Art Market Magazine - Visit zone-secure.net

Gazette Drouot
INTERNATIONAL
NUMBER 24

UPDATE
CLICK HERE TO FIND THE LATEST NEWS
W

GALERIE DIL
Marc Boumendil
Permanent Collection
15, rue de Miromesnil - 75008 Paris
Tél.: +33 (0) 1 47 63 06 14 - email: mab55@wanadoo.fr
www.galeriedil.com
ADAGP, Paris 2012 2013

AUCTION
Hôtel Drouot, room 14, 1:30 pm
PUBLIC EXHIBITION
Hôtel Drouot, room 14
Thursday 11 April from 11 am to 6 pm
Friday 12 April from 11 am to 12 pm
1. Albert LEBOURG (1849-1928)
Moulins à Overschi
Water-colour
Signed, situated at Overschi, dated «August 1896»
on the lower left
35.6 x 53.8 cm
2. Maurice de VLAMINCK (1876-1958)
Vase de fleurs, 1905-1906
Oil on canvas, signed on the lower left
46.7 x 38.3 cm (detail)
3. Pierre BONNARD (1867-1947)
Village
Water-colour and gouache
Signed on lower right
23.2 x 30.8 cm
4. Francisco BORES (1898-1972)
Raisins et verre de vin
Oil on canvas
Signed and dated 57 on the lower right
54 x 65 cm
5. Jacques VILLON (1875-1963)
Cour de ferme au pigeonnier
Oil on canvas
Signed and dated 52 on the lower right, titled,
redated, re signed on the back
38.5 x 55 cm (detail)
FREE AND CONFIDENTIAL VALUATIONS
Henri-Pierre TEISSÈDRE
Delphine de COURTRY
James FATTORI
5, rue Drouot 75009 Paris
Tél. : +33 (0)1 53 34 10 10
Fax : +33 (0)1 53 34 10 11
contact@piasa.fr — www.piasa.fr
PIASA SA — Ventes volontaires aux enchères
publiques agrément n° 2001-020
1
2
5
3
4

DessiNs
aNcieNs
TableaUX,
dessins
et sculptuRe
des XIXe et XXe OLD MASTER
DRAWINGS
PAINTINGS,
DRAWINGS
AND SCULPTURES
FROM THE 19TH siècles
AND 20TH CENTURIES
Vendredi 12 avril 20
Friday 12 April 2013
EXPERTS
EXPERTS Cabinet de Bayser
Cabinet Thierry de Bayser Picard
Thierry Elizabeth Picard Marechaux
Elizabeth Cabinet Maréchaux Brun-Perazonne
Cabinet Brun-Perazonne
RENSEIGNEMENTS CHEZ PIASA
INFORMATION Clémence Bléas FROM (art PIASA moderne)
Clémence Tél. : +33 Bléas (0)1 (modern 53 34 art) 12 80
Tel. piasa5@piasa.fr
: +33 (0)1 53 34 12 80
piasa5@piasa.fr Alix de Saint Hilaire (dessins ancien
Alix Tél. de Saint : +33 Hilaire (0)1 53 34 10 15
(old a.desainthilaire@piasa.fr
master drawings)
Tel. : +33 (0)1 53 34 10 15
a.desainthilaire@piasa.fr
CATALOGUE EN LIGNE
ONLINE ET ENCHÈRES
CATALOGUE
AND SUR AUCTIONS WWW.PIASA.FR
AT WWW.PIASA.FR
Catalogue sur demande : 15 €
Catalogue by request : € 15
Jean-Auguste-Dominique INGRES
Jean-Auguste-Dominique (Montauban 1780 – INGRES Paris 1867)
(Montauban Jenny de 1780 Lavalette – Paris 1867)
Jenny
Crayon
de Lavalette
noir
30 x 25 cm
Lead pencil
Signé et daté en bas à gauche : « A. J. Ingres à /
30 x 25
Monsieur
cm
Thevenin. / Delin rome 1817 »
Signed and dated on the lower left : « A. J. Ingres à /
Monsieur Thevenin. / Delin rome 1817 »
1234567890

