55
Henri-Edmond Cross (French, 1856–1910) Léda
1/5
Description
Signed with conjoined letters 'HE CROSS' bottom right, oil on board12 1/4 x 18 15/16 in. (31.1 x 48.1cm)Executed circa 1905.ProvenanceCollection of Ambroise Vollard, Paris (no. 350).Galerie Druet, Paris.Armand Hammer, New York, New York.Christie's, London, sale of July 2, 1974, lot 36. Acquired directly from the above sale.Private Collection.Façade Gallery, New York, New York.Acquired directly from the above in 1986.Collection of Alan I. and Dianne Kay, Bethesda, Maryland.The Estate of Alan I. and Dianne Kay, Bethesda, Maryland.Exhibited"The Armand Hammer Collection," Brooks Memorial Art Gallery, Memphis, Tennessee, October 2-December 30, 1969, no. 56."Hammer Galleries, 50th Anniversary Southern Exhibition," High Point Theater and Exhibition Center, High Point, North Carolina, July 23-August 20, 1978.The Mint Museum, Charlotte, North Carolina, August 27-September 17, 1978.Federal Reserve Bank of Richmond, Richmond, Virginia, September 26-October 15, 1978, no. 14 (as Leda and the Swan).NoteWe wish to thank Mr. Patrick Offenstadt for confirming the authenticity of the present work, which will be included as no. 315 (p. 347) in the upcoming Catalogue Raisonné of the Artist's work. The present lot will also be accompanied by a copy of the original Letter of Authenticity by André Schoeller, dated May 13, 1986.The Impressionist movement was born in rebellion against the official Academic movement, which championed religious and mythological art. Instead, the Impressionists chose to depict everyday life, and to focus on the ephemerality of light and its effects on colors and shapes. As such, mythology and Impressionism are not notions that necessarily pair well with eachother. The Impressionists almost never depicted episodes derived from ancient mythology, which they considered as an attribute of their academic rivals; a resolutely anti-modern theme. However, such a trend gradually disappeared at the turn of the 20th century, firstly through masters of the early Impressionist movement, Pierre-Auguste Renoir and Berthe Morisot (two lovers of 18th century Rococo art), later continuing with the Post Neo-ImpressionistsPaul SignacandHenri-Edmond Cross, whose present painting, inspired by the myth of Leda and the Swan, embodies a shift in the precepts of the Impressionist movement.Executed in 1905, the oil depicts the beautifully naked Leda languishing on a boat which a white swancasuallyapproaches. The bird is in fact Zeus, who transformed his physical appearance to casually seduce the princess. Without knowing the painting’s title, it is difficult to identify the scene, as it is strippedfromany explicit mythological reference, and set in modern times. The swan itself does not seem very engaging with Leda: its back is turned to the viewer, about to veer off. Cross in fact uses the pretext of the myth to push through the inherent limits associated with Impressionism. He invents a new world where the fantastic mixes with the naturalistic, in which Leda and Zeus morph into an anonymous nude and a passing animal, both bathed in a warm and refracted light, characteristic of Cross's divisionist style from 1900 onwards.The work is a vibrant example of Cross’ pointillist technique and luminous artistry, and beautifully illustrates the artist’s ongoing exploration of light and color. The contrasting, yet harmonious hues are spread across the board in small ellipses of paint. The dappling shadows of the trees on the other bend of the river balance the shimmering haze of greens, turquoise and pinks in the foreground. The scene channels the warm light and peaceful atmosphere of the South of France, where the artist and his wife moved at the turn of the century in search of new inspiration. It also reflects the artist’s new pictorial ideals at the time, as such bright and pure touches of color were not necessarily observed first-hand by Cross. Here, the artist departs from a strictly naturalistic observation of nature and focuses on the harmony of light and color instead, to capture its total intensity. As Isabelle Compin, Cross’ biographer, explains: “Cross, now believing that the effects of light could not be rendered with accuracy in painting, chose instead to suggest light’s intensity and to emphasize its ability to harmonize or unify differing compositional elements.”Mythology allowed Cross to explore such chromatic explorations without being constricted by a realistic subject. It also provided the artist with an elegant, refined and graceful iconography, which integrated itself perfectly within his colorful world. It came naturally to Cross, who confessed in 1905 to his friend Théo van Rysselberghe: "...On the rocks, on the sand of the beaches, nymphs and naiads appear to me, a whole world born of beautiful light.” He was also not the only one to channel such mythological references. Around that time, Paul Signac himself worked on integrating harmony into his compositions, and often used arcadian subjects, such as nymphs or goddesses, to that effect (see In the Time of Harmony). In doing so, Cross and Signac suggested a cohesion between man and nature, and rekindled the idea of a new Eden, hermetic to industrialization and the modern world - a measured idealism which, at the sight of the present oil, forces us to pause in our ever so active and hectic life to contemplate beauty around us.Once in the collection of famousart dealerAmbroise Vollard, this mosaic jewel is making its first reappearance on the market for more than thirty years. To receive additional images or for any other information, please email Raphael Chatroux at rchatroux@freemansauction.comFrame: 22 x 28 x 3 1/2 in.
