gazette international 24

GazetteDrouotI N T E R N A T I O N A L

NUMBER 24

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15, rue de Miromesnil - 75008 ParisTél.: +33 (0) 1 47 63 06 14 - email: [email protected]

www.galeriedil.com

GALERIE DIL

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Marc Boumendil

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AUCTIONHôtel Drouot, room 14, 1:30 pm

PUBLIC EXHIBITIONHôtel Drouot, room 14Thursday 11 April from 11 am to 6 pmFriday 12 April from 11 am to 12 pm

1. Albert LEBOURG (1849-1928)Moulins à OverschiWater-colourSigned, situated at Overschi, dated «August 1896»on the lower left35.6 x 53.8 cm

2. Maurice de VLAMINCK (1876-1958)Vase de fleurs, 1905-1906Oil on canvas, signed on the lower left46.7 x 38.3 cm (detail)

3. Pierre BONNARD (1867-1947)VillageWater-colour and gouacheSigned on lower right23.2 x 30.8 cm

4. Francisco BORES (1898-1972)Raisins et verre de vinOil on canvasSigned and dated 57 on the lower right54 x 65 cm

5. Jacques VILLON (1875-1963)Cour de ferme au pigeonnierOil on canvasSigned and dated 52 on the lower right, titled,redated, re signed on the back38.5 x 55 cm (detail)

FREE AND CONFIDENTIAL VALUATIONS

Henri-Pierre TEISSÈDREDelphine de COURTRYJames FATTORI

5, rue Drouot 75009 ParisTél. : +33 (0)1 53 34 10 10Fax : +33 (0)1 53 34 10 [email protected] — www.piasa.fr

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CATALOGUE EN LIGNEET ENCHÈRES SUR WWW.PIASA.FRCatalogue sur demande : 15 €

RENSEIGNEMENTS CHEZ PIASA Clémence Bléas (art moderne)Tél. : +33 (0)1 53 34 12 [email protected]

Alix de Saint Hilaire (dessins ancienTél. : +33 (0)1 53 34 10 [email protected]

EXPERTSCabinet de BayserThierry PicardElizabeth MarechauxCabinet Brun-Perazonne

Jean-Auguste-Dominique INGRES (Montauban 1780 – Paris 1867)Jenny de LavaletteCrayon noir30 x 25 cmSigné et daté en bas à gauche : « A. J. Ingres à /Monsieur Thevenin. / Delin rome 1817 »

DessiNs aNcieNs

TableaUX, dessinset sculptuRedes XIXe et XXe siècles

Vendredi 12 avril 20

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OLD MASTER DRAWINGS

PAINTINGS,DRAWINGSAND SCULPTURESFROM THE 19THAND 20TH CENTURIES

Friday 12 April 2013

EXPERTSCabinet de BayserThierry PicardElizabeth MaréchauxCabinet Brun-Perazonne

INFORMATION FROM PIASAClémence Bléas (modern art)Tel. : +33 (0)1 53 34 12 [email protected]

Alix de Saint Hilaire (old master drawings)Tel. : +33 (0)1 53 34 10 [email protected]

ONLINE CATALOGUEAND AUCTIONSAT WWW.PIASA.FR

Catalogue by request : € 15

Jean-Auguste-Dominique INGRES(Montauban 1780 – Paris 1867)Jenny de LavaletteLead pencil30 x 25 cmSigned and dated on the lower left : « A. J. Ingres à /Monsieur Thevenin. / Delin rome 1817 »

www.thierrydemaigret.com - [email protected] of voluntary sales by public auction - Agreement n° 2002 - 280

Rare pair of flintlockpistols from Tula Arsenal, work attributed to Ivan Lialin. Imperial Russia, around1790/1801

Expert :Bernard CROISSYTel. + 33 6 07 64 29 15Fax : + 33 1 47 88 60 [email protected]

PUBLIC EXHIBITION:Wednesday 17 April from 11am to 6pmThursday 18 April from 11am to 12pm(only for the lots from the first sale)

Friday 19 April from 11am to 12pm

Catalogue €30, available for consultationat www.thierrydemaigret.com

Contact: Juliette Blondeau,[email protected]

Thursday 18 and Friday 19 April at 1:30 pm - Hôtel Drouot - Room 1

ANTIQUE ARMS - HISTORICAL SOUVENIRS - DECORATIONS





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SVVn°2002-189

Alfred Janniot

www.rouillac.com

A unique collection, and unknown until the present day,from the property « la Thébaïde ».

« The Three Graces » in a set of 45 sculptures

in park, works of Janniot.

+33 (0)2 54 80 24 24

ChevernyAuction at the Château de

since 1989

Sunday, June 9th, 2013

THE MAGAZINE CONTENTS

CONTENTSART MARKET - MAGAZINE

RESULTS Bids in March pay tribute to 19th

century painting, jewellery,books and Chinese art....

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UPCOMINGIn April, sales of drawings flourishwith a little help from the Salon duDessin in Paris. Here is a selection ofthe best pieces of the moment, not to mention key dates in the seasonlike the sales of Katsina and pre-Columbian art collections at Drouot…

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CONTENTS THE MAGAZINE

ART FAIRTEFAF 2013 report: the world's most famous non-specialist art fair suffers from bad weather this year.

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EVENTSpring is the season for drawings in Paris. The Salon du Dessin at the Palais Brongniartis an unmissable event for collectors andprofessionals from all over the world.

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EXHIBITIONS The first major retrospective of an auction room

star since the 1980 show in New York, the Eileen Gray exhibition at the Centre Pompidou

in Paris, fulfils all its promises.

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From left to right EVENT © RMN-Grand Palais/Daniel Arnaudet - ART FAIR © Loraine Bodewes - EXHIBITIONS © Centre Pompidou / photo Jean-Claude Planchet

Editorial Director Olivier Lange I Editor-in-chief Gilles-François Picard I Editorial Manager Stéphanie Perris-Delmas ([email protected]) I Distribution Director Dominique VidementGraphic Design Sébastien Courau I Layout-artist Nadège Zeglil ([email protected]) I Sales Department Karine Saison([email protected]) I Internet Manager Christopher PourtaléRealization Webpublication I The following have participated in this issue: Sylvain Alliod, Polly Brock, Anne Foster, Chantal Humbert, Xavier Narbaïts, Geneviève Nevejan, Claire Papon, Zaha Redman, Sophie ReyssatTranslation and proofreading: 4T Traduction & Interprétariat, a Telelingua Company 93181 Montreuil. Technicis Corporate Translation Services 92100 Boullogne-Billancourt I La Gazette Drouot 10, rue du Faubourg-Montmartre, 75009 Paris, France Tél. : +33 (0)1 47 70 93 00 - [email protected]. This issue of La Gazette Drouot is a publication of @uctionspress. All rights reserved. It is forbidden to place any of the information,advertisements or comments contained in this issue on a network or to reproduce same in any form, in whole or in part, without the prior consent of @uctionspress. © ADAGP, Paris 2013, for the works of its members.

PRICES INCLUDE BUYER’S PREMIUM

The art market is not simply a matter of dispassionate records – it also

has a wealth of fascinating stories. Like the truly extraordinary adven-

ture that befell an enthusiast, who wishes to remain anonymous, we

are told. For the tidy little sum of $2.22 M, our hero of the hour sold a

bowl he had picked up in a yard sale nearly six years ago, closing the

deal for a mere three dollars. This infinitely elegant piece of tableware

turned out to be a Chinese piece from the Song dynasty: the only other

example of its kind is in the British Museum in London. But happy ends

like this are not as uncommon as all that, and though they may not all

attain such dizzy heights, they make the art economy a sector where

you can still dream on. So let's not deny ourselves the pleasure! Stéphanie Perris-DelmasEDITORIAL MANAGER

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THE MAGAZINE EDITORIAL

SO USEFULgazette-drouot.com the benchmark site for auctions of cultural items including

sale dates and digital catalogues drouotlive.com bid online in real time

drouot.com all the news from Drouot and daily tours in pictures of the

auction rooms mobile.gazette-drouot.com sales schedule in your pocket

drouotonline.com buy exclusively online moniteur.net No . 1 for public auctions

of industrial goods and equipment

International Auctionneers and Valuers - bonhams.com/paris

THE MAGAZINE NEWS IN BRIEF

“The Archer Station to Stationtour 1976”, Photographby John Rowlands.

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790,090The exhibition at the Centre Pompidou in Paris devoted toSalvador Dalì closed on 25 March, after welcoming 790 090visitors. A success that had nothing Surrealistic about it "David Bowie is"

As though it needed to, theVictoria & Albert Museum inLondon is asserting the topica-lity of its programme with anexhibition dedicated to DavidBowie. On show until 11 August,with "The Next Day" on its iPodplaylist. www.vam.ac.uk

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NEWS IN BRIEF THE MAGAZINE

OpeningYallay Space is the new Hong Kong gallery opened in the Andersen district by Jean Marc Decrop and Fabio Rossi,and dedicated to contemporary Asian and Middle Easternartists. For its April programme, it is presenting the worksof eight Chinese artists of the new generation.www.yallay.net

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Princess Dianais still turning heads. Ten of her

dresses sold on 19 March by theBritish auction house Kerry Taylor

Auctions fetched £800,000, including£240,000 alone for one by Victor Edel-

stein, which the princess wore at thefamous White House dinner on 9

November 1985. That evening, Dianadanced with John Travolta to a song

by the Bee Gees.

€100,000This is the value of the violin belonging to Wallace Hartley, the bandleader on the Titanic. It was found in an attic inEngland 101 years after the wreck of the "unsinkable" ship. It had been recovered by the Mackay-Bennett a few days afterwards, and returned to the musician's fiancée. After her death, it was given to the Salvation Army.

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THE MAGAZINE UPCOMING AUCTIONS

18 GAZETTE DROUOT INTERNATIONAL I N° 24

France

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3 AprilWild creatureBorn in Stockholm into a family originally from Germany, Johan Tobias was only 18 when he left for Paris, following his teacher, the French sculptor Pierre-Hubert Larchevêque, after studying in his workshop. The young man returnedhome imbued with Classical ideals, and soon began work on the construction of the royal castle in Stockholm. Oncemore leaving his native country, Sergel made the obligatory trip to Rome, with a watchword he adhered to throughoutthe eleven years he eventually spent in Italy (1767 to 1778): "Antiquity in the daytime; the study of nature at night." His Faun (1770-1774), marking the first appearance of Neoclassicism in European sculpture, brought him internationalrecognition. Showered with honours in Stockholm, Paris and London alike, Sergel – the bon vivant, the anticlerical, thelibertine – revealed in his drawings the face of a man beset by death and tormented by his fantasies . His terracottas arefull of vigour and movement, like this group being sold on 3 April by Millon auction house. Claire Papon

Attributed to Johan Tobias Sergel(1740-1814): terracotta groupof a centaur wearing a lionskin on itsback, resting on a base imitating rocks.18th century, 33.5 x 40.5 cm. Estimate: €120,000/150,000.

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UPCOMING AUCTIONS THE MAGAZINE

5 AprilThis work, produced at the height of eclecticism,is one of profound originality. Its creator, thesculptor Christophe Fratin, is mainly known for hisanimal subjects: a path clearly influenced by a taxidermist father, as well as a possible period inGéricault's studio after studying with Charles-Augustin Pioche in his native city, Metz. As from1831, when he first participated in the Salon, he met with resounding success, critics oftenreferring to him as Barye's "formidable rival".Fratin's equestrian subjects and wild anddomestic animals also garnered him internationalrecognition, notably a medal in 1851 at the GreatExhibition in London, while the oldest statuelisted in a New York public garden is a bronzeproof of his group "Two Eagles Guarding TheirPrey", erected in Central Park in 1863. He was alsoactive in the decorative arts. The clock and cande-labra set here marvellously illustrates his excel-lence in this area, then in the most unbridledthroes of eclecticism. Yet there is not the slightesttrace of historicism in this set. The only referenceis nature, treated within the limits permittedby the exercise of "the beautiful within theuseful", in the most naturalistic manner. It will be up for sale on 5 April at the saleof the Aguttes auction house(€12,000/18,000). Sylvain Alliod

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6 AprilFormer Félix Gérard collectionIn its sale on 6 April, the Avignon auction house is dispersing three paintings from the Former Félix Gérard collection.This name may mean nothing to you, but it remains attached to a famous collection of pictures, which until 1905included Edouard Manet's still life, "Le Citron" (now in the Musée d'Orsay), and until 1896 the beautiful Irish girl namedJo painted by Gustave Courbet in 1865-1866 (now in the New York Metropolitan Museum). All things being equal, theAvignon works include fine pieces like a "Vague", also by Gustave Courbet, from around 1872-1873. The painter fromOrnans devoted several compositions to this theme, expressing the power of nature. This small oil on paper will be onoffered for €20,000-30,000, a little more than a seascape by Jongkind, "Voilier au clair de lune, Hollande". Listed in theartist's catalogue critique, this was painted in 1865, a decade during which the Dutch painter produced numerous seascapes (€15,000/20,000). Also noteworthy: these "Bateliers à l'étang", an oil on panel by Jean-Baptiste Corot, whichcan be compared with the preparatory sketch for "La Pêche au bas-Meudon" indicated by Alfred Robaut in the firstcatalogue dedicated to the landscape painter's works (€30,000/40,000). Stéphanie Perris-Delmas

Christine Boyer by Houdon

Jean-Antoine Houdon (1741--1828), “Portrait of Christine Boyer(1771-1800)”, c. 1800-1803, bust in marble, h. 67.5 cm. Estimate: €120,000/150.000.

8 AprilA young woman of unaffected loveliness, Christine Boyerinspired the painters Jean Savlet, Jean-Fredric Shall andabove all Baron Gros, who produced a sensitive and alreadyRomantic portrait of the beauty, inspired by her sad fate.Christine Boyer came from a humble background, and in1794 married Lucien Bonaparte, brother of the futureEmperor. He often visited the Auberge du Mouton at Saint-Maximin in the Var region, which was owned by the Boyerfamily. The couple had several children before Christine diedin 1800, at her prime. She was not even thirty. Lucien Bona-parte commissioned a posthumous portrait of his dead lovefrom Jean-Antoine Houdon, the most celebrated sculptor ofthe time. He was much sought after by an internationalclientele and well-known for his portraits – as witnessesLouis-Léopold Boilly's 1804 painting of Houdon's workshop,showing numerous busts of famous contemporary figures,like Washington, Franklin and Buffon. In the centre of thispicture (now in the Musée des Arts Décoratifs in Paris), wesee the pretty face of Christine Boyer, at the feet of the cele-brated "Voltaire Seated". In complete contrast to Antoine-Jean Gros' version of her, Houdon produced a sensitive, idea-lised portrait, showing her with a Greek hairstyle andwearing a delicate muslin gown, like an Antique heroine.The bust here, shortly bringing a touch of spring to a Parissale on 8 April at Rieunier & Associés, came from the formerLucien Bonaparte collection, then that of his great-grandson, Comte Joseph Primoli, and later through hisdescendants. S. P.-D.


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Maurice Brianchon(1899-1979), "Sur la plage", 1941, oil on canvas, signed on the bottom left, 97 x 162 cm. Estimate: €28,000/40,000.



8 AprilMaurice Brianchon collection Maurice Brianchon's painting has a genuine feel to it, like the man himself. Born in the Sarthe, he decided to follow anartistic career after attending the Collège Saint-Louis in Le Mans. He entered the Beaux-Arts in Paris, studying withCormon, but did not find the course congenial, and changed to the Ecole des Arts Décoratifs to study with ÉdouardMorand (father of the writer). His fellow pupils included Roland Oudot, Jacques Adnet and Raymond Legueult. He shareda studio with the latter, and together they travelled through Spain, discovering the masters of the Spanish school. His firstcommissions came from the Opera: costumes for the ballet "Griseldis", a work by Édouard Morand and Armand Silvestre,in 1922, and the set for "La Naissance de la Lyre" three years later. He worked for the stage in Paris throughout his life, including for Madeleine Renaud and Jean-Louis Barrault, while exhibiting at salons and providing illustrations for thepublisher Ides et Calendes, tapestry cartoons for the Gobelins and designs for the Sèvres factory. He also taught at theÉcole des Arts Décoratifs and from 1949, at the École Nationale des Beaux-Arts in Paris. In 1951, the painter had his firstretrospective at the Musée des Arts Décoratifs in Paris. He was well-known across the Atlantic, where the Findlay gallerylaid on several exhibitions for him in New York. Chozo Yoshii soon introduced his work to Japan. In the late Fifties, Brianchon began spending his summers at Truffière, where he painted people at work in the fields, the light-filled land-scapes of the Périgord, still lifes and views from his studio. His serene paintings with their rigorous technique and marvel-lous colours still have considerable appeal today. 162 of them will be up for sale on 8 April as part of the estate of the artist'sson, Pierre-Antoine Brianchon, at Toulon (Maunier & Noudel Deniau). They include this painting from 1941, "Sur la plage"(€28,000/40,000) and "Les Grandes Danseuses" from 1943-1944 (€40,000/60,000). 7 and 9 April will be devoted respecti-vely to furniture and objets d'art from the collection, and then to books and theatre sets. Anne Foster

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23N° 24 I GAZETTE DROUOT INTERNATIONAL

10 AprilAttributed to RubensDuring its sale of Old Master paintings and drawings, the Paris auction house Artcurial is offering two works from theformer collection of Dr. René Küss, the kidney transplant pioneer and a keen art lover in his time. His works had in factalready made an appearance in several Christie's sales in Paris and London. So, to return to these two pieces: one is byGiovanni Paolo Panini of a "View of the Forum in Rome" (€120,000/150,000), the other a sketch of "The Death ofConstantine" attributed to Peter Paul Rubens. This oil on panel, estimated at €150,000/200,000, is linked with a seriesof tapestries made for Louis XIII, and dedicated to the History of Constantine, for which Rubens provided severaldesigns. The one here has featured in several publications and exhibitions. S. P.-D.