Thursday 18 and Friday 19 April at 1:30 pm - Hôtel Drouot - Room 1
ANTIQUE ARMS - HISTORICAL SOUVENIRS - DECORATIONS
Expert :
Bernard CROISSY
Tel. + 33 6 07 64 29 15
Fax : + 33 1 47 88 60 40
bernard.croissy@wanadoo.fr
www.thierrydemaigret.com - contact@thierrydemaigret.com
Society of voluntary sales by public auction - Agreement n° 2002 - 280
Rare pair of flintlock
pistols from Tula
Arsenal, work
attributed to Ivan
Lialin. Imperial
Russia, around
1790/1801
PUBLIC EXHIBITION:
Wednesday 17 April from 11am to 6pm
Thursday 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 consultation
at www.thierrydemaigret.com
Contact: Juliette Blondeau,
jblondeau@tdemaigret.fr
5, rue de Montholon - 75009 Paris Tél. + 33 (0)1 44 83 95 20 - Fax. + 33 (0)1 44 83 95 21

THE MAGAZINE CONTENTS
CONTENTS
ART MARKET - MAGAZINE
RESULTS
70
Bids in March pay tribute to 19th
century painting, jewellery,
books and Chinese art....
16
UPCOMING
In April, sales of drawings flourish
with a little help from the Salon du
Dessin in Paris. Here is a selection of
the best pieces of the moment, not
to mention key dates in the season
like the sales of Katsina and pre-
Columbian art collections at Drouot…

106
EVENT
Spring is the season for drawings in Paris.
The Salon du Dessin at the Palais Brongniart
is an unmissable event for collectors and
professionals from all over the world.
EXHIBITIONS
112
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.
CONTENTS THE MAGAZINE
98
ART FAIR
TEFAF 2013 report: the world's most famous
non-specialist art fair suffers from bad weather
this year.
From left to right EVENT © RMN-Grand Palais/Daniel Arnaudet - ART FAIR © Loraine Bodewes - EXHIBITIONS © Centre Pompidou / photo Jean-Claude Planchet

THE MAGAZINE EDITORIAL
DR
Stéphanie Perris-Delmas
EDITORIAL MANAGER
Editorial Director Olivier Lange I Editor-in-chief Gilles-François Picard I Editorial Manager Stéphanie Perris-Delmas (perris@gazette-drouot.com) I Distribution Director Dominique Videment
Graphic Design Sébastien Courau I Layout-artist Nadège Zeglil (zeglil@gazette-drouot.com) I Sales Department Karine Saison(saison@gazette-drouot.com) I Internet Manager Christopher Pourtalé
Realization 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 Reyssat
Translation 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 - gazette@gazette-drouot.com. 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 adventure
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!

SO USEFUL
gazette-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

© John Robert Rowlands
THE MAGAZINE NEWS IN BRIEF
790,090
The exhibition at the Centre Pompidou in Paris devoted to
Salvador Dalì closed on 25 March, after welcoming 790 090
visitors. A success that had nothing Surrealistic about it "David Bowie is"
As though it needed to, the
Victoria & Albert Museum in
London is asserting the topicality
of its programme with an
exhibition dedicated to David
Bowie. On show until 11 August,
with "The Next Day" on its iPod
playlist. www.vam.ac.uk
W
“The Archer Station to Station
tour 1976”, Photograph
by John Rowlands.

Opening
Yallay 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 Eastern
artists. For its April programme, it is presenting the works
of eight Chinese artists of the new generation.
www.yallay.net
W
€100,000
This is the value of the violin belonging to Wallace Hartley,
the bandleader on the Titanic. It was found in an attic in
England 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.
Princess Diana
is still turning heads. Ten of her
dresses sold on 19 March by the
British auction house Kerry Taylor
Auctions fetched £800,000, including
£240,000 alone for one by Victor Edelstein,
which the princess wore at the
famous White House dinner on 9
November 1985. That evening, Diana
danced with John Travolta to a song
by the Bee Gees.
NEWS IN BRIEF THE MAGAZINE
15

UPCOMING
AUCTIONS
FIND THE CALENDAR OF UPCOMING AUCTIONS
W

THE MAGAZINE UPCOMING AUCTIONS
3 April
Wild creature
18 GAZETTE DROUOT INTERNATIONAL I N° 24
HD
France
Attributed to Johan Tobias Sergel
(1740-1814): terracotta group
of a centaur wearing a lionskin on its
back, resting on a base imitating rocks.
18th century, 33.5 x 40.5 cm.
Estimate: €120,000/150,000.
Born 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 returned
home imbued with Classical ideals, and soon began work on the construction of the royal castle in Stockholm. Once
more leaving his native country, Sergel made the obligatory trip to Rome, with a watchword he adhered to throughout
the 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 international
recognition. Showered with honours in Stockholm, Paris and London alike, Sergel – the bon vivant, the anticlerical, the
libertine – revealed in his drawings the face of a man beset by death and tormented by his fantasies . His terracottas are
full of vigour and movement, like this group being sold on 3 April by Millon auction house. Claire Papon
>

