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Lot 804
Mogens Ballin (1871-1914)
Paysage (recto; verso)
Fermé25 October 2023
Prix réalisé
EUR 5,040
Plus d'informations
Mogens Ballin (1871-1914)
Paysage (recto; verso)
graphite (recto); aquarelle et graphite (verso) sur papier
31.4 x 21.8 cm.
Exécuté vers 1892
pencil (recto); watercolour and pencil (verso) on paper
12 3⁄8 x 8 ½ in.
Executed circa 1892
Paysage (recto; verso)
graphite (recto); aquarelle et graphite (verso) sur papier
31.4 x 21.8 cm.
Exécuté vers 1892
pencil (recto); watercolour and pencil (verso) on paper
12 3⁄8 x 8 ½ in.
Executed circa 1892
Mogens Ballin (1871-1914)
Paysage (recto; verso)
graphite (recto); aquarelle et graphite (verso) sur papier
31.4 x 21.8 cm.
Exécuté vers 1892
pencil (recto); watercolour and pencil (verso) on paper
12 3⁄8 x 8 ½ in.
Executed circa 1892
Paysage (recto; verso)
graphite (recto); aquarelle et graphite (verso) sur papier
31.4 x 21.8 cm.
Exécuté vers 1892
pencil (recto); watercolour and pencil (verso) on paper
12 3⁄8 x 8 ½ in.
Executed circa 1892
Samuel Josefowitz, Pully (avant 1988).
Puis par descendance au propriétaire actuel.
Puis par descendance au propriétaire actuel.
New Brunswick, Zimmerli Art Museum, The Nabis and the Parisian Avant-Garde, décembre 1988-février 1989, p. 139, no. 1 (illustré, p. 87, fig. 107).
Sydney, Art Gallery of New South Wales, Gauguin and the Pont-Aven School, mai-juillet 1994, pp. 54 et 218, no. 26 (illustré en couleurs, p. 55).
Indianapolis, Indianapolis Museum of Art; Baltimore, The Walters Art Gallery; Montréal, The Montreal Museum of Fine Arts; Memphis, The Dixon Gallery and Gardens; San Diego, San Diego Museum of Art; Portland, Portland Art Museum; Boston, Museum of Fine Arts et Jérusalem, The Israel Museum, Gauguin and the School of Pont-Aven, septembre 1994-janvier 1997, p. 57, no. 26 (illustré en couleurs).
Sydney, Art Gallery of New South Wales, Gauguin and the Pont-Aven School, mai-juillet 1994, pp. 54 et 218, no. 26 (illustré en couleurs, p. 55).
Indianapolis, Indianapolis Museum of Art; Baltimore, The Walters Art Gallery; Montréal, The Montreal Museum of Fine Arts; Memphis, The Dixon Gallery and Gardens; San Diego, San Diego Museum of Art; Portland, Portland Art Museum; Boston, Museum of Fine Arts et Jérusalem, The Israel Museum, Gauguin and the School of Pont-Aven, septembre 1994-janvier 1997, p. 57, no. 26 (illustré en couleurs).
« Un soir j’allai dans un bal public, le 'bal Bullier' au Quartier Latin. Que le lecteur s’imagine lui-même cette arène de plaisir s’il le juge nécessaire […] Comme je passais à travers les couples de danseurs, mon regard s’arrêta sur un banc où un jeune homme était assis solitaire. […] c’était le danois Mogens Ballin dont j’avais fait connaissance au banquet Gauguin. Mogens Ballin était un fort bel homme ; bien bâti, de taille normale, avec sa barbe noire, ses yeux foncés, ses lèvres pleines, son nez un peu épais mais de lignes hardies, il ressemblait à un roi chaldéens tel qu’on les voit sur les reliefs assyriens. […] je revis Ballin ; c’était le soir du 4 avril 1891, lorsque Gauguin s’embarqua pour Tahiti. Quelques amis seulement étaient venus à la gare de Lyon. En dehors de Ballin, je me souviens encore de Sérusier, de Charles Morice et d’un autre littérateur. L’adieu fut bref et émouvant. Après nous avoir embrassés, Gauguin disparut dans l’express. Il était visiblement ému. »
Jan Verkade, Le Tourment de Dieu, Paris, 1923, p. 91-92.
"One evening I went to a public ball, the 'bal Bullier' in the Quartier Latin. Let the reader imagine this arena of pleasure for himself if he thinks it necessary [...] As I passed through the couples of dancers, my gaze came to rest on a bench where a young man was sitting alone. [...] It was the Dane Mogens Ballin, whom I had met at Gauguin's banquet. Mogens Ballin was a very handsome man; well built, of normal height, with his black beard, his dark eyes, his full lips, his nose a little thick but with bold lines, he resembled a Chaldean king such as one sees on Assyrian reliefs. [...] I saw Ballin again; it was the evening of 4 April 1891, when Gauguin set sail for Tahiti. Only a few friends had come to the Gare de Lyon. Apart from Ballin, I still remember Sérusier, Charles Morice and another writer. The farewell was brief and moving. After embracing us, Gauguin disappeared into the express. He was visibly moved. J
an Verkade, Le Tourment de Dieu, Paris, 1923, pp. 91-92.
Jan Verkade, Le Tourment de Dieu, Paris, 1923, p. 91-92.
"One evening I went to a public ball, the 'bal Bullier' in the Quartier Latin. Let the reader imagine this arena of pleasure for himself if he thinks it necessary [...] As I passed through the couples of dancers, my gaze came to rest on a bench where a young man was sitting alone. [...] It was the Dane Mogens Ballin, whom I had met at Gauguin's banquet. Mogens Ballin was a very handsome man; well built, of normal height, with his black beard, his dark eyes, his full lips, his nose a little thick but with bold lines, he resembled a Chaldean king such as one sees on Assyrian reliefs. [...] I saw Ballin again; it was the evening of 4 April 1891, when Gauguin set sail for Tahiti. Only a few friends had come to the Gare de Lyon. Apart from Ballin, I still remember Sérusier, Charles Morice and another writer. The farewell was brief and moving. After embracing us, Gauguin disappeared into the express. He was visibly moved. J
an Verkade, Le Tourment de Dieu, Paris, 1923, pp. 91-92.
Veuillez noter que, contrairement à ce qui a été indiqué dans le catalogue imprimé, le paragraphe H1 des Conditions de vente (droit de rétractation) ne s’applique pas à ce lot.
Please note that, contrary to what was stated in the printed catalogue, paragraph H1 of the Conditions of Sale (Right to Cancel) does not apply to this lot.
Please note that, contrary to what was stated in the printed catalogue, paragraph H1 of the Conditions of Sale (Right to Cancel) does not apply to this lot.