Thursday 11th April 2013 at 2 p.m.

BERTRAND FRAISSE ET BERTRAND JABOT C O M M I S S A I R E S P R I S E U R S

236 SHAHABUDDIN

195 SIGNORI Ilio

213 BUTCH

162 GODCHAUX Roger

182 SAULTERRE Georges

180 BOTTEN William

201 BIR Rosette

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COLLECTION OF PAINTINGS A N D S C U L P T U R E S A V A I L A B L E O N T H E F O L L O W I N G S I T E S

f r o m 2 7 / 0 3 / 1 3

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Instant live auction available at Drouot Live www.drouot-live.com

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‘Nouvelle scène journalière’, acrylic on canvas, signed on the back, 1983, 1,75 x 2,50 m

Exhibition New York National Academy Museum in 2005 p. 64

Exhibition at the Centre Pompidou, Paris 8th of December 2004 till the 7th of March 2005

Estimation. 20/25000 €

Thursday 11th April 2013 at 2 p.m.

197 HELION Jean (1904-1987)

Public Exhibitions Wednesday the 10th of April 2013 from 11am till 19.30pm

Thursday the 11th of April 2013 from 9am till 11am

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MODERN AND CONTEMPORARY ART

Henri Hayden (1883-1970), "Nature morte à la bouteille de chablis", 1917,oil on canvas, 81 x 60 cm.Estimate: €80,000/100,000.

11 AprilWhen Henri Hayden arrived in Paris from his native Poland, the artistic scene was in turmoil. No sooner had the Fauvesannounced their colour revolution than Picasso and Braque shattered the forms established since the Renaissance andeven Antiquity. With Cubism, the representation of the real took on a kaleidoscopic aspect, and it inspired numerousartists to explore their own particular visions. Henry Hayden, whose admiration for Cézanne was a great influence in hiswork, needed to refine his pictorial vocabulary, and Cubism gave him the means. In this painting of 1917, up for sale in Toulouse on 11 April (Chassaing-Marambat), Hayden seeks more of an order in the layout of planes than multiplepoints of view. The whole surface of the table has tilted, revealing the jug, the bottle with its scrap of label, the glass,the bread and the woven mat. The top seems to be pushed forward by an out-of-line black square, itself standing outagainst sections of pinky-mauve, pistachio green and grey. Through subtle play with colour, he emphasises the simpleforms of this still life, which seems to be split up around the blue rectangle of the bottle. A sober but effective arrange-ment that also leaves room for the viewer – man is never far from the painter's preoccupations – and a poetic feeling"preserving a fresh sensitivity to nature," in the words of his friend Samuel Beckett. Thus the pictures from this periodalready anticipate the rule Hayden was to formulate later on: "Painting is not addition, but subtraction", where "onlythe essential remains". Anne Foster


HenryHayden



12 AprilA Fauve Vlaminck This "Vase of flowers" by Maurice de Vlaminck is a real find. The Wildenstein, which published the catalogue critique ofthe Flemish painter, was unaware of its existence. For that matter, it will be including the painting in its next editionunder the date 1905-1906: the artist's Fauvist period, and dare we say it, his best. Previously hidden away in a privateFrench collection, it will be the star piece in the Paris sale of the Piasa auction house (€60,000/80,000). Maurice deVlaminck was a self-taught artist who took up with Derain in 1899. The two were then sharing a studio at Chatou, andused to paint together. Those first years were full of discoveries for him – he was fascinated by the Van Goghs he saw atBernheim-Jeune in 1901 – and led him to the 1905 Salon d'Automne. Alongside Matisse, Valtat, Marquet, Van Dongenand others, Vlaminck became a true fauvel. He used pure colour, applying bright, luminous blues, reds, and greensdirectly onto the canvas in spontaneous touches, as in this composition that flirts with abstraction. Here the musicianlypainter succeeds in conveying the freshness of his subject in a few colourful notes. Stéphanie Perris-Delmas

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they are used as aids for religious education. Theyoungest children are thus initiated into the Katsinacult during Powamuya (equivalent to February), themonth dedicated to purification, overseen by thetwin sons of the "Crow Mother", Angwusnasomtaqa.One of them, Hú the "Whipper Katsina", will be repre-sented in this sale by a mask with protuberant eyesand horns (€6,000/8,000). His mother will undoub-tedly be the highlight of the collection, with herhelmet mask dating from the 1880s: a turquoiseleather headdress flanked by two spread crow'swings. This spectacular piece is estimated at between€40,000 and 50,000. Not all the masks have such astriking appearance, but all of them fulfil their roles,like the sacred clown Kooyemsi, known as the"Mudhead" Katsina, consisting of a fabric hoodcovered with four protuberances, with three holes forthe eyes and mouth (€1,500/2,000). Some masksdirectly evoke nature, like one made from ahollowed-out squash and others suggesting corn invarious stages of maturity. There are also specimensdepicting the animal kingdom in the shape ofhumming birds, rattlesnakes and badgers. The dailylife of the Hopi emerges behind these remarkablepieces, evoking the spirits in their pantheon. Here thereal mingles with the supernatural – to the totaldelight of enthusiasts. Sophie Reyssat

Katsina masks

12 AprilJust as Autry’s Southwest Museum of the AmericanIndian in Los Angeles is devoting an exhibition to Katsina dolls, until 1 December 2013, the Parisauction house Néret-Minet is dispersing 70 Katsinamasks at Paris-Drouot. These ritual objects belong tothe collection of an enthusiast of the Hopi culture,who lived in America for thirty years, and was privi-leged enough to attend the ceremonies of theseIndians. The Hopi, living in Arizona in south-westAmerica, carved wooden effigies of spirits thatappear to them for six months of the year duringceremonies held from February to July. In these,dancers don masks and paint their bodies with codi-fied patterns and colours, each embodying a spiritfrom the Hopi pantheon. The dancers disappearbehind the costumes and symbolic movements:genuine incantations designed to make the spirits ofthe earth appear. The ritual dance then becomesmetaphysical. Through the dancers transfigured intosupernatural spirits, playing their roles of intercessorsand messengers, the cycle of nature and life isrepeated without interruption: rain falls, and the sunrises. Once the rite is complete, the Katsina dolls arethere to remind the Hopi of the spirits each characte-ristic typical of the divinities whose names they bear,these statuettes, given to the women and children,are carefully preserved in people's homes, where

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Angwusnasomtaqa or Tumas CrowMother helmet mask (Colton 12), c. 1880, 63 x 62 cm. Estimate: €40,000/50,000.


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Claude MONET (1840-1926), "Sapins à Varengeville", oil on canvas,60 x 81 cm. Estimate: €300,000/500,000.


13 AprilMonets from Monet's sonMichel Monet was the charming child in a bobble hat painted by his father Claude. At his death in 1966, he bequeathedhis father's collection, containing 130 Impressionist works not only by Claude but also by friends of his like Renoir. This collection, soon to enter the Musée Marmottan, managed by the Académie des Beaux Arts, was estimated atnearly 8 billion old French Francs at the time. A generous man, Michel Monet had also given a couple of friends a seriesof canvases, shortly starring in a sale in Dreux on 13 April (Laurent Bernard). These works, which have never been onthe market before, consist of numerous preparatory studies of water lilies for the cycle now in the Orangerie in Paris,the master's last major work. The fragments are presented as "attributed to the painter", hence the estimates (€3,000to €15,000). However, this landscape, "Sapins à Varengeville", is listed in the Monet catalogue raisonné by the Wilden-stein as number 800. It carries stamps of the signature on the bottom right, and one on the back:"certified authentic byMichel Monet". Claude stayed on the Normandy coast on several occasions, taking inspiration from its landscapes,where water was never very far away. At Varengeville-sur-Mer, the master painted "La Cabane des douaniers. Effetd'après-midi", an 1882 painting now in the Musée d'Orsay. That year he produced several compositions of this villagein the Seine-Maritime. The Birmingham University Barber Institute of Art, in England, also has a painting by Monet from1882 of the church at Varengeville, with a remarkable fir tree in the foreground. Monet would often work on severalpaintings at once to capture the light at different times of day. The landscape here is imbued with the warm colours ofa late summer afternoon... Stéphanie Perris-Delmas

4SEE THE

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15 AprilA picture by Le Brun, the iconic painterof Louis XIV's Versailles, will incontes-tably be the chief attraction in a Parissale of paintings (Christie's). Apart fromits creator, its provenance should alsowhet a few appetites, as the paintingused to hang in one of Paris's most cele-brated luxury hotels, the Ritz – and inCoco Chanel's suite to boot. The picture has probably never left thebuilding in the Place Vendôme,formerly the Hôtel de Gramont, whoseconstruction, begun in 1685 by Louvois, the Sun King's Surveyor General, was completed in 1705. Although visibleto everyone, the picture became strangely disregarded, blending into the mansion's magnificent interior decora-tion. And yet the imposingly sized "Sacrifice de Polyxène" was signed by Le Brun and dated 1647. The painter, thenaged 28, had recently spent four years in Rome, where Poussin took him under his wing. He then attracted thenotice of Pope Urban VIII, and gained popularity with the most eminent figures at court. He returned to France witha glowing reputation already well established. From then on, Le Brun received a string of increasingly prestigiouscommissions that paved his way to glory. Participating in the founding of the Académie in 1648, he was soonchosen by the Superintendent of Finances, Fouquet, for the interior decoration of the Château de Vaux, before beco-ming First Painter to Louis XIV after Fouquet's disgrace. Not only one of the most celebrated painters of the French17th century, the artist also influenced all the decorative arts through his position as director of the Gobelins, an institution that managed all the workshops attached to the Crown. Here, illustrating a story of Ovid's inspired by Homer – the sacrifice of King Priam of Troy's daughter on the tomb of her beloved, Achilles –, Le Brun gives us a powerful and subtle work, and a brilliant example of French history painting. Sophie Reyssat

Charles Le Brun (1619-1690), "The Sacrifice of Polyxena", oil on canvassigned and dated 1647, 179 x 131 cm.Estimate: €300,000/500,000.

French taste


Patrick Armengau

H ô t e lde s V e n t e sd ’ A v i g n o n

Nineteenth Century Paintings - Eighteenth and Nineteenth century furniture in part from a Parisian appartment

Bladed Weapons - Firearms from the end of the eighteenth century and from the nineteenth century - Chivalric orders

and decorations - Military Equipment - Objets d’Art - Ancient Coins

EXHIBITION Thursday 4 April from 2 pm to 6 pm, Friday 5 April from 10 am to 12 pm and from 2 pm to 6 pm,

as well as the morning of the sale from 9 am to 11 am.

EXPERTSNineteenth Century Paintings:

Cabinet Brame & Lorenceau

Tel. + 33 1 45 22 16 89

Militaria : Jean-Claude Dey

Tel. + 33 1 47 41 65 31

Numismatic : Alain Weil

Tel. + 33 1 47 03 32 12

CATALOGUE AND INFORMATION

available at

www.avignon-encheres.com

HÔTEL DES VENTES D’AVIGNON

Me Patrick Armengau

Auctioneer

2 rue Mère Térésa

84000 AVIGNON

Tél. : +33 4.90.86.35.35

Fax : +33 4.90.86.67.61

[email protected]


Sarl Hôtel des Ventes d’Avignon

SVV N° 2002-166

JEAN-BAPTISTE COROT (1796-1875): "Bateliers à l'étang". Oil on panel

monogrammed on the lower left, 28x45.5 cm - Bibliography : compared to

the preparatory sketch from the Robaut catalogue, n° 1217, I ‘La pêche au

Bas Meudon’.

GUSTAVE COURBET (1819-1877): "La vague".

Oil on paper pasted on canvas. Circa 1872-1873.

Posthumous signature on the lower left "G. Courbet",

27 x 35 cm - This work will be listed in volume III

of the annotated catalogue Critique de l’œuvre de

Gustave Courbet et de ses collaborateurs, currently

being prepared by M. Jean-Jacques Fernier.

JOHAN BARTHOLD JONGKIND (1819-1891): "Voilier au clair de

lune, Hollande". Oil on canvas signed and dated in the lower right

"Jongkind 65". Dim. : 50x61 cm - Exhibiition : Galerie Schmit,

396 rue Saint Honoré (Paris) in 1966, Schmit, n° 18 - Bibliography :

this painting is reproduced in the critical catalogue of the work of Jong-

kind by Adolphe Stein, Sylvie Brame, François Lorenceau and Janine.

Sinizergues, ed. Brame et Lorenceau 2003, volume I, under n° 355.

Uniform of surgeon assistant medical

officer from the 67th line infantry

regiment, according to the rules of 1812,

having belonged to Jean Baptiste

TRESAL (1790-1873), First French

Empire-Bourbon Restoration period.

NINETEENTH CENTURY PAINTING

(FORMER COLLECTION OF FELIX GÉRARD) FINE FURNISHINGS OBJETS D’ART & MILITARIASaturday 6 April at 2:15 pm

Auctioneer

Patrick Armengau

H ô t e lde s V e n t e sd ’ A v i g n o n

EXHIBITION Thursday 18 April from 2 pm to 6 pm, Friday 19 April from 10 am to 12 pm and from 2 pm to 6 pm,

as well as the morning of the sale from 9 am to 11 am.

EXPERT20th Century Furniture:

Emmanuel EYRAUD

Tel. +33 3 86 91 42 12

CATALOGUE AND INFORMATION

available at


HÔTEL DES VENTES D’AVIGNON

Me Patrick Armengau

Auctioneer

2 rue Mère Térésa

84000 AVIGNON

Tél. : +33 4.90.86.35.35

Fax : +33 4.90.86.67.61

[email protected]


Sarl Hôtel des Ventes d’Avignon

SVV N° 2002-166

MODERN AND CONTEMPORARY ART - DESIGNSaturday 20 April at 2:15 pm

Auctioneer

ALEXANDER CALDER (1898-1976): "Halo".

Gouache signed Sandy Calder, dated 73, 75 x 110 cm

Provenance : Adrien Maeght. Former Halle collection.

JEAN ROYÈRE (1902-1980): Rectangular coffee table

" Sphère ". Model created in 1939. Tabletop and supports made

of travertine. Support and frame made of iron with patina and

gold leaf, 34.5 x 150 x 70 cm - Provenance : Villa SOLERA in

Biarritz. Decoration by Jean Royère created around 1950 for

M. and Mme C. By direct descent.

CARLO BUGATTI (1856-1940): Stepped

wall bracket, of Moorish inspiration, made

from darkened oak and with mahogany

plaquettes applied, H. 40 cm.

B I D AT W W W. D R O U O T L I V E . C O M

BID AT DROUOT ANYWHERE !

FREE SERVICE AND WITHOUT EXTRA FEES

François-Émile DECORCHEMONT(1880-1971)J’ai pitié de cette foule…Important stained-glass window in polychrome glass paste set with cement in three metal windowframes, engraved signature on the lower right, second half of the 1930s (a few cracks)H. 245 cm - l. 130 cm.

“The glassware Master, François Emile Décorchemont,has produced a little more than a hundred “pâte de verre”verrieres, 95% of his stainedglass work is located in french public buildings such as churches or Town Halls. Origin: Private house staircase-window, North of France. Estimate on request”

TO CONSIGN LOTS TO THIS SALE PLEASE CONTACT:

Me Frédéric DELOBEAU - Accredited auctioneer237 rue Jean-Moulin - 80000 AMIENS

Tél. +33 (0) 3 22 95 20 15 - Fax : +33 (0) 3 22 95 15 06 - E-mail : [email protected] ARCADIA n° 2002-254

Amiens - Saturday 25 May 2013

JEWELLERY - PAINTINGS - OBJETS D’ART - FURNITURE


15 and 16 AprilA very...natural collectionHere, "extraordinary" is not too strong a word to describe Marcel and Gisèle Pitel's collection dedicated to naturalhistory and hunting weapons. Throughout their lives, this pair of enthusiasts amassed a unique collection containing6,000 specimens of mammals, reptiles, insects and birds, now being sold by the Paris auction house Beaussant-Lefevre on 15 and 16 April. In the early Sixties, Marcel Pitel bought Comte Charles de Gramont's collection of birds,which had been started before him in the 1880s by one of the Princes of Aremberg, and which through a series offamily alliances ended up in the Château de Bois Boudran, near Melun: the famous estate of the Greffulhe family.These birds include Pallas's fish eagles, Bengal floricans and hornbills, not to mention an impressive greater bird ofparadise in mating plumage, estimated at €2,000/3,000. Another choice piece in the collection is a papier machéexploded egg made by the Auzoux company to illustrate the embryo's various stages of development. A very rareobject, it casts light on the clastic anatomy of the celebrated doctor, Louis Thomas Jérôme Auzoux (€6,000/8,000).Connoisseurs may also be tempted by a collection of 1,285 specimens of stuffed hummingbirds presented in 36boxes, bought by Marcel Pitel at a sale in Evreux in 1991. It had been brought together by Georges Rousseau-Decelle,mainly known for his legendary collection of butterflies. The entomologist was a close friend of the chief curator of theMuséum National d'Histoire Naturelle, Jacques Berlioz (€35,000/45,000). Stéphanie Perris-Delmas


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18 AprilBlo Void I by Ron AradFor sale on 18 April in Lyon (Enchères Rhône Alpes), this odd-looking chair in the shape of butterfly wings is easily recogni-sable as one of Ron Arad's creations. The material, a steel strip, lends itself to every kind of invention by the Israeli designer,as witness the Bookworm bookcase or the Blo Void rocking-chair, made in six models, which has spawned an attractiveline of Oh Voids. The polished surface is another elemental feature in the work of Arad, who is fascinated with new indus-trial techniques. So as not to overload the structure, he uses superform aluminium, obtained by heating an aluminium andplastic alloy to 500 degrees in steel moulds. Another constant is his interest in a rocking motion. In short, unstable linesand volumes are a leitmotif with this architect, who says that he came to design by accident. Aluminium polished to mirrorbrightness readily contributes to creating models with an unstable appearance: a paradox in an object promising all thecomfort of a seat. The designer speaks of a new experience, emphasising the "necessity for something else to happen"apart from the fact of sitting when you look at armchairs, chairs or sofas. Arad seeks to push out the limits of what can bemade or constructed. He keeps up with the most cutting-edge techniques used in a range of sectors, like aviation,designing seat-sculptures that border on imbalance and challenge the gaze and the sitting position, while stillbeing comfortable and soft to the touch. Infinitely sensual work. Anne Foster

Ron Arad (b. 1951), Blo Void I, rocking-chair with seat and backrest insuperform aluminium, structure in mirror finish aluminium, numbered 2/20,produced by the Mourmans gallery, 2005, 105 x 200 x 43 cm.Estimate: €110,000/120,000.

