip to Italy in 1921, Foujita discovered the Sistine Chapel and the painted work of Michelangelo. The power of the bodies represented in very expressive postures left a lasting impression on him. His style is reminiscent of grisaille, where the monochrome paint imitates a sculpted bas-relief using a degradation between black and white and cameo of gray. As the expert Sylvie Buisson points out: "His prowess is to draw directly freehand the outline of the forms with Indian ink, or black oil paint, with his extra fine Japanese brush, without repentance, directly on the white preparation of the background that he made a few days before from a mixture of powdered oyster shells, animal glue, silver white and various binders to obtain this smooth and flat surface like porcelain that allows him to achieve the shades of gray and the traces of his work. The look of this woman destabilizes us, like La Belle ferronnière of Leonard de Vinci. A drawing of a cat that stretches in the upper left hanging by a thumbtack against the wall contrasts with the face of the model. The frame of a painting in the lower right corner has never been seen in Foujita's work. Which canvas is it? We would like to turn it over.
Result
640,000 EUR
Raoul DUFY (1877-1953 )Sailboats in the port of Deauville, circa 1935Oil on canvas. Signed lower left. (Two small restorations). 60 x 73 cmThis work will be reproduced in the second supplement of the Catalogue Raisonné de l'Œuvre Peint by Raoul Dufy, currently being prepared by Madame Fanny Guillon-Laffaille . A certificate from Madame Fanny Guillon-Laffaille dated 8 October 2020 will be given to the purchaser.
Result
422,400 EUR
Pierre BONNARD (1867-1947) La Petite fille au chien or Isabelle Lecomte du Noüy with Bonnard's dog at Le Cannet, circa 1929-32 Oil on canvas. Estate stamp lower left. 51 x 63 cm Provenance : - Estate of Bonnard (Inv. n° 20). - Collection Antoine Terrasse, son of Charles Terrasse. - Collection of Monsieur and Madame P., Paris. Acquired directly from the latter. Exhibitions : - Pierre Bonnard, Centenary of his birth, Haus Der Kunst, Munich, October 8, 1966 - January 1, 1967, catalog, no. 106, reproduced (label on back). - Pierre Bonnard, Centenaire de sa naissance, Orangerie des Tuileries, Paris, January 13 - April 17, 1967, catalog, no. 126 (dated 1929-1932 and dimensions: 51 x 63 cm), reproduced (label on back). - Bonnard, Musée Cantini, Marseille, May 1 - June 11, 1967, catalog, no. 21, reproduced. - Bonnard, Louisiana Museum of Modern Art, Humlebaek, September 16 - October 29, 1967, no. 69. - Bonnard, National Museum of Western Art, Tokyo, March 20 - May 5, 1968, catalog, no. 63, reproduced p. 104 (label on back). - Bonnard, National Museum of Modern Art, Kyoto, May 11 - June 16, 1968, catalog, no. 63, reproduced p. 104. - Bonnard, Galerie Krugier, Geneva, June 1969, catalog, no. 23, reproduced on p. 18. - Pierre Bonnard, Hamburg, 1970, no. 55. - Bonnard, Villa Medici, Rome, November 18, 1971 - January 23, 1972 and Museum of Modern Art, Turin, February 1 - 28, 1972, catalog, no. 16, reproduced. - Bonnard dans sa lumière, Fondation Maeght, July 12 - September 28, 1975, no. 44 reproduced p. 84 (label on back). - Hommage à Bonnard, Musée des Beaux-Arts, Bordeaux, May 10 - August 25, 1986, no. 65 (label on back). - Pierre Bonnard, Louisiana Museum of Modern Art, Humlebaek, September 11, 1992 - January 10, 1993, catalog, no. 89 (back label). - Pierre Bonnard décorateur, Montreal Museum of Fine Arts, July 9 - November 8, 1998. - Pierre Bonnard, Arpad Szenes - Vieira da Silva Foundation, Lisbon, July 11 - September 30, 2001, catalog, reproduced p. 85. - Entre chiens & chats, Bonnard et l'animalité, edited by Véronique Serrano, Musée Bonnard, Le Cannet, July 2 - November 6, 2016, catalog, reproduced p. 33, ill. 6. Bibliography: - André Lhote, Bonnard, Seize peintures, 1939-1943, Paris, Éditions du Chêne, 1944 and 1948, reproduced pl. VII (dated 1939). - Antoine Terrasse, Bonnard, Paris, Skira, 1964, reproduced p. 72. - André Fermigier, Pierre Bonnard, Paris, La Bibliothèque des Arts, Éditions Cercle d'Art, 1969, reproduced p. 135 and described p. 134. - Jean and Henry Dauberville, Bonnard, Catalogue raisonné de l'œuvre peint, Tome III, Paris, Bernheim-Jeune, 1973, no. 1415, reproduced p. 332 (La Petite fille au chien (Isabelle Lecomte de Nouy with Bonnard's dog at Le Cannet) oil on canvas, 51 x 63 cm, now signed lower left). - Raymond Cogniat, Bonnard, Paris, Flammarion, 1976, reproduced on p. 69. This work is a study for the definitive painting Mademoiselle Isabelle Lecomte de Noüy (1929).
