GENEVA - PARIS

Our exhibited artists

Pierre BonnardEugène BoudinGeorges BraqueAlexander CalderHenri Edmond CrossSalvador DaliEdgar DegasAlbert Dubois-PilletDiego GiacomettiAlberto Giacometti Juan GrisArmand GuillauminCharles-Edouard Jeanneret dit Le CorbusierAndré LanskoyAchille LaugéMarie LaurencinGustave LoiseauAlbert MarquetJean Metzinger Francis PicabiaPablo Picasso Odilon Redon Pierre-Auguste Renoir Auguste RodinGeorges RouaultLouis ValtatFélix VallottonMaurice de Vlaminck Edouard VuillardOssip Zadkine

(1867-1947)(1824-1898)(1882-1963)(1898-1976)(1856-1910)(1904-1989)(1834-1917)(1846-1890)(1902-1985)(1901-1966)(1887-1927)(1841-1927)(1887-1965)(1902-1976)(1861-1944)(1883-1956)(1865-1935)(1875-1947)(1883-1956)(1879-1953)(1881-1973)(1840-1916)(1841-1919)(1840-1917)(1871-1958)(1869-1952)(1865-1925)(1876-1958)(1868-1940)(1890-1967)

It is with great pleasure that we would liked to celebrate with you, during the first edition of Fine Art Fair at le Palais Brogniart, the 40’s birthday of the first gallery in Paris, 25 Quai Voltaire, Galerie Bailly.

In 1977 Galerie Bailly opened its doors at 25 Quai Voltaire in Paris 7th arrondissement, the prestigious art district facing the Louvre. Continuing the family tradition, 30 years later Charly and Hanna Bailly, founded

Bailly Gallery in Geneva, Switzerland.

Bailly Gallery is an international family business focusing on impressionist & modern art and constantly offering new selection of paintings, sculptures and works on paper in its two galleries, Geneva and Paris.

Among exhibited artists are Auguste Rodin, Auguste Renoir, Henri Matisse, Alexander Calder, Alfred Sisley, Pablo Picasso, Ernst Ludwig Kirchner, Alexander Calder, Marc Chagall, Kees Van Dongen, Francis Picabia,

Sam Francis and many other representatives of major 19th and 20th century artistic movements.

The gallery is also committed to the discovery of emerging talent and to its integration into the contemporary art scene. Beyond the exhibition program, the gallery covers a broad spectrum of artistic projects, including the publication of catalogues and the participation at international art fairs such as TEFAF Maastricht, BRAFA,

Masterpiece London, Art Elysees, or the Biennale in Paris.

Bailly Gallery prides itself in offering the finest quality works, for which alongside the professional advice and diverse stock it continues to gain prestige and recognition from private collectors and museums worldwide.

Our selection

Pierre BonnardEugène Boudin

Georges BraqueAlbert Dubois-Pillet

Gustave LoiseauFrancis Picabia

Pierre-Auguste RenoirAuguste Rodin

Louis ValtatMaurice de Vlaminck

1889 1950

ALBERT DUBOIS-PILLET(1846-1890)

Champs et Usine, circa 1888-89Oil on canvas

22 x 33 cmSigned lower left: Dubois-Pillet ; On the back the stamp of the Bouchacourt collection and

annotated: Bought for sale Dubois Pillet 1890

This work will be included in the Catalog Raisonné of the work of Albert Dubois-Pillet in prepa-ration by Mr. Patrick Offenstadt. Notice of inclusion as of May 31, 2017.

PROVENANCEAcquired directly from the artist by M. Marc Bouchacourt, 1890

E.Bouchacourt collection, by inheritance, ParisAuction Sale, Sotheby’s, London 15 April 1970, n°32

Private Collection, Lisbon

Champs et Usine shows Albert Dubois-Pillet’s taste for outdoors scenes. The broad field on the foreground opens on an industrial operation where smoke co-mes out of the smokestacks of the working factories. The Pointillist touch and the de-licate harmonies of orange and blue used by the artist create a very luminous sce-ne that perfectly illustrates the principles of the Neo-Impressionist movement.

