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Emile Levy Auction Price Results

Emile Levy (1826-1890)  Please Register/Login to access your Invaluable Alerts

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Émile LÉVY La dame en noir, 1890.  The lady in black, 1890.    Oil on canvas (restorations).    Signed and dated lower right.    81 x 100 cm.

Lot 11: Émile LÉVY La dame en noir, 1890. The lady in black, 1890. Oil on canvas (restorations). Signed and dated lower right. 81 x 100 cm.

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Description: Émile LÉVY La dame en noir, 1890.The lady in black, 1890. Oil on canvas (restorations). Signed and dated lower right. 81 x 100 cm.Émile LÉVYLa dame en noir, 1890huile sur toile (restaurations),signée et datée en bas à droite.81 x 100 cm.THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS.

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EMILE LÉVY (DATES UNKNOWN). LES AMOURS SECRÈTES DE NAPOLÉON III. Circa 1890. 32x24 inches, 81x61 cm. Emile Lévy, Paris.

Lot 18: EMILE LÉVY (DATES UNKNOWN). LES AMOURS SECRÈTES DE NAPOLÉON III. Circa 1890. 32x24 inches, 81x61 cm. Emile Lévy, Paris.

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Description: EMILE LÉVY (DATES UNKNOWN) LES AMOURS SECRÈTES DE NAPOLÉON III. Circa 1890. 32x24 inches, 81x61 cm. Emile Lévy, Paris. Condition B+: restored losses and restoration in margins some affecting image; restoration along vertical and horizontal folds; repaired tears and creases in margins and image. Nothing quite attracted readers like the salacious personal details of the lives of the French leaders. The insight into sophisticated imperial debauchery suggested here was sure to be a crowd-pleaser. Such "dime novels" were very popular in France, and the publishers always tried to find a new sensational crime or sexual scandal to ignite their pages. They were issued in fascicles, the first one usually free as a means of capturing the public's imagination. The rest of the installments were inexpensive enough to ensure a faithful readership.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

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Emile Levy (French 1826-1890) Berthe Pastel

Lot 30: Emile Levy (French 1826-1890) Berthe Pastel

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Description: Emile Levy (French, 1826-1890) Berthe, Pastel, Signed and dated 1884. Note condition. h:19 w:15.50 in. Provenance: From the Estate of Odette Valabregue Wurzburger.

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31: EMILE LEVY (FRENCH 1826-1890)

Lot 31: 31: EMILE LEVY (FRENCH 1826-1890)

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Description: EMILE LEVY (FRENCH 1826-1890), "Venus and Cupid" Circa 1860's , Oil on panel, 8 1/4 x 5 1/4 in (21 x 13.3) , Signed lower left , PROVENANCE: Hazeltine Gallery, Chestnut St., Philadelphia, PA label verso to a private collector in Fairfield, CT

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59: EMILE LEVY (FRENCH 1826-1890)

Lot 59: 59: EMILE LEVY (FRENCH 1826-1890)

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Description: EMILE LEVY (FRENCH 1826-1890) "Venus and Cupid" Circa 1860's Oil on panel 8 1/4 x 5 1/4 in (21 x 13.3) Signed lower left PROVENANCE: Hazeltine Gallery, Chestnut St., Philadelphia, PA label verso

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EMILE LEVY (1826-1890). EXPOSITION MONDAINE. Circa 1895. 31x24 inches, 80x61 cm. Emile Levy, Paris.

Lot 88: EMILE LEVY (1826-1890). EXPOSITION MONDAINE. Circa 1895. 31x24 inches, 80x61 cm. Emile Levy, Paris.

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Description: EMILE LEVY (1826-1890) EXPOSITION MONDAINE. Circa 1895. 31 3/4x24 1/4 inches, 80 1/2x61 1/2 cm. Emile Levy, Paris. Condition A- / B+: restored loss in lower left corner; repaired tears at edges. This is the smaller format.

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ÉMILE LÉVY (1826-1890). LE JUIF ERRANT. Circa 1888. 37x50 inches, 96x127 cm. Emile Levy, Paris.

Lot 118: ÉMILE LÉVY (1826-1890). LE JUIF ERRANT. Circa 1888. 37x50 inches, 96x127 cm. Emile Levy, Paris.

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Description: ÉMILE LÉVY (1826-1890) LE JUIF ERRANT. Circa 1888. 37 3/4x50 inches, 96x127 cm. Emile Levy, Paris. Condition B: restoration and restored losses along vertical and horizontal folds; minor losses at edges.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

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ÉMILE LÉVY (FRANCIA, 1826 - 1890). LA ESPINA. Óleo sobre madera. Firmado y fechado 1870. 37 x 27.5 cm. Subastado en Christie´s.

Lot 120: ÉMILE LÉVY (FRANCIA, 1826 - 1890). LA ESPINA. Óleo sobre madera. Firmado y fechado 1870. 37 x 27.5 cm. Subastado en Christie´s.

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Description: ÉMILE LÉVY (FRANCIA, 1826 - 1890) LA ESPINA. Óleo sobre madera. Firmado y fechado 1870. Dimensiones: 37 x 27.5 cm Subastado en Christie´s, etiquetas en la parte posterior.

