ATTRIBUÉ À HENRI ROUSSEAU (1844-1910) Vase avec quatre tulipes Huile sur toile libre Signée en bas à droite (Petite perforation et usures) Sans cadre 36 x 25,5 cm - 14 1/8 x 10 in. Oil on free canvas, signed lower right Provenance: Collection de M. Fraysse, gérant d'un hôtel à Saint-Germain-des-Prés, Paris (acquis vers 1910-1915 dans une boutique de Montmartre) Collection particulière, France (par descendance de ce dernier) Bibliographie: Henry Certigny, Le Douanier Rousseau en son temps, Biographie et Catalogue Raisonné, Tome II, Tokyo : Bunkazai Kenkyujyo, 1984, décrit et reproduit sous le n°212, pp. 430-431 Notice: Dans Le Douanier Rousseau en son temps, Henri Certigny expose méthodiquement les éléments qui l’ont conduit à inclure Vase avec quatre tulipes dans le second tome de son catalogue raisonné. Il rappelle tout d’abord que l’œuvre provient de la collection constituée par un certain Fraysse, amateur parisien actif au début du XXe siècle, qui acquit le tableau vers 1910-1915 dans une boutique de Montmartre. Décrit comme le gérant d’un hôtel à Saint-Germain-des-Prés, celui-ci « était un amateur aux goûts éclectiques car la collection qu'il laissa à sa mort, survenue vers 1922, comprenait, entre autres œuvres, un Vollon, un Diaz, deux crayons de couleur de Steinlen, un dessin de Friesz, un de Foujita, une gouache de Dinet, des Zingg et même un pastel pointillé non signé. » L’auteur s’attarde ensuite sur la signature apposée sur la peinture, ainsi que sur son « parfait état de propreté et de conservation ». Il précise que l’authenticité de la signature a été confirmée par Raymond Trillat, graphologue alors renommé, par comparaison avec la griffe déposée par Henri Rousseau à la Préfecture de Police. Il ajoute par ailleurs que la toile, conservée sous verre après avoir été retirée de son châssis, aurait ainsi échappé à toute restauration, ce qui expliquerait sa remarquable fraîcheur. Henri Certigny livre enfin son analyse des singularités stylistiques de la composition : simplification extrême des formes, absence de relief du vase, traitement chromatique audacieux de certains motifs décoratifs et caractère rudimentaire du support. Selon lui, ces caractéristiques situeraient l’œuvre dans les dernières années de l’activité du Douanier Rousseau, vers 1910, à une période où l’artiste, sensible au climat du fauvisme, poursuivait parallèlement une activité d’enseignement privé. Il avance dès lors l’hypothèse séduisante d’une exécution réalisée dans un contexte pédagogique, comme démonstration devant des élèves, ce qui expliquerait la spontanéité et le dépouillement inhabituels de la composition. Informations supplémentaires: Parmi les bouquets du Douanier Rousseau, notre Vase avec quatre tulipes tire sa singularité de l’accent que le peintre met sur le contenant plutôt que sur le contenu. Flanqué de prises ornées de motifs circulaires, il se pare d’un riche décor polychrome qui n’est pas sans rappeler celui du vase que l’artiste offre, en 1908, à Max Weber, ce jeune peintre américain qui l’avait encouragé à peindre sur céramique. C’est dans l’atelier d’André Metthey, à Asnières-sur-Seine, et sous l’impulsion d’Ambroise Vollard qu’Henri Rousseau fera d’ailleurs l’apprentissage de la peinture sur faïence.
Keywords: NO RESERVE, French art, french painting, Maeght Paris, French modern print, post-Impressionist era, Centre Pompidou painting, mid-century wall décor Henri Rousseau (Laval 1844-1910 Paris), after, "La basse-cour", color lithograph on half-cardboard by Fernand Mourlot after the eponymous painting of 1896/1898 at the Centre Pompidou. Signed "Henri Rousseau" in stone lower left. Published by Maeght, Paris for Derrière le Miroir, no. 133/134, limit 72.