The two paintings « Champs et usine », dated 1888-1889, and « Bas-port, la Seine », exe-cuted in 1887, are similar both in size and composition. They were bought together from the artist by the collector Mr Marc Bouchacourt in 1890. His descendant, E. Bouchacourt, inherited them and they stayed in his collection until they were sold at Sotheby’s London in 1970. The two paintings remained in a private collection in Lisbon, Portugal, since then.

Self-taught artist with no formal education, Albert Dubois-Pillet fully embraced his career as a painter when he was almost 40 years old. He became a military officer in 1867 and re-mained in the army for the rest of his life, while developing his artistic career on the side.

After having his submissions rejected by the Salon in the early 1880’s because they were consi-dered too experimental, he participated at the 1863’s Salon des Refusés. He then envisioned a permanent alternative to the official Salon and became one of the founders of the So-ciété des Artistes indépendants, alongside Georges Seurat, Paul Signac and Odilon Redon.Starting in 1885, influenced by his friendship with Seurat and the others, the artist began experimenting with the Divisionist techniques and became one of the first artists to em-brace Pointillism. Dubois-Pillet’s short but prolific career revealed a very talented artist who played a determinant role in the evolution of the arts at the end of the 19th century.

EUGÈNE BOUDIN(1824-1898)

Trouville, Chenal marée basse, 1889Oil on panel

34,9 x 26,4 cmSigned and dated lower left : .Boudin. 89

Illustrated in the Catalogue Raisonné written by Robert Schmit, under n°4001, p.61, second sup-plement.

PROVENANCEEnstein collection, Paris

M.Hilton-Philipson collection, ScotlandRichard Green, London

Private collection, LondonPrivate collection, Switzerland

BIBLIOGRAPHY R. et M. Schmit, «Eugène Boudin 1824-1898», second supplement, Editions Galerie Schmit, Pa-

ris, 1993, No.4001, illustrated in black and white p.61.

Trouville-sur-Mer is a French commune in the Calvados department, in the Nor-mandy region, facing the city of Deauville. Born in Honfleur, also in Norman-dy, Eugène Boudin is internationally known for his seascapes of the region.

The spectacle repeatedly interpreted by Boudin is here a pretext for a composition ra-pidly removed where the sky and the sea, painted in the same shades of blue, white and grey are confused. In the 1880’s, Boudin started working with the influential art dealer Paul Durand-Ruel, who organised exhibitions of his pictures in 1883, 1889, 1890 and 1891.

Works by Eugène Boudin can be found in many museums worldwide including at The National Gallery of Art (Washington DC), at The Metropolitan Museum of Art (New York), at The National Gallery (London), at the Musée d’Orsay and Mu-sée du Louvre (Paris) as well as at The Hermitage Museum (Saint Petersburg).

PIERRE BONNARD(1867-1947)

Toulouse-Lautrec au café, 1897Oil on cardboard

19 x 35 cmDated and signed lower left : 97 Bonnard

Included in the Catalogue raisonné by Berheim-Jeune, vol. I, illustrated under n°146 p.182, Paris 1965.

PROVENANCEKoller Zurich, 20 May 1992, lot no. 5027.

Private collection Germany, acquired at the above auction.

EXHIBITIONParis 1933, Pavillon de Marsan, Le Décor de la vie sous la IIIe République de 1870 à 1900. April -

June 1933, cat. no. 50, entitled «Toulouse-Lautrec au café.»

BIBLIOGRAPHYCatalogue raisonné Dauberville, Jean and Henry / Ed. Bernheim-Jeune. Bonnard 1888-1905,

vol. I, Paris 1965, p. 182, cat. no. 146 (with ill.).Beer, François Joachim: Bonnard. Ed. Françaises d’Art, plate 37, p. 57.