Idyllic time
5 April
This work, produced at the height of eclecticism,
is one of profound originality. Its creator, the
sculptor Christophe Fratin, is mainly known for his
animal subjects: a path clearly influenced by a
taxidermist father, as well as a possible period in
Géricault's studio after studying with Charles-
Augustin Pioche in his native city, Metz. As from
1831, when he first participated in the Salon,
he met with resounding success, critics often
referring to him as Barye's "formidable rival".
Fratin's equestrian subjects and wild and
domestic animals also garnered him international
recognition, notably a medal in 1851 at the Great
Exhibition in London, while the oldest statue
listed in a New York public garden is a bronze
proof of his group "Two Eagles Guarding Their
Prey", erected in Central Park in 1863. He was also
active in the decorative arts. The clock and candelabra
set here marvellously illustrates his excellence
in this area, then in the most unbridled
throes of eclecticism. Yet there is not the slightest
trace of historicism in this set. The only reference
is nature, treated within the limits permitted
by the exercise of "the beautiful within the
useful", in the most naturalistic manner.
It will be up for sale on 5 April at the sale
of the Aguttes auction house
(€12,000/18,000). Sylvain Alliod
>
HD
UPCOMING AUCTIONS THE MAGAZINE

THE MAGAZINE UPCOMING AUCTIONS
6 April
Former Félix Gérard collection
In 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 1905
included Edouard Manet's still life, "Le Citron" (now in the Musée d'Orsay), and until 1896 the beautiful Irish girl named
Jo painted by Gustave Courbet in 1865-1866 (now in the New York Metropolitan Museum). All things being equal, the
Avignon works include fine pieces like a "Vague", also by Gustave Courbet, from around 1872-1873. The painter from
Ornans devoted several compositions to this theme, expressing the power of nature. This small oil on paper will be on
offered for €20,000-30,000, a little more than a seascape by Jongkind, "Voilier au clair de lune, Hollande". Listed in the
artist'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, which
can be compared with the preparatory sketch for "La Pêche au bas-Meudon" indicated by Alfred Robaut in the first
catalogue dedicated to the landscape painter's works (€30,000/40,000). Stéphanie Perris-Delmas
20 GAZETTE DROUOT INTERNATIONAL I N° 24

Christine Boyer
by Houdon
8 April
A young woman of unaffected loveliness, Christine Boyer
inspired the painters Jean Savlet, Jean-Fredric Shall and
above all Baron Gros, who produced a sensitive and already
Romantic portrait of the beauty, inspired by her sad fate.
Christine Boyer came from a humble background, and in
1794 married Lucien Bonaparte, brother of the future
Emperor. He often visited the Auberge du Mouton at Saint-
Maximin in the Var region, which was owned by the Boyer
family. The couple had several children before Christine died
in 1800, at her prime. She was not even thirty. Lucien Bonaparte
commissioned a posthumous portrait of his dead love
from Jean-Antoine Houdon, the most celebrated sculptor of
the time. He was much sought after by an international
clientele and well-known for his portraits – as witnesses
Louis-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 this
picture (now in the Musée des Arts Décoratifs in Paris), we
see the pretty face of Christine Boyer, at the feet of the celebrated
"Voltaire Seated". In complete contrast to Antoine-
Jean Gros' version of her, Houdon produced a sensitive, idealised
portrait, showing her with a Greek hairstyle and
wearing a delicate muslin gown, like an Antique heroine.
The bust here, shortly bringing a touch of spring to a Paris
sale on 8 April at Rieunier & Associés, came from the former
Lucien Bonaparte collection, then that of his greatgrandson,
Comte Joseph Primoli, and later through his
descendants. S. P.-D.
>
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.
UPCOMING AUCTIONS THE MAGAZINE
HD
21

THE MAGAZINE UPCOMING AUCTIONS
22 GAZETTE DROUOT INTERNATIONAL I N° 24
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 April
Maurice Brianchon
collection
Maurice Brianchon's painting has a genuine feel to it, like the man himself. Born in the Sarthe, he decided to follow an
artistic career after attending the Collège Saint-Louis in Le Mans. He entered the Beaux-Arts in Paris, studying with
Cormon, but did not find the course congenial, and changed to the Ecole des Arts Décoratifs to study with Édouard
Morand (father of the writer). His fellow pupils included Roland Oudot, Jacques Adnet and Raymond Legueult. He shared
a studio with the latter, and together they travelled through Spain, discovering the masters of the Spanish school. His first
commissions 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 the
publisher Ides et Calendes, tapestry cartoons for the Gobelins and designs for the Sèvres factory. He also taught at the
École des Arts Décoratifs and from 1949, at the École Nationale des Beaux-Arts in Paris. In 1951, the painter had his first
retrospective at the Musée des Arts Décoratifs in Paris. He was well-known across the Atlantic, where the Findlay gallery
laid 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 landscapes
of the Périgord, still lifes and views from his studio. His serene paintings with their rigorous technique and marvellous
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's
son, 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 respectively
to furniture and objets d'art from the collection, and then to books and theatre sets. Anne Foster
>

