1949 Jean Pougny M Knoedler & Co New York Rare Art Gallery Booklet

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Seller: julbeau_8 ✉️ (507) 98.7%, Location: Salem, Massachusetts, US, Ships to: US & many other countries, Item: 355351230039 1949 Jean Pougny M Knoedler & Co New York Rare Art Gallery Booklet.

This rare 1949 booklet showcases the stunning art collection of Jean Pougny at the esteemed Knoedler & Co gallery in New York. With a focus on the artist's works from that year, this catalog provides a valuable glimpse into the past and a must-have for collectors and art enthusiasts alike. The publication year, type, and format of this item are all key aspects for potential buyers looking to

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Ivan Albertovich Puni[1] (Russian: Иван Альбертович Пуни; also known as Jean Pougny; 20 February 1892 – 28 December 1956)[2][3][4] was a Russian avant-garde artist (Suprematist, Cubo-Futurist).


Early life

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Ivan Puni was born in Kuokkala (then Grand Duchy of Finland in the Russian Empire, now Repino in Russia) to a family of Italian origins.[5] He was the grandson of an eminent Italian composer of ballet music, Cesare Pugni. His father, a cellist, insisted that he follow a military career, but Ivan instead decided to take private drawing lessons with Ilya Repin. By 1909, he had his own studio.[1]


Career

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Puni continued his formal training in Paris in 1910–11 at the Académie Julien and other schools, where he painted in a derivative fauviste style. Upon his return to Russia in 1912, he married fellow artist Kseniya Boguslavskaya, and met, and exhibited with, members of the St Petersburg avant-garde, including Kazimir Malevich and Vladimir Tatlin.[1] He made a second trip to Paris in 1914, returning to St. Petersburg in 1915. At this point, he began painting in a Cubist style reminiscent of Juan Gris. In 1915, Puni, (Aleksandra Ekster, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nina Genke and others) formed Supremus, a group of artists dedicated to the promulgation of Suprematism, the abstract art movement founded by Malevich, and first exhibited at the 0,10 Exhibition. Malevich and Puni co-authored the Suprematist Manifesto, published in 1916, which proclaimed a new, abstract art for a new historical era.


Puni also organized the exhibitions Tramway 5 and 0.10, both held in St Petersburg in 1915, in which Malevich, Tatlin, Popova and others participated, and to which Puni contributed constructions, readymades, and paintings.[1] In 1915-1916 Puni, together with other Suprematist artists, worked at Verbovka Village Folk Centre. In 1919, he taught at the Vitebsk Art School under Marc Chagall.[1]


Years of Exile

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Puni and his wife, Kseniya Boguslavskaya, emigrated from Russia in 1919, first to Finland, then in 1920 to Berlin,[1] where the first exhibition consisting entirely of his work was held at the Galerie der Sturm. While in Berlin, Puni also designed costumes and sets for theatrical productions, and published a book criticising Suprematism.[1]


Puni and Boguslavskaya relocated to Paris in 1924,[1] where his style changed once again to a variant of Impressionism. In France, he signed his work as "Jean Pougny", in an effort to distance his new art practice from his previous one in Russia. In 1946, Puni/Pougny became a French citizen. He died in Paris in 1956.


Literature

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Berlinische Galerie, Museumspädagogischer Dienst Berlin (Hrsg.): Iwan Puni. Synthetischer Musiker. Berlin 1992, ISBN 3-87584-438-6

Herman Berninger: Pougny. Jean Pougny (Iwan Puni) 1892–1956. Catalogue de l’Œuvre. E. Wasmuth Verlag, Tübingen 1972, ISBN 3-8030-3000-5

Magdalena Nieslony: Bedingtheit der Malerei. Ivan Puni und die moderne Bildkritik. Berlin 2016, ISBN 978-3-7861-2764-2

Herman Berninger, 0,10 Iwan Puni. Werke Aus Der Sammlung Herman Berninger, Zuerich, Und Fotografien Der Russischen Revolution Aus Der Sammlung Ruth Und Peter Herzog, Basel, 2003, ISBN 3-7165-1308-3

W.E. Gröger, Galerie der Sturm, Iwan Puni, Petersburg, Gemälde, Aquarelle, Zeichnungen, Berlin, Februar 1921

André Salmon, Galerie Barbazanges, Œuvres de J. Pougni et Aquarelles de Xana Bougouslavska, Paris, 18.–30. April 1925

Galerie Jaques Bernheim, 30 Œuvres, Paris, 16.–30. April 1928

Galerie Jeanne Castel, Iwan Puni, Vorwort von Paul Guillaume, Paris, Juni 1933

Galerie Louis Carré, Iwan Puni, Paris, 5. Oktober – 20. Oktober 1943

Galerie de France, Iwan Puni, Vorwort zum Katalog von Charles Estienne, Paris, 3.–31. Mai 1947