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ÉMILE LÉVY (DATES UNKNOWN). LE GRAND MOGOL. 52x37 inches, 134x94 cm. Émile Lévy & Cie., Paris.

Lot 286: ÉMILE LÉVY (DATES UNKNOWN). LE GRAND MOGOL. 52x37 inches, 134x94 cm. Émile Lévy & Cie., Paris.

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Description: ÉMILE LÉVY (DATES UNKNOWN) LE GRAND MOGOL. 52 1/4x37 inches, 134x94 cm. Émile Lévy & Cie., Paris. Condition B: tears and losses in margins; foxing in margins and image; sharp vertical and horiztonal folds. Paper.

Condition Report: All items are offered for sale subject to Swann Galleries' standard terms and conditions of sale, which are published in our catalogues.

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Print, Emile Levy, Paris L'Opera

Lot 498: Print, Emile Levy, Paris L'Opera

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Description: Framed etching, "Paris L'Opera," by Emile Levy (French 1826-1890), signed in pencil lower right "Emile Levy," titled in plate lower left, "Paris L'Opera, "plate: 5.75"h x 5.25"w, overall: 16.25"h x 13"w

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Print, Emile Levy, Paris L'Opera

Lot 542: Print, Emile Levy, Paris L'Opera

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Description: Emile Levy (French 1826-1890), "Paris L'Opera," etching, signed in pencil lower right "Emile Levy," titled in plate lower left, "Paris L'Opera, "plate: 5.75"h x 5.25"w, overall: 16.25"h x 13"w

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Lot 16: Edouard Vuillard (1868-1940)

