Koller View 4/21

11 Preview of the Impressionist & Modern Art auction on 3 December 2021 Shapes and Colours fromNature 1 Gustave Loiseau (1865–1935). Bord de la rivière, la Seine à Porte-Joie. Circa 1901. Oil on canvas. 54 × 65 cm. Estimate: CHF 70 000/120 000 2 A brahamManievich (1881–1942). Through the trees (Fairy Park). 1919. Oil on canvas. 84 × 89 cm. Estimate: CHF 80 000/120 000 3 Paul Klee (1879–1940). Kleine Gartenecke. 1931. Oil and wax colours on paper on artist’s board. 16.5 × 14 cm. Estimate: CHF 100 000/150 000 FOR FURTHER INFORMATION IMPRESSIONIST & MODERN ART Jara Koller jara.koller@kollerauctions.com ONLINE CATALOGUES www.kollerauctions.com 2 In early 1895 Gustave Loiseau moved to Moret-sur- Loing, where Alfred Sisley had settled six years earlier. Inspired by the idyllic landscapes of the Île-de-France south of Paris, he created vibrant paintings en plein air. Loiseau enjoyed travelling to rural areas, including the small villages of Tournedos-sur-Seine and Porte-Joie north of the capital, where he created the landscape offered in our 3 December auction (ill. 1). Through the trees (Fairy Park)’ (ill. 2) is an excellent early work by the Russian-Ukrainian painter Abra- ham Manievich. His talent was already recognised in Russia during the 1910s; Manievich also enjoyed his first international successes at that time. He paint- ed this landscape in 1919, shortly before emigrating to the US. The elegant, complex weave of branches is a characteristic compositional device found in his most important works. ‘Through the trees’ remained in Manievich’s possession until his death, and later be- longed to his daughter. Nature is also a central theme in Paul Klee’s work. Even as a young boy, he was drawn to the world of plants with their infinite variety of shapes and colours. From an early age he gardened, sowing seeds and planting bulbs. He collected flowers and leaves, dried and stud- ied them, and mounted them in an herbarium. Painted in the impasto technique, ‘Kleine Gartenecke’ (Small Garden Corner), 1931 (ill. 3), bears eloquent witness to Klee’s passion for plants. 3