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20 AprilThe Qianlong Emperor's sealWe know how keen Chinese enthusiasts are on imperial pieces. There are plenty of examples of soaring bids for objectssporting the precious stamp of Chinese emperors. This fine drinking cup is one of those choice items. Apart from itsmaterial, rhinoceros horn, sought after for its aphrodisiac properties, it carries the Qianlong Emperor's six charactermark in kaishu, and one of his poems, dated 1788, engraved on the inside. This urges sobriety in the sculpture of rhino-ceros horn. Flouting the imperial recommendations, the sculptor has adopted another approach here, ornamentingthe object with five-clawed dragons flying over water among stylised, Lingzhi-shaped clouds. Though rich, this decora-tion is still elegant, highlighted by the honey colour of the material. Two "Guxiang" and "Taiyu" seals complete theinscription. The Issaly-Pichon auction house staging this sale in Cannes is expecting to sell this cup, owned by a familyin the South of France, for €250,000 -300,000 – a little more than for an ink drawing on paper by Xu Beihong. Thisfeatures the artist's favourite subject: a galloping horse. Stéphanie Perris-Delmas


Pre-Columbian portraits24 AprilNo fewer than six European collections of Pre-Colum-bian objects are to be dispersed on this date by Binoche& Giquello at Drouot. Although Costa Rica, Brazil,Ecuador and Peru are represented by a number ofpieces, the star of the event will be Mexico and its widevariety of cultures. The famous Olmec "baby-face" figurines and stone yokes from Veracruz will be rubbingshoulders with a number of expressive figures made interracotta by the people of Colima, Nayarit and Jalisco.Estimates start at around €3,000, and prices look set tosoar for a naked man with a powerful body wearing legbracelets and shoulder-pieces. This seated cross-leggedJalisco figure, made between 100 BC and 250 AD, isready to receive bids in the €350,000 to €380,000 range.As the Mayan apocalypse apparently scheduled for 20December 2012 did not take place, collectors will haveplenty of time to linger over an anthropomorphic censerfeaturing the sun god K’inich Ajaw (€200,000/250,000).This divinity, who took the form of a jaguar during hisnocturnal journey in the underworld, was closely linkedwith the sovereigns of Palenque: they would join thename "K’inich" to their own to benefit from their associa-tion with the god. A very different effigy, that of a signa-tory, not in ceramic but carved from serpentine, will alsobe among the choicest pieces of the sale. His broad facewith stylised features, similar to Teotihuacan masks, islarger than his body, which is extremely simplified. This geometrised physiognomy contributes to thehieratic quality of the figure, sculpted during the classicperiod between 450 and 650 AD (€250,000/€280,000).

Sophie Reyssat>

Seated mal figure, Jalisco cultur, Western Mexico, 100BC-250 AD, ceramic,58,5 x 43 x 42 cm.Estimate: €350,000/380,000.


27 April"L'Amitié" by Jean-Jacques CaffieriThis is an extremely well-documented work, apartfrom its direct provenance, which is still uncertain.The sale catalogue (Wetterwald & Rannou-Casse-grain) indicates that this terracotta by Jean-JacquesCaffieri, to be sold in Nice, could be the groupdescribed at the sale of the Château d'Arconville'sfurniture on 16 June 1851. Otherwise there is awealth of information, starting with its presentationat the Salon of 1767, as number 206, when it wasroundly acclaimed by one Denis Diderot. From thisSalon we also have a drawing by Gabriel de Saint-Aubin, whose depiction of the presentation of theworks at the event shows this ravishing "Amitié pleu-rant sur un tombeau" on the left of the composition(a drawing published in 1984 on page 91 of the exhi-bition catalogue for Diderot et l’Art de Boucher àDavid at the Hôtel de la Monnaie in Paris). A pupil ofJean-Baptiste II Lemoyne, Jean-Jacques Caffieri heretook inspiration from a theme used before him byfamous artists like Pajou and Bouchardon: a youngwoman weeping or meditating by a funeral urn, also featuring the attributes of friendship(€60,000/80,000). It admirably evinces the high-quality sculpture and refined details, notably thedrapes, typically found in terracotta moulded by thehand of a great sculptor. Stéphanie Perris-Delmas



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Cannes

Saturday 20 April at 2 pmExperts : M. Pierre Ansas and Mme Anne Papillon d’Alton – 9 Boulevard Montmartre 75002 Paris

Tel : + 33 6 25 84 56 34 – [email protected] – www.ansas-papillon.com

XU BEIHONG (1895-1953)Ink on paper mounted on silk

104 x 102 cm

Provenance : Private French collection since the 1960s

Viewable at Munigarde Paris by meeting with the expertuntil 17 April.

An Imperial rhinoceros horn libation cup dated 1788Qianlong Period (1735-1796)

Poem engraved on the inside and mark in 6 kaishu characters:“Made during the Qianlong reign in respect of Antiquity”

10.8 x 15.5 cm weight : 383 g.

In accordance with the legislation in effect, no document of exporta-tion or CITES permit will be delivered for this lot. Piece only viewable

in Paris at Munigarde and by meeting with the expert.

PUBLIC EXHIBITIONS : FROM WEDNESDAY 17 APRIL TO FRIDAY 19 APRIL FROM 9 AM TO 12 PM AND FROM 2 PM TO 6 PMSATURDAY 20 APRIL FROM 9 AM TO 12 PM OR BY MEETING

Hôtel des Ventes - 31 Boulevard d’Alsace - 06400 CANNES - SCP François ISSALY - Julien PICHONJudicial Auctioneers - AEC agrément 2002-330

Tel. + 33 4.93.39.01.35 - Fax. + 33 4.93.68.28.32 - [email protected]

All the lots in the sale can be viewed at www.interencheres/06005 and www.auction.fr

News available by following thelink “Azur Enchères Cannes”

Asia SaleFrançois ISSALY & Julien PICHON Associate Auctioneers

COMMISSAIRE-PRISEUR HABILITÉ ET JUDICIAIRE : LAURENT BERNARD - SVV agrément N°2002-230 – Frais de vente : 22.72% TTC

2, RUE DU GUÉ AUX ANES - 28100 DREUX (F)T + 33 2 37 46 04 22 - Fax + 33 2 37 42 88 97 - [email protected]

www.laurentbernard.com

CLAUDE MONET (1840-1926), Sapins à Varengeville, 1882, Oil on Canvas, Stamped with the studio mark lower right60 x 81 cm ( 23 5/8 x 31 7/8 in.)Provenance : Michel Monet, Giverny. 300 000/500 000 €

HÔTEL DES VENTES DE DREUX

EXPERT : Bruno JANSEM - T + 33 6 10 15 41 08 - [email protected]

Exhibition : Friday, April 12, 2013 - 10 am to 12:30 and 2 pm to 6 pmSaturday, April 13, 2013 - 10:30 am to 12 pm

Preview : Saturday, April 6 to monday, April 8, 2013 - 11 am to 6 pmGalerie Flora Jansem - 18 avenue Matignon - 75008 PARIS (F)

SATURDAY, APRIL 13, 2013 3 pmHÔTEL DES VENTES DE DREUX

COLLECTION DE MONSIEUR ET MADAME B.

Le Cannet06110

AUCTION SATURDAY 13th APRIL 2013 -2.30 pm-in the framework of the new opening of our office in Le Cannet

Hôtel Park & Suites - 06110 LE CANNET

15, Bd. Gambetta - 06110 Le Cannet - Tél.: +33(0)4 89 68 64 46

Office opened from Monday to Friday - From 10 am to 12 and 2 pm to 6 pm - Free expertise on Thursdays without prior appointment.pm

OISE ENCHERES

RESSONS SUR MATZA1 - Exit n°11 - 80 km from Paris

SATURDAY 13 April 2013

10 am: Hunting sale, 150 lots

2 pm: Wine sale, 350 lots

SUNDAY 14 April 2013

2 pm 300 lots

PRESTIGIOUS SALE

Furniture & Objets d’Art, Paintings

Collection of bronzes, more than 50 clocks

58 BLACK-MANED LIONAND IMPALAEntire naturalised animalsProv: border SA/Botswana 2002

236 HERD OF ELEPHANTSBronze,signed by David josé-Maria (1944-)Numbered:2/8 Founder: LandowskyH: 30 ; L: 80 ; D: 37 cm

99 SET OF 6 ROYAL ARMCHAIRSVery large, in mahogany,19th centuryProv: Ministry of Foreign and European Affairs (France). H: 101 ; L: 75 ; D: 64 cm

95 RARE PAIR OF WALL BRACKETSCONSOLE TABLE IN GILDED WOOD

One 18th Century and the other 19th Century H: 78 ; L: 90 ; D: 37 cm

148 « SUZON»BUST BYRODINsigned AugusteRodin (1840-1917) Fonderiede BruxellesH: 40 ; L: 18 cm

200 EXCEPTIONALITALIANCABINETEbony and inlaidivoryEnd of 17th centurybeginning of 18thcenturyH: 169 ; L: 146 ; D: 74 cm

191 RARE BUSTBY CARPEAUX« Bacchante withroses » marble signedby Carpeaux (1827-1875) 19th centuryH: 65 ; L: 42 cm

227 FREE STANDING FLAT-TOPPED DESK Model by DELORME, 19th centuryH: 78 ; L: 172 ; D: 88 cm

220 THE EAGLE HUNTBronze master model, signed by Louis de Monard (1873-1939) H: 145 ; L: 71 ; D: 90 cm

281 THE WALKING PANTHERBronze signed by Maurice Prost (1894-1967), Susse Frères FoundersH: 46 ; L: 90 ; P: 15 cm

IMPORTANT COLLECTION OF MORE THAN 50 CLOCKS

81, 83 rue Georges Latapie

60490 Ressons-sur-Matz

Tél: +33 (0) 3 44 42 71 71 - Fax: +33 (0) 3 44 42 94 01

[email protected] / www.oise-encheres.com

Commissaire-Priseur habilité: Maître Grégoire Bailly

Expert Agréé: Pascal Denoyelle: +33 (0) 6 07 47 27 17

CATALOGUE AND PURCHASE ORDER AT :

www.oise-encheres.comFree and confidential expertise and estimate by meeting

Eight key dates for drawings...

Every year, Paris celebrates drawing during the Salon du Dessin at the Palais de la Bourse, an international event that draws all the top collectors to the capital. Auction houses enrichthe works on offer by proposing their best pieces. Here follows a selection...



Modern drawings 10 and 11 AprilSensitive to developments in the drawing market, Christie's is staging an event entirely dedicated tomodern works for the first time. As we know, it already puts on a sale of Old Master drawings on 10 Aprilevery year during the Paris fair at the Palais Brongniart. Getting off to a good start, the auction house hasbrought together some famous pieces by Rodin, Modigliani and Van Dongen, including his "Parade ducirque" here, in watercolour, gouache and ink on paper, executed in 1904 (€200,000/300,000). To markthe event, its star lot is a drawing by Picasso, which has never come up at auction before – one heproduced during the dark years of the Second World War and his idyll with Dora Maar, here shownseated and in full figure (€800,000/1.2M).

Degas estate 10 AprilOn the opening day of the Salon du Dessin inParis, the Artcurial auction house is offering acollection of drawings for sale (nearly 85 lots).Worth noting at the start of the sale: the workscollected by James Forbes, a British gentlemanand author of “Oriental Memoirs”, published in1813. Connoisseurs will be sure to linger over thecollection of 93 drawings, presented in an album,of works by European schools of the 16th to 18thcenturies (€30,000/40,000). From a collection incentral France, a 1763 sanguine capriccio byHubert Robert showing part of the main door of St Peter's in Rome (€30,000/40,000) stands out inthe well-furnished 18th century section. From the19th century, there is a noteworthy pen, brown inkand brown wash drawing by Victor Hugo(€90,000/120,000) and this young lady in blackpencil and stump by Edgar Degas (40,000/60,000) –a drawing that experts compare with one in the Musée du Louvre's graphic arts section(€40,000/60,000). This comes from the Degasestate, and once belonged to the painter's descendants.


16th century Italian drawings 12 AprilThis is the third sale of Mr. S's collection, dedicatedto Old Masters, featuring a total of 206 lots (Millonauction house), including numerous Italiandrawings from the 16th, 17th and 18th centuries.The best pieces include this "Ecce Agnus Dei" byGiovanni Domenico Tiepolo in pen, brown ink andbrown wash (€80,000/100,000) together withanother, this time with black pencil highlights(€80,000/100,000), of "Saint Peter on the road toJaffa". The 17th century French school, is wellrepresented through the works of Charles-JosephNatoire, François Boucher, Hubert Robert andJean Baptiste Greuze, and offers a pen and brownink by Jacques Stella of "Le Buveur" (The Drinker)(€10,000/12,000). This drawing from 1619 datesback to the artist's first years in Florence. It comesfrom the former Chennevièves collection.


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An unknown drawing by Victor Brauner13 AprilThis is the kind of story that sometimes comes to light inthe art market. In 1930 an artist, Victor Brauner, fled toParis to escape the terror of the Romanian Iron Guard,but was caught up by further events and once morehad to go into exile, fleeing Occupied France forMarseille. There he met a number of Surrealists waitingto leave for America. Duchamp and Max Ernst obtainedtheir tickets, but Victor Brauner had to remain behindat the mercy of the occupying forces. Hospitalisedduring 1941, he left this delightful drawing of awoman as a souvenir for his nurse. She kept it until herdeath, which occurred recently. This hithertounknown work will go up for sale in Marseille with the Damien Leclerc auction house on 13 April(€10,000/15,000). While it evokes his brief Surrealistchapter at the Villa Air-Bel, a place of waiting and creativity, the drawing above all casts light on thework of its creator. During this period of secrecy,Brauner produced a large number of drawings, consi-dered the noteworthy part of a weird, dreamlike andpoetic output.

Van Der Meulen for Louis XIV 5 AprilOn offer at a classic sale of furniture and objets d'art staged by the Paris auction house BeaussantLefèvre, this black chalk and watercolour drawing is the work of the painter Adam Frans Van derMeulen (€15,000/20,000). A pupil of Pieter Snayers, he left his native Brussels for Paris, where hewas assistant to Charles Lebrun, first painter to the King. The composition here reprises the group shown on the right of "La prise de Luxembourg par le Maréchal de Créquy le 3 juin1684", a painting delivered in 1686 for the Royal Pavilion at Marly. For this leisure residence, ofwhich Louis XIV was very fond, the painter produced numerous compositions celebrating thesovereign's glory – in a less heroic mode than the Hall of Mirrors, but splendid nonetheless. The subjects of this commission were the Sun King's symbolic military successes.

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Miró's "Lézard aux plumes d'or" 21 AprilThis drawing is famous on two counts. Firstly because it is by Joan Miró, who, when illustrating the poem "Le lézard aux

plumes d'or" (The Lizard with Golden Feathers), produced several preparatory drawings for the lithographs in the book

published with his friend, the famous publisher Louis Broder – to whom he incidentally dedicated this drawing.

Secondly, because it comes from the collection of the French actor Gérard Depardieu, who attracted much attention

when he sold Miró's painting "Le Lézard aux plumes d'or" for a tidy sum in May 2012 at Christie's London.

Executed in September 1969, this gouache, ink and ink wash drawing came from the former Louis Broder collection.

The Versailles auction house Perrin-Royère-Lajeunesse, now selling it at its contemporary art sale, is looking for

€300,000/350,000.

Paralysing stage fright 7 AprilUp for sale at Antoine Aguttes on 7 April, this

gouache-painted watercolour was discovered

by chance in an attic (€40,000/50,000). Entitled

"Quel spectacle d'horreur", it is similar to a

lithograph entitled "Les fruits d'une mauvaise

éducation dramatique". A great admirer of

Diderot, the journalist, draughtsman, lithogra-

pher, caricaturist, painter and sculptor

Honoré Daumier here demystifies the stage,

showing a theatre from the other side of the

curtain. The tragedian dressed in an august

costume, reminiscent of the classical plays, is

seen in the grip of violent panic before a

large audience. Paralysed by nerves, he

seems to have turned blue with fright! The

austerity and rigour of the set intensifies the

feeling still further. Daumier lays bare the

actor behind the character, revealing the

sorry reality. The wan light of the footlights

harshly exaggerates the hollow features of

his bewildered face and highlights his

gestures of terror. The caricaturist once

again uses ugliness to convey the sense of

fear. The illusion of an immediate reality is

obvious, and we feel the actor's plight in all

its horror. By parodying a show the wrong

way round, Honoré Daumier reverses the

roles… and prefigures the quirky art of

the Surrealists. Ch. H.