Gouache on paper Signed lower left Dimensions: 41.5 × 29.8 cm Provenance: From the collection of Olivia Amar (Estate of Omer Albert), inherited from her late husband in 1999. Previously held in the following private collections: Eliezer Perl, 1937–1986; Mordechai Perl, 1986–1996; Omer (Amar) Albert, 1996–1999 Condition: For a detailed condition report, please email: info@hammersite.com
Pencil on paper Signed (lower left) Dimensions: 49× 31.5 cm Provenance: Estate of Eliezer Perl, Poland Inherited by his son, Mordechai Perl, 1989 Condition: For a detailed condition report, please email: info@hammersite.com
Pencil on paper Signed (lower left) Dimensions: 31.5 × 25 cm Provenance: Private collection, Tel Aviv Condition: For a detailed condition report, please contact: info@hammersite.com
Pencil on paper Signed lower left Dimensions: 31.5 × 21.2 cm Provenance: Private collection, Bordeaux Condition: For a detailed condition report, please contact: info@hammersite.com
Henri Rousseau (1844-1910) lithograph titled La Poete et la Muse. It is after the original which was painted in 1909 and hangs in Pushkin Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum and it comes with a description sheet that is written in Cyrillic. It measures 23 inches x 26.5 inches. It is matted and framed under glass in a wooden frame. Acquired from a Metro Washington DC area estate.
Henri Rousseau (1844-1910) lithograph titled La Poete et la Muse. It is after the original which was painted in 1909 and hangs in Pushkin Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum and it comes with a description sheet that is written in Cyrillic. It measures 23 inches x 26.5 inches. It is matted and framed under glass in a wooden frame. Acquired from a Metro Washington DC area estate.
Henri Rousseau (1844-1910) lithograph titled La Poete et la Muse. It is after the original which was painted in 1909 and hangs in Pushkin Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum and it comes with a description sheet that is written in Cyrillic. It measures 23 inches x 26.5 inches. It is matted and framed under glass in a wooden frame. Acquired from a Metro Washington DC area estate.
Henri Rousseau (1844-1910) lithograph titled La Poete et la Muse. It is after the original which was painted in 1909 and hangs in Pushkin Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum and it comes with a description sheet that is written in Cyrillic. It measures 23 inches x 26.5 inches. It is matted and framed under glass in a wooden frame. Acquired from a Metro Washington DC area estate.
Henri Rousseau (1844-1910) lithograph titled La Poete et la Muse. It is after the original which was painted in 1909 and hangs in Pushkin Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum and it comes with a description sheet that is written in Cyrillic. It measures 23 inches x 26.5 inches. It is matted and framed under glass in a wooden frame. Acquired from a Metro Washington DC area estate.
Oil on Canvas 1907 Signed: (bottom left) Dimensions: 59.9 x 79 cm Provenance: Acquired directly from the artist by the Bernheim Brothers, 1907–1930 Private collection, Switzerland – Acquired from the Bernheim Brothers, agents of the artist Rousseau, 1930–1964 Private collection, Ilia Baruch, Paris, 1964–1996 Private collection, Tel Aviv, 1996-2016 Private collection, Berlin, 1996–2024 Notes: About the work: A jungle scene. Three playful monkeys are in midst of a tropical forest in green and yellow. Far away, an orange sun is setting down in light blue and pink skies' background. Post-Impressionist Rousseau excelled in exotic scenes that he depicted from numerous visits to the botanical gardens and the zoo in Paris, as well as from illustrated books. Influenced by a combination of "high" and "low" sources - academic sculpture, postcards, tabloid illustrations, and trips to the Paris public zoo and gardens - Rousseau created modern, unconventional renderings of traditional genres such as landscape, portraiture, and allegory. The fantastic, often outrageous imagery that resulted from these hybrid influences - most famously, a nude woman reclining on a divan mysteriously located in a tropical jungle - was celebrated by the Surrealists, whose art valued surprising juxtapositions and dream-like moods characteristic of Rousseau's work. Exhibitions: Tel Aviv Museum, 2008–2009, considered for acquisition by the museum “Blaise Cendrars au Coeur des Arts”, Musée de Beaux-Arts, La Chaux-de-Fonds, Switzerland, Nov. 2014–March 2015 Condition: For a detailed condition report, please contact us at info@hammersite.com
Henri Rousseau (1844-1910) lithograph titled La Poete et la Muse. It is after the original which was painted in 1909 and hangs in Pushkin Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum and it comes with a description sheet that is written in Cyrillic. It measures 23 inches x 26.5 inches. It is matted and framed under glass in a wooden frame. Acquired from a Metro Washington DC area estate.
Henri Rousseau (1844-1910) lithograph titled La Poete et la Muse. It is after the original which was painted in 1909 and hangs in Pushkin Museum in Moscow. This piece was produced in the Soviet Union in the 1950s, under the auspices of the Pushkin Museum and it comes with a description sheet that is written in Cyrillic. It measures 23 inches x 26.5 inches. It is matted and framed under glass in a wooden frame. Acquired from a Metro Washington DC area estate.