Galerie Knoedler, Iwan Puni, New York, 26. März – 16. April, 1949

Adams Gallery, Jean Pougny, Vorwort zum Katalog von Alexander Watts, London, 13. April – 12. Mai 1950

Musée National d’Art Moderne, Rétrospective Pougny, Paris, 24. Januar – 23. Februar 1958

Musée Toulouse - Lautrec, Rétrospective Pougny, Vorwort zum Katalog von Édouard Julien und R.V. Gindertael, Albi, 29. März – 30. April 1958

Exhibitions

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St. Petersburg, Union de la jeunesse, 1911

Paris, Salon des Indépendants, 1914

St. Petersburg, Palais des Beaux Arts, Premiére Exposition Futuriste des Tableaux Tramway V, 1915

St. Petersburg, Galerie Dobytchine, Dernière Exposition Futuriste des Tableaux 0.10, 1915

Berlin, Galerie der Sturm, Iwan Puni, Petersburg, February, 215 Kunstwerke, 1921

Düsseldorf, Erste Internationale Kunstausstellung, 1922

Berlin, Große Berliner Kunstausstellung, Sektion Novembergruppe, 1922

Paris, Salon de Tuileries, 1924

Paris, Salon d'Automne, 1924

Paris, Galerie Barbazanges, Œuvres de J. Pougni et Aquarelles de Xana Bougouslavska, 1925

Brüssel, Palais des Beaux-Arts, Exposition Internationale, 1928

Paris, Galerie Jaques Bernheim, Pougny,1928

Paris, Galerie Jeanne Castel, Iwan Puni, Essay from Paul Guillaume, 1933, Einzelausstellung

Paris, Galerie Charpentier, Salon des Temps Présent, 1934

Paris, Galerie Bernheim Jeune, Exposition des Œuvres des candidates aux Prix Paul Guillaume, 1935

Paris, Exposition Internationale, 1937

Paris, Galerie Louis Carré, Pougny, 1943

Paris, Musée National d'Art Moderne, Exposition Internationale d'Art Moderne organisée pas l'UNESCO, 1946

Paris, Musée de Luxembourg, L'Art francais contemporaine, 1946

Paris, Galerie de France, Pougny, preface from Charles Estienne, 1947

New York, M Knoedler & Co, Jean Pougny, 1949

Paris, Musée National d'Art Moderne, Vente aux Enchéres de Tableaux Modernes, 1950

London, Adams Gallery, Jean Pougny, 1950

Nice, Gallery des Ponchettes, Les Peintres par Témoins de leur Temps, 1953

Turin, Galleria Civica d'Arte Moderna, Peintres d'Aujourd'hui France-Italie, Pougny est invité d'honneur, 1953

Paris, Palais du Louvre, La Demeure Joyeuse - Paul Marrot et ses Amis, 1953

London, Royal Academy, Les Peintres d'aujourd'hui d'Utrillo à Picasso, 1955

Aix-en-Provence, Pavillon de Vendôme, Collection d'un Amateur Parisien (Collection of Madame Marie Cuttoli), 1958

Albi, Musée Toulouse - Lautrec, Rétrospective Pougny, preface from Édouard Julien and R.V. Gindertael, 1958

Zürich, Kunsthaus, Rétrospective Pougny, 247 œuvres, preface from René Wehrli, Gotthard Jedlicka, Werner Weber und R. V. Gindertael, 1960

Amsterdam, Stedelijk Museum, Rétrospective Pougny, 222 œuvres, 1961

Paris, Palais du Louvre, Collections d'Expression Française, 1962

Turin, Galleria Civica d'Arte Moderna, Rétrospective Pougny, 297 œuvres, 1962

Baden-Baden, Staatliche Kunsthalle, Schrift und Bild, Exposition Internationale, 1963

Paris, Bibliothèque Nationale, Rétrospective Pougny, 1964

New York, Metropolitan Museum of Art, Russian Stage and Costume Designs for the Ballet, Opera and Theatre, 1967

London, Royal Academy of Arts, French Painting since 1900 from Private collections in France, 1969

Berlin, Haus am Waldsee, Rétrospective Pougny 100 œuvres, 1975

Leverkusen, Städtisches Museum Schloss Morsbroich, Rétrospective Pougny 100 œuvres, 1975

Venedig, Biennale di Venezia, Ambiente / Arte dal Futurismo alla Body Art, 1977

Paris, Centre Georges Pompidou, Paris - Berlin 1900-1933, Rapports et Contrastes, 1978