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Joachin Sunyer 10 AprilThis black lead and watercolour drawing is thework of Catalan artist Joaquim Sunyer. Afterstudying at the fine arts school in Barcelona, thepainter emigrated to Paris in 1896. This "Coin de lazone", which he produced in around 1902, inevitably evokes Picasso's Blue period. The twomen met in Paris at the house of their mutualfriend Ricard Canals, who had introduced Picassoto engraving. As a result, Picasso was frequentlyto be found at Canals' studio, where he metFernande. (It seems that Picasso and Sunyershared the favours of the beauty.) This drawingdates from those productive years at the BateauLavoir, and is one of a series by Joachim Sunyernow in the Catalan National Art Museum inBarcelona. It will be offered for sale by the Parisauction house Ferri (€3,500/4,000), which is alsoselling a drawing by Honoré Daumier: the"Déplacement de saltimbanques" from 1867, a study for the final version now in the Wadsworth Atheneum, Hartford. Like the worksof this series devoted to artists, this drawingevinces Daumier's greater empathy for hissubjects (€30,000/35,000).


Jenny de Lavalette by Ingres 12 AprilThis marvellous portrait by Jean Auguste Dominique Ingres (€250,000/300,000) is the star of a sale of pain-tings and drawings staged by the Piasa auction house. His pencil portraits represent one of the summitsof the painter's work, particularly those of his friends and family. In his drawings the artist achieved thequintessence of his art, capturing the character of his subjects, the refinement of materials and the graceof a pose with incredible accuracy. Ingres was in Rome at the dawn of the 19th century, and made aspeciality of painted portraits of French aristocrats who had settled in the Eternal City. However, whencommissions became thinner on the ground after the defeat of 1814, Ingres turned to drawing. Thisportrait shows the delightful Jenny de Lavalette, a friend of Charles Thévenin, to whom the drawing isdedicated, with the date 1817. The artist was the director of the Villa Médicis from 1816 to 1823. The yearin which he took up his duties, replacing Guillaume Guillon-Lethière, Ingres drew the portrait of his friendand mentor.

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The fabulous bestiary of Joseph Baqué 11 AprilAt a sale of drawings, the Paris auction house Ader is offering a series of worksshowing the exuberant imagination of Joseph Baqué, a little-known Catalanartist whose works were discovered after his death in 1967. They consist of 454plates depicting a fantastical bestiary in watercolour, gouache, and graphitewith gold and silver highlights. The artist lavished great care on his half-animal,half-human figures, paying meticulous attention to detail. The set is estimated atbetween €100,000 and €150,000. The Musée d'Art Brut in Lausanne has a collec-tion of twelve works by this artist. At this sale, all eyes will also be on a black leadstudy by Fernand Léger for his "Acrobates" from the series devoted to the circus.Originally from the artist's estate, it then belonged to the former collection ofGeorges Bauquier, Léger's assistant and the director of the museum dedicatedto the painter (€20,000/30,000).


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Rodin's black drawing 5 AprilRodin's drawings, as the sculptor said himself, are the key to hiswork. He devoted himself to them all through his life, produ-cing around 10,000. In 1880, the year when the French statecommissioned the monumental doors of the future Musée desArts Décoratifs, the celebrated Gates of Hell, Rodin began toimmerse himself in Dante's Divine Comedy, and his readingsinspired a number of drawings. This drawing of a nude(€20,000/30,000) in graphite, black ink and gouache, to be soldon 5 April in Paris (Aguttes), is one of the famous "blackdrawings" the artist produced during the 1880s. Here the artistdeployed a process he often used: cutting out a drawing andgluing it onto a larger sheet, thus enabling him to consolidateand enlarge it. The artist would often re-use these drawings inlater works. This one has a dedication, probably to LaurentLucien Gsell, known as Laurent-Gsell (1860-1944), a Frenchpainter and illustrator. Stéphanie Perris-Delmas

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THE MAGAZINE UPCOMING AUCTIONS INTERNATIONAL

International


Zeng Fanzhi (b. 1964), "Mao’s song poem of snow, no. 2",painted in 2006. Oil on canvas, 215 x 330 cm. Estimate: HK$17 - 22 M.

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UPCOMING AUCTIONS INTERNATIONAL THE MAGAZINE

3 to 7 AprilFour days of sales for a twofold celebration: the successof the inaugural sale of the Poly Auction company inHong Kong last September, and that of the opening ofa permanent gallery dedicated to art in all its forms. Thesales consist mainly of Chinese works. There were also anumber of watches, including two for men by PatekPhilippe in platinum, both produced recently and eachestimated at around HK$1 M, and some jewellery. Thisnotably included a ring made in honour of Her MajestyQueen Elizabeth II's Jubilee, in the form of a clover andset with four diamonds, two pink and two blue (eachstone between 0.88 and 1.02 ct; HK$8.8/12 M), togetherwith two jewellery sets, each comprising a ring and apair of earrings, one set with cabochon Burmese rubies,the other with jades (each around HK$1 M). As wementioned, the other sales consist solely of Chineseworks, starting with contemporary and modern art.Alongside pictures that have already become classics,like Guan Liang's "Berlin Scenery" (HK$3.5/5.5 M for thispainting from 1957), Zao Wou-Ki's "Printemps clair"(1953, HK$4.5/6.5 M) and Chu Teh-Chun's "Evocation A"(HK$3.5/5.5 M), we find paintings closer to our times,like "By the river" by Wu Guanzhong (HK$4/5 M), towhom we also owe "Tigers", a pen and watercolour onpaper (HK$7/14 M for this work, which belongs to a setof five). With Zeng Fanzhi, a painting from the series"Masks" (HK$8/10 M) has a certain connection withWestern painting, while his "Mao’s Song Poem of Snow"makes specific reference to traditional Chinese painting,which is often associated with the eminently local art ofcalligraphy (see photo). Also noteworthy: some

watercolours by Xu Beihong ("Two magpies on a pinetree", HK$2/5 M), Fu Baoshi ("Returning home in therain", HK$6/9 M), Zhan Daquian (“Journey to the West”,HK$3/5 M) and Qi Baishi “Mice and candle”, HK$1.8/2.8M). These works on paper can be compared with somethat are genuinely old, like “Xao Xiang drawing”(HK$7.5/9 M) by Luo Ping, “Spring and River Drawing”(HK$12/18 M) by Qiu Ying, one of the major painters ofthe Ming dynasty, and, by the Kangxi Emperor, one ofthe best-known monarchs of the same dynasty, a calli-graphy after Dong Qichang, on a poem that accompa-nies an ink drawing on satin showing "The monumentto Confucius" (HK$2/2.4 M). The objects are quite asimpressive as the graphic arts, with around forty piecesfrom the collection of E.T. Chow, a vase produced in theimperial workshops under the Qianlong Emperor(HK£6/8 M for this 17 cm high Famille Rose object witha decoration of peonies),a Wanli jar with a "Four Immor-tals" decoration (h.: 13.5 cm; HK$6/800,000) and aYongzheng period bowl with "kingfisher's egg" glaze(diam.: 22 cm; HK$4/6 M). Two "Bi" in jade, one from theQianlong period, the other carrying an imperial inscrip-tion (each 17.2 cm) appear side by side with a sceptre ofexceptional size, carved in the same material (HK$8/12M). Lastly, as though all these objects didn't alreadyinspire keen enthusiasm, we have a bronze wine vasefrom the Shang period, expected to fetch HK$3 to 5 M.Though its buyer may not be literally inebriated, he orshe will surely be exhilarated by obtaining the flagon...at an intoxicating price!

Xavier Narbaïts

The arts of China

HONG KONG THE EXCELSIOR HOTEL

The Different Spring Auction 3

Live Auction :www.the-saleroom.com

www.lefigaro.fr/encheres

18th April & 20th April 2013

Jack-Philippe RUELLAN & Marc LABARBEAuctioneers

Jack-Philippe RUELLANAuction House

+33 (0)2 97 47 26 [email protected]

Marc LABARBE

Auction House+33 (0)5 61 23 58 78

[email protected]

www.fwfa.hk

Wine Expert : Jean-Christophe LUCQUIAUD

+33 (0)5 56 44 64 [email protected]

We are acquiring high-qualtiy art objects for our 2013 auctions. Our experts for your questions:

Kareen Schmid, T +43 1 532 42 00-20, [email protected]

Monika Schweighofer, T +43 1 532 42 00-10, [email protected]

Astrid Pfeiffer, T +43 1 532 42 00-13, [email protected]

Mag. Roswitha Holly, T +43 1 532 42 00-19, [email protected]

Claudia Mörth-Gasser, T +43 1 532 42 00-14, [email protected]

Magda Pfabigan, T +43 1 532 42 00-15, [email protected]

Old Master Paintings19th Century Paintings

Contemporary Art

Antiques

Impressionist and Modern ArtArt Nouveau

ım KinskyMasterpieces

95th Art Auction. Art works on display: April 18–23, 2013, online catalogue: www.imkinsky.comCatalogue order & information: T +43 1 532 42 00, [email protected]

April 23, 2013 300 Years Kinsky PalaceAuktionshaus im Kinsky GmbH, Palais KinskyA-1010 Wien, Freyung 4, www.imkinsky.com

Egon SchieleFemale nude lying on her side and leaning on one elbow, 1918,

black charcoal on paper, € 150.000–300.000

Anna MahlerGustav Mahler, after 1945, plaster model,

unique piece, € 50.000–100.000

Anselm KieferThe raft of the Medusa, 2003,

gouache on photographic paper, € 70.000–140.000

Oskar KokoschkaFloral still life, 1959,

oil on canvas, € 180.000–300.000

Pablo PicassoGuitar and fruit bowl on a table, 1920,

gouache on paper, € 50.000–100.000

Max OppenheimerPortrait of Emil Hermann, 1946, oil on canvas,

€ 150.000–300.000

Léon-François ComerreOdalisque, oil on canvas,

€ 70.000–150.000

Free Print Catalogue to order here: [email protected], while stocks last!



6 AprilRussian avant-gardeOn 6 April, chess enthusiasts will have the opportunity to bid for this unusual set at Monte Carlo’s Accademia Fine Art.Created by the artist Nina Ossipovitch Kogan, this set of chess pieces in watercolour on paper is a fine example of theSuprematist style. Kogan was an instrumental member of the UNOVIS group, a branch of the Russian avant-gardefounded and led by Malevich, and knew Malevich and Chagall personally. She also taught at the Vitebsk School of Artwhich was founder by Chagall in 1918. The distinctive geometric forms used by Kogan interact and contrast to createa powerful dynamic impulse, which explains her role as both artist and choreographer of a "Suprematist Ballet". As Kogan’s works do not appear very frequently on the market, this is an excellent opportunity to purchase an interes-ting piece of Russian avant-garde history.

Nina Kogan (1887-1942),Chess, abstract geometricshapes, 1929Portfolio Supremuscardboard and 8compositionsSuprematists1929Estimate : €60.000-80.000.

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6 AprilChinese textilesThe Boston auction house Skinner will present a sale of fine Chinese textiles on 6 April offering a selec-tion of robes from the Qing Dynasty (1644-1912) such as this magnificent woman’s Kesi Dragon Robe($2,000-3,000). Strongly resembling a robe which sold at a Bonham’s sale two years ago for $6,250, thisfine example of Chinese craftsmanship is intricately decorated with eight dragons chasing flamingpearls surrounded by clouds, bats and the eight Buddhist emblems. This will be one of several lavishrobes presented at the auction from various private collections.


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13 AprilRussian artOn 13 April, Fischer will be celebrating the richness and variety of Russian art. The German auction house’s sale will feature an impressive 400 lots, including opulent works such as an 18th century silver-gilt columbine cup by Egor Ivanov (€35,000-40,000). The highlight of the auction, however, promises to be this oil on canvas painting of aUkrainian village by Pyotr Alexandrovich Sukhodolsky (1835-1903) depicting a pastoral scene (€150,000-200,000). Sukhodolsky was born into a noble family and went on to study at the Russian Academy of Arts in St Petersburg, wherea similar work of his, "Lunch at the Village" (1864), now hangs in the State Russian Museum. A selection of icons rangingin price from €200 to €120,000 and a "king’s door" from the end of the 16th century will be among the other Russiangems on offer.

Pyotr Alexandrovich Sukhodolsky (1835-1903),‘Ukrainian village’ (1865).Estimate : €150.000/200.000.



25 AprilJulio le Parc, Pablo Picasso...Julio le Parc has had an excellent start to the year with his work currently featuring in the "Soleil Froid" exhibition at the

Palais de Tokyo in Paris. The Argentine artist’s characteristic experiments with light and space have whetted the appe-

tites of many a visitor, and now enthusiasts will have a chance to bid for his "Continuous Transparent Mobile"

($100,000-150,000). On April 25, the Chicago-based auction house Wright will be offering a selection of artists in its

"Living Contemporary Sale", where Le Parc’s piece will feature alongside works by Christopher Wool, Alex Katz, Jenny

Holzer and Roy Lichtenstein. Immediately before the sale, Wright will also be holding an auction of Picasso’s drawings.

Picasso described drawing as "a kind of hypnotism" and bidders are likely to find themselves as mesmerised as the

artist himself with this eclectic selection, ranging from a 19th century piece through Cubism and including work he

produced shortly before his death in 1973. The drawings on sale will also be accompanied with photographs of the

artist by Arnold Newman, Peter Rose Pulham and Andre Villers (estimates: $1,000–$2,000 each), providing an interes-

ting and personal perspective on the legendary figure and his work. Polly Brock

Julio Le Parc, ‘Continuel MobileTransparent’, 1960, Stainless steel,acrylic, aluminum, fishing lineEstimate: $100,000-150,000.


Visit our website for catalogues, previews and auction times

104 East 25th St, New York, NY 10010 • tel 212 254 4710SWANNGALLERIES.COM

Old Master Through Modern Prints MAY 1

Specialist: Todd Weyman • [email protected]

Francisco José de Goya, Dibersion de España (detail), lithograph, 1825. Estimate $70,000 to $100,000.

We are acquiring high-qualtiy art objects for our 2013 auctions. Our experts for your questions:

Kareen Schmid, T +43 1 532 42 00-20, [email protected]

Monika Schweighofer, T +43 1 532 42 00-10, [email protected]

Astrid Pfeiffer, T +43 1 532 42 00-13, [email protected]

Mag. Roswitha Holly, T +43 1 532 42 00-19, [email protected]

Claudia Mörth-Gasser, T +43 1 532 42 00-14, [email protected]

Magda Pfabigan, T +43 1 532 42 00-15, [email protected]

Old Master Paintings19th Century Paintings

Contemporary Art

Antiques

Impressionist and Modern ArtArt Nouveau

ım KinskyMasterpieces

95th Art Auction. Art works on display: April 18–23, 2013, online catalogue: www.imkinsky.comCatalogue order & information: T +43 1 532 42 00, [email protected]

April 23, 2013 300 Years Kinsky PalaceAuktionshaus im Kinsky GmbH, Palais KinskyA-1010 Wien, Freyung 4, www.imkinsky.com

Free Print Catalogue to order here: [email protected], while stocks last!

Emil NoldeGipsy girl, 1921, watercolour on Japanese

tissue paper, € 100.000–180.000

Arnulf RainerBlack on white, 1955, Indian ink on paper

€ 30.000–50.000

Richard GerstlSelf-Portrait, 1906/07, oil on canvas

€ 70.000–140.000

Egon SchieleStanding Nude, 1918, black charcoal

on paper, € 150.000–300.000

Gustav KlimtHead Study, late 1880-ies, oil on cardboard

€ 70.000–140.000

Alfons WaldeMountain village (Kitzbühel), about 1927, oil on cardboard

€ 150.000–300.000

Jean ( Hans ) EggerSigne, about 1930, oil on canvas

€ 35.000–70.000


27 AprilFrom Monet to Mubin Orhon This oil on canvas by Mubin Orhon is a fineexample of the intensity and vigour imbuingeach of the artist's works. His deft, intuitive useof colour and mastery of expressive brushworkwere influenced by Lyrical Abstraction,enabling him to paint with remarkable powerand serenity. Although Turkish in origin, Orhonmoved to Paris in 1948 and spent many yearsthere. Here he was acclaimed as an artist, exhi-biting regularly at the Salon des RéalitésNouvelles and the Salon de Mai. This "Composi-tion in red" is signed, dated and located in Parisin 1959. Orhon’s work has since achieved inter-national recognition; a collection of his workwas the focal point of Sotheby’s 2011 Contem-porary Turkish Sale in London, while theauction house Antik A.S. in his native Turkeysold one of his works for TRY 1,357,295 inrecent years (source: Artnet). This work will goon sale on 27 April at Fine Art Auctions Miamialongside other notable pieces, such as a pain-ting of a bank of the Seine by Monet ($4-6 M),and a work by the Chilean hyperrealist painterClaudio Bravo ($300,000/500,000). P.B

29 April to 9 MayAfter the original Holy Blood of BrugesThe Munich auction house Hermann Historica will host its 66th auction from 29 April to 9 May, comprising some5,500 historical and military lots. An intricately decorated reliquary looks set to be the standout piece. Crafted bythe Viennese court jeweller Ludwig Politzer, it was given to Emperor Franz Joseph I of Austria and Empress Eliza-beth in 1888 by the Belgian royal family to celebrate the 40th anniversary of Franz Joseph’s accession to the throne.Made from silver, enamel, diamonds, topazes, garnets, rock crystal, freshwater pearls and precious woods in theRenaissance Mannerist style, it was modelled after the original reliquary in the Basilica of the Holy Blood in Bruges.With a starting price of €250,000, this imperial treasure is likely to receive a lot of attention. Polly Brock


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2, 3 and 4 MayA for Arnal and Aboriginal art This celebrated chaise longue by François Arnal is part of the design selection in a Brussels sale stagedby the Millon auction house. This "Formula 1" dreamed up by the artist during the "Atelier A" venture isa classic of its kind. The aim of this group of artists led by François Arnal from the end of the Sixties to thebeginning of the next decade was to extend art into all areas of life, including furniture. This model inchrome-plated metal and yellow vinyl dates from a year imbued with freedom and change: 1968(€20,000 /25,000). It will rub shoulders with a director's chair in another genre designed in 1961 by Jules Wabbes, which comes from the designer's family (€5,000/6,000). Also worth noting: the "Chest ofDrawers", an astounding piece by Tejo Remy. In the Nineties, the artist was working with the Dutchgroup Droog Design on the idea of recycling, as can be seen with the numerous drawers of this item(€10,000/12,000). This sale will also have a paintings section, notably a collection of around thirty Abori-ginal pictures, with estimates between €6,000 and €16,000. These include a work by Ronnie Tjampitjinp,"Tingari Cycle", from the year 2000. Highlighted by exhibitions like the one that finished in January at theMusée du Quai Branly in Paris, Aboriginal art is decidedly on a roll! Stéphanie Perris-Delmas


FINE ART AUCTIONS MIAMI

FREDERIC THUT - NY & [email protected]

+1 305 573 4228

DAN COISSARD - [email protected]+33 6 62 09 6088

346 NW 29th st . Miami , FL 33127 - www.faamiami .com

IMPORTANT AUCTION OF PAINTINGS AND SCULPTURESAPRIL 27TH 2013, IN MIAMI

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B313

1 TO INCLUDE YOUR PROPERTY IN THIS AUCTION PLEASE CONTACT:

IMPRESSIONIST, MODERN, LATIN AMERICAN WORKS OF ART

Claudio BRAVO (1936-2011), 1999; Oil on canvas, 200 x 130 cm.