ƒ HENRI DOUANIER ROUSSEAU (1844-1910) PAYSAGE AVEC CHÂTEAU Gouache et aquarelle sur papier Signé en bas à droite Dédicacé "Pour Monsieur Raynaud sincèrement son ami Henri Rousseau artiste peintre rue Peruel 2 bis" au dos du cadre Gouache and watercolor on paper; signed lower right; dedicated on the reverse of the frame 23,5 X 30 CM • 10 X 11 3/4 IN.
This description has been translated automatically: Henri ROUSSEAU (known as the customs officer) (1844-1910) Paris Ile de la Cité and Notre Dame, 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 54 cm Numbered in pencil out of 300 copies (photograph number given as an example INFORMATION: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the artist’s Estate. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) Paris Ile de la Cité et Notre Dame, 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 54 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple INFORMATION : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
Lithographie de 1990 par Studio d’Arte Perna - Milano Numérotée en bas à gauche en chiffres romains “/ CC” ( /200 ) Dimensions : 48 x 36 cm Extrait du catalogue général de l’éditeur : Tous les exemplaires sont numérotés et munis d'un Certificat de Garantie avec cachet et signature manuscrite de l'éditeur, ainsi qu'un document juridique d’un notaire, attestant l’authenticité de la signature, de l'édition et la numérotation. Nos éditions sont uniques et irremplaçables : toutes les pierres lithographiques et planches associées sont détruites à la fin du tirage. Nos éditions sont recommandées par la Fédération nationale des galeristes d'Italie Rome, de la Confédération nationale libre du commerce et de l'industrie. (LP Studio d'Arte Perna Milan depuis 1958 Collection d'art et d'auteur
This description has been translated automatically: Henri ROUSSEAU (known as the customs officer) (1844-1910) The War, 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 55 cm Numbered in pencil out of 300 copies (photograph number given as an example Information: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the Estate of the artist. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) La Guerre, 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 55 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple Informations : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
Lithographie de 1990 par Studio d’Arte Perna - Milano Numérotée en bas à gauche en chiffres romains “/ CC” ( /200 ) Dimensions : 48 x 36 cm Extrait du catalogue général de l’éditeur : Tous les exemplaires sont numérotés et munis d'un Certificat de Garantie avec cachet et signature manuscrite de l'éditeur, ainsi qu'un document juridique d’un notaire, attestant l’authenticité de la signature, de l'édition et la numérotation. Nos éditions sont uniques et irremplaçables : toutes les pierres lithographiques et planches associées sont détruites à la fin du tirage. Nos éditions sont recommandées par la Fédération nationale des galeristes d'Italie Rome, de la Confédération nationale libre du commerce et de l'industrie. (LP Studio d'Arte Perna Milan depuis 1958 Collection d'art et d'auteur
This description has been translated automatically: Henri ROUSSEAU (known as the customs officer) (1844-1910) Surprised (the tiger), 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 57 cm Numbered in pencil out of 300 copies (photograph number given as an example Information: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the Estate of the artist. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) Surpris (le tigre), 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 57 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple Informations : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically: Henri ROUSSEAU (known as the customs officer) (1844-1910) Paris Ile de la Cité and Notre Dame, 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 54 cm Numbered in pencil out of 300 copies (photograph number given as an example Information: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the Estate of the artist. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) Paris Ile de la Cité et Notre Dame, 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 54 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple Informations : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically : Henri ROUSSEAU (known as the customs officer) (1844-1910) The Snake Charmer, 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 55 cm Numbered in pencil out of 300 copies (photograph number given as an example Information: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the Estate of the artist. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) La Charmeuse de serpent, 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 55 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple Informations : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically : Henri ROUSSEAU (known as the customs officer) (1844-1910) Paris Ile de la Cité and Notre Dame, 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 54 cm Numbered in pencil out of 300 copies (photograph number given as an example Information: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the Estate of the artist. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) Paris Ile de la Cité et Notre Dame, 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 54 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple Informations : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically: Henri ROUSSEAU (known as the customs officer) (1844-1910) The War, 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 55 cm Numbered in pencil out of 300 copies (photograph number given as an example Information: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the Estate of the artist. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) La Guerre, 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 55 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple Informations : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically : Henri ROUSSEAU (known as the customs officer) (1844-1910) The Snake Charmer, 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 55 cm Numbered in pencil out of 300 copies (photograph number given as an example Information: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the Estate of the artist. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) La Charmeuse de serpent, 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 55 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple Informations : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
This description has been translated automatically : Henri ROUSSEAU (known as the customs officer) (1844-1910) Paris Ile de la Cité and Notre Dame, 1976 Original lithograph printed on stone Signed in the plate On Vellum, approximately 75 x 54 cm Numbered in pencil out of 300 copies (photograph number given as an example Information: Work published by “Les Imprimeries Parisiennes” in 1976 with the authorization of the Estate of the artist. Also bears the publisher's dry stamp. In excellent condition We can provide shipping quote and service under demand ORIGINAL CONTENT : Henri ROUSSEAU (dit le douanier) (1844-1910) Paris Ile de la Cité et Notre Dame, 1976 Lithographie originale tirée sur pierre Signée dans la planche Sur Vélin, 75 x 54 cm environ Numérotée au crayon sur 300 exemplaires (numéro de la photographie donné à titre d'exemple Informations : Œuvre éditée par "Les Imprimeries Parisiennes" en 1976 avec l'autorisation de la Succession de l'artiste. Porte également le cachet sec de l'éditeur. En excellent état Sur simple demande, nous pouvons fournir un devis d'expédition et vous envoyer vos acquisitions de façon sécurisée.
