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Lot 160
André Derain (1880-1954)
Portrait de Rita van Leer
Closed21 October 2021
Price Realised
EUR 15,000
More Information
André Derain (1880-1954)
Portrait de Rita van Leer
signé 'a Derain' (en bas à droite)
huile sur toile
73.2 x 92.4 cm.
Peint vers 1929-30
signed 'a Derain' (lower right)
oil on canvas
28 ¾ x 36 ½ in.
Painted circa 1929-30
Portrait de Rita van Leer
signé 'a Derain' (en bas à droite)
huile sur toile
73.2 x 92.4 cm.
Peint vers 1929-30
signed 'a Derain' (lower right)
oil on canvas
28 ¾ x 36 ½ in.
Painted circa 1929-30
André Derain (1880-1954)
Portrait de Rita van Leer
signé 'a Derain' (en bas à droite)
huile sur toile
73.2 x 92.4 cm.
Peint vers 1929-30
signed 'a Derain' (lower right)
oil on canvas
28 ¾ x 36 ½ in.
Painted circa 1929-30
Portrait de Rita van Leer
signé 'a Derain' (en bas à droite)
huile sur toile
73.2 x 92.4 cm.
Peint vers 1929-30
signed 'a Derain' (lower right)
oil on canvas
28 ¾ x 36 ½ in.
Painted circa 1929-30
Paul Guillaume, Paris.
Succession Domenica Walter-Guillaume, Paris (par descendance).
Succession Domenica Walter-Guillaume, Paris (par descendance).
M. Kellermann, André Derain, Catalogue raisonné de l'œuvre peint, Paris, 1996, vol. III, p. 227, no. 1197 (illustré).
C’est à Montmartre, où Paul Guillaume vit et fréquente les cafés, qu’il rencontre l’avant-garde artistique et plus précisément Picasso, Guillaume Apollinaire ou encore Max Jacob. Partageant une passion commune pour l’art africain, Paul Guillaume et Apollinaire se lie rapidement d’amitié. C’est lors d’un dîner chez le poète que Paul Guillaume, alors collectionneur et marchand d’art africain, rencontre André Derain auquel il voue rapidement une admiration sans borne. Représenté successivement par Vollard et Kahnweiler, André Derain les délaisse peu à peu pour Paul Guillaume. En 1916, ce dernier organise au sein de sa galerie de la rue de Miromesnil, la première exposition particulière de l’artiste, dont le catalogue est préfacé par Guillaume Apollinaire. En 1923, Paul Guillaume devient le nouveau marchand officiel d’André Derain. Sa vie durant il s’attache à faire reconnaître l’art de cet artiste tant sur le sol français qu’à l’étranger. En France, le marchand présente les tableaux avant-gardistes de Derain dans de vieux cadres Louis XV afin qu’ils se fondent dans les intérieurs traditionnels de la bourgeoisie. Aux Etats-Unis, où il compte Albert Barnes comme client, Paul Guillaume organise quatre expositions de Derain dans la galerie New Yorkaise de Marie Harriman. La proximité entre le marchand et l’artiste est telle que Paul Guillaume et sa femme Domenica, deviennent les sujets de plusieurs portraits. En 1934, André Derain perd dans des conditions troubles le marchand qui lui a fait connaître son âge d’or. Suite à son décès Derain renonce à se faire représenter par un marchand à Paris. Pierre Matisse s’occupe aux Etats-Unis de continuer à faire rayonner son œuvre.
La collection amassée par Paul Guillaume de son vivant, revient à sa femme Domenica qui, aux côtés de son second mari, l’architecte Jean Walter, l’agrémente de nouvelles œuvres d’art tout en se séparant d’autres. En 1977, à la mort de Domenica, l’Etat acquiert la collection. Baptisée Walter-Guillaume, du nom de ses deux maris, l’ensemble de ces plus de cent chefs-d’œuvre, parmi lesquels une vingtaine de Derain, peut être admiré au Musée de l’Orangerie.