Toulouse-Lautrec is portrayed here, on the foreground of the painting, sitting at the ter-race of a café in Paris next to two elegantly dressed ladies. While his silhouette seems to be barely outlined, his profile is easily identifiable with his bowler hat and his sharp goatee.In this very interesting composition, not only did Bonnard decentred the main cha-racter but he also directed his gaze towards the outside of the painting, where the spectator can only imagine what captivates the artist. This complex composition is constructed like a panoramic shot, suggesting Bonnard’s fondness for photography.

The broad and dry brushstrokes create a sense of dynamism, whilst emphasi-sing the flatness of the perspective and allowing the cardboard support to per-meate the patches of colour. The predominance of bistre and bronze tones, only en-hanced by touches of bright white and red, evoke the subdued atmosphere of the cabarets that attracted and inspired so many artists of the end of the 19th century.

Pierre Bonnard met Henri de Toulouse-Lautrec in 1891 as both of them where wor-king on the realisation of posters in the Montmartre area. The same year, Bonnard par-ticipated at the annual Salon des Indépendants. In 1896, the Galerie Durand-Ruel or-ganized his first show. Today, his works are exhibited in numerous museums around the world: in France, in Italy, in Belgium but also in Russia, in Japan and in the United-States.

PIERRE-AUGUSTE RENOIR(1841-1919)

Maison à Montmartre, Tête de garconnet, Fillettes, 1893Oil on canvas

29 x 28 cmSigned lower left : Renoir

Illustrated in theCatalogue Raisonné des tableaux, pastels, dessins et aquarelles, 1882-1894, by Guy Patrice and Michel Dauberville, p.223 under n°1043.

PROVENANCEEstate of the artist

Pierre Renoir Collection, ParisAuction sale, Hôtel Drouot, Paris, February 24th 1926, lot 87

Collection Robert Von Hirsch, BaselSotheby’s London, June 26-27, 1978, Lot 722

Private Collection, North GermanyPrivate Collection, Switzerland

BIBLIOGRAPHYL’Atelier de Renoir,Avant-propos de M. Albert André, Bernheim-Jeune Editeurs, Paris, 1931,

Vol.I, No.62 illustrated, pl.25..Guy-Patrice et Michel Daubervile, Renoir. Catalogue Raisonné des tableaux, pastels, dessins et aquarelles (1882-1894), Vol. II, Editions Berheim-Jeune, Paris, 2009, n°1042, p. 223, ill. in b&w.

Beer, François Joachim: Bonnard. Ed. Françaises d’Art, plate 37, p. 57.

François Daulte writes in his opinion that the figure depicted on the left is Mademoiselle Pau-line Alexis, one of the two daughters of the French writer Paul Alexis. The families Alexis and Renoir were neighbors in the Château des brouillards, rue Girardon, in Montmartre. Renoir reinterpreted the girl in his paintings, including in «La Promenade» of 1890 (Daulte 627).

These different studies of figures with a view of Montmartre, 1893, show the new direction that Renoir took with his art in the 1890s. Inspired by numerous journeys, where he visits the works of the Old Masters in the museums of London, Madrid and Dresden, his color palette changes. Instead of the cool sounds of the previous years, he now uses warm colors, domi-nating pastel tones with plenty of yellow and red. The figures are now modeled by parallel brush strokes in fine color gradations, the brush stroke appears airy and soft. The influences of Jean-Honoré Fragonard and Peter Paul Rubens are shown here. Hats had a special signi-ficance for Renoir. Thus, the painter Suzanne Valadon, who was often a model for him in the 1880s, said: «Renoir loved women’s hats.

He put me piles of them on my head ... he never stopped buying many hats. «In the present work, too, Renoir captured two heads in profile with hats. This is a simple straw hat decorated only with a black ribbon.In this period, Renoir has only filled entire canvases with guarded heads, see, for example, «Têtes de fillettes», Daulte 638, and «Études de têtes» from the 1890s, now in the Barnes Foundation, Philadelphia.

LOUIS VALTAT(1869-1952)

Les rochers à Anthéor, 1906Oil on canvas

65 x 81 cmMonogrammed bottom right : L.V

Certificate of authenticity issued by Doctor Jean Valtat, dated June 9th, 1961, referenced under n°701.