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Description: LE SQUARE BERLIOZ (LA PLACE VINTIMILLE) Signed Distemper on canvas 64 by 90 in. 162.6 by 228.6 cm. Painted in 1915; reworked in 1923. This panoramic view of Le Square Berlioz (La Place Vintimille) is one of Vuillard 's most comprehensive treatments of a theme dear to his heart - the daily activities in the small square outside his apartment at 26, rue de Calais. From October 1904 to July 1908, Vuillard and his mother had been living in the Passy district in the seizieme but he never felt really at home there. He missed the area around the Place des Batignolles and was delighted when he found the apartment where he would live for the next eighteen years. From his fifth-floor balcony he could see the small square which was known as the Place Berlioz after the statue of the composer before its name was changed to Vintimille after the town of Ventimiglia on the Franco-Italian border. During the Nabis decade of the 1890s and the first years of the twentieth century, the accurate rendition of the observed was subsidary to decorative concerns whether in the flat, schematic color areas of the purist Nabis style or the more luxuriant patterning of some of the great decorative schemes. By the end of the decade, however, the growing awareness of the merits of Impressionism had resulted in a general loosening of his brushwork and a much greater responsiveness to particularities of appearance and light effects. On December 3, 1909, Vuillard visited Monet at Giverny with Bonnard and two days later referred to this visit in his journal: "Project for the Bernstein paintings. Memories of Monet. General ideas difficult to finish. ' ' (Vuillard quoted in Gloria Groom, Edouard Vuillard Painter-Decorator, New Haven and London, 1903, p. 125) The year before, in November 1908, Vuillard had exhibited at Berheim-Jeune the four panels known as the Rues de Paris. They were purchased by the popular dramatist Henry Bernstein who immediately commissioned four additional panels of the same format showing scenes of Parisian streets. For the second group Vuillard chose not the rather anonymous streets of the first set but the view from his window at 26, rue de Calais. This corresponds essentially with the subject of the painting in the Hazen Collection, although Vuillard 's development as an artist over the next decade resulted in a subtle transformation in his handling of the motif. For the four panels of the first set of Rues de Paris Vuillard adopted an unusual tall, narrow format. The lack of incident and the loose brushwork are in strong contrast to the second set which reverts to the more highly-patterned surface of the earlier decorative panels. (The two outer panels are now in the Solomon R. Guggenheim Museum, New York and the central panel in a private collection.) Painted mostly in the winter of 1909-1910, Vuillard aimed to capture not only the appearance of the square and its human inhabitants at a particular moment in time but also changing climatic conditions of sunlight, grey skies and rain (from left to right). "Vuillard began work on a second decorative project for Emle Levy in early June 1915. Although he does not specifically mention receiving a new commission, Vuillard did pay a visit to Levy in his printing-office (73, rue Claude-Bernard, Paris 5) on 2 June 1915, the day before a first reference to Le Square Berlioz- "beau temps, croquis a la fenetre ' '- appears in his journal. Progress on Vuillard 's new view of his neighborhood square was slow at first, but by the end of the second week of July, Vuillard had completed both a pastel maquette and a full-scale distemper-on-paper study for the decoration. On 8 July, before actually beginning [the study], Vuillard noted taking photographs of the Square Berlioz from one of his apartment windows. Several of these snapshots are still preserved in the Salomon Archives, and two in particular, both splattered with paint, clearly served as working aides-memoires. Placed side by side, the photographic views present a somewhat overlapping panorama that corresponds closely to the one pictured in Vuillard 's panel. They also record the disruptive works that took place in the Place Vintimille that summer, the removal and rebuilding of the sidewalk surrounding the eliptical Square Berlioz. "On 12 and 13 July, Vuillard prepared a canvas for Le Square Berlioz, and over the following two months he worked regularly on the panel 's execution. Originally designed to hang in Levy 's office, Le Square Berlioz was, however, still unfinished at the time of Levy 's sudden death on 23 January 1916. Vuillard continued retouching Le Square Berlioz until March, when he sent the panel for exhibition at the Georges Petit Gallery. This was to be the first of a series of public showings of the Square Berlioz: Zurich 1917, Pittsburgh 1922, Arts Decoratifs 1923. The painting remained in Vuillard 's possession until 1923 when it was sold to one of Vuillard 's most devoted patrons at that time, Marcel Kapferer, who had admired the panel at the Arts Decoratifs exhibition. continued "Vuillard 's new view of the Place Vintimille is a thoroughly revised, updated version of the five-panel folding screen he had painted for Marguerite Chapin four years earlier in 1911. Since the completion of Miss Chapin 's screen, Vuillard and his mother had changed apartments, leaving the fourth floor of 26, rue de Calais for the second floor of the same building (October 1913). His new living quarters no