Estimate: $300,000 - $500,000

Fernando BOTERO

Roberto MATTA

Wifredo LAM

Carlos CRUZ-DIEZ

Rafael SOTO

Armando MORALES

Visit our website for catalogues, previews and auction times

104 East 25th St, New York, NY 10010 • tel 212 254 4710SWANNGALLERIES.COM

Fine Photographs & Photobooks APRIL 18

Specialist: Daile Kaplan • [email protected]

Ansel Adams, Moonrise, Hernandez, New Mexico (detail), silver print, 1941, printed 1978. Estimate $15,000 to $25,000.

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FIND AUCTION RESULTS ON THE INTERNETW

AUCTIONRESULTS

THE MAGAZINE AUCTION RESULTS

€19,827 Pierre Bayle at the topOn February 25 at Drouot, (Camard & Associés), the sale of the collection ofgallery owners Daniel and Michèle Sarver, involving various other prove-nances, achieved a total of €455,344. One of their protégés, Pierre Bayle, metwith universal approval, even posting a world record (source: Artnet) withthe €19,827 fetched by the piece in this photo. Its title, Grand Gaea, is takenfrom the name of the Greek goddess of the earth, and is highly appropriate,since Bayle used a technique going back to the Graeco-Roman period: terrasigillata, which produces a glossy surface without any polishing. The cera-

mist indicated that Gaea was one of the few pieces on which heworked after throwing it, applying each point in relief separa-

tely. The previous record, €10,000, had been achieved on 20February 2008 by another large format example of Gaea,

presented by the same auction house. S.A.


€206,250At €206,250, this "bwete" reliquary figure, sold on 1 March inParis (Binoche & Giquello), greatly exceeded its estimate. Thepatina of its lower wooden section, which forms a handle, bearswitness to its great age. The evident sculptural qualities of thisfigure are confirmed by its impeccable pedigree. It wasacquired in Africa by Aristide Courtois (1883-1962), thegovernor of Middle Congo, who sold many pieces to Paul Guillaume, Ernst Ascher and Charles Ratton. This piece in factpassed on to Ratton, who was introduced to African art byAndré Derain. He then sold it to the American actor Edward G.Robinson (1893-1973), for whom Pierre Matisse often acted asintermediary (as we know, the artist's son was a gallery ownerin New York). The year the actor died, his collection of African,Oceanic and Colombian art was put up for sale in London atSotheby’s, when this figure sold for £1,400 (around €18,000 attoday's value). It then went to the Arman collection, and afterthat to a private French owner. The excellence of its record isrubber-stamped by Kichizo Inagaki's base. This Japanesecabinetmaker (1876-1951), who had settled in Paris, wasRodin's preferred plinth-maker. As from 1910, he shared hislodgings with his compatriot, Seizo Sugawara, who helpedEileen Gray perfect her lacquer work. Inagaki also madeplinths for top tribal art dealers and collectors; a base withhis signature was almost always evidence of a high qualityprovenance. The reliquary figure here was made by theMahongwé ethnic group of the Kota people. One of theircustoms was to place the bones of tribal founders in abasket surmounted by a figure in wood plated with acopper strip. Sylvain Alliod

AUCTION RESULTS THE MAGAZINE

Bwete reliquary

Mahongwé ethnic group, Gabon, 19th century, "bwete" reliquaryfigure, wood, inlaid copper and brass strip, base by Inagaki, h. 50 cm.

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€112,500This painting depicts the studio of a Flemish painter who settled in Paris, Jan Franz Van Dael (1764-1840). The finalverdict of the bidding on 27 February at Drouot (Daguerre) – €112,500 – was worthy of this work. It tripled the high estimate and set a world record for its painter, Van Bree. The "Studio" here roundly trounced a more titillating subject,one far from lacking in charm – an oil on panel entitled "The Harem Bath" (63 x 81 cm) – knocked down on 18 May 2011for £31,250 including the buyer's premium (€35,764) at Sotheby’s London. Van Dael, who mainly painted flowers,attracted a feminine clientele to his studio. In 1831, one of his contemporaries, Gabet, wrote that "the obliging painterinitiated several ladies who had already exhibited at the Salon into the secrets of his art", and mentioned Adèle Riché(1791-1878), three of whose paintings are now in the Musée de Tours. The painting here was also a Salon piece; it waspresented in 1817, as indicated by the annotation in the black band on the left of the picture. Van Bree, who arrived inParis in 1811, had begun studying at her brother’s studio, Mathieu Ignace, and continued with Girodet. Five years laterhe travelled to Rome, where he remained for two years. He must have executed this painting before leaving for theEternal City. He had a great liking for the act of painting as a subject. The Royal Museums of Belgium contain a"Workshop of female painters", executed in 1831, and "Rubens painting in his garden", surrounded by his family, datingfrom 1833. Ten years earlier, in Rome, he had painted his own working environment, where we see Canova honouringhim with a visit. In 1971, the painting here featured in one of the sales of the David-Weill collection, and garnered FF6,000(€5,850 at today's value). As we can see, in forty-two years it has risen nicely in value, with the sum initially spent bringingin an average of €2,000 per year excluding the buyer's premium. An excellent investment… S.A.

Van Dael by Van Bree

Philippe Jacques VanBree (1786-1871),“Interior of Jan Franz Van Dael's Studio at the Sorbonne”,oil on canvas, 46 x 56.5 cm.

WORLD RECORD FORTHE ARTIST.

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€49,170Fabergé, Michael Perchin’s stampOn 28 February at Drouot (Beaussant-Lefèvre), this quadriptych by Fabergé in pink gold shot upfar beyond its estimate (€2,000) to €49,170. These ovals designed to hold photographs havesimple silver borders. With no enamel or precious stones, this small frame bears the Saint-Peters-burg stamp for the period 1896-1908 and that of Michael Perchin, the company's most importantforeman with Henrik Wigström. Perchin supervised the production of the famous imperial eggsfrom 1886 to his death in 1923. He also stood out for his ability to cover all styles, from the Renais-sance to the Neorococo. This piece is overtly Neoclassical. As we have seen, Karl Fabergé enthu-siasts eagerly pushed up the bidding to obtain the object of their desire... and maybe put somephotos of the Russian imperial family in the frame? At that price… Sylvain Alliod



The Emperor or his Marshall ?€110,400 Ernest Meissonier, a protégé of Emperor Napoleon III, began along career of military painting under the Second Empire. Following the example of Martin-des-Batailles, who accompaniedLouis XIV to Flanders, the artist became the Emperor's ‘painterreporter’ in 1859 during the Italian campaign. This led him to paint the masterful ‘Emperor Napoleon III at Solferino’, now inthe Louvre museum. In homage to his uncle, the emperorcommissioned a series of paintings from Meissonier recalling theconquests of the ‘Grande Armée’. Also a sculptor, Meissonierproduced statuettes, mainly equestrian. These served as preparatory studies for military paintings, as Antoinette Lenormand-Romain demonstrated in a major retrospective onthe artist at Lyon in 1993. An excellent animal sculptor, Meissonierobserved the horse in meticulous detail, carving it with realism,power and precision. The bronze here, typically in this vein, wasestimated at around €10,000. Offered in good condition, it wascast after Meisonnier's death by the Siot-Decauville foundry froman original wax sculpture (now in the Musée d’Orsay) of astonishing naturalism. Other copies can be seen today in themuseums of Washington, Bordeaux and Reims. Bearing the proofnumber 30, this copy was first thought to show Napoleon I duringthe retreat from Russia. Then art historians identified it as anequestrian portrait of Marshall Ney. After being cut off from themain army, he successfully managed to rejoin them, whichearned him the distinction of ‘the bravest of the brave’. A toughand courageous soldier, he was one of the last Frenchmen tocross the famous bridge of Berezina. This ‘Traveller’, however, didnot languish like those during that terrible battle: far from it! At itssale at Morlaix on 26 February, it was vigorously fought over bythe room and several telephone bidders, finally going to a Frenchbuyer for ten times its estimate (Dupont & Associés).

Chantal Humbert



Ernest Meissonier (1815-1891), "Le Voyageur" or "Cavalier dans la tempête" (horseman in a storm),bronze with green-tinged brownpatina, signed "Meissonier", late 19thcentury, circular foundry stamp of Siot-Decauville, Paris, 48 x 60 cm.

Pierre Puvis de Chavannes (1824-1898),"Ludus pro Patria", drawing in sepia on

canvas, signed, c. 1879,27 x 118 cm.

€121,125Attributed to Bartolomeo BonOn 15 March, the Paris sale of the auction houseAguttes, devoted solely to the Middle Ages,totalled €1,162,792 and totted up no fewer than29 five-figure bids. The star was this marblesculpture, probably an allegory. It is attributedto Bartolomeo Bon (1410-1467), one of the lastproponents of Venetian Gothic sculpturewhose style already looks forward to the Renais-sance. A native of Ticino, he first worked inVenice with his father Giovanni, mainly on thedecoration of the celebrated Ca’ d’oro palace.On his own, he completed several doors, inclu-ding the one of San Giovanni e Paolo church,and the one linking the Doge's Palace to theSan Marco basilica. His sculpture here fetched€121,125. S.A.


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€55,200 To the glory of PicardyOffered for sale in Lyon (Chenu - Bérard - Péron) on 17 March, this drawing roused a lively battlebetween museums, the trade and collectors, finally going to a French buyer for nine times its estimate.It is listed in the Puvis de Chavannes catalogue raisonné. The painter came from a well-to-do middle-class family in Lyon, and studied with Thomas Couture in Paris. Puvis de Chavannes was a majorfigure in 19th century art, and during the great wave of Realism, renewed the great Classical tradition,which he oriented towards Symbolism. For nearly thirty years he painted large, elegant, decorativecompositions with a highly stylised feel, deliberately deepened with pale and muted shades. Theyincluded monumental commissions for the Panthéon, notably scenes from the childhood of SaintGenevieve. A few years later, the artist, reviving the allegorical genre, painted a magnificent "Pro PatriaLudus": a work originally designed for the Musée d’Amiens. Following on from "Ave Picardia Nutrix", it took Puvis de Chavannes two years to complete. Here young athletes in Greek garb are practising thejavelin or "pique" (lance): weapons that gave their name to the region's inhabitants, later famous for their military daring. An ode to virility and tranquil courage, "Pro Patria Ludus" consist of severalcompositions depicting confident love, happy childhood and contemplative old age. The monumentaldecoration required numerous drafts, studies and canvases, which made their way into American artmuseums like the Metropolitan of Art in New York. Referring to this magisterial mural, the drawing hereis marked "projet pour le tableau des Picards" ("draft for the Picard painting"). Chantal Humbert


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€120,000Cord 810 SportsmanA throng of car enthusiasts contributed to the success of this sale by Osenat in RueRoyale at Fontainbleau. The Cord 810 Sportsman from 1936, a coupé convertible-with a particularly original line and an ingenious and innovative interior layout, couldhardly pass unnoticed. It had already caused a sensation at the New York motorshow of 1935. With this Cord 810, Gordon Buehrig aimed at a pioneering silhouette.Anything that interrupted its fluid lines was eliminated, starting with the runningboards; the headlights became retractable, the fuel filler was concealed behind ahatch, and even the door hinges were invisible. The result was sculptural, as appreciated by an enthusiast, who spent €120,000 on this exceptional car.

Sophie Reyssat



€1,610,960La Rosa by PissarroOn 20 March at Drouot, this sensitive portrait of the young Rosa was highly appreciated by enthusiasts. Estimated at€220,000, it finally went up to €1.6 M (Thierry de Maigret). As well as Pissarro's signature and the pretty face of theyoung lady, the painting had the advantage of appearing for the first time at auction since its sale on 16 April 1896 byDurand-Ruel to one Monsieur Boivin. The painting then remained in the family. It appeared in the monograph exhibition at the gallery which had opened the previous day. It also featured in three other exhibitions at the Durand-Ruel gallery in April 1904, April and May 1945 and from June to September 1956, as well as in an exhibition at theMusée Carnavalet in 1953, "Masterpieces from Paris collections: paintings and drawings from the 19th century Frenchschool". This painting is the only one of Rosa in the Artnet database. The young woman was engaged as a servant bythe Pissarro family in the 1890s, and rapidly became a model for the artist. In 1895, she posed for "La Ravaudeuse", and"Femme tirant son bas", and in 1896for "La Petite bonne" and "Petitebonne flamande". On 15 January1896, Pissarro wrote to his son: “I'vefinished four paintings of ten andfifteen of La Rosa.” This one, a figureof ten, was perhaps one of this group.

Sylvain Alliod


Camille Pissarro (1831-1903), "Tête de jeune fille de profil dite "La Rosa",1896, oil on canvas. 55 x 46 cm.

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€495,680If you didn't know, the diadem is right on trend! At themost recent Biennale des Antiquaires, the Chaumetcompany kept the fashion alive by presenting no fewerthan twelve new variations of the jewellery item. AtDrouot on 20 March (Beaussant–Lefèvre), an olderpiece changed heads, soaring to €495,680 after a highestimate of €150,000. It was executed in 1908 for agreat aristocratic French family, for a wedding.According to designer Béatrice de Plinval, director of

the Musée Chaumet, only three examples of thismodel were made, each with slight variants. The 12 carnations crowning the one here are mountedon springs: a technical refinement discreetly integratedinto a design as delicate as it is elegant. A real feat! Over the years, Chaumet can boast of having producedsome three thousand tiaras in its workshops... and thecompany incidentally has a historical legitimacy in thisrespect. This head ornament, whose origins can betraced back to high antiquity - it designated the whitewool ribbon surrounding the tiara of the Kings ofPersia - was revived in the taste of the day during aperiod where the Graeco-Roman model became theultimate reference: the Consulate and the Empire.Bonaparte appointed the company's founder, Marie-Étienne Nitot (1750-1809), as supplier to the court…And Napoleon required his sisters and sisters-in-law towear this piece of jewellery, placed sufficiently high intheir hairstyles to give them a dignity worthy of thefamily's place in the new Europe desired by the Frenchsovereign. The tiara remained in vogue during thewhole of the 19th century, adapting to all the stylisticvariations of an eclectic epoch. Sylvain Alliod


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Joseph Chaumet, c. 1908: openwork platinum diademdecorated with carnations and foliage entirely set withantique cut diamonds, fourt een of a larger size; someelements mounted on springs. Gross weight: 155 g.

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Chaumet olds its head high !

€514,268Jacques-Émile Blanche,Gide collection The total of this sale on 20 March atDrouot came to €2,794,483 (Thierry deMaigret) including €1,610,960 for an oilon canvas by Camille Pissarro of 1896,"Tête de jeune fille de profil dite La Rosa"(see page 81). There were two note-worthy six-figure results for two pain-tings by Jacques-Émile Blanche, whichhad belonged to the collection of AndréGide. They greatly exceeded their esti-mates, the 1890 "Portrait d'André Gideou André Gide à 21 ans" (107 x 73 cm)soaring up to €346,976 and the"Portrait de Georges Porto-Riche" (100 x65 cm), painted in Dieppe and dedi-cated to Rodin, to €167,292. This wasperhaps painted in 1889. The portraitof André Gide clocked in at secondplace in the artist's results worldwide(source: Artnet). It was a French record.