PROVENANCEPrivate collection

BIBLIOGRAPHYLouis Valtat, Catalogue de l’oeuvre peint, 1869-1952, vol I, by Dr. Jean Valtat, Editions Ides et Ca-

lendes, Neuchâtel, 1977, illustrated and described under n°571, p.64.

Born in Dieppe, in Normandy, Valtat fell in love with the Var coast, in the south of France, and made it one of his favourite and recurrent themes in his paintings. In the late 1890’s, he stayed a few months in Agay, a small fishing hamlet near Saint-Raphaël, and in Anthéor. In 1899, he built a house there in which he lived during half of the year until 1914. During his long stay on the coast, he often travelled through the red rocks of the Estérel massif, with his bike or his oil car, in order to visit Auguste Renoir in Cagnes or Paul Signac in Saint-Tropez.

This is the place the artist chose to paint here with the blazing landscapes of the region, where the sea sparkles under an ubiquitous sun. The heavy touch and the simplified shapes he used enhanced by the vivid colours impeccably depict the view of the coastal mountains that he intensely admired. The silhouette in the foreground of the painting, executed with the same dynamic touch as the rest of the composition, seems to be lost in this majestic scenery.

AUGUSTE RODIN(1840-1917)

Eternel Printemps, Second état, 4ème réduction,Décembre 1915Bronze with black patina (during the artist’s lifetime)

24,6 x 31,8 x 18,8 cmSigned on the right side of the mound: Rodin, with the mark of the founder at the back: F.Barbe-

dienne, Founder, with the number 20 hit to the pile and the number in ink inside: 87258

This work will be included in the forthcoming Catalogue Critique de l’Oeuvre d’Auguste Rodin under the direction of Jérome Le Blay. Archive number : 2015-474. Notice of Inclusion dated

October 5, 2015.

BIBLIOGRAPHYL. Maillard, Auguste Rodin, Paris, 1899. no. 16 (another version illustrated).G. Grappe, Le Musée Rodin, Paris, 1944, no. 113 (another cast illustrated).

R. Descharnes and J.-F. Chabrun, Auguste Rodin, London, 1967, p. 134 (another cast illustrated).I. Jianou and C. Goldscheider, Rodin, Paris, 1967, pl. 56-57 (another cast illustrated).

B. Champigneulle, Rodin, Paris, 1967, no. 34 (another version illustrated).J.L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, nos. 32a, 32b, 32-4 (other

casts illustrated pp. 242, 243, 246).A. E. Elsen, Rodin Rediscovered, Washington D.C., 1981, fig. 3.13 (another version illustrated).

A. E. Elsen, Rodin’s Art, New York, 2003, no. 413 (other casts illustrated pp. 494-496).D. Finn and M. Busco, Rodin and His Contemporaries: The Iris and B. Gerald Cantor Collection,

New York, 1991 (another cast illustrated).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I,

Musée Rodin/RMN, Paris, 2007, p. 331-337 (other casts illustrated).

L’Eternel Printemps (Eternal Springtime) is one of Rodin’s most admired sculp-tures. The allegorical theme of the embracing lovers brings to mind the story of Pao-lo and Francesca, Dante’s mythical lovers who were condemned to spend eter-nity locked in a tumult of passion. Its expressive force owes much to the growing relationship between the sculptor and his student and lover Camille Claudel.

Rodin thought to integrate this remarkable composition into his project La porte de l’Enfer (The doors of Hell), begun in 1880. However he changed his mind given the ero-tic tone of the work. The female figure of the group is based on Rodin’s sensuous Torse d’Adèle (named after Adèle Abbruzzesi, one of Rodin’s favourite Italian mo-dels), which appears on the top left corner of the tympanum of La porte de l’Enfer.