longer provided the wonderful bird 's-eye view of the Place Vintimille that was the point of departure for both the Chapin screen and the Bernstein decorations. The lower, closer view from the second floor apartment was virtually straight-on and more conventional, one that was furthermore better suited as a vehicle for Vuillard 's painfully rethought and revamped art. A comparison of the 1911 and 1915 decorations finds that the lively, picturesque vision of the Chapin screen has yielded to an art of serene, objective meditation: the screen 's dazzling, loose brush work and restricted chromatic range have given way in the Square Berlioz to a denser, more deliberate handling of color harmony. Perhaps more notably, the nervous, sinuous linearity that so charmingly animates the screen 's composition has been superceded in the later panel by an imposing formal design. As Vuillard mused in his journal shortly before beginning the Levy panel: "idee du dessin lineaire la ligne sinuosite, autre chose que l 'idee d 'une forme fermee '. "During the interim separating the two decorations, the very nature and direction of Vuillard 's artistic exploration has been fundamentally modified. In the Chapin screen which was painted in the rue de Calais studio, Vuillard worked, with the aid of photographs taken from the three apartment windows overlooking the Place Vintimille, to synthesize his constantly changing, personal visual experience of his neighborhood square. The Levy panel, on the other hand, was executed in Vuillard 's boulevard Malesherbes atelier at a time when he was becoming increasingly occupied with an objective investigation and application of the decorator 's primary means. The new focalization of Vuillard 's thinking must have prompted his decision to paint a view of the square according to his present tenets. Presumably the subject of the Levy commission was left entirely to Vuillard 's invention, as often in the past. We have seen that the painting of the Levy frieze, the execution of which overlapped that of the Square Berlioz, was an occasion for Vuillard to allegorize some revised notions pertaining to the art of decoration. That summer of 1915, Vuillard 's square offered a curious spectacle that held the artistic potential for a related exercise. After having torn up a large portion of the square 's sidewalk in front of Vuillard 's apartment building, workmen had set to reconstructing the sidewalk 's foundations. The orderly framing of the sidewalk 's underlying structure must have struck Vuillard as an apt metaphor for his efforts to lay solid new foundations in his art- an art which had become, according to Vuillard 's journal, first and foremost, "a construction of forms and values '. ' ' (Antoine Salomon, March 3, 1996) This work will be included in the forthcoming catalogue raisonne being prepared by Antoine Salomon and Annette Leduc Beaulieu from the records and under the direction of Antoine Salomon. Sotheby 's wishes to thank Monsieur Salomon for permission to quote the catalogue entry from the forthcoming catalogue raisonne. Provenance: Commissioned from the artist by Emile Levy, Paris, 1915 (unfinished at his death on January 23, 1916) Marcel Kapferer, Paris (February 18, 1923) On loan to The Musee de Luxembourg, Paris, 1929-1930 Mme. Daniel Wildenstein, New York Acquired from Wildenstein & Co., New York by Mrs. Hazen in 1966 Exhibited: Paris, Galerie Georges Petit, March 1916 Zurich, Kunsthaus, Franzosische Kunst des XIX and XX Jahrhunderts, 1917, no. 358 Pittsburgh, Carnegie Institute, 1922, no. 228 Paris, Musee des Arts Decoratifs, 1923 Paris, Salon d 'Automne, 1928, no. 2380 New York, Jacques Seligmann, Paintings by Bonnard, Vuillard, Roussel, 1930, no. 20 Zurich, Kunsthaus, Pierre Bonnard, Edouard Vuillard, 1932, no. 167 Paris, Musee des Arts Decoratifs, E. Vuillard, 1938, no. 161 New York, The Museum of Modern Art, Edouard Vuillard, 1954 The Cleveland Museum of Art; New York, The Museum of Modern Art, Edouard Vuillard, 1956 New York, Wildenstein & Co., Edouard Vuillard, 1964, no. 47 Literature: Cicerone, no. 24, 1928, illustrated p. 802 Adolphe Basler and Charles Kunstler, La Peinture independante en France, vol. 1, De Monet a Bonnard, 1929, illustrated pl. 60 Arsene Alexandre, "Supplement artistique hebdomadaire no. 226 ' ', Le Figaro, March 28, 1929, illustrated p. 394 Paris, Musee National du Luxembourg- catalogue guide, 1929, p. 30, salle 5, no. 3 Robert Rey, Bulletin des Musees de France, 2, no. 5, May 1930, p. 101 Bulletin des Musees des France, no. 4, May 1938, illustrated p. 65 Romain Coolus, "Edouard Vuillard ' ', L 'Art Vivant, no. 221, May 1938, illustrated p. 23 Dessin, no. 10, April 1938, illustrated p. 559 Claude Roger-Marx, "L 'Organisation du tableau et la memoire visuelle chez Vuillard ' ', Arts, no. 32, September 7, 1945, illustrated p. 3 Jacques Salomon, Vuillard, Paris, 1945, illustrated p. 108 Claude Roger-Marx, Vuillard et son temps, Paris, 1946, pp. 141-42, 155-56, 188, illustrated opp. p. 188 Claude Roger-Marx, Vuillard, Paris, 1948, p. 21, illustrated pl. 49 Curt Schweicher, Die Bildraumgestaltung im Dekorative und Ornamentale im Werke von Edouard Vuillard, Ph.D dissertaion, University of Zurich, 1949, pp. 59, 83-85 Andrew Carnduff Ritchie, Edouard Vuillard, New York, 1954, p. 26 Claude Roger-Marx, Vuillard, Paris, 1954, illustrated p. 80 Jardins des Arts, no. 161, April 1968, illustrated p. 80 Spectacle du Monde, no. 78, September 1968, illustrated p. 106 Stuart Preston, Vuillard, 1971, illustrated p. 134.