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€180,000 Olympic torch from the 1968 Grenoble Games Ivoire Clermont was one of the first auction houses in France to stage sales of sporting memorabilia. In Clermont-Ferrand on 16 March, it proposed an Olympic torch from the 1968 Grenoble Games in red chased copper,produced by the STEFI (Société technique d’équipement et de fournitures industrielle). 33 copies were made, andit is one of the rarest torches after those of the Summer Helsinki Games of 1952. The ultimate symbol of theOlympic Games, it was announced at around €30,000, but fired enthusiasts to battle ardently for it in the room andvia several telephones. Smashing its estimates, it finally went on to embellish a foreign collection, and posted anew record for a torch from the 1968 Winter Olympics. This is a genuine objet d’art evoking the feats of Jean-Claude Killy, Marielle Goitschel, Guy Périllat and Léo Lacroix... Chantal Humbert

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€114,219A collection full of surprisesA Belgian collection containing over 700 lotsrequired three days of sales on 6, 7 and 8 March inParis (Millon & Associés). The reasonable estimateswere often – and largely – exceeded, notably forthe art of weaving, which made an impressionwith the €114,219 garnered for this Gobelinstapestry (almost ten times the estimate). This was arewoven 18th century version of one of the eightpieces in the "Anciennes et Nouvelles Indes" (Oldand New Indies) series, created by the painters VanEeckhout and Franz Post to mark a voyage toDutch Brazil between 1637 and 1644. The firstversion, woven at the Gobelins, was presented toLouis XIV. In 1737, François Desportes began tomodify the cartoons, adding a number of Africananimals, and calling the hangings the "NouvellesIndes". The tapestry here probably belongs to thesecond series. Three 17th century Flemish tapes-tries from the long series The Story of Alexander("and the Amazons") totalled €86,299. A battle forthe largest (330 x 450 cm), showing Hercules andTheseus seeking the friendship of the Amazons,was pushed up to €40,614. Sylvain Alliod




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€1,707,542On 20 March at Drouot, this third sale of the R. and B.L.library totalled €1,707,542 (Binoche & Giquello),giving this collection a value of €7,588,565 for themoment. As we remember, during the secondsession, "La Prose du Transsibérien" by BlaiseCendrars, illustrated by Sonia Delaunay, obtained arecord for the book at €312,750. There were 125 lotsin the catalogue of this third sale. Two of themexceeded the €100,000 mark and 29 posted fivefigure bids. The highest price, €173,600, went to theonly copy on imperial Japan paper of "Venise, seuildes eaux" by Paul Leclère, illustrated with 10 insertedcompositions by Van Dongen. The binding byLegrain also holds five watercolours used as illustrations. François-Louis Schmied entered thescene at €131,440 with one of 20 copies on Japanpaper of the "Histoire de la princesse Boudour. Contesdes mille nuits et une", translated by Dr J.-C. Mardrus(Paris, Schmied, 1926), with a fine binding by JeanLambert in Moroccan blue with a mosaic of coloured geometric motifs. Schmied embellished the bookwith 52 illustrations, 18 of them inserts; the copy herecontains one of five sets of line prints engraved inblack on Chinese paper. The plates of this legendarybook were coloured in the lacquer workshops of JeanDunand. Sylvain Alliod

€173,600 Paul Leclère, "Venise, seuil des eaux", Paris, at the Cité desLivres, 1925, illustrated by Kees Van Dongen (1877-1968), in-quarto,morocco binding with mosaic decoration by Pierre Legrain.

R. and B.L. librarychapter three



€343,056Paul Dupré-Lafon: a Thirties desk

Paul Dupré-Lafon once again justified his title of "the millio-naire's interior designer" with the €343,056 obtained (abovethe estimate) for this desk on 22 March at Drouot (Aguttes).Executed in around 1937-1939, it is made from the noblestmaterials, including Macassar ebony and bronze, while theleather elements were made by Hermès, whose signatureappears on the desk blotter. The latter, as often with Dupré-Lafon, hides a storage compartment whose meticulousfinish illustrates the care the designer took over his furniture.The play with geometric volumes is typical of his style, andthe massive appearance of the desk is alleviated by thecurvature marking the centre of the top on the user's side,while the rectangular base is softened by the delicate slopeemphasising the gilt bronze trimming.

€10,3MA muted result for the Barbier Mueller collectionWith a total of €10.3 M, the Barbier Mueller collection of Pre-Columbianart did not fulfil its forecasts. This might have been because of the desta-bilisation campaign orchestrated by Peru and Mexico before the sale...And yet actions from countries wishing to recover their heritage havebeen carried out with regard to other sales without the same effect,notably the H. Law collection, dispersed at Drouot on 21 March 2011(Binoche & Giquello) for a total of €7.4M: a record at the time for a sale ofpre-Columbian art. Nonetheless, the Barbier Mueller collection beats thisprevious record, and its large callipygian Venus from the Chupicuaroculture posted a world record at €2 M.



€941,416A collection of Lin FengmiansAt its contemporary art sale on 20 March, the ParisMillon auction house offered a collection of 18 workson paper by the Chinese painter Lin Fengmian. Thiscollection had been built up by the Russian poetLarissa Andersen Chaize, who died in 2012, during theyears she spent in Shanghai, when she was friends withthe artist. The collection garnered a total of €941,416,with 90% of buyers being Chinese bidders from HongKong or New York. This "Lotus pond at night", paintedin ink and colour, fetched the highest bid at €230,976(see photo), after a high estimate of €100,000, while a"Flight of wild geese" went for €203,056, for a high esti-mate of €60,000: results far above the forecasts, confir-ming the painter's high popularity rating.



THE MAGAZINE AUCTION RESULTS INTERNATIONAL

$2.22MThe quintessence of Song porcelain On 19 March in New York, the seller of this Ding bowl had every right to feel content – and proud, having achieveda transaction good enough to turn the craftiest Wall Street operator green with envy. Picked up six years ago in ayard sale for $3, this small ceramic Song piece sold for the staggering sum of $2.23 M at Sotheby's! History does notrelate whether this feat was the work of a discreet connoisseur or just a lucky break… Meanwhile the buyer, noneother than Giuseppe Eskenazi (the well-known London art dealer behind the highest bids in the speciality), walkedoff with a remarkable example of Ding tableware: a model known through only one other specimen now inLondon's British Museum. This "British subject" had been left to the institution in 1947 by Henry J. Oppenheim, acollector and eminent member of the Oriental Ceramic Society. No need to dwell on the unparalleled virtues of thistype of porcelain produced during the Song dynasty, which ruled from the 10th to the 13th century. It embodiedthe perfection of an intellectual century. The beauty of these pieces lay in their pure lines and the attention lavi-shed on the decoration, here delicate petals traced with a bamboo knife – not to mention their colour, an evanes-cent creamy-white, ideal for expressing "the taste of spring water" dear to neo-Confucian scholars (“La Chine desporcelaines”, Musée Guimet, 2004). Stéphanie Perris-Delmas

AUCTION RESULTS INTERNATIONAL THE MAGAZINE

DKK 1.488.000"Creating in harmony with nature rather thancopying its external appearance" was the maximof Axel Salto (1889-1961), the Danish designerwho was a sculptor, painter and illustrator, butabove all a ceramist. One of his works, a large vasewith a greeny-black glaze, was sold on 8 March inCopenhagen for DKK 1.488.000 (BruunRasmussen). There were no other pieces of compa-rable significance in the sale, but other works of hisachieved some excellent prices, from DKK 170,000 fora vase from 1966 with high relief decoration bringingout the subtleties of the blue glaze, to DKK 750,000 for avase in the shape of a fruit. A "Janus" vase went for DKK300,000; this carried the mark of the celebrated "Royal Copen-hagen" factory, for which Salto worked. Inspired simultaneouslyby mythology, Art Deco and religion, the artist's approach was radi-cally different to the work of his contemporaries (and successors) asproponents of a functionalism applied to the decorative arts. This isthe aspect most often associated with Scandinavian designers, andthe prices prove that this vein of inspiration continues to appeal: DKK 410,000 for a pair of chairs by Kaare Klint; DKK 250,000 for a teakdesk by Hans Wegner faintly reminiscent of Chinese furniture.Another of his desks in wenge and chrome-plated steel fetched DKK200,000. Scandinavian design, which has long been the delight of theart trade, cleavly still has its fans… Xavier Narbaïts


Axel Salto at his peak

Axel Salto: Very large stoneware vase in buddedstyle with black olivine glaze. Signed "Salto",21380. Royal Copenhagen. H. 51 cm. DKK 1.488.000.


$22,49 MChinese ceramics and objets d'artIn terms of price, the star of this New York sale on 19 and 20 March at Sotheby's (also see page 90), whichtotalled $22.49 M, was one of the Qianlong Emperor's seals, in jade of a somewhat muted shade, whichdoubled its high estimate in achieving $3.41 M. A long way behind it, at $545,000 and $509,000 respecti-vely: another Song bowl, with an interior decoration of lotus flowers and interlacing foliage, and from thesame period but in polychrome wood, a massive Bodhisattva head (h.: 95 cm) from the former Véritécollection. Scarcely less expensive ($485,000): a "Hu" vase with blue and white decoration from the Qian-long period – $60,000 more than a vase with removable handles, carved in celadon-coloured jade duringthe same reign. From the 18th and 19th centuries, two pairs of small bowls in white jade (the first square,illustrated, the second round achieved $341,000, while a bronze Shang wine vase (h.: 30.5 cm) almostequalled a late 17th century scholar's table in huanghuali wood, these two lots fetching $389,000 and$395,000 respectively. These examples give an idea of the success of this sale – at every price level, too, ashammer prices started at $3,000 for a bronze mirror from the Han dynasty. X.N.

$365,000 A pair of small square white Jade cups, Qing Dynasty, 18th century, each with straight slightly flaring sidesupported on a small square foot, flanked by two rectangular handlessurmounted by crouching deer, the base with a Qianlong four-character mark, H. 11.9 cm.



$1,51 MH. Schonfeld collection Chinese snuff bottlesAs a child, Hildegard Schonfeld (1923-2000) had to fleeher native country, Germany, and took refuge inAmerica. During a voyage with her husband, she disco-vered and bought two Chinese snuff bottles, findingthem highly appealing. From then on she pursued herpassion intelligently, buying in public sales and fromthe top dealers, and joining associations of enthusiastsfor these small objects, which Westerners and Chinesebuyers battle for keenly. In the end, by the time it wasput up for sale by her children on 21 March in NewYork (Christie's), this magnificent collection containeda little over a hundred pieces with first-class documen-tation. The collection fetched a total of $1.51 M, andevery lot found a buyer. Prices ranged from $1,063 atthe bottom end for a simple mid-19th century colour-less glass snuff bottle with an unusual European-stylecarved decoration, to $171,500 for one a century older,carved from a block of bi-coloured tourmaline, wherethe artist used the coloured zones to define the topand bottom of the piece (see photo). But the extremesdid not reflect the reality: the most desirable lotsmainly went for between $10,000 and $35,000 onaverage. The only exceptions, apart from the tourma-line snuff bottle, were a continuously-carved whitejade bottle featuring a sage in a cave (second half ofthe 18th century), which garnered $99,750; an imperialporcelain snuff bottle decorated with Famille Roseenamels, which fetched $87,500, and a third, the onehere, carved from a block of aquamarine, which wentfor $68,750. A faultless round, then, for these exquisi-tely refined Chinese objects. For a long time, they haveappealed as much to Western enthusiasts as to thosein their country of origin... Xavier Narbaïts


£982,050For the Chinese GirlVladimir Tretchikoff’s most iconic work, "Chinese Girl", is finally making its way home. The painting, believed to beone of the most extensively produced and recognisable pictures in the world, sold for £982,050 at its Bonhams saleon 20 March, becoming the highest-selling piece by the artist (source: Artnet). Tretchikoff was born in Russia, butlived in Shanghai and Singapore. He was imprisoned in a Japanese prison camp during World War II before finallyemigrating and settling in South Africa. This was where in 1950 he painted "Chinese Girl": the undeniable highlightof this London sale of South African art. Its lucky new owner is the British businessman, jeweller and Chairman ofGraff Diamonds International, Laurence Graff. He will be restoring it to its native South Africa, where it will be onshow to the public at the Delaire Graff Estate, near Stellenbosch. After the 2011 exhibition "Tretchikoff: ThePeople’s Painter" at IZIKO South African National Gallery, the value of Tretchikoff’s work has gone from strength tostrength. This last result marks a new record for a Tretchikoff painting. The previous record was held by "Portrait ofLenka (Red Jacket)", which sold in October 2012 for £337,250 (Bonham’s). Including the triumphant return of"Chinese Girl", the sale was a success, with some 150 lots totalling £4.5 million. P.B

CHF19,500The Hôtel de Genève achieved some excellent results

on 13 March with a sale of 35 lots deriving from two

important musical collections. Previously owned by

the family of the pianist Nikita Magaloff and by the

musicologist Robert Bory respectively, the collections

included rare and personal manuscripts,

photographs, letters and other artefacts concerning a

variety of musicians including Béla Bartok, Igor Stra-

vinsky, Paul Dukas, Nikita Magaloff, Joseph Szigeti

and Richard Wagner. An undeniable highlight of the

sale was a book of exercises written by the Hunga-

rian composer and pianist Franz Liszt for his pupil

Valérie Boissier. Her mother took notes during the

lessons, which provide an insight into the life of Liszt,

recording his tremendous admiration of Weber and

Beethoven, for example. Including eight pages of

exercises in his own hand written in 1832, this

exercise book of Liszt’s work as a teacher surpassed

its estimates of CHF3,000-5,000, eventually selling

for CHF19,500 to one of Valérie Boissier's own

descendants. However, the majority of the Liszt

works went to two collectors: one a Hungarian

compatriot, the other a German specialist. Among

the lots were three pieces of sheet music dedicated

by Liszt to Chopin, a very personal testament to the

friendship he shared with his contemporary, which

sold for CHF52,300. Polly Brock

Franz Liszt (1811-1886), exercises composed for Valérie Boissier,eight pages of music in Liszt’s own hand, written in 1832, in a volume bound in red calf with a diamond-shaped label.

Franz Liszt for his pupil


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Console table, 1918-1920,lacquered wood fromChina. Private collection.

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TEFAF an appraisal of 2013

It has to be admitted that the 26th edition of TEFAF,The European Fine Art Fair, took place in weatherconditions that bore no resemblance to spring.These meteorological considerations, which mayseem trivial when it comes to assessing one of the

art market's most keenly-awaited events, had a distincteffect on attendance this year. Not only did the snowand the cold hold up the experts expected before theopening for the famous vetting (the strictest in themarket), but they also foiled the arrival of the happyfew invited to the inauguration. And generally speaking, many did not try again: "Key clients havevery tight schedules," said Anisabelle Berès, "and theydon't necessarily have the leeway to re-scedule a visitto Maastricht." Another noticeable fact: normally thevolume of exchanges is evenly spread out over thewhole event, but this year they mostly took placeduring the first three days. As from the Monday, it wasmainly the "strollers" who ambled between the magni-ficent floral compositions dotted along the alleyways:one of the fair's signatures. "During the week, I feltrather like a guide in a museum," said one exhibitor.The reference was apposite for this fair, which lined upa large number of specialities offered by 265 dealers,with a typically dense and high quality selection. Onthe other hand, one regular observer noticed that the2013 vintage had a higher than usual proportion ofrepetitions, i.e. works already seen in previous fairs: "Onaverage, 30%," he estimated. For dealers, it is notalways easy to present only new pieces, especially after2012, a year that was not particularly rosy for somesegments of the market. As regards collectors, whilethe Europeans reported present, the American Eldorado was chiefly marked by the presence of its

A view of the Champs Elysees from thestand of Cahn International at TEFAF 2013.

ART FAIR THE MAGAZINE

ting the TEFAF 2013 report drawn up by Irish econo-mist Clare McAndrew. This noted a clear downturn inthe Chinese market, which fell 24% in 2012 comparedwith 2011 and moved down a place, enabling theUnited States to regain its position as leader in theworld market. This did not prevent TEFAF fromannouncing the launch in 2014 of a Beijing version ofthe event in partnership with Sotheby's, itself allied

museums. A fact noted in the New York Times by CarolVogel, who explained that this activism was due to thefine performances of endowments invested in theAmerican stock market by institutions, giving themmore liquidity. A phenomenon accompanied by a newcrop of curators, who had pinpointed gaps in theircollections and were keen to fill them. Chinese enthusiasts, meanwhile, kept a low profile, substantia-

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Duke of Luynes, featuring "Neptune taming the waves"and the triumph of Galatea". The American museumsturned up even before the fair opened. The Metropo-litan Museum of New York bought a 1779 painting byJoseph Wright (of Derby), "Virgil's tomb by moonlight",the first English landscape bought by the institutionsince 1944 – and which the Matthiesen Gallery ofLondon had bought at Sotheby's for £1.49 M ($2.3 M)in 2011. As often at Maastricht, it was noticeable thatbuyers were not bothered by a work's recent journeythrough the auction room... For example, the Maurits-huis of The Hague acquired (for an unknown price) a"Saint Jerome praying in a rocky landscape" by Paul Bril,which the Johnny Van Haeften gallery had bought for£505,250 ($813,083) at Christie's in London lastDecember. This London dealer also sold one of the keypieces at its stand, "The meeting of Odysseus andNausicaa" by Jacob Jordaens, for £4.2M. Old Masterpaintings have always been the strong point of the fair.

with a Chinese heavyweight in the art market, GeHua.Watch this space… But these drawbacks did not makethe fair a failure – far from it. "After all, here we are, atthe TEFAF!" as one exhibitor put it, and as witness the376 extra flights registered at the little airport of Maas-tricht-Aachen, and a fine number of red dots when thefair closed. A special mention for the Kugel gallerystand, which featured some dazzling pieces right fromthe start, as it always does. Here there was no questionof any repetitions. The star item, sold straight after theopening for an undisclosed price, was a papal piecethat probably belonged to Benedict XIV: a painting onmarble by Antonio Tempesta literally set in an astoni-shing frame from Trapani. And the rest was equally upto scratch… The Rijksmuseum in Amsterdam, on thelookout for pieces to display to the public when itreopens, treated itself – again at the Kugels stand, andthanks to the generosity of a Dutch collector – to asilver vase made by Antoine Vechte in 1843 for the

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Gue Jue, one of the most famous artists of the period.The Paris gallery Tanakaya's very fine prints of "36Views of Mount Fuji" by Hokusai all sold the firstevening. Also worth noting: the first participation ofthe Yufuku Gallery from Tokyo, which sold a particu-larly high proportion of pieces, mostly contemporaryJapanese ceramics. With jewellery, there was a livelymarket for the creations of René Lalique: Wartski fromLondon sold a gossamer necklace composed of inter-laced dragonflies for €1.3M, and Hancocks, also fromLondon, sold a 1907 brooch with two flying moths for€1 M. For those only planning to be strollers at the nextTEFAF, we might just mention that at the Maastrichtfair, you can also find buys at a mere four figures... Sobook your tickets now! Sylvain Alliod

I TEFAF, Maastricht Exhibition & Congress Centre, MECC, Forum

100, 6229 GV Maastricht, Netherlands, www.tefaf.com

Otto Naumann of New York sold a "Birth of the Virgin"by Carlo Maratta for $4.9 M, and an American paid $3M for a delicate still life by Balthasar van der Ast,bought on 5 December in London at Sotheby's by theZurich gallery David Koetser for £1.49 M ($2.4 M). Sculp-ture, as always, was well represented; a marble groupby Carpeaux, "Daphnis et Chloé" (H. 140 cm), dated1874, sold for $3.5 M (Daniel Katz from London). Themodern and contemporary sector, which had seen anumber of heavyweights leaving over the past fewyears, was shored up by the return of Larry Gagosian,who had not made the trip to Holland since 2006.Christophe Van de Weghe from New York sold a 1964Picasso to Ronald Lauder for $8 M. With the Asian arts,we can mention two objects offered at around €1 M,sold by Littleton & Hennessy Asian Art to Chinesebuyers: a sacrificial blue vase from the Yongzenghperiod carrying an imperial mark, and a 17th centurycarved bamboo brush pot bearing the signature of W

A view of TrafalgarSquare at TEFAF 2013.