Rodin later claimed that the idea for the present bronze came to him while listening to Bee-thoven’s Second Symphony. He confided to Jeanne Russell, the daughter of the Australian painter John Russell: God, how [Beethoven] must have suffered to write that! And yet, it was while listening to it for the first time that I pictured Eternal Springtime, just as I have modelled it since[1].. Also titled Zéphyr et la Terre and Cupidon et Psyché (both mythological titles in-tended to justify the eroticism of the subject), the group was exhibited at the Salon of 1897. Due to its popularity, Rodin executed our second version of Eternel printemps, with an extended base and a rocky outcrop to support the left arm and outstretched leg of the male figure.

Eternel Printemps was cast in bronze by F. Barbedienne and sold in four different sizes known as No. 1 (H: 65.5 cm,), No. 2 (H: 50 cm,), No. 3 (H: 40 cm,) and No. 4 (H: 25 cm).

The foundry mark of Barbedienne is an important indication that the bronze sculp-ture was a lifetime cast, produced before Rodin’s death in November 1917.

[1] Quoted in The Bronzes of Rodin, Musée Rodin, Paris, 2007, p. 336)

GUSTAVE LOISEAU(1865-1935)

L’Arc de Triomphe, Place de l’Etoile, 1929Oil on canvas

73 x 73 cmSigned lower left : G Loiseau

Notice of inclusion in the forthcoming catalogue raisonné de l’oeuvre de Gustave Loiseau cur-rently being prepared by Didier Imbert, dated February 28th, 2017.

PROVENANCEDurand-Ruel & Cie, New York ( May 24th, 1946)

By inheritance from the previous ownerPrivate collection, Switzerland

BIBLIOGRAPHYNotice of inclusion in the forthcoming catalogue raisonné de l’oeuvre de Gustave Loiseau cur-

rently being prepared by Didier Imbert, dated February 28th, 2017.

Gustave Loiseau is known for his landscapes but also for his scenes from the streets of Pa-ris. The Place de l’Etoile was one of his favourite subjects. He painted here the carriages driving around the Arc de Triomphe as the city resurfaces after a heavy rain. Our oil on canvas is a perfect example of Loiseau’s ability to render the transparency of the sky and the air, as well as the fluidity of the water, with very skillful and vibrant strokes of paint.

Gustave Loiseau was born in Paris in 1965 and raised in the commune of Pontoise, located 30 kilometres northwest of the capital. In 1887, he studied at the Ecole des arts décoratifs. Loiseau participated at the Salon des Indépendants in 1893 and at the Salon de la Société Nationale in 1895, as well as at the Impressionnist exhibitions in 1890 and 1896. The Gale-rie Durand-Ruel with which he was under contract since 1897 exhibited his works in their New York gallery in 1900 and gave him solo shows in Paris in 1901 and in 1951. Today, Loi-seau’s works can be found in several museum in France, including in Paris (Musée d’Orsay), in Versailles, in Rennes, in Rouen, and at the Musée du Petit Palais de Genève, in Switzerland.

FRANCIS PICABIA(1879-1953)

Le chat, Circa 1938-39Oil on cardboard

48,5 x 54 cmSigned lower left : Francis Picabia

Certificate by the Picabia committee dated from November 3rd, 2016.

Picabia liked cats and used them as subjects of his art. Picabia’s cats, created with vibrant brush strokes, have their own canvases and are not just portrayed as pets or accessories to human characters.

The white fur of this Birman cat, also called the “Sacred Cat of Burma”, stands out from the dark background and seems to be the only source of light in the painting. Picabia played here with a strong contrast between bright and dark tones, creating a powerful picture that captures the specta-tor’s attention. The green eyes and the sharp expression of the animal mes-merise the viewer who becomes intrigued by this usually common subject.

Francis Picabia explored during his life most of the artistic movements of his time. By the end of the 1930’s, his work is characterised by a large stylistic diversity. He resumed to executing more figurative paintings using themes and subjects from popular imagery. Our oil on canvas depicting a cat is imbued with a realism tinted by a fake academism that perfectly matches Picabia’s non-conformist personality.

Nature morte au plat de pommes, 1947Oil on canvas21,4 x 27,3 cm

Labels on the back : Galerie Louise Leiris, Paris ; Collection Herman C. Goldsmith, New York.

