NEW YORK, NY.- Dickinson is participating in the inaugural TEFAF New York, taking place from 21-26 October, where they are showcasing a range of Old Master, Impressionist and classical Modern paintings, drawings and sculptures. The highlight of their stand is Gustave Caillebotte’s Voiliers sur la Seine à Argenteuil, executed in 1886, a celebration of the artist’s passion for yachting. Caillebotte’s paintings of sailboats were never exhibited during his lifetime and rarely come onto the market, making Voiliers sur la Seine à Argenteuil – hidden in a private collection for nearly half a century – a remarkable opportunity for collectors.

Caillebotte remains one of the less widely-known members of the Impressionist group, liberated from any obligation to sell his work during his lifetime by his wealth and status as a gentleman. His paintings of sailboats on the Seine near his home at Petit Gennevilliers, across the river from Argenteuil, were among his most personal, combining as they did his love of painting and sailing. The boat featured here was one of several designed and raced by Caillebotte himself, and its name, ‘Cul-blanc’, is a humorous reference to the craft’s white hull. The existence of pin-holes along the edges of the canvas, faintly but clearly visible, are a strong indication that the work was executed en plein air, and it remains affixed to its original stretcher. Its rare, unlined state preserves the remarkable passages of impasto, particularly evident in the flickering, broken reflections on the water in the foreground.

Among the other Impressionist works on show is Camille Pissarro’s La Route d’Osny, painted in 1883 and acquired by the great dealer Paul Durand-Ruel the same year; the Durand-Ruel family kept it for over 60 years. This picture hangs alongside Van Gogh’s Le Moulin d’Alphonse Daudet à Fontvieille, executed near Arles in June 1888, a fresh and spontaneous view in reed pen and vibrant watercolour. In collaboration with the Van Gogh Museum in Amsterdam, the gallery has identified early inventory inscriptions on the verso and added to existing Van Gogh scholarship. Dickinson is also showing Juan Gris’s 1916 Nature Morte, a remarkable still life by one of the pioneers of Cubism alongside Picasso and Braque, and a lifetime cast of Rodin’s iconic The Kiss.

Among the Old Masters on view is a recently rediscovered Madonna and Child with Saint John by Sir Anthony van Dyck, which has descended in the same family since the ancestor of the present owner purchased it on his Grand Tour in Rome in 1775. Its fresh colouring, long hidden under an old varnish, and painterly brushwork highlight Van Dyck’s fascination with Titian. Exhibited nearby are an an atmospheric late watercolour by Turner; a luminous, signed and dated still life on copper by Roelandt Savery; and a marble relief of The Resurrection of Christ from circa 1553 by Pierino da Vinci, the nephew of Leonardo and pupil of Michelangelo, among others.

The Caillebotte, Gris and Van Dyck are featured in short videos available on www.simondickinson.com; and the Caillebotte, Gris and Van Gogh are the subjects of dedicated scholarly brochures.