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Will the latest Salon do better thanthe previous ones? It's hard to say, especially in an economic downturn. But the Paris fair hassucceeded in setting the bar ever

higher over the years. In 2012, the professionals unanimously acclaimed a positive result, marked by ahigher attendance rate, good sales, and the return ofAmerican buyers, while the presence of representa-

Drawing conclusions

tives from the top museums confirmed the excellenceof the works on offer. The Musée du Louvre picked upa study by the Spanish artist Alonso Berruguete datingfrom the 16th century; the Morgan Library of New Yorka pastel by Benedetto Luti, and the Rijksmuseum aDutch landscape by Gerrit Battem (1636-1684) – threedrawings presented by the Barcelona gallery ArturRamon. Museums have become important players inthis decidedly unifying art fair, which is one of the fewof its kind to highlight museums' graphic art collections. Once again, and for the third year running,it is welcoming a regional museum as its guest ofhonour: Bayonne's Musée Bonnat-Helleu, which will beexhibiting the drawings recently added to its collections through the Helleu bequest (see interviewon page 106). During the jointly staged "Semaine duDessin" (drawing week), visitors will also have thechance to view the capital's key graphic art collections,never before or very little seen by the public. Forexample, the Bibliothèque Nationale de France will foronce be opening up its reserves to exhibit drawingsfrom the 17th century almanac. With collectors, dealersand curators, the Salon du Dessin is a lively occasion, asreadily confirmed by one of its organisers, BertrandGautier. "It's such a strong event because it's a genuineforum where different sensibilities and points of vieware expressed, and where tomorrow's trends start to

Giulio Aristide Sartorio (1860 - Rome - 1932)“Portrait in profile of the singer mme Sylvia Simpson(pseudonym: Sylvia Rita)”, Graphite and red chalk, pastel,38,7 x 27,5 cm. Signed in pencil at bottom left GA. Sartorio Roma. Pandora Old Masters INC.

Johann Wilhelm Baur ((Strasbourg, circa 1600 – Vienna,1640), “Christ before Pilate, circa 1635”. Gouache onvellum, 18,3 x 26,4 cm. Signed Wilh Baür Inüentor fecit.© Didier Aaron & Cie

William Wyld (1806 - London

1889), “Avignon from the Rhône”,

watercolour, 24,3 x 33,9 cm.

Signed Wyld on bottom right.

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Cornelis de Vos (Hulst, 1584- Antwerp, 1651), “Head of child”.Graphite and red chalk highlights,22 x 17 cm.© De Bayser Gallery

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Edgard Maxence (Nantes, 1871 - La Bernerie-en-Retz, 1954),“Sapho”. Gouache, watercolour and pastel on black pencil,55 x 43 cm, entitled SAPHO on the top left, and signed EdgardMaxence on the top right.© Talabardon & Gautier

Frantisek Kupka (Opocno, 1871 -Puteaux, 1957),Circular and rectilinear, circa 1930Gouache and watercolour on paper,25,6 x 20,3 cm. Signed on bottom left, stampedFrançois Kupka on back.© M. Ferrier. Antoine Laurentin Gallery

Josep Santilari (1959), “Fruits, slices of bread andchocolate”, 2012, Graphite pencil, 35 x 51cm.© Artur Ramon Art

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take shape." So what are the focal points this year?Though increasingly rare, Old Master drawings remaincentral to the selection, as we can see in this enchanting portrait of a child in black chalk withsanguine highlights by Cornelis de Vos, which you cansee in the Bayser gallery – or, at Didier Aaron's, thisgouache by Johann Wilhelm Baur, c. 1635, of "Christbefore Pilate" in an astounding architectural setting.However, the trend initiated over the past few seasons,with an increasing spotlight on the 20th century, is beco-ming more established. The Italian gallery Continuaspecialises in contemporary drawings, like the Galeriedes Modernes and Galerie AB in Paris: they have all nowentered the sacrosanct. As well as a 1978 compositionby Fernand Léger, Galerie AB will be offering an acrylicand pastel by Hans Hartung. The arrival in force ofcontemporary drawings is all part of the natural order,says gallery dealer Talabardon Gautier: "Don't forget,what's contemporary now will rapidly become themodern of tomorrow. The role of exhibitors is preciselyto make choices within this century, and offer a selection

of works that will one day achieve icon status." TheGalerie Laurentin has chosen a gouache by FrantisekKupka for the occasion. Another high point of the fair isthe 19th century, which is gaining from the increasingrarity of Old Masters. This is a rapidly growing sector withsome high quality pieces, as we can see in the 2013selection – for example, a view of Avignon by WilliamWyld at the Galerie Prouté, and an astonishing study ofboots and shoes by Henri-Alfred-Marie Jacquemart atthe Galerie Terrades. Meanwhile, Edgar Maxence'sdivine Sapho celebrates the Symbolist trend, which hasreturned to centre stage after peaking in the marketduring the Seventies, says Bertrand Gautier – as has thetaste for the odd, represented by Richard Müller's"Hunter IV" at the Hamburg gallery Martin Moeller & Co.The Musée d'Orsay's fascinating exhibition devoted tohim is decidedly in the mood of the moment…

Stéphanie Perris-Delmas

I Palais Brongniart. Place de la Bourse – 75002 Paris. 10 to 15 April. www.salondudessin.com

Henri-Alfred-Marie Jacquemart(1824 - Paris - 1896),“Study of Boots and Shoes”Watercolour, 21,6 x 28,7 cm.Signed and dated on top right:Jacquemart /Paris 1871.© Terrades Gallery

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Musée Bonnat-Helleu guest of the Salon du Dessin

His de la Salle, the great "connoisseur" who lived in thesame building in Paris, was decisive in this respect. Toencourage him, he gave him a drawing by Rembrandt,then another by Poussin, and finally one by Watteau!

What did this bequest to the museum contain interms of the graphic arts?There are 1,792 drawings by some of the greatestnames of the Italian Renaissance, including Raphael,Michelangelo and Titian. The nine drawings byLeonardo da Vinci make Bayonne the holder of thesecond largest collection in France after the Louvre.The French 17th and 18th centuries are also remarkably represented, with studies by NicolasPoussin, Claude Gellée, Jean-Antoine Watteau, Frago-nard and David. As to the 19th century, Bonnat took aparticular interest in works by Delacroix (nearly 100pieces), Ingres (140 works) and Géricault (around 100).He also collected the Northern schools, especiallyHolbein and Dürer – he had a passion for Dürer, andowned 34 of his drawings. In fact, Bonnat was neververy interested in modern artists. For him, drawingreached its apogee more or less with Ingres.

How did the painter manage to buy so manymasterpieces?Léon Bonnat left little evidence as to how he built up hiscollections, but there is one letter, now in the Musée duLouvre, which describes the origin of his passion andthe way he tracked down these drawings all overEurope. He built up a network of friends in Paris (inclu-ding Both de Tauzia, the Marquis de Chennevières andGustave Dreyfus), and had links with foreign art loversin Italy and Britain. He also bought a great deal at

La Gazette Drouot: Museums don't often exhibit ina non-institutional setting…Sophie Harent: Yes, that's true. The Salon du Dessinbegan the tradition three years ago, when the RouenMusée des Beaux-arts was the first to present worksduring the 2011 show; the following year it was theMusée de Bergues' turn. The idea is to highlight agraphic arts collection from one of the regionalmuseums. Generally speaking, the graphic arts arepresented sparingly compared with paintings, and arethus less familiar to the public. For Bayonne, the otherreason is the very nature of the museum's collection.The largest number of pieces comes from the painterLéon Bonnat. At his death in 1922, he bequeathed hiscollections to the French State, with the obligation ofdepositing them at the Musée de Bayonne, but theprohibition of lending them.

So tell us more about the history of the Musée deBayonne's amazingly rich collection. The museum started up in the 1830s, with State deposits and a number of purchases by the city. LéonBonnat, who came from Bayonne, had made it knownearly on that he wanted to give part of his collectionsto the city, which had encouraged him at the start ofhis career, and enabled him to study in Paris and Italy.The painter began making donations to the museumin the 1890s. In 1901, Bayonne city council opened anew building, named after the artist. Following hisbequest in 1922, the paintings were swelled by a number of sculptures, antiques, objets d'art and mostimportantly, a truly extraordinary collection of drawings. The artist was an inveterate collector of these all through his life. His meeting with Horace

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Michel-Ange, MichelangeloBuonarroti (1475-1564), "Nudewoman sitting on the lap of a nudeman: Adam and Eve", red chalk.

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Federico Barocci (1526/1535-1612),"Bust of Saint MaryMagdalen", 1582, 58 x 43 cm.

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drawing collection central to the circuit around themuseum by giving a permanent place to the graphicarts, with small cabinets dotted around the rooms. It is due to reopen in 2018. Between now and then, themuseum will have hardly any visibility apart from a fewtemporary exhibitions to which we are lending works –such as seven pictures by Rubens, which are to beshown in three Japanese museums. So exhibiting atthe Salon du Dessin is a marvellous opportunity. Withthe "Semaine du Dessin" as well, it's a major interna-tional date for enthusiasts, and an excellent way ofspreading the word about the wonderful pieces wehave.

What will you be showing to the Paris public?We won't be showing the Bonnat collections or theworks from Jacques Petithory, which are State deposits.We are putting the spotlight on the Helleu collection,

auction in Paris, Berlin and London, particularly worksfrom the painter Thomas Lawrence, who had a remar-kable collection. He knew the dealer Thibaudeau, whoenabled a large number of French art lovers to buyworks on the British market during the second half ofthe 19th century. Bonnat never sold anything on. By1896, he was buying less and less, and apparentlystopped in 1899. Thanks to his purchase book, now inthe Musée du Louvre, we know that his collection costover a million gold francs. He bought studies byRaphael and Leonardo for 15,000 to 20,000 gold francsper drawing. His first purchase in 1880 was Michelan-gelo's Adam and Eve, for 15,000 francs: a very large sumat the end of the 19th century. In fact, he would buy adrawing for the price of one of his paintings (for whichhe charged between 15,000 and 25,000 francs). Thefortune he earned through his portraits enabled him tomake this sort of purchase.

And apart from the Bonnat bequest…There have been contributions from other sources,including from Jacques Petithory in the 1990s. ThisParis dealer, who worked in the flea market, built up acollection of very high quality paintings, objets d’art,drawings and sculptures – including two remarkablebronzes from Louis XIV's collections. At his death in1992, he left his collections to the Musées Nationauxwith the obligation to deposit them at Bayonne; hehad family connections to the region. In this way, 186drawings, mainly French and Italian from between the16th and 19th centuries (including a group of Frenchworks, with some exceptional studies by Jean-BaptisteGreuze), came to make a splendid addition to theBonnat bequest. All in all, the museum has 3,500graphic works.

The museum has been closed since April 2011…The museum is very cramped in its present building.The idea is to redeploy its collections and modernise it,while preserving the "petit palais" spirit created by thearchitect Charles Planckaert at the end of the 19thcentury. We want to put more focus on the sculptures,give a more prominent position to Léon Bonnat, meetour obligations to display the Helleu collection, andalso – I feel very strongly about this – make the

Paul-César Helleu (1859-1927), “Ellen”, pastel on canvas, Inv. CMNI 3311.

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which has not yet been published; my deputy, EliseVoisin, is in charge of all that. The collection mainlycomes from the painter's youngest daughter, PauletteHoward-Johnston. Paul-César Helleu (1859-1927) wasmainly known as an engraver, and portrayed all theelegant ladies of the Belle Époque. He not only had acareer in France, but also commissions in America,which is not so well known. While she was alive, Mrs Howard-Johnston had already donated around ahundred works by her father, mainly prints, in 1988. At her death in 2009, she left all her collections to thecity of Bayonne and made the Musée Bonnat her solelegatee. Around forty works will be on show in Paris,including a portrait of Helleu by his friend John SingerSargent, and forty-odd drawings and pastels that showa less familiar, more intimate side of his work.

How do you view the drawing market?It's very much alive. There are some excellent dealersand young gallery owners in Paris and outside France,who are very knowledgeable about the graphic artsand publish interesting catalogues. If you look at thesales staged during the week of the Salon you can seethat there are still some very fine privately-ownedcollections. You can still make some excellent buys. Of course, prices have gone up over the last twentyyears. But some pieces are still relatively affordable,even for private individuals or regional museums withmodest purchasing budgets. There are many appea-ling 19th century pieces, and you can still acquire somefine studies for a reasonable price. Large drawings,which are very expensive, and famous names, ofcourse, require more complex financial arrangements.

A drawing by Raphael for £29.7M, for instance…The prices achieved are staggering, it's true, and thesedays quite beyond a public collection. And it must besaid, it is always more difficult for a museum to buy adrawing than a painting or a sculpture. Paper andgraphic techniques are more fragile, and require stringent exhibition conditions: three months underlighting at 50 lux, then three years in the reserve. Buyinga drawing imposes considerable requirements in termsof quality and relevance in relation to existing collec-tions. You have to convince town councils and public

Paul César Helleu (1859-1927),"Mademoiselle Alice Louis-Guérin",pastel, 1884, 118 x 74 cm.

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tion. Forming connections with gallery owners andkeeping up with public sales is almost a logical continua-tion. In the end, it's a return to old habits, which weretotally natural in the 19th century, and are now comingback. I think that we are learning a lot, and that the eye istrained not only through university studies, researchwork or visiting public collections and drawing exhibi-tion rooms throughout the world, but also from artlovers, and by going to salerooms, stands and galleries!

Interview by Stéphanie Perris-Delmas

I Musée Bonnat-Helleu, 5 rue Jacques Laffitte, 64100 Bayonne.www.museebonnat.bayonne.fr

and private financers, while the works will be less ondisplay for conservation reasons. For a community, it'soften more difficult in terms of communications.

The Salon du Dessin provides an interesting bridgebetween the market and the museums…The dichotomy between the two sectors is less clean-cutthan it might be, it's true. Today, relations are formed onthe basis of an exchange. There is a real shared passion.And many French museums buy works at the Salon. In Bayonne, these links are almost obvious, in a way,when you know that the dealer Jacques Petithorydonated works bought on the market to a public collec-

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Théodore Géricault (1791-1824), "Etalon arabe conduit par deux arabes pour saillir une jument" (Arabian stallion being led by two Arabiansto breed), watercolour, lead pencil, brown paper, gouache and sanguine highlights, 22.2 x 28.3 cm.

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Eileen Gray a free spirit

Badovici, her work betrays no trace of dogmatism. Thefurniture she designed shortly afterwards for herTempe a Pailla house already evinced the playful spiritof the post-war period from the early Thirties onwards.Eileen Gray was decidedly modern in the Rimbaldianmeaning of the term: that of the avant-garde. In thecircuit laid out "in ensembles" by exhibition curatorCloé Pitiot, we find the well-known landmarks of thedesigner's career: the lacquer work she did with SeizoSugawara, the creations chosen by Jacques Doucetbetween 1913 and 1915, the apartment designed forMadame Mathieu Lévy in the early Twenties, the JeanDésert gallery (1922-1930), and the construction of E 1027. The exhibition also highlights lesser-exploredareas of her talent, like her rugs, and Tempe a Pailla,"Eileen Gray's other house", not to mention her rela-tionship with Le Corbusier, her early years and herattachment to British culture and her native Ireland,even though she settled in Paris in 1902. This decisionwas explained by the unfettered climate reigning inthe French capital. Her desire for freedom can also beseen in her most classic pieces. Her particular expression of Art Deco was a long way from the playwith geometric volumes sought by most proponentsof the time. Her approach was far closer to the morehistoricist tone of Albert-Armand Rateau, but withouthis clearly identified sources. The Far East certainlyoccupied a key place in it, but without lapsing intochinoiserie or Japonism. A more tribal inspiration canalso be seen at work in a number of pieces. But in thislittle game, the most obvious source is called EileenGray. While the exhibition confirms the marked creative turning point represented by the design of E 1027, it shows that from the early Twenties on, Gray

Was Eileen Gray's most emblematicwork her Nonconformist Chair?The dominating impression left bythe Centre Pompidou exhibition is very much that of an extraordina-

rily liberated woman. From the graceful Art Deco ofher lacquer work to the rigour of the chrome-platedtubing in her E 1027 house, designed with Jean

Berenice Abbott, “Portraitof Eileen Gray”, Paris, 1926.