HENRI ROUSSEAU (French, 1844-1910) "Five Posters for Le Douanier Rousseau at the Grand Palais" 1984 - Photolithographic posters. Unsigned. Each poster is 23.5 x 15.75 inches. This is a complete set of posters from the 1984 exhibition at the Grand Palais, Paris. All posters are in excellent condition (one has pin holes in the corners). From the collection of Regina artist David Thauberger.
After: Henri Rousseau, French (1844 - 1910) Oil on Canvas "The Dream". Unsigned. Unframed. Measures 54" x 82". Condition: Very good condition. Estimate: $250.00 - $500.00 Domestic Shipping: Third party
After: Henri Rousseau, French (1844 - 1910) Oil on Canvas "The Dream". Unsigned. Unframed. Measures 54" x 82". Condition: Good condition. Estimate: $200.00 - $500.00 Domestic Shipping: Third party
DOUANIER ROUSSEAU (d'après le) (1844 - 1910) La chasse au tigre - 1923/1924 Aquatinte en couleurs Exécutée par Jacques VILLON et numérotée "89/200" 49,6 x 64,2 cm G.P. E641 Aquatint in colors ; signed in the stone and numbered 19,52 x 25,27 in. Rapport de Condition / Condition Report Très bonne épreuve en très bon état. Very nice proof in a very good condition Estimation 100 - 150 €
PORTRAIT EINES MANNES – PORTRAIT D’HOMME, UM 1905 Öl auf Leinwand. 41 x 36 cm. Rechts unten signiert „Henri Rousseau“. In geschnitztem und vergoldetem Holzrahmen.Verso mit Etikett „der Blaue Reiter Ausstellung I 1911/1912“, rot überschrieben „018“. Etikett mit Künstlernennung, Katalognr. 2 b, schwarz in Kreide überschrieben „CA. 6195“. Etikett „Sammlung Georg Schäfer Schweinfurt 76 455 521“ rot überstempelt „73“. Mit blauem Stift „03446“. Zwei runde Zollstempel: Z.A. Flughafen Mü. – Riehm 3 bzw. ohne Stempelnummer. Auf der Rahmenrückseite in Rot „Kiste 11“. In schwarzer Kreide „CA. 6195“. Rundes weißes Etikett: L. 1901 wurde Rousseau Zeichenlehrer bei der Association Philotechnique, einer Organisation, die ihn als Zeichen- und Mallehrer beschäftigte, was für ihn einen echten sozialen Erfolg bedeutete. Die hier angebotenen beiden Portraits (lot 1421 und lot 1422). entstanden um 1905 und zeigen ein Ehepaar, die im Handwerker- und Arbeiterviertel Plaisance gewohnt haben mögen. Portraits waren für sie schon für ein geringes Entgeld oder als Begleichung für ausstehende Rechnungen erwerbbar. Was zu dieser Zeit an Eleganz, Wiedererkennungseffekten, Gefühlsausdruck und Sentiment bei der Bildgattung des Portraits zu erwarten war, war bei Roussous Bildnissen nicht zu finden. Hier sind es eher Maskengesichter, die einander auf Grund der großen, schwarz umrandeten Augenpaare, den dichten Augenbrauen, den Schlagschatten im Gesicht und den scharf konturierten Nasen ähneln. Hier sind die Portraits büstenhaft einander zugewandt und übersetzen den Stolz rechtschaffener Bürger in das flott aufgefasste bildhafte Zeugnis französischer Tugendhaftigkeit einer Vorstadtbourgoisie mit angedeuteten Wolkenbänken als Hintergrund. Zu diesen beiden Portraits schrieb Kandinsky am 18. Dezember 1911 (einen Tag vor der Eröffnung der Blaue-Reiter-Ausstellung in München) an Robert Delaunay nach Paris: „Ich danke Ihnen sehr für diese Rousseau-Sendung. Ich habe gerade eines meiner Bilder einem Berliner Mäzen verkauft, der hier ist, und der auch einen Rousseau erwerben möchte (...). Er kann auch nicht den Gefühlskomplex begreifen, den wir mit dem Namen Henri Rousseau verbinden. Kann uns Delaunay keine Photographien schicken, kleine Amateurphotographien, damit Köhler doch voraus einen Begriff bekommt?