UPCOMING AUCTIONS THE MAGAZINE
10 April
Attributed to Rubens
During its sale of Old Master paintings and drawings, the Paris auction house Artcurial is offering two works from the
former collection of Dr. René Küss, the kidney transplant pioneer and a keen art lover in his time. His works had in fact
already made an appearance in several Christie's sales in Paris and London. So, to return to these two pieces: one is by
Giovanni Paolo Panini of a "View of the Forum in Rome" (€120,000/150,000), the other a sketch of "The Death of
Constantine" attributed to Peter Paul Rubens. This oil on panel, estimated at €150,000/200,000, is linked with a series
of tapestries made for Louis XIII, and dedicated to the History of Constantine, for which Rubens provided several
designs. The one here has featured in several publications and exhibitions. S. P.-D.
N° 24 I GAZETTE DROUOT INTERNATIONAL
23

Quartier Drouot
3, rue Rossini – 75009 Paris
Tel : +33 (0)1 42 46 76 59
Metro : Richelieu-Drouot
236 SHAHABUDDIN
182 SAULTERRE Georges
162 GODCHAUX Roger
BERTRAND FRAISSE ET BERTRAND JABOT
COMMISSAIRES PRISEURS
Thursday 11th April 2013 at 2 p.m.
201 BIR Rosette
195 SIGNORI Ilio
180 BOTTEN William
213 BUTCH
FAMOUS ARTISTS
AND NEW TALENTS
ABRAMIAN - ADAM.A - ADAMI.V - AGUILERA.G - AINI.P -
AÏZPIRI - ALECHINSKY.P - ALICE - APPEL.K - ARMAN -
AUCLAIR.A - A.WARHOL - BASSO.D - BEN HASSINE.W -
BERRY.P - BESSE.R - BIR.R - BOA.O - BOTTEN.W - BRAQUES.G -
BRESARD.C - BUFFET.B - BUTCH - CALDER.A - CAHN.M -
CELESTE - CHAMLY.Y - CHANET - CHARLOUTY.E -
CHAROY.B - CHEMIAKINE.M - CHERVIN.L - CHU TEH CHUN -
CLAVE.A - COCTEAU.J - CORNEILLE - DAÏDOU.D-D - D’ANTY.H -
DAVAR - DE CELLES.A - DE MILLIOT.M - DELAUNAY.S -
DEMNIEVSKA.E - DESBONS.N - DIJKSTRA.J -
DUBORD.JP - DUFY.R - DURANEL.J - EBRENZ.I -
EGON SCHIELE - EMPI.M - ENGELVIN.G - ERRO.G -
FASSIANOS - FAUBERT.J - FINI.L - FIORIN.F- FRANCIS.S -
FRANCOIS.C - FRANKEN.O - GENZLING.C -
GODCHAUX.R - GOUPIL.J - GOURJON-BRUN.I -
GRAC.Y - GRAVES.F - HARTUNG.H - HAYAT.Y - HELIES.J -
HELION.J - HENRY.M - HILLENWECK.P - HUET.E -
JUTAND.P - KIJNO.L - KING.M - KOFFER.H - KROL -
KUJAWA.A - LATAPIE.L - LADRIERE.M - LASSUS.S -
LAURENCIN.M - LEGENDRE.G - LEGER.F - LICHTENSTEIN.R -
LILANGA.G - LIMOGE.B - LINDSTRÖM.B- LONGERON.M -
LONGHI DE BOUARD.R - LOPEZ.J - LORJOU.B - LOUREIRO.D -
MAGRITTE.R - MATHIEU.G - MATISSE.H - MATTA.R -
MEYERS.P - MINE-LAMARE.M - MIRO.J - MURIEL.M -
Niki SAINT PHALLE de - NUBLAT.M - OBRECHT.S -
PARRAUD.J - PASQUI - PATSY.S - PENKOAT.P -
PICASSO.P - PICHON.P - PIOPPO.A