M. Quentin Laurens kindly confirmed that this artwork is referenced in the archives of Georges Braque’s workshop.

PROVENANCEEstate of the artist

Galerie Louise Leiris (Daniel-Henry Kahnweiler), inv. n°015491-picture n°1621 ParisHerman C.Goldsmith collection, New York, January 1973

Private Collection

Many still lifes appear through the evolution of Georges Braque’s pain-ting. His early paintings mostly depicted bunches of grapes since 1918, to which he gradually added other fruits, such as pears, peaches and apples.The “Nature morte au plat de pommes” from 1947 perfectly falls within the work of Georges Braque. After having experienced a Fauvist period, then a Cubist one, the French artist deeply changed his painting after WWI. The renewal of his style was then returning to natural appearances. This return was only partial as he retained several inventions expe-rienced with Cubism. Indeed, in this still life, the artist represents the volumes and spaces in the Cubist way with the dissolution of perspective and the lack of volume in the fruits.Simultaneously to this stylistic renewal, the fruits subject has become one of his favorite elements in his paintings. They can be found in this painting un-der the thick line dear to Braque. As he said himself : “I have a heavy hand which doesn’t easily draw the contour. When I start to draw, it becomes a painting.“Another characteristic of his style evolution are these ar-ranged fruits in a plate put on a table or against a wall.One can see that despite the importance of his still lifes, Braque never settled for a simple copy of nature. In 1947, the artist published the notes he wrote for almost thirty years, “Cahier de Georges Braque”. In these pages, he sets out his theory that : “Art must not imitate what we can create.”Like in Braque’s later production, the “Nature morte au plat de pommes” from 1947 illustrates his interest for the combination of textures, here the brushstroke is sometimes broader and thicker giving the illusion of an Impressionist painting. He would even go further, notably in his “Chaise”, also painted in 1947 which shows variations of textures, result of weeks of work.

GEORGES BRAQUE(1882-1963)

The painting was bought by the New Yorker collector, Herman C. Goldsmith in 1973 at the Parisian gallery Louise Leiris, Braque’s main dealer. This gallery was foun-ded by Daniel-Henry Kahnweiler, promoter of Picasso’s and Braque’s Cubism.

MAURICE DE VLAMINCK(1876-1958)

Paysage orageux, circa 1950Oil on canvas

50 x 65 cmSigned lower right : Vlaminck

The work has a certificate of inclusion in the forthcoming catalogue raisonné by the Wildenstein Institute, dated October 6th, 1999.

This powerful composition is a perfect illustration of Maurice de Vlaminck’s astonishing work. Impressed by Van Gogh’s works, Maurice de Vlaminck developed and perfected his own perso-nal intuition for colours, creating intense compositions inherent to his rebellious temperament. Self-taught painter, he never officially joined any of the artistic movements of his time. Howe-ver, in 1905, he exhibited at the very controversial Salon d’Automne with the Fauves. Thanks to his intense use of colours, he is today considered as one of the leading members of the group.

In this works, Vlaminck abandoned details and used heavy brushstrokes to depict the sce-ne, expressing his ardour and his sturdiness from which grace and poesy are not missing. The darkness of the palette in our oil on canvas is highlighted by luminous yellow, green and orange strokes of paint. This composition educes a tangible sense of powerful energy as the storm is approa-ching. In the distance, however, the tormented sky is progressively giving hope to a brighter time.

CONTACT GENÈVE

10 rue de l’Hôtel de Ville1204 Genève - CH

T. +41 (0)22 827 24 24

Charly LagouyGallery Manager

cl@baillygallery.com

Clara Al SidawiGallery Manager

cs@baillygallery.com

Charly BalllyDirector

cb@baillygallery.com

Hanna Woloszanska BaillyDirector

hwb@baillygallery.com

w w w . b a i l l y g a l l e r y . c o m

CONTACT PARIS

25 quai Voltaire75007 Paris - FR

T. +33 (0)1 42 60 37 33

Adélaïde GeninGallery Manager

ag@baillygallery.com

© Copyright 2017, all rights reserved, Bailly gallery geneva-paris