Edinburgh, Scottish National Gallery of Modern Art, Libertad Colour and Form: Russian Non-Objective Art 1915-1922, 1978

New York, Solomon R. Guggenheim Museum, The Planar Dimension Europe 1912-1932, 1979

Los Angeles, Los Angeles County Museum of Art, The Avant-Garde in Russia, 1910-1930, New Perspectives, 1980

Moscow, Galerie Tretiakov, Moscow - Paris, 1900–1930, 1981

Frankfurt, Schirn Kunsthalle, Die große Utopie, Die Russische und Sovjet Avantgarde 1915-1932, 1992

Basel, Kunstmuseum, TransForm, BildObjekt Skulptur im 20. Jahrhundert, 1992

Paris, Musée d'Art Moderne de la Ville de Paris, Rétrospective Pougny, 1993

Zürich, Kunsthaus, Chagall, Kandinsky, Malevich & Russian Avantgarde, 1999

Basel, Fondation Beyeler, Auf der Suche nach 0.10, 2015


M. Knoedler & Co. (/ˈnoʊdlər/)[1] was an art dealership in New York City founded in 1846. When it closed in 2011, amid lawsuits for fraud,[2] it was one of the oldest commercial art galleries in the US, having been in operation for 165 years.


Knoedler dated its origin to 1846, when French dealers Goupil & Cie opened a branch in New York. Goupil & Cie was an extremely dynamic print-publishing house founded in Paris in 1827.[4] Michel (later Michael) Knoedler (1823–1878), born in Kapf near Schwäbisch Gmünd in Baden-Württemberg, Germany, started to work for Goupil & Cie in Paris in 1844, and moved to New York in 1852 to take charge of the New York branch.[5] He purchased the U.S. arm of the business in 1857, and was later joined by his sons Roland (1856–1932), Edmond and Charles, with Roland taking the lead after his father's death in 1878.[5]


With dealer Charles Carstairs, Knoedler opened branches in Paris (1895), Pittsburgh (1897), and London (1908),[6] and, under Carstairs' influence developed a reputation as a leading dealer of Old Master paintings, with customers including collectors such as Collis P. Huntington, Cornelius Vanderbilt, Henry O. Havemeyer, William Rockefeller, Walter P. Chrysler Jr., John Jacob Astor, Andrew Mellon, J. P. Morgan, and Henry Clay Frick, and institutions such as the Metropolitan Museum of Art, the Louvre, and the Tate Gallery. Knoedler & Co. became part of an elite group of art dealerships, which dominated the market for British painting in America.[7] Knoedler developed a fruitful relationship with London gallery Colnaghi, with Colnaghi finding suitable paintings in Europe for Knoedler to sell to wealthy collectors in the US. Knoedler and Colnaghi were involved in the secret sales by the Soviet government of works from the Russian Imperial collection in the Hermitage in the 1920s and 1930s, along with Matthiesen in Berlin.


After Roland Knoedler retired in 1928, the management of the firm passed to his nephew Charles Henschel, with Carmen Mesmore, Charles Carstairs and his son Carroll Carstairs. Henschel died in 1956, and E. Coe Kerr and Roland Balay (Michael Knoedler's grandson) took over. The firm was sold to industrialist and collector Armand Hammer for $2.5 million in 1971.[5] Five years later, the last member of the Knoedler family - Roland Balay - ceased his involvement in the management of the firm. It increasingly concentrated on contemporary art from the late 1970s. After Hammer's death in 1990, the Hammer foundation continued to hold a controlling interest in the gallery until it closed in 2011, when Michael Armand Hammer (Armand Hammer's grandson) was its chairman.


The art dealership occupied eight different locations, starting on Broadway. By the 1890s, it operated from a row house at Fifth Avenue and 34th Street. By 1911, the row house was scheduled to be demolished to make way for the B. Altman and Company Building, so Knoedler moved to a new building at 556 Fifth Avenue, designed by Carrère and Hastings.[9] Knoedler then moved to another new building by Carrère and Hastings at 14 East 57th Street, near Madison Avenue, in 1925.[9] In 1970, the firm incurred significant costs in refurbishing new premises in an Italian Renaissance-style town house at 19 East 70th Street.[9]


Knoedler held a 150-year retrospective in 1996, exhibiting works such as John Singleton Copley's Watson and the Shark, Thomas Eakins's Music, and Édouard Manet's The Plum, with loans from 15 institutions, including the Corcoran Gallery of Art, the Metropolitan Museum of Art and the National Gallery of Art, a coup for a commercial gallery.


In February 2011, the gallery sold its premises at 19 East 70th Street for $31 million.[10] In 2012, the gallery attempted to auction a portion of its remaining inventory of artworks.