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Lot 17: MAN RAY (1890-1976)

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Description: SWANA Solarized gelatin silver print. 1931. Signed and dated in pencil on the recto; rue Campagne Premiere stamp, typed credit, title and date on a Julien Levy Gallery label affixed to the verso. 8 1/2 x 11 1/2 in. PROVENANCE From the artist, To Julien Levy, New York, To the present owner EXHIBITED The Julien Levy Gallery, New York, 1932. LITERATURE Photographs by Man Ray 1920 Paris 1934, James Thrall Soby. Hartford, CT., 1934, p. 35; East River reprint, 1975, cover and p. 35; and Dover reprint, 1979, p. 35; The History of Photography from 1839 to the Present Day, p. 164; Art History of Photography, p. 154, pl. 240; Man Ray, The Rigour of Imagination, p. 268, pl. 449; L'Amour Fou: Photography & Surrealism, p. 229, fig. 222. RELATED LITERATURE: See: Memoir of an Art Gallery, Julien Levy, New York: G.P. Putnam's Sons, 1977, for the personal recollections of Levy as an art dealer; Surrealism, Julien Levy, New York: The Black Sun Press, 1936; and Photographs from The Julien Levy Collection Starting with Atget exhibition catalogue, David Travis, The Art Institute of Chicago, 1976; Photographs from The Julien Levy Collection exhibition catalogue, New York: The Witkin Gallery, Inc., 1977 for examples of other photographic works in the collection. When I was fourteen years old, I was conducted through the Uffizi Galleries in Florence by a plump, pretty woman named Hazel Guggenheim. For a length of time I would not pass beyond Botticelli's "Birth of Venus," before which I stood stubbornly spellbound. "Come," said Hazel, taking my hand impatiently, "would you not rather have a real woman like me, for example, than that painted thing?" "No," I answered tactlessly and emphatically. "I would rather have that painted thing." From: Memoir of an Art Gallery. The merry-go-round which moved me forty years ago now turns again, this time not with empty saddles. - Julien Levy, 1977 (c.f. The Julien Levy Collection, The Witkin Gallery exhibition catalogue). While the name Stieglitz was synonymous with photography in New York for the first four decades of this century, there was another gallerist in the 1930s and 40s, younger and indebted to Stieglitz. His committment to the artists he represented resulted in a history of exhibitions which in retrospect seems to foreshadow the broader popular acceptance the medium enjoys today. His pioneering efforts in showing photography both on its own merits and in context to Surrealism has left a legacy of keen faith and insight. Julien Levy (1906-1981), proprietor of the eponymous gallery which championed Surrealism in the United States, furthered his interest in the arts while at Harvard in the 1920s. It was there, under the direction of Paul J. Sachs (director of the Fine Arts program) and others, that Levy first grasped the notion of a life in art. It was in the Psychology Department's darkroom, however, that Levy consummated his attachment to photography. In this research laboratory his own experiments prompted him to later explain the influence: There I spent considerable time experimenting with photography... Thus, in 1931, when I opened my gallery of contemporary art, one of my initial interests was to promote the recognition of photography as a form of modern art. (Memoir of Art Gallery, p. 11) Levy met Man Ray in Paris in 1927, introduced by Marcel Duchamp who had acted as a catalyst and pursuaded Levy to leave Harvard. The trip was a momentous one for Levy, meeting many of the photographers and painters of the Parisian scene at the time, as well the daughter of the painter Mina Loy, Joella, whom he would marry before returning to New York by summertime. Man Ray, in turn, introduced Levy to Eugene Atget from whom he would purchase some of his first photographs. (It was Levy who, after Atget's death, would assist financially in preserving the photographer's archive with Berenice Abbott.) Levy opened his gallery at 602 Madison Avenue in November, 1932 with a retrospective exhibition of American photography, assisted by Alfred Stieglitz whom he had met while still at Harvard in 1925. Photographs figured prominently in the gallery's program - no less than 27 separate exhibitions took place during the gallery's 18 year existence. Levy's respect for Man Ray and his work was confirmed within the first year of the gallery's existence with two group exhibitions followed by a one-person display of his photographs in April. In his 1936 book Surrealism, Levy would characterize Man Ray's contribution as having transformed photography from realism to surreality. Man Ray originally left America to discover that Europe could offer a freedom and sense of life that America too often forgets. He adds: Man Ray was well equipped for seducing the camera from its obvious destiny to the more complicated refinements of surrealism. Levy was well aware of the photographer/painter's two main achievements, his Rayographs in the 1920s and in the 1930s: His photographs of the last several years have been anti-graphic, and he has perfected a chemical process by which the photographic image is partially reversed and the linear outlines of the picture are accentuated. (op. cit. pp. 21-22). Levy is referring, of course, to Man Ray's mastery of the techinque commonly, though incorrectly, referrred to as solarization. (The phenomenon is the Sabattier effect, named after the 19th century French photo-scientist who discovered it.) This evaluation is echoed by Dr. Sandra Phillips in Perpetual Motif, who succinctly states: Photographically, his greatest innovation in the thirties was solarization. Additionally, she adds that most accounts associate Lee Miller with its discovery for Man Ray. Miller was Man Ray's assistant and mistress at the time Swana was created. A talented photographer and former model, her beauty captivated Man Ray. Dr. Phillips continues: [But] Lee Miller's presence must have disturbed him enormously. She was intelligent, supremely independent, and creative in her own right. She was a challenge to him, and her sexual freedom deeply hurt him. Also intimately tied to fashion, both as a photographer and a model, she must have reinforced the strange relationship between reality and fantasy, the metaphors of fashion, that Man Ray had developed. The fragmented or disembodied female figure that had interested him sporadically as a theme now almost obsessed him. (op. cit., pp. 208-212) Whether or not the model in Swana is Miller is not known but it would not have been unusual for Man Ray to use a substitute resembling his lover. (Perpetual Motif, p. 212) In Swana, the dreamy and seductive innocence of the electric form is undermined by an undetermined identity. Literally, a picture of the unconscious, this Surrealist Sleeping Beauty is forever removed from the waking world, perpetually frozen in slumber.