“. In einem späteren Brief von Kandinsky an Delaunay schreibt er: „Ich erhalte gerade einen Brief von Koehler. Er bittet Sie sehr, ihm die zwei Rousseaus zu schicken, und zwar gleich. Die Transportkosten übernimmt er. Er ist fast sicher, dass er kaufen wird. Er hält viel vom Urteil des Herrn Marc, der heute nach Berlin reist. Ich bin sicher, dass er kaufen wird. Sonst wird er ihnen die Bilder zurückgeben und den Rücktransport bezahlen.“ Bereits zu Beginn des Folgejahres wurde der Ankauf der beiden Portraits aus der Sammlung Robert Delaunays abgeschlossen – zu 1500 Francs. In seinem Privatleben zunächst Klarinettist in einem Militärorchester arbeitete er anschließend als Zöllner, was ihm den Beinamen „Le Douanier“ eintrug. Durch Alfred Jarry (1873-1907), der den Wert seiner Kunst als erster erkannte, lernte er auch Paul Gauguin (1848-1903) kennen, durch den er wiederum mit Stéphane Mallarmé (1842-1898), August Strindberg (1849-1912) und Edgar Degas (1834-1917) in Kontakt kam. Durch die Freundschaft mit Guillaume Apollinaire (1834-1917) wurde er auch mit Robert Delaunay (1885-1941), Pablo Picasso (1881-1973), Georges Braque (1882-1963), Maurice de Vlaminck (1876-1958) und Constantin Brâncusi (1876-1957) bekannt. Der Surrealist André Breton (1896-1966) war der Erste, der Rousseaus Werke als Ausdruck des magischen Realismus erkannte.Provenienz: Robert Delaunay, Paris. Bernhard Koehler, Berlin (1911-1961). Hugo Perls, Berlin und New York (1961-1962). Franz Resch (1962-1963). Sammlung Schäfer (August 1963-Januar 1980). Süddeutsche Kunstsammlung (seit Januar 1980). Literatur: Jean Bouret, Henri Rousseau, Neuchâtel 1961, S. 205, Abb. 122. Dora Vallier, Henri Rousseau, Köln 1961, S. 144, Abb. 100. Dora Vallier, Das Gesamtwerk von Rousseau, Luzern 1969, S. 101, S. 103, Nr. 175 b. Lise und Oto Bihalji-Merin, Henri Rousseau. Leben und Werk, Köln 1976, S. 33. Carolyn Keay, Henri Rousseau. Le Douanier, New York 1976, S. 132, Abb. 28. Karl Heinz Meißner, Delauny-Dokumente, in: Ausstellungskatalog Delaunay und Deutschland, Staatsgalerie moderner Kunst, München 4. Oktober 1985 - 6. Januar 1986, München 1985, S. 486 f. Cornelia Stabenow, Der zerbrochene Eiffelturm. Robert Delaunay und die frühe Rousseau-Rezeption in Deutschland, in: Ausstellungskatalog Delaunay und Deutschland, Staatsgalerie moderner Kunst, München, 4. Oktober 1985 - 6. Januar 1986, München 1985, S. 314. Silvia Schmidt, Bernhard Koehler. Ein Mäzen und Sammler August Mackes und der Künstler des „Blauen Reiter“, in: Zeitschrift des Deutschen Vereins für Kunstwissenschaft, 1988, S. 80, S. 86f., S. 91. Susanne Grimm, Authentische Naive, Das Erlebnis des Unmittelbaren, Stuttgart 1991, Abb. S. 74. Ausstellungen: Der Blaue Reiter, Erste Ausstellung, Galerie Der Sturm, Berlin 1912, Nr. 106. Henri Rousseau Gedächtnisausstellung, Galerie Der Sturm, Berlin 1913, Nr. 14. Das naive Bild der Welt, Staatliche Kunsthalle Baden-Baden, Baden-Baden 1961, Nr. 164. Henri Rousseau dit „Le Douanier“, Galerie Charpentier, Paris 1961, Nr. 30. Henri Rousseau, Galerie Wildenstein, New York, 1963, Nr. 25. (12803912) (13)Henri Rousseau, also known as “Le Douanier,“1844 Laval – 1910 ParisPORTRAIT OF A MAN – PORTRAIT D’HOMME, ca. 1905Oil on canvas.41 x 36 cm.Signed “Henri Rousseau“ lower right.Label on reverse “der Blaue Reiter Ausstellung I 1911/ 1912“, overwritten in red “018“. Label with artist name, cat. no. 2 b, overwritten in black chalk “CA. 