The gallery's president Ann Freedman[17] resigned in October 2009,[18] amid rumours of forged paintings supplied to the gallery by Long Island art dealer Glafira Rosales.[19][20]


It was later discovered that between 1994 and 2011, under Freedman's direction, the gallery had sold almost 40[21] faked Abstract Expressionist paintings of works by Robert Motherwell, Jackson Pollock, and Mark Rothko, among others.[22] Freedman had purchased the paintings for Knoedler from Glafira Rosales, who had in turn obtained the fake paintings from the art forger Pei-Shen Qian (Chinese: 錢培琛).[23][24] Qian had reportedly painted the forgeries in a garage in Queens, New York.[25] Qian was able to imitate the styles of the masters, and give the paintings an illusion of age by using tea or dirt from a vacuum cleaner, dirtying their appearance.[26] He is reported to have received less than US$9,000 for each painting from Rosales, while Rosales sold the paintings for millions of dollars to Knoedler.[27]


A statement issued on 28 November 2011 by Knoedler stated simply that it was closing permanently for business reasons,[18] unrelated to the lawsuits it faced over the sale of forged paintings.[28]


By 2012, the FBI was investigating "at least two dozen paintings"[29] that were supplied to the gallery by Glafira Rosales. While Rosales initially claimed not to have defrauded anyone,[30][31] in 2013, she pleaded guilty to selling over 60 fake works of art to two New York art galleries, conspiracy to commit money laundering, money laundering and tax evasion,[32] and wire fraud.[33] She served three months in jail.[33] In 2017, Rosales was ordered to pay $81 million to the victims of the Knoedler art-fraud scheme,[33] but received leniency in sentencing due to her cooperation with the US government.[34]


Spanish art dealer José Carlos Bergantiños Díaz (Rosales' boyfriend) and his brother Jesús Ángel Bergantiños Díaz were also indicted in US District Court for the fraud.[35] The Díaz brothers were arrested in Spain,[36] and released on bail, in 2014. In 2016, a Spanish court ruled that Jesús Díaz could be extradited to the US.[37] Later that year, a Spanish court ruled that Jesús' brother, José Díaz, could not be extradited to the US due to health reasons.[38]


The art forger who painted the fakes, Pei-Shen Qian, was indicted but avoided prosecution by fleeing to China.[23] Authorities said at the moment of the trial that he earned sums ranging from several hundred dollars to as much as $9,000 to create a work.[39]


In 2020, filmmaker Barry Avrich directed and produced the Netflix film, Made You Look: A True Story About Fake Art, a documentary on the Knoedler Gallery forgery scandal.[40] Daria Price's feature documentary about the scandal and trial, Driven to Abstraction, premiered in London in 2019.


In 2003, Goldman Sachs executive Jack Levy bought an untitled Jackson Pollock painting for $2 million, but when the International Foundation for Art Research declined to authenticate the work,[5] Levy asked for and received his money back.[42]


Also in 2003 the Springfield Library and Museum Association sued Knoedler for loss of a $3 million painting, Spring Sowing by Jacopo da Ponte (Il Bassano) which Springfield had been obliged to restitute to Italy after the painting was proven to have been war loot.[43]


The day before the gallery closed in November 2011,[18] Belgian hedge-fund manager Pierre Lagrange sued the gallery in relation to the work Untitled 1950, which Knoedler attributed to Jackson Pollock.[28] Lagrange had purchased the painting for $17 million in 2007, on the understanding that it would be included in a supplement to the Pollock catalogue raisonné.[44] It was later claimed[by whom?] that no such supplement was planned; tests later showed that some of the paint used was not available until some years after Pollock's death.[5] The suit was settled out of court in 2012.[45]


In 2012, Domenico De Sole and his wife Eleanore claimed that the gallery sold them a fake Mark Rothko, Untitled 1956, for $8.3 million in 2004.[29] The lawsuit, with Knoedler and Ann Freedman as defendants, went to trial in January 2016. The Soles settled out of court with Freedman on February 7, 2015,[46] but continued their suit against Knoedler.[25]


Wall Street executive John D. Howard sued Knoedler and its former director Ann Freedman in 2012, claiming that a Willem de Kooning painting that he bought for $4 million in 2007 was a fake. The suit was settled out of court in December 2015.[47]


In 2021 the estate of Eugene Thaw reached a settlement agreement with the heirs of Margarete Eisenmann concerning Lucas Cranach the Elder's The Resurrection which had passed through Hugo Perls and the Knoedler Gallery before reaching Thaw.[48] Eisenmann had been deported to Theriesenstandt in September 1942 and killed at the Treblinka concentration camp.

  • Condition: Good
  • Brand: M & M
  • Publication Year: 1949
  • Type: Catalog
  • Format: Booklet

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