It is in Montmartre, where Paul Guillaume lives and frequents cafés, that he meets the artistic avant-garde and more specifically Picasso, Guillaume Apollinaire and Max Jacob. Sharing a common passion for African art, Paul Guillaume and Apollinaire soon become close friends. During a dinner at the poet’s house, Paul Guillaume, then a collector and dealer of African art, meets André Derain for whom he quickly has a boundless admiration. Successively represented by Vollard and Kahnweiler, André Derain turns towards Paul Guillaume. In 1916, the latter organizes the first solo exhibition of the artist in his gallery on the rue de Miromesnil. In 1923, Paul Guillaume becomes André Derain’s official art dealer. Throughout his life, he worked to gain recognition for this artist’s art both in France and abroad. In France, the dealer presents Derain’s avant-garde paintings in old Louis XV frames so as to easily fit in the traditional interiors of the bourgeoisie. In the United States, where Albert Barnes is one of his clients, Paul Guillaume organizes four exhibitions of Derain in Marie Harriman’s gallery. The relationship between the dealer and the artist was such that Paul Guillaume and his wife Domenica became the subjects of several portraits. In 1934, the dealer who brought André Derain’s career to a golden age, passes away in unusual circumstances. Following his death, André Derain abandons the idea of being represented by an art dealer in Paris, while Pierre Matisse, in the United States, continues to promote his work. The collection amassed throughout Paul Guillaume’s life, reverts to his wife Domenica who, along with her second husband, the architect Jean Walter, embellished it with new works of art while separating from others. In 1977, after Domenica’s death, the collection is acquired by the French state. Named Walter-Guillaume, after Domenica’s two husband, this collection of more than one hundred masterpieces, among which about twenty Derain, can be seen at the Musée de l’Orangerie.
La collection amassée par Paul Guillaume de son vivant, revient à sa femme Domenica qui, aux côtés de son second mari, l’architecte Jean Walter, l’agrémente de nouvelles œuvres d’art tout en se séparant d’autres. En 1977, à la mort de Domenica, l’Etat acquiert la collection. Baptisée Walter-Guillaume, du nom de ses deux maris, l’ensemble de ces plus de cent chefs-d’œuvre, parmi lesquels une vingtaine de Derain, peut être admiré au Musée de l’Orangerie.
It is in Montmartre, where Paul Guillaume lives and frequents cafés, that he meets the artistic avant-garde and more specifically Picasso, Guillaume Apollinaire and Max Jacob. Sharing a common passion for African art, Paul Guillaume and Apollinaire soon become close friends. During a dinner at the poet’s house, Paul Guillaume, then a collector and dealer of African art, meets André Derain for whom he quickly has a boundless admiration. Successively represented by Vollard and Kahnweiler, André Derain turns towards Paul Guillaume. In 1916, the latter organizes the first solo exhibition of the artist in his gallery on the rue de Miromesnil. In 1923, Paul Guillaume becomes André Derain’s official art dealer. Throughout his life, he worked to gain recognition for this artist’s art both in France and abroad. In France, the dealer presents Derain’s avant-garde paintings in old Louis XV frames so as to easily fit in the traditional interiors of the bourgeoisie. In the United States, where Albert Barnes is one of his clients, Paul Guillaume organizes four exhibitions of Derain in Marie Harriman’s gallery. The relationship between the dealer and the artist was such that Paul Guillaume and his wife Domenica became the subjects of several portraits. In 1934, the dealer who brought André Derain’s career to a golden age, passes away in unusual circumstances. Following his death, André Derain abandons the idea of being represented by an art dealer in Paris, while Pierre Matisse, in the United States, continues to promote his work. The collection amassed throughout Paul Guillaume’s life, reverts to his wife Domenica who, along with her second husband, the architect Jean Walter, embellished it with new works of art while separating from others. In 1977, after Domenica’s death, the collection is acquired by the French state. Named Walter-Guillaume, after Domenica’s two husband, this collection of more than one hundred masterpieces, among which about twenty Derain, can be seen at the Musée de l’Orangerie.
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