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
Signed with conjoined letters 'HE CROSS' bottom right, oil on board12 1/4 x 18 15/16 in. (31.1 x 48.1cm)Executed circa 1905.ProvenanceCollection of Ambroise Vollard, Paris (no. 350).Galerie Druet, Paris.Armand Hammer, New York, New York.Christie's, London, sale of July 2, 1974, lot 36. Acquired directly from the above sale.Private Collection.Façade Gallery, New York, New York.Acquired directly from the above in 1986.Collection of Alan I. and Dianne Kay, Bethesda, Maryland.The Estate of Alan I. and Dianne Kay, Bethesda, Maryland.Exhibited"The Armand Hammer Collection," Brooks Memorial Art Gallery, Memphis, Tennessee, October 2-December 30, 1969, no. 56."Hammer Galleries, 50th Anniversary Southern Exhibition," High Point Theater and Exhibition Center, High Point, North Carolina, July 23-August 20, 1978.The Mint Museum, Charlotte, North Carolina, August 27-September 17, 1978.Federal Reserve Bank of Richmond, Richmond, Virginia, September 26-October 15, 1978, no. 14 (as Leda and the Swan).NoteWe wish to thank Mr. Patrick Offenstadt for confirming the authenticity of the present work, which will be included as no. 315 (p. 347) in the upcoming Catalogue Raisonné of the Artist's work. The present lot will also be accompanied by a copy of the original Letter of Authenticity by André Schoeller, dated May 13, 1986.The Impressionist movement was born in rebellion against the official Academic movement, which championed religious and mythological art. Instead, the Impressionists chose to depict everyday life, and to focus on the ephemerality of light and its effects on colors and shapes. As such, mythology and Impressionism are not notions that necessarily pair well with eachother. The Impressionists almost never depicted episodes derived from ancient mythology, which they considered as an attribute of their academic rivals; a resolutely anti-modern theme. However, such a trend gradually disappeared at the turn of the 20th century, firstly through masters of the early Impressionist movement, Pierre-Auguste Renoir and Berthe Morisot (two lovers of 18th century Rococo art), later continuing with the Post Neo-ImpressionistsPaul SignacandHenri-Edmond Cross, whose present painting, inspired by the myth of Leda and the Swan, embodies a shift in the precepts of the Impressionist movement.Executed in 1905, the oil depicts the beautifully naked Leda languishing on a boat which a white swancasuallyapproaches. The bird is in fact Zeus, who transformed his physical appearance to casually seduce the princess. Without knowing the painting’s title, it is difficult to identify the scene, as it is strippedfromany explicit mythological reference, and set in modern times. The swan itself does not seem very engaging with Leda: its back is turned to the viewer, about to veer off. Cross in fact uses the pretext of the myth to push through the inherent limits associated with Impressionism. He invents a new world where the fantastic mixes with the naturalistic, in which Leda and Zeus morph into an anonymous nude and a passing animal, both bathed in a warm and refracted light, characteristic of Cross's divisionist style from 1900 onwards.The work is a vibrant example of Cross’ pointillist technique and luminous artistry, and beautifully illustrates the artist’s ongoing exploration of light and color. The contrasting, yet harmonious hues are spread across the board in small ellipses of paint. The dappling shadows of the trees on the other bend of the river balance the shimmering haze of greens, turquoise and pinks in the foreground. The scene channels the warm light and peaceful atmosphere of the South of France, where the artist and his wife moved at the turn of the century in search of new inspiration. It also reflects the artist’s new pictorial ideals at the time, as such bright and pure touches of color were not necessarily observed first-hand by Cross. Here, the artist departs from a strictly naturalistic observation of nature and focuses on the harmony of light and color instead, to capture its total intensity. As Isabelle Compin, Cross’ biographer, explains: “Cross, now believing that the effects of light could not be rendered with accuracy in painting, chose instead to suggest light’s intensity and to emphasize its ability to harmonize or unify differing compositional elements.”Mythology allowed Cross to explore such chromatic explorations without being constricted by a realistic subject. It also provided the artist with an elegant, refined and graceful iconography, which integrated itself perfectly within his colorful world. It came naturally to Cross, who confessed in 1905 to his friend Théo van Rysselberghe: "...On the rocks, on the sand of the beaches, nymphs and naiads appear to me, a whole world born of beautiful light.” He was also not the only one to channel such mythological references. Around that time, Paul Signac himself worked on integrating harmony into his compositions, and often used arcadian subjects, such as nymphs or goddesses, to that effect (see In the Time of Harmony). In doing so, Cross and Signac suggested a cohesion between man and nature, and rekindled the idea of a new Eden, hermetic to industrialization and the modern world - a measured idealism which, at the sight of the present oil, forces us to pause in our ever so active and hectic life to contemplate beauty around us.Once in the collection of famousart dealerAmbroise Vollard, this mosaic jewel is making its first reappearance on the market for more than thirty years. To receive additional images or for any other information, please email Raphael Chatroux at rchatroux@freemansauction.comFrame: 22 x 28 x 3 1/2 in.