Result
256,000 EUR
Auguste HERBIN (1882-1960 )Composition, 1927Oil on canvas. Signed and dated lower right. 94 x 133 cmProvenance : Private collection, Neuilly-sur-Seine. Bibliography: Geneviève Claisse, Herbin: Catalogue raisonné de l'ouvrage peint, Lausanne, les Éditions du Grand-Pont, Paris, la Bibliothèque des arts, 1993, n°617, reproduced p. 388.
Result
230,400 EUR
Jean-François RAFFAËLLI (Paris, 1850 - 1924) Portrait of Germaine, the artist's daughter, at the age of 4, 1882 Oil on canvas. Signed, dated and dedicated in the upper left corner: "to my dear wife J.F. RAFFAËLLI / Germaine 18 March 1882". (Framed). 49 x 49 cm Provenance: - Given by the artist to his wife Rachel Aglaé, née Héran (1849-1924). - Germaine Chevrier de Beauchesne (1877-1951), née Raffaëlli, model and daughter of the artist. By descent. Exhibition : Works by Jean-François Raffaëlli, Paris, 28 bis, avenue de l'Opéra, March 15-April 15, 1884, no. 92 ("Germaine, 4 years old. Belongs to Mme R."). Bibliography: P. Bonnetain, Les Enfants, Les Types de Paris, n° 4, Paris, 1889, reproduced on p. 57. Raffaëlli, a portraitist, chose his models from among his artistic, literary and political friendships. In contrast to these official images, for his more intimate female representations, the artist adopted a luminous palette, with light tones, which contrasted with the rest of his production. This is the case of our Germaine at the age of four, "so remarkable for the simplicity and accuracy of her tones", for her "supple brushwork" and her "fine and delicate coloring", to quote Charles Ephrussi about the works exhibited by Raffaëlli alongside the Impressionists in 1880 (C. Ephrussi, "Exposition des Artistes Indépendants", in Gazette des Beaux-Arts, May 1880, p. 488) As Arsène Alexandre rightly expressed it, "the grace of the painter's images of young girls" is not without recalling that of his "portraits of flowers" (A. Alexandre, Jean-François Raffaëlli. Peintre Graveur et Sculpteur, Paris, 1909, p. 124). Thus, in a chapter of Professional Beauties, the poet Robert de Montesquiou gives a description of his still lifes that could just as well apply to our portrait: "Raffaëlli's bouquets are exercised on a cold white background that he likes" and "know how to unite without mawkishness distinction to breadth, richness to melancholy" (R. de Montesquiou, Professionnelles beautés, Paris, 1905, p. 110-111). The fluidity and the airy design of the dress and the rattan chair, made of curves and counter-curves, contrast with the finish of the face and give this scene, which is nevertheless static, a dynamism and a movement that is reminiscent of the immediacy of a photograph. This idea is reinforced by a composition with a daring framing: the little girl, seen in profile, only occupies the right-hand side of the painting, giving the impression that she is about to get up to return to her entertainment. An only child and the painter's favorite model, Germaine grew up to the rhythm of her father's brushes, who never ceased to represent her: Germaine, 4 months old (solo exhibition of 1884); Germaine, 8 months old (solo exhibition of 1884); Germaine, 2 years old (solo exhibition of 1884); Portrait of my Granddaughter (Salon of 1881); Germaine at her toilette (fig. 2); Portrait of Germaine (Salon of 1892); Portrait of my daughter Germaine (Salon of 1896); Portrait of my daughter (Salon of 1898), etc. This series of effigies finds a conclusion in Le Portrait de Mme C. de B. exhibited at the 1905 Salon, a painting in which the informed public did not fail to recognize the young wife of Mr. Chevrier de Beauchesne, the charming Germaine Raffaëlli, now adult. By its modernity and impressionist character, our painting occupies a special place in this long series, and it is certainly one of the artist's most seductive images.
Result
204,800 EUR
Albert MARQUET (1875-1947 )Boats in the Harbor, 1922Oil on canvas. Signed lower right . 60 x 73 cmProvenance : - Bought from the artist by Bernheim-Jeune in July 1922 (ph. 4357) . - Galerie Tamenaga, Paris (label on the back). - Galerie Pétridès, Paris (label on the back). - Exhibition: Albert Marquet, Paris, 1925, n° 47 and 49. Bibliography: Jean-Claude Martinet and Guy Wildenstein, Marquet, L'Afrique du Nord, Catalogue de l'œuvre peint, Paris, Seuil, Wildenstein Institute, 2001, n° I-64 reproduced p. 116 .
Result
192,000 EUR