6195“. Label “Sammlung Georg Schäfer Schweinfurt 76 455 521“ stamped “73“ in red on top. Inscribed “03446“ in blue pen. Two round customs stamps: “Z.A. Flughafen Mü. - Riehm 3” and without stamp number respectively. On the stretcher in red “Kiste 11”, “CA. 6195“ in black chalk. Round white label: L.In 1901 Rousseau became a teacher for drawing and painting at the Association Philotechnique, a true social achievement for him. The two portraits on offer for sale here (lot 1421 and 1422) were created in 1905 and show a married couple, which may have lived in the artist's and working-class quarter of Plaisance. On 18 December 1911, a day before the opening of the Blaue Reiter Exhibition in Munich, Kandinsky wrote about these two portraits to Robert Delaunay in Paris: “I would like to thank you for sending the Rousseau. I have just sold one of my paintings to a patron in Berlin, who is currently here and who would also like to purchase a work by Rousseau (...). Also, he cannot understand the complexity of emotions that we associate with the name of Henri Rousseau. Could Delaunay not send us photographs, small amateur photographs, so that Köhler could get a better understanding in advance?“. In a later letter from Kandinsky to Delaunay he wrote: “I just received a letter from Köhler. He is kindly asking you to send him the two Rousseau works, in fact immediately. He will cover the transport costs. He is almost certain that he will purchase them. He greatly values Mr Marc's judgement, who is travelling to Berlin today. I am sure he will make a purchase. He will otherwise return the paintings and cover the return transport costs“. At the beginning of the following year the acquisition of both portraits from Robert Delaunay's collection was completed for a sum of 1,500 Francs. Provenance:Robert Delaunay, Paris.Bernhard Koehler, Berlin (1911 - 1961).Hugo Perls, Berlin and New York (1961 - 1962).Franz Resch (1962 - 1963).Schäfer collection (August 1963 - January 1980).Art collection, Southern Germany (since January 1980).Literature:J. Bouret, Henri Rousseau, Neuchâtel 1961, p. 205, ill. 122.D. Vallier, Henri Rousseau, Cologne 1961, p. 144, ill. 100.D. Vallier, Das Gesamtwerk von Rousseau, Lucerne 1969, p. 101, p. 103, no. 175 b.L. and O. Bihalji-Merin, Henri Rousseau: Leben und Werk, Cologne 1976, p. 33.C. Keay, Henri Rousseau. Le Douanier, New York 1976, p. 132, ill. 28.K. H. Meißner, Delauny-Dokumente, in: Delaunay und Deutschland, exhibition catalogue, Staatsgalerie moderner Kunst, Munich 4th October 1985 - 6th January 1986, Munich 1985, pp. 486.C. Stabenow, Der zerbrochene Eiffelturm. Robert Delaunay und die frühe Rousseau-Rezeption in Deutschland, in: Delaunay und Deutschland, exhibition catalogue, Staatsgalerie moderner Kunst, Munich 1985, p. 314.S. Schmidt, Bernhard Koehler. Ein Mäzen und Sammler August Mackes und der Künstler des “Blauen Reiter“, in: Zeitschrift des Deutschen Vereins für Kunstwissenschaft, 1988 , p. 80, p. 86f., p. 91.S. Grimm, Authentische Naive , Das Erlebnis des Unmittelbaren, Stuttgart 1991, p. 74, ill.Exhibitions:Galerie Der Sturm, Der Blaue Reiter, First Exbhibition, Berlin 1912, no. 106.Galerie Der Sturm, Henri Rousseau Gedächtnisausstellung, Berlin 1913, no 14.Staatliche Kunsthalle Baden-Baden, Das naive Bild der, Baden-Baden 1961, no. 164.Galerie Charpentier, Henri Rousseau dit “Le Douanier”, Paris 1961, no. 30.Henri Rousseau, Galerie Wildenstein, New York 1963, no. 25.