The Legacy of Merrywood: The Estate of Alan I and Dianne Kay
Sale Date(s)
Lots: 1-77
Venue Address
2400 Market St
Philadelphia
Pennsylvania
19103
United States
You will be emailed an invoice for the total amount of your purchases. This amount will include the hammer price, the buyer's premium as well as any applicable taxes. Payment is due within ten (10) days of the sale. You will also receive payment and shipment instructions along with a list of preferred shippers we work with during the Covid-19 pandemic.
For more details about your payment options please email our Client Services Team.
As a result of the current coronavirus situation, please be aware that delivery and shipments of property will be delayed. During the delays, we will store your property free of charge. Successful buyers should use the below portal to schedule an appointment with Megan Latona.
https://calendly.com/freemansauction/30-minute-pick-up-drop-off
Important Information
Terms & Conditions
1. All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.1. Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.2. Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale.3. As a result of the Covid-19 Pandemic, in person inspections of the Property are available by appointment only and therefore, Freeman’s has also made available to the Buyer the opportunity to (a) view the lot online at freemansauction. com and to view the auction’s e-catalogue, (b) submit a request for a condition report either through the online lot listing or by contacting the specialist directly and (c) have a virtual consultation with the specialist. Buyer acknowledges that it has had the right to take advantage of the aforementioned inspections prior to the sale to determine the condition, size, repair or restoration of any Property. Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “AS-IS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property.4. Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.5. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots.6. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects.7. If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.8. Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require.9. No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a third-party storage facility, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 2% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code.10. Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest.11. No “buy” bids shall be accepted at any time for any purpose.12. Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.13. payable by the buyer as part of the total purchase price A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 26% on the first $600,000 of the hammer price of each lot, 21% on the portion from $600,001 through $4,000,000 and 15% thereafter.
21% 14. Third-Party Internet Bidding Services (a) Third Party Bidding Platforms. We engage third party online bidding platforms to collect or facilitate auction bids (“Bidding Platforms”), each of which levy a fee for their services, and have their own rules on fees and how to bid and buy online using these Bidding Platforms. Freeman’s has no control over, and assumes no responsibility for, the content, privacy policies, or practices of any Bidding Platforms. Your dealings with Bidding Platforms are solely between you and such Bidding Platforms. We encourage you to be aware of, and to read, the terms and conditions and privacy policy of any Bidding Platforms that you visit. You expressly release Freeman’s from any and all liability arising from your use of any Bidding Platform or other third-party website or service. (b) Waiver. Absentee Bids left with Bidding Platforms are released to Freeman’s when a lot comes up for sale. UNDER NO CIRCUMSTANCES, INCLUDING, BUT NOT LIMITED TO, NEGLIGENCE, WILL WE AND OUR SELLERS BE LIABLE FOR ANY DAMAGES, LOST PROFITS OR ANY SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES THAT RESULT FROM THE USE OF, OR THE INABILITY TO USE, THESE BIDDING PLATFORMS. 15. Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state.All purchases made at Freeman’s, therefore, will be subject to the Pennsylvania State and Local sales tax--currently at a combined rate of 8%, which is applied to the hammer price plus buyer’s premium--unless the successful buyer submits the required tax exemption documentation. Those seeking exemption from sales tax must provide a valid certificate to Freeman’s prior to outgoing shipment.In accordance with Pennsylvania State law, if Freeman’s or the buyer arranges for a lot/s to be shipped outside of Pennsylvania through an independent, third-party shipping company, Freeman’s must collect Pennsylvania sales tax on the lot/s irrespective of the property’s final destination. If the item is first delivered to any hired service provider (e.g. restorer, storage facility, etc.) located in Pennsylvania, Pennsylvania sales tax will still be applicable and invoiced, even if the lot will ultimately be shipped out-of-state.16. Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer.17. In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid.18. No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion.19. These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.