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Lot 17: MAN RAY (1890-1976)

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Description: SWANA Solarized gelatin silver print. 1931. Signed and dated in pencil on the recto; rue Campagne Premiere stamp, typed credit, title and date on a Julien Levy Gallery label affixed to the verso. 8 1/2 x 11 1/2 in. PROVENANCE From the artist, To Julien Levy, New York, To the present owner EXHIBITED The Julien Levy Gallery, New York, 1932. LITERATURE Photographs by Man Ray 1920 Paris 1934, James Thrall Soby. Hartford, CT., 1934, p. 35; East River reprint, 1975, cover and p. 35; and Dover reprint, 1979, p. 35; The History of Photography from 1839 to the Present Day, p. 164; Art History of Photography, p. 154, pl. 240; Man Ray, The Rigour of Imagination, p. 268, pl. 449; L'Amour Fou: Photography & Surrealism, p. 229, fig. 222. RELATED LITERATURE: See: Memoir of an Art Gallery, Julien Levy, New York: G.P. Putnam's Sons, 1977, for the personal recollections of Levy as an art dealer; Surrealism, Julien Levy, New York: The Black Sun Press, 1936; and Photographs from The Julien Levy Collection Starting with Atget exhibition catalogue, David Travis, The Art Institute of Chicago, 1976; Photographs from The Julien Levy Collection exhibition catalogue, New York: The Witkin Gallery, Inc., 1977 for examples of other photographic works in the collection. When I was fourteen years old, I was conducted through the Uffizi Galleries in Florence by a plump, pretty woman named Hazel Guggenheim. For a length of time I would not pass beyond Botticelli's "Birth of Venus," before which I stood stubbornly spellbound. "Come," said Hazel, taking my hand impatiently, "would you not rather have a real woman like me, for example, than that painted thing?" "No," I answered tactlessly and emphatically. "I would rather have that painted thing." From: Memoir of an Art Gallery. The merry-go-round which moved me forty years ago now turns again, this time not with empty saddles. - Julien Levy, 1977 (c.f. The Julien Levy Collection, The Witkin Gallery exhibition catalogue). While the name Stieglitz was synonymous with photography in New York for the first four decades of this century, there was another gallerist in the 1930s and 40s, younger and indebted to Stieglitz. His committment to the artists he represented resulted in a history of exhibitions which in retrospect seems to foreshadow the broader popular acceptance the medium enjoys today. His pioneering efforts in showing photography both on its own merits and in context to Surrealism has left a legacy of keen faith and insight. Julien Levy (1906-1981), proprietor of the eponymous gallery which championed Surrealism in the United States, furthered his interest in the arts while at Harvard in the 1920s. It was there, under the direction of Paul J. Sachs (director of the Fine Arts program) and others, that Levy first grasped the notion of a life in art. It was in the Psychology Department's darkroom, however, that Levy consummated his attachment to photography. In this research laboratory his own experiments prompted him to later explain the influence: There I spent considerable time experimenting with photography... Thus, in 1931, when I opened my gallery of contemporary art, one of my initial interests was to promote the recognition of photography as a form of modern art. (Memoir of Art Gallery, p. 11) Levy met Man Ray in Paris in 1927, introduced by Marcel Duchamp who had acted as a catalyst and pursuaded Levy to leave Harvard. The trip was a momentous one for Levy, meeting many of the photographers and painters of the Parisian scene at the time, as well the daughter of the painter Mina Loy, Joella, whom he would marry before returning to New York by summertime. Man Ray, in turn, introduced Levy to Eugene Atget from whom he would purchase some of his first photographs. (It was Levy who, after Atget's death, would assist financially in preserving the photographer's archive with Berenice Abbott.) Levy opened his gallery at 602 Madison Avenue in November, 1932 with a retrospective exhibition of American photography, assisted by Alfred Stieglitz whom he had met while still at Harvard in 1925. Photographs figured prominently in the gallery's program - no less than 27 separate exhibitions took place during the gallery's 18 year existence. Levy's respect for Man Ray and his work was confirmed within the first year of the gallery's existence with two group exhibitions followed by a one-person display of his photographs in April. In his 1936 book Surrealism, Levy would characterize Man Ray's contribution as having transformed photography from realism to surreality. Man Ray originally left America to discover that Europe could offer a freedom and sense of life that America too often forgets. He adds: Man Ray was well equipped for seducing the camera from its obvious destiny to the more complicated refinements of surrealism. Levy was well aware of the photographer/painter's two main achievements, his Rayographs in the 1920s and in the 1930s: His photographs of the last several years have been anti-graphic, and he has perfected a chemical process by which the photographic image is partially reversed and the linear outlines of the picture are accentuated. (op. cit. pp. 21-22). Levy is referring, of course, to Man Ray's mastery of the techinque commonly, though incorrectly, referrred to as solarization. (The phenomenon is the Sabattier effect, named after the 19th century French photo-scientist who discovered it.) This evaluation is echoed by Dr. Sandra Phillips in Perpetual Motif, who succinctly states: Photographically, his greatest innovation in the thirties was solarization. Additionally, she adds that most accounts associate Lee Miller with its discovery for Man Ray. Miller was Man Ray's assistant and mistress at the time Swana was created. A talented photographer and former model, her beauty captivated Man Ray. Dr. Phillips continues: [But] Lee Miller's presence must have disturbed him enormously. She was intelligent, supremely independent, and creative in her own right. She was a challenge to him, and her sexual freedom deeply hurt him. Also intimately tied to fashion, both as a photographer and a model, she must have reinforced the strange relationship between reality and fantasy, the metaphors of fashion, that Man Ray had developed. The fragmented or disembodied female figure that had interested him sporadically as a theme now almost obsessed him. (op. cit., pp. 208-212) Whether or not the model in Swana is Miller is not known but it would not have been unusual for Man Ray to use a substitute resembling his lover. (Perpetual Motif, p. 212) In Swana, the dreamy and seductive innocence of the electric form is undermined by an undetermined identity. Literally, a picture of the unconscious, this Surrealist Sleeping Beauty is forever removed from the waking world, perpetually frozen in slumber.

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Lot 23: Emile Levy* (French, 1826-1890)

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Description: Venus and Cupid signed and dated 'Emile LVY. 1863.' lower left oil on canvas 81 x 50in. (207 x 128.9cm.) NOTES Emile Levy early training was in the studio of Abel de Pujol and Picot where his subject matter mirrored that of his contemporary, William Adolphe Bouguereau.

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Emile Lévy Lady in black.

Lot 30: Emile Lévy Lady in black.

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Description: Émile LÉVY 1826-1890 La dame en noir, 1890 Huile sur toile (restaurations), signée et datée en bas à droite, 81 x 100 cm.3 500 / 4 500 € Emile Lévy 1826-1890, French Artist. Lady in black. Oil on canvas, restored, signed and dated on the lower right. 81 x 100 cm. 3 500 / 4 500 € The auctioneer is only responsible for the French information provided by this catalogue. The English translation is courtesy to the English speakers. Michel MAKET Expert Président du Syndicat Français des Experts Professionnels en OEuvres d'Art et Objets de Collection 17, avenue de Messine - 75008 Paris Tél. : 0142258933-Fax :0143590267 mmaket@club-internet.fr www.michel-maket-expert.com

Condition Report: Michel MAKET Expert Président du Syndicat Français des Experts Professionnels en OEuvres d'Art et Objets de Collection 17, avenue de Messine - 75008 Paris Tél. : 0142258933-Fax :0143590267 mmaket@club-internet.fr www.michel-maket-expert.com

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Lot 38: *Emile Levy (French, 1826-1890)