(Attributed to) ROUSSEAU, HENRI Laval 1844 - 1910 Paris Portrait of a lady in profile. Oil on canvas, signed: H. Rousseau. 40.3 x 28.2 cm, without frame. Provenance: family ownership. Acquired in the 1960s in the Hotel Drouot in Paris. Keywords: paintings, images, art, artworks, pictures, Gemalde, France, French, Francais, woman, women
D'après Henri ROUSSEAU (1844-1910). La charmeuse de serpent, lithographie réalisée par les imprimeries parisiennes, numérotée 111/300. Encadrée sous verre. Dimensions à vue: 52.5x58.5cm. Bon état.
HENRI JULIEN FÉLIX ROUSSEAU (Laval, France, 1844 - Paris, 1910). "Le Baron Daumesnil". Green patinated bronze. Casting test, copy H.C. (Edition of 5 copies, including 2 H.C). Post-mortem edition. Signed H. Rousseau. With the stamp of the Georges Rudier Foundry (Paris). Work illustrated in "Le Monde du Douanier Rousseau" by Yann Le Pichon. Paris: Robert Laffont Editions, 1981. p. 226. Also in “Le Surréalisme et la peinture” by André Bretón. Paris: Éditions Gallimard. pp. 372, 373. It has been exhibited in "Das Naive Bild Der Welt", Hannover, 1961. Also in "Sculpture de peintres" Paris, 1962. Attached is a copy of the certificate of authenticity issued by the Gorges Rudier Foundry and additional documentation. Measurements: 37.5 x 9 x 9 cm. Round sculpture representing Pierre Daumesnil. He was a French general volunteer at the time of the French Revolution, first served as a private in the wars in Italy and Egypt and became a guide of Napoleon Bonaparte, squadron leader of the imperial guard in 1808. He lost a leg to a cannon shot at the Battle of Wagram, for which he was nicknamed "wooden leg", a feature visible in the present sculpture. Nicknamed Douanier -aduanero- Rousseau, the painter became known in the Parisian artistic environment in the mid 1880s, when his work was exhibited at the Salon des Indépendants, a place where the works of great post-impressionist artists such as Georges Seurat, Paul Signac, Edgar Degas, Camille Pissarro and Paul Gauguin, among others, were exhibited. Due to his humble origins he was not able to train academically as an artist, however, with discipline and effort he learned in a self-taught way, managing to develop his talent without specialized training. While working he became interested in poetry, music and art, passionate about these, but unable to afford his studies. Since the end of the 1870s he began to paint and draw, later he came into contact with the Parisian artistic environment, attracting the attention of some post-impressionist artists. In 1886, his first known work "The Carnival of the Animals" was exhibited, in which the influence of academic painting and its detailed representation is perceived, in this one he used intense colors and moderate tonalities; this application of the colors is one of the key characteristics in his works. In the 1890s, he decided to focus on his artistic production despite the fact that his work had been ridiculed. Even so, he began to gain the attention of the public and impressionist and post-impressionist artists after the publication of a series of works in which the naïve style, of which he is one of the greatest exponents, is reflected. Rousseau is well known today for his particular landscape works, the first of which was Surprised! (Tiger in a Tropical Storm) and the second "The Dream"; both are large format and demonstrate his affectionate attention to detail as well as his surprising freshness of vision and overflowing imagination. The rest of his work ranges from the showy humor of "The Soccer Players" to the mesmerizing and mysterious beauty of "The Sleeping Gypsy". He began to be recognized immediately after his death for the open struggle he had unleashed against the Academy. Rousseau thus became a symbol of the struggle and opened the door of art history to primitive artists. His works attracted the attention of the impressionist Degas and the primitive post-impressionist Gauguin, among other artists of the same artistic milieu. In the early years of the twentieth century Rousseau's work was widely admired and recognized, among his most prominent admirers were Guillaume Apollinaire and Pablo Picasso. Precisely in 1908, both organized a legendary banquet in his honor where Picasso told Rousseau: "We are the two greatest artists of our time: you in the Egyptian way, and I in the modern way".