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was receptive to essentially constructivist avant-gardemovements: the Suprematism of Malevitch, andabove all the Neoplasticism of De Stijl. From this pointof view, her rug designs and the table from 1922-1924,now in the Richmond Museum in Virginia, speakvolumes. In 1923, the bedroom-boudoir for MonteCarlo she exhibited at the Salon des Artistes Décorateurs illustrates the radicalisation of herapproach, not always appreciated by the critics of thetime. "Madame Eileen Gray's bedroom for Monte Carlois appalling, with its chrysalis lamps in parchment andwrapping paper. It's the bedroom of Doctor Caligari'sdaughter in all its horror" was the verdict of one article,presented in a showcase. Further on, another exhibitspostcards from the De Stijl architect Jacobus JohannesPieter Oud from 1923 to 1924, showing far more sensitivity to the designer's expressionism. The manwho played a major role in her initiation to modernarchitecture was Jean Badovici, the tireless drivingforce behind the magazine L'Architecture vivante(1923-1933). In 1925, they went together to see theShröder House built by Rietveld the previous year. Wedo not know when or how they met, nor the exactnature of their relationship, as Gray took care todestroy all traces of her personal life. Her desire forconcealment is one of the keys for interpreting herwhole work. As Frédéric Migayrou puts it in his essayon the designer's aesthetic published in the exhibitioncatalogue: "The generic essence of her work may lie inthe principle of the "shield"; the connotation of thehinging or folding of the screen. It is a metaphor forveiling, for the mysterious, the different; a subjectivisa-tion that rejects the ideology of the machine for living,like her arbitrary quest for hygienism and transparency". Impeccably staged, the exhibition mayleave Art Deco lovers a little frustrated. For example,we do not find the legendary "Le Destin" screen whichreappeared at auction with the Doucet collection sale

Eileen Gray, Dressing table/screen, 1926-1929,Painted wood, aluminium, glass, cork, silver leaf.

Furniture from the E 1027 house, Centre Pompidou,Musée National d’Art Moderne, Paris.

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the more so since, as Cloé Pitiot indicates in her intro-duction, three-quarters of her creations are in privatehands – "particularly the lacquer work and furnituresold in the Jean Désert gallery". As well as the role ofdiscoverer played by Bob and Cheska Vallois (the nameof their gallery appears on many of the lacquered piecesexhibited), the exhibition curator emphasises the roleplayed by Gilles Peyroulet with the modernist works. Healso exhibited photographs by the designer in hisgallery. The slightly disappointing Art Deco aspect islargely made up for by the variety of the selection,

in 1972 launching the Art Deco market, nor MadameLévy's glamorous "Canoe" chaise longue (although itwas exhibited by Cheska Vallois in 2008 at the Biennaledes Antiquaires). Later, the Pierre Bergé-Yves SaintLaurent sale passed in much the same way, propellingGray to the summit of 20th century decorative artswith the €21.9M garnered by her "Dragon Armchair".This is the second most expensive piece of furniture inhistory, after the Badminton cabinet, sold for £19 M(€27.4 M) in 2004. We can imagine the soaring rise ininsurance premiums for Gray's lacquered creations, all

Bibendum armchair, c. 1930,

chrome-plated metal, canvas.

Furniture from the collection of

Mme Tachard, private collection.

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where, alongside iconic models like the Transat chair

and the adjustable table popularised in the Eighties by

Andrée Putman, we find lesser-known creations like

some chrome-plated metal minimalist wall lamps of c.

1925-1929, incorporating Father Edison's good old light

bulb to the nearest millimetre. The furniture she created

for Tempe a Pailla is astonishing in its visionary daring.

This includes a pre-Royère folding terrace chair from

between 1930 and 1933, a low table from 1935 with a

free-form top that Frederick Kiesler would have been

proud of, and a long folding chair from 1938 whose

openwork wood structure has a distinct touch of the

Seventies. We're telling you: this lady boldly went where

no man had gone before! Sylvain Alliod

I "Eileen Gray", Centre Pompidou, Paris - Until 20 May.Catalogue edited by Chloé Pitiot, exhibition curator, Éditionsdu Centre Pompidou, 232 pages. Price: €39.90. www.centrepompidou.frPhotographs by Eileen Gray, Galerie Gilles Peyroulet & Cie, 80 Rue Quincampoix, Paris 75003 - Until 27 april. www.galeriepeyroulet.com

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George Economou the Tycoon

decisive in his refocusing on artists of the same vein.With the founding of a contemporary art centre, thebillionaire has the makings of a connoisseur who is notmerely content to stock up on masterpieces. It's nolonger a matter of simply participating in the ceremonialliturgies of exhibition previews and sale rooms. He is now up there with the leaders, where to appreciatethe present, you have to contribute to creating it.

La Gazette: What made you become a collector?George Economou: For as long as I can remember, I have always loved art. Having been born in Athens, thecradle of a great civilisation, I was exposed to the idea ofmasterpieces at an early age. My enthusiasm was thenshaped by culture and education. As to my collection, itcame about from a ravenous need to be attached almostphysically to art, and to make it part of my daily life.

What type of collector inspired you, and whichcriteria guide your acquisitions?A work needs to inspire a lasting emotion in me. A whole range of criteria come into play, such as itshistorical importance and its representative character.I have a genuine fascination with creativity, so I choose pieces which materialise the moment thatthe immaterial world of ideas metamorphoses intovisible reality. I find it difficult to identify with a type,because I know all the processes a collector goesthrough, which can range from strategy to instinct orcompulsive behaviour.

Do some works have particular meaning for you? Many are very special to me, like the work by AndreasGursky currently on show in the exhibition

Described as a tycoon by The Economist,George Economou heads the holdingcompany DryShips Inc., specialising in the shipping industry. Though his talents are inherent in his Greek origins,

George Economou cultivated them at the Massachu-setts Institute of Technology, emerging with twoMasters of Science in transport and naval engineering. A billionaire is never ignored – still less when he is acollector. This twofold status has often provided excessi-vely fertile soil for the media. The Greek adds further tohis own legend by buying something of everything on alarge scale, from 15th century Flemish painting tocontemporary art. The names of Lucas Cranach, Dela-croix, Duchamp, Picasso, Magritte, Brassaï, Warhol,Gerhard Richter, Rauschenberg and David La Chapelledon't often rub shoulders with the Primitive Arts,Edmund Adler and Johann Sperl – artists considerablymore obscure. According to the columnists, he caughtthe collecting bug around fifteen years ago, and went atit recklessly right from the start, as his collection now contains nearly 2,500 works. In February 2011, thepeople of Athens discovered him for the first time withastonishment, and the media freely criticised a collec-tion that was so disparate, to say the least. But the wildenthusiasm of his beginnings has now given way to theage of reason: for George Economou has opened an artcentre in the suburbs of Athens. His choices havenarrowed down to the 20th century, united by a socio-cultural theme. His trump card is unquestionablyGerman Expressionism. He achieved a master stroke inbuying the 500-odd engravings of Otto Dix from theBerlin dealer Florian Karsch, then in his eighties, thusbecoming the artist's leading collector. This was perhaps

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HDGeorge Economou in front of a work by David Hammons.

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How do you see the crisis Greece is currently under-going?The economic and political difficulties are affecting thecultural sector. Museums are suffering from cuts, andthe private sector needs to be more innovative thanever to maintain its financing. However, the crisis hasgenerated a large number of initiatives on the part ofartists, curators and associations, which are joiningforces in Athens and all over Greece. History hasfrequently shown that disasters can be a turning point,and that art is a vital force for the future.

Interview by Geneviève Nevejan

I "En grisaille nowadays", The George Economou Collection, Marousi, Athens, Greece - Until 17 May. Taryn Simon, 4 Juneto 27 September. www.thegeorgeeconomoucollection.com

“Gegenlicht, German Art from the George EconomouCollection”, from 24 May to 19 January 2014 at the StateHermitage Museum, Saint Petersburg.

"En grisaille nowadays". I can perceive the artist'smonumental reappropriation of Jackson Pollock's"Number 31" as a questioning of the role of reproduc-tion in our perception of a work of art. It also gets youthinking about the past and present. My interest inpolitical and social history has led me to focus on theEuropean avant-garde movements of the firstdecades of the 20th century, like German Expressio-nism and the New Objectivity. Otto Dix, GeorgesGrosz, Christian Schad and lesser-known artists werethe reflection of a society traumatised by the FirstWorld War. My acquisitions of contemporary worksare an extension of these concerns.

What was your intention in creating a space dedi-cated to your collection, which also has a specificprogramme? I have always wanted to share my collection and giveit visibility. Our programme aims at making the pastdialogue with the present. "En grisaille" highlightscontemporary reinterpretations of the traditional useof black and white, from 1960 to the present day, withAmericans like Agnès Martin, Cady Noland and JimDine, the German artist Heinz Mack and the Japaneseartist Yayoi Kusama. Our exhibitions will not onlyshow the various facets of my collection, but are alsointended to start up a dialogue with the public. In these uncertain times, it is vital to initiate debateboth within and outside Greece. Skarlet Smatana, thecollection's artistic director, helps this process bycollaborating with experts, curators and foreign institutions. As the curator of the exhibition "En grisaille nowadays", she asked the art historianFrances Guerin, author of "The truth is always grey",to contribute to the catalogue.

What links do you have with foreign institutions? We have arranged some long-term loans with severalmuseums, notably the complete collection of OttoDix's engravings at the Staatliche Graphische Sammlung in Munich. As we speak, 59 works from the collection are on loan, including Claes Oldenbourg's "Vacuum Cleaner", now featuring in his retrospective in Vienna, Cologne, the BilbaoGuggenheim and Minneapolis.

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Kees van Dongen (1877-1968), "Portrait of Guus", 1906.

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THE MAGAZINE DISCOVERY


Musée d’Ennery a woman's work

decided to donate her collection to the State together with her mansion, which has since beenconverted into a museum. Two women have dedicated themselves to the collection of this art lover,whom neither of them met. Born in 1924, Chantal Valluywas 40 when she joined the Musée Guimet as its projectmanager. Having studied as a sinologist, she abandonedher main speciality to list and present the eight thou-sand-odd pieces of Far Eastern art in Clémence d’En-nery's collection, to which she devoted a thesis in 1975.Chantal Valluy was succeeded by Hélène Bayou, heri-tage curator in charge of the Japanese art section at theMusée Guimet, whose mission was to reawaken theSleeping Beauty after it was closed for sixteen years. Hertask was to restore the museum, bring it up to standardand redesign the presentation. The museum reopenedin April 2012, once more fulfilling its founder's originalintention: that of sharing her passion.

What do we know about Clémence d’Ennery?Chantal Valluy: Amazingly, very little has been writtenabout her, although her husband, Adolphe d’Ennery – a successful playwright – was much talked about. She ismentioned by the Goncourt brothers in their “Journal” ,but only up to 1870, when Jules de Goncourt died.

Why is her collection so remarkable? Hélène Bayou: Through its scope, through its content,which perpetuates the European taste for Chinese art,

At the end of the 19th century, Clémenced’Ennery devised the magnificent projectof a collection dedicated to the arts of China, and above all of Japan. She constantly added to it, eventually

devoting a wing to it in her private mansion in AvenueFoch, in Paris, for which she also designed the museo-graphy. In 1894, probably influenced by her friendGeorges Clémenceau, another enthusiastic art lover, she

Netsuke, child removing a Shishi mask, red-lacqueredwood, Japan, Edo period.© Raphaël Chipault and Benjamin Soligny/Musée Guimet

DISCOVERY THE MAGAZINE


HDView of the Musée d’Ennery: Salon IIIand view of gallery IV before the renovation work.

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THE MAGAZINE DISCOVERY

and through its concept as a museum. It also reflectsthe burgeoning enthusiasm for Japan at the time. It contains some very rare works, like a set of Namban-style lacquer chests and cabinets from between 1580and 1590. Its Kakiemon-style glazed porcelains areworthy of Japan's public collections. But the mosticonic collection is the one of fifteen hundred netsuke.Originally made of simple pieces of root with aesthetic

forms, which were hung by a cord from the belt (obi),these became genuine sculptures during the Edoperiod. The craftsmen who made netsuke were sometimes Buddhist painters or sculptors, or camefrom prominent Nô mask sculptor dynasties, like theDeme family.

What was original about this collection comparedwith other major ones built up at the time? Hélène Bayou: Clémence d’Ennery did not share hercontemporaries' interest in prints. She preferred sculpture and a fantastical iconography: this was theraison d'être of her netsuke and Nô mask collections.Its other particularity, compared with Émile Guimet'scollection, for example, lies in her liking for a mythical

bestiary presented according to cumulative reaso-ning, as emphasised by Jules de Goncourt.

Chimaeras and representations of ghosts,which were certainly a personal choice,

were also in phase with the historicalsituation in Japan during the Edoperiod. The Chinese pieces, like theblue and white and celadon porcelain,carved jades and scholars' objects,evince a more classical taste. The collection is fascinating for itseclecticism, while standing out as amuseum of masterpieces.

Chantal Valluy: Georges Clémenceau,who knew her, had built up a collection

devoted to China and Japan. He alsobought from Le Bon Marché, but not the

same objects. Mme d’Ennery had almost nobronzes, as she preferred colour. We should also

Blue and white jar decorated with figuresin a landscape, porcelain with cobalt blueunderglaze decoration, China, Ming period,transition style, first half of 17th century. © Raphaël Chipault and Benjamin Soligny/Musée Guimet

THE MAGAZINE


mention that she received advice, mainly at the end of

her life, from Émile Deshayes (curator at the Musée

Guimet), especially when she was buying netsuke; and

possibly from Clémenceau.

Clémence d’Ennery also designed her galleries anddisplay cases in the Japanese style. How much isreconstruction involved here?Hélène Bayou: The idea of exhibiting in abundance is

not specifically Japanese. The collection and the

museum housing it are a genuine creation. The objects

in some way became a channel for an intellectual

vision of Asia. The last gallery with its decorative panels

(certainly acquired as a result of Universal Exhibitions)

recall this exotic taste for reconstruction, also found at

the time with Pierre Loti. Some panels, imported from

Vietnam were incorporated into a frame by the

sculptor and cabinetmaker Gabriel Viardot (1830-

1906). This led to an alchemy between Chinese ideas

and southern Asian furniture, just when Japonism was

beginning to flourish in Paris. The place expressed

openness to an unknown or imagined world, which

helped to establish a culture of the Other, and a fascina-

tion for Asia in the 1880s and 1890s.

Chantal Valluy: She helped to launch Viardot, who

also worked for Clémenceau. Reconstruction was a

feature of the time also seen with the Goncourts, who

like to idealise to the point of overkill. Her collection

was perhaps an expression of a desire to make her

mark in a world of men. She really wanted to make this

collection a success, and saw it through to the very end

by creating the museum she left to the State.

What changes were made once the restorationwork was complete?Hélène Bayou: The presentation of the pieces was

originally more disparate, and perhaps denser.

We have grouped ensembles together to emphasise

Porcelain with enamel decoration, Japan, Arita, Kakiemonstyle, Edo period, second half of 17th century.

© Raphaël Chipault and Benjamin Soligny / Musée guimet

the quality of the objects. It was more a question of

reconstructing than restoring.

How did she come to think about making a donation?Hélène Bayou: This collection is very moving, because

it's a life's work. From the beginning of the 1890s, she

stepped up the pace of her acquisitions. In 1892, six

years before her death, Clémence began to think

about officially leaving it to the State. Georges Clémen-

ceau would be the executor of the couple's will, and

bear witness to the value of the collection. Apart from

her extreme generosity and the patriotic gesture it

represented, it expressed her desire to prevent her

collection from being broken up, and to establish for

good something that was an accomplishment in itself.

Interview by Geneviève Nevejan

I Musée d’Ennery, 59, Avenue Foch, Paris 75016, open Saturdays and Sundays: reservation required. www.guimet.fr

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THE MAGAZINE FREEZE FRAME

Paris Photography and digital video capital

The Howard Greenberg collectionBefore becoming a top New York dealer,Howard Greenberg was a photographerwhile a student, and the driving forcebehind an association. When he set up in theearly Eighties, photography was starting tobe exhibited, but very little. Since then it hasmade huge strides, but only relatively.Focused on mid-20th century Americanexpression, the fragment of his vast collec-tion presented here is astounding, notablyfor the quality of most of the prints. As to thecollector himself, we find a little informationabout money and art, love and attachment,constraints and freedom, time and reputa-tion: somewhat insubstantial scraps. A moredetailed profile would have been welcome,if only through the works. We know ofArbus's quotation: ‘A photograph is a secretwithin a secret.’ This is true of the exhibitionhere as well.

I Fondation Henri Cartier-Bresson, 2, impasseLebouis, Paris 75014 - Until 28 April.www.henricartierbresson.org


Leon Levinstein, Fifth Avenue, ca 1959

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Zhou Tao: "The Training"People move through the countryside, fields, woods, a park on the outskirts of a town - or maybe the countryside ismoving through them… With two videos, one produced in Guangzhou, his native city, the other begun there butcompleted in Paris and co-produced with a residency at the Kadist Foundation, the artist Zhou Tao explores transition,changes in things, and the way they become established. His figures are "town or country"; his towns are "men bordering on beasts" and his landscapes "enclosed but infinite". What counts is not the terms, but what happensbetween them. Zhou Tao describes leisure activities, excursion, agriculture and development, but he does it contem-platively, in order to "slip beneath the skin"… The skin is very present in his images: that of his figures, plants or theearth, not as a covering but as a pore, a channel for fluids and images. With "The Collector" and "After Reality", Zhou Taoexplores the initiatory, "arousing" aspect of images. Zaha Redman

I Kadist Art Foundation, 21, rue des Trois-Frères, Paris XVIIIe - Until 14 April. www.kadist.org

Zhou Tao (b. 1976), image from "After Reality", digital video, 2013, high definition, colour, sound, 13’08’’.

FREEZE FRAME THE MAGAZINE


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