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Description: *Emile Levy (French, 1826-1890)LE VERTIGE, IDYLLEsigned and dated Emile Levy/1867 (lower left)oil on canvas53 by 29 1/2 in. 134.6 by 74.9 cm.Levy debuted at the Salon in 1848 where he received medals in 1859, 1864, 1866 and finally in 1867, the year he exhibited Le Vertige Idylle. He also was awarded the Prix de Rome in 1854, and won further accolades when he received the Legion d'Honneur in 1867. His academic training was the cornerstone of his style, and he often depicted mythological themes in his works. Classical ideas and motifs are infused throughout the present composition, from the idealized landscape dotted with ancient ruins, to the sculpture-like pose of the figures. The male-female interaction, with the woman's trepidatious glance over the precipice as she clings to her stoic male companion, recalls such classical gender roles as the characters in the Jacques Louis David's Oath of the Horatii where the grieving, hysterical women are contrasted with their heroic male counterparts.Exhibited:Paris Salon of 1867, No. 968

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Lot 38: *Emile Levy (French, 1826-1890)

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Description: LE VERTIGE, IDYLLE signed and dated Emile Levy/1867 (lower left) oil on canvas 53 by 29 1/2 in. 134.6 by 74.9 cm. Levy debuted at the Salon in 1848 where he received medals in 1859, 1864, 1866 and finally in 1867, the year he exhibited Le Vertige Idylle. He also was awarded the Prix de Rome in 1854, and won further accolades when he received the Legion d'Honneur in 1867. His academic training was the cornerstone of his style, and he often depicted mythological themes in his works. Classical ideas and motifs are infused throughout the present composition, from the idealized landscape dotted with ancient ruins, to the sculpture-like pose of the figures. The male-female interaction, with the woman's trepidatious glance over the precipice as she clings to her stoic male companion, recalls such classical gender roles as the characters in the Jacques Louis David's Oath of the Horatii where the grieving, hysterical women are contrasted with their heroic male counterparts. Exhibited: Paris Salon of 1867, No. 968.

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Lot 40: LEVY, EMILE (1826-1890)

Description: Jeune chasseur et sa compagne/Jeune femme et sa fille, 1866-1867 oil/canvas () signed & dated.

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Lot 44: LEVY, EMILE (1826-1890)

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Description: Archer debout Crayon/paper 13x8 inches (32.5x21 cm) signed (Lower Right).

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Lot 45: *Emile Levy (French, 1826-90)

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Description: *Emile Levy (French, 1826-90)THE DIZZY SPELLsigned and dated EMILE LEVY/1866 (lower left)oil on canvas43 3/8 by 22 7/8 in. 110.2 by 58.1 cm.See note to lot 36

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Lot 45: *Emile Levy (French, 1826-90)

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Description: THE DIZZY SPELL signed and dated EMILE LEVY/1866 (lower left) oil on canvas 43 3/8 by 22 7/8 in. 110.2 by 58.1 cm. See note to lot 36.

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Lot 53: Emile Levy (French, 1826-1890)

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Description: A Woman playing a Flute signed 'Emile LVY.' lower right oil on canvas 44 x 57in. (113.7 x 146cm.).

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Emile LEVY Paris 1826-1890 Portrait de jeune femme

Lot 57: Emile LEVY Paris 1826-1890 Portrait de jeune femme

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Description: Emile LEVY Paris 1826-1890 Portrait de jeune femme en buste Pastel Signé et daté en bas à droite Emile Levy 1885 A vue 109,5x76,5cm

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Emile Levy (French, 1826-1890)

Lot 59: Emile Levy (French, 1826-1890)

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Description: The Love Letter signed and dated 'Emile L‚vy. 1872. Paris' (lower right) oil on canvas 471/2 x 63 in. (120.7 x 160 cm.) Painted in 1872.

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Lot 64: Fine Art

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Description: EMILE LEVY (French 1826-1890) "Paris L'Opera" Etching on paper. Plate: 5.75 x 5.25 inches/ 14.5 x 13.3 centimeters. Signed in pencil lower right "Emile Levy" Titled in plate lower left "Paris L'Opera" Frame: 16 x 13 inches/ 40.5 x 33 centimeters.

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EMILE LÉVY

Lot 64: EMILE LÉVY

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Description: EMILE LÉVY 1826 - 1890 LA FETE DES CABANES (THE FEAST OF THE TABERNACLES) signed and dated E. Lévy 1850 (lower right) oil on canvas 32 ½ by 44 ¼ in. 82.5 by 112.3cm. Painted in 1850.

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Lot 71: LEVY, Emile (1826-1890, French)

Description: Wild child, s. panel Oil Painting (4x6in).

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Emile LÉVY (French, 1826-1890)

Lot 71: Emile LÉVY (French, 1826-1890)

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Description: Playing with Babysigned 'E. Lévy.' (lower right)oil on canvas22 x 14 3/4 in. (55.9 x 37.5 cm.)

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Lot 91: LEVY, EMILE (1826-1890)

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Description: The Daughters of Jethro at the Well Oil/canvas 32x48 cm Signed lower right.

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ÉMILE  LÉVY

Lot 106: ÉMILE  LÉVY

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Description: PROPERTY  FROM  A  SWISS  PRIVATE  COLLECTION FRENCH 1826-1890 DIANE  DANS  LA  FORET signed  and  dated  Emile  Levy  1883  lower  left oil  on  canvas 107  by  61cm.,  42  by  24in.