Finely framed, under glass, exhibition poster of the Collection Jean Walter-Paul-Guillaume : Orangeries Des Tuilleries. Janvier-Septembre 1966 with an image by Henri Julien Felix (Le Douanier) Rousseau (1844-1910). Marked in margin as "Ministere des affaires Culturelles RRG IMP, KAPP". Not examined out of frame. Measures: Poster: 25 1/4" x 15", Frame: 29 1/2" x 19 1/2"
HENRI JULIEN FÉLIX ROUSSEAU (Laval, France, 1844 - Paris, 1910). "Le Baron Daumesnil". Green patinated bronze. Signed H. Rousseau. With the stamp of the Georges Rudier Foundry (Paris). It has been exhibited in "Das Naive Bild Der Welt", Hannover, 1961. Also in "Sculpture de peintres" Paris, 1962. Certificate attached by the Gorges Rudier Foundry and additional documentation. Measurements: 37.5 x 9 x 9 cm. Sculpture in a round bundle representing Pierre Daumesnil. He was a French general who volunteered during the French Revolution. He first served as a private in the wars in Italy and Egypt and became a guide for Napoleon Bonaparte, squadron leader of the imperial guard in 1808. He lost a leg to a cannon fire at the Battle of Wagram, which is why he was nicknamed "pata de palo" (wooden leg), a feature visible in the present sculpture. Nicknamed Douanier - Customs - Rousseau, the painter became known in the Parisian artistic environment in the mid 1880s, when his work was exhibited at the Salon des Indépendants, where the works of great post-impressionist artists such as Georges Seurat, Paul Signac, Edgar Degas, Camille Pissarro and Paul Gauguin, among others, were displayed. Due to his humble origin he could not form himself academically as an artist, however, with discipline and effort he learned in a self-taught way, managing to develop his talent without specialized training. While working he began to be interested in poetry, music and art, passionate about these, but unable to afford his studies. From the end of the 1870s he began to paint and draw, later he came into contact with the Parisian artistic environment, attracting the attention of some post-impressionist artists. In 1886, his first known work was exhibited "The Carnival of the Animals", in which the influence of academic painting and its detailed representation can be perceived, in this he used intense colors and moderate tones; this application of colors is one of the key characteristics in his works. In the 1890's, he decided to focus on his artistic production even though his work had been ridiculed. Even so, he began to gain the attention of the public and the impressionist and post-impressionist artists after the publication of a series of works in which the naive style is reflected, of which he is one of the greatest exponents. Rousseau is well known today for his particular landscape works, the first was Surprised! (Tiger in a Tropical Storm) and the second "The Dream"; both are large format and demonstrate his loving attention to detail as well as his surprising freshness of vision and his overflowing imagination. The rest of her work ranges from the colorful humor of "The Soccer Players" to the mesmerizing and mysterious beauty of "The Sleeping Gypsy". He began to be recognized immediately after his death for the open struggle he had unleashed against the Academy. In this way, Rousseau became a symbol of the struggle and opened the door of art history to primitive artists. His works attracted the attention of the impressionist Degas and the early post-impressionist Gauguin, among other artists from the same artistic milieu. In the early years of the 20th century Rousseau's work was widely admired and recognized. Among his most prominent admirers were Guillaume Apollinaire and Pablo Picasso. Precisely in 1908, both organized a legendary banquet in his honor where Picasso told Rousseau: "We are the two greatest artists of our time: you in the Egyptian way, and I in the modern way".
HENRI ROUSSEAU DIT LE "DOUANIER ROUSSEAU" (1844-1910) Le Baron Daumesnil Sculpture en bronze à patine brune Signée « H Rousseau »,, numérotée 1/12 et marque du « fondeur Georges Rudier fondeur Paris » H: 37 cm Bibliographie: - Yann le Pichon, « Le Monde du Douanier Rousseau », Paris 1981, modèle similaire reproduit page 229 - Yann le Pichon, « Le Monde du Douanier Rousseau », Paris 2010, modèle similaire reproduit page 248 et une variante en bois page 249
Henri Rousseau 1844–1910 Arabe attaqué par une hyène unten links signiert Henri J Rousseau *For this lot VAT of 7,7% will also be charged on the hammer price.
Henri Rousseau (1844-1910) (after) Paysage de forêt vierge 1980 Lithograph signed in the plate, numbered by pencil and dry stamped. Edition of 300. Sheet: 45 x 50 cm. Made by the Imprimeries Parisiennes, after Henri Rousseau's original painting.
Henri Rousseau (1844-1910) (after) Paysage exotique 1980 Lithograph signed in the plate, numbered by pencil and dry stamped. Edition of 300. Sheet: 45 x 50 cm. Made by the Imprimeries Parisiennes, after Henri Rousseau's original painting.
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