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Lot 107: Emile Levy (French, 1826-1890)

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Description: The elopement signed and dated 'E.L‚vy 1866' (lower left) oil on canvas 213/4 x 111/2 in. (55 x 29 cm.) PROVENANCE Mr. Harris Fahnestock. Dr. Ernest Fahnestock. By descent to the present owner.

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EMILE LEVY (1826-1890), oil on panel, 2 young

Lot 119: EMILE LEVY (1826-1890), oil on panel, 2 young

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Description: EMILE LEVY (1826-1890), oil on panel, 2 young children drinking from a stone fountain, signed, 8.5" x 6".

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Lot 120: Emile Levy

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Description: French 1826-90 diana standing in the woods signed and dated 1883 l.l. oil on canvas 105 by 60.5 cm., 41 1/4 by 23 3/4 in.

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Lot 122: LEVY, EMILE (1826-1890)

Description: A little girl in red, 1876 Oil/canvas 18x11 inches (46x28 cm) signed & dated (Lower Right).

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Lot 126: LEVY, Emile (1826-1890, French)

Description: Portrait of young girl seated by wall, s.d.1876 Oil Painting (13x19in).

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Lot 127: LEVY, EMILE (1826-1890)

Description: Reve antique oil/panel 24x16 inches (60x41 cm) signed (Lower Right).

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Emile Levy (FRENCH, 1826-1890)

Lot 134: Emile Levy (FRENCH, 1826-1890)

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Description: Emile Levy (FRENCH, 1826-1890) Carrying the Fruit Basket signed 'EMILE LEVY' (lower right) oil on canvas 48 x 32¼ in. (121.9 x 82 cm.)

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LEVY EMILE (1826-1890) Etude de femmes Sanguine,

Lot 149: LEVY EMILE (1826-1890) Etude de femmes Sanguine,

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Description: LEVY EMILE (1826-1890) Etude de femmes Sanguine, signée en bas à gauche. 21x27cm

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Leisure time on the riverbank

Lot 150: Leisure time on the riverbank

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Description: Emile Levy (FRENCH, 1826-1890) Leisure time on the riverbank signed and dated 'Emile LEVY. 1880' (lower right) oil on canvas 30½ x 39¼ in. (77.5 x 99.7 cm.) Painted and 1880.

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Emile Levy (French, 1826-1890)

Lot 151: Emile Levy (French, 1826-1890)

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Description: The love letter signed, inscribed and dated 'Emile L‚vy. 1872. Paris.' (lower right) oil on canvas 471/2 x 63 in. (120.7 x 160 cm.) SALESROOM NOTICE Please note this lot has been withdrawn.

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Lot 162: EMILE LEVY (FRENCH, 1826-1890)

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Description: DIANA THE HUNTRESS signed "Emile LEVY" lower right -- oil on panel 14 x 8 1/2 in. (35.5 x 21.6 cm.).

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Lot 162: EMILE LEVY (FRENCH, 1826-1890)

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Description: DIANA THE HUNTRESS signed "Emile LEVY" lower right -- oil on panel 14 x 8 1/2 in. (35.5 x 21.6 cm.).

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Emile Levy (FRENCH, 1826-1890)

Lot 168: Emile Levy (FRENCH, 1826-1890)

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Description: Emile Levy (FRENCH, 1826-1890) Carrying the Fruit Basket signed 'EMILE LEVY' (lower right) oil on canvas 48 x 32¼ in. (121.9 x 82 cm.)

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Lot 173: Emile Levy (French, 1826-1890)

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Description: The goddess Diana, the huntress signed 'Emile Levy' (lower right) oil on panel 13 x 8 in. (35 x 21.5 cm.).

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Lot 187: Emile Levy (1826-1890) The flower girls Oil on

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Description: Emile Levy (1826-1890) The flower girls Oil on panel Signed and dated 1876 lower right 40cm x 30cm Provenance: property of a Lady of title condition report Fine craqueleure in ares, minor retouching visible under UV light, opaque varnish

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* Emile Levy, (French, 1826-1890), Portrait of Stephen Parker, 1885

Lot 188: * Emile Levy, (French, 1826-1890), Portrait of Stephen Parker, 1885

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Description: Emile Levy (French, 1826-1890) Portrait of Stephen Parker, 1885 oil on canvas inscribed a Stephen Parker son ami, signed Emile Levy and dated (lower left) 12 1/2 x 10 1/2 inches.

Condition Report: Under UV, isolated pin dot strokes of retouch throughout; under varnish, evidence of restoration in sitter's left arm and right chest; milky varnish prohibitng sight of further restoration; otherwise appears in basic good condition.

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Lot 189: EMILE LEVY (FRENCH, 1826-1890) THE BREATH OF FRESH AIR/A GENRE

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Description: SCENE WITH A YOUNG WOMAN AT A WINDOW Signed and dated "Emile Levy.1874." l.l. Oil on canvas, 48 x 33 1/2 in. (121.8 x 85.1 cm.), unframed. CONDITION Good, lined, minor scattered retouch (primarily to several tiny losses), craquelured.

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Lot 195: LEVY, Emile (1826-1890, French)

Description: Act of tenderness, s.d.1870 board Oil Painting (11x15in).

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Lot 196: Emile Levy (French, 1826-90)

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Description: DIANA, THE HUNTRESS signed and dated 1883 oil on canvas 42 by 24 in. 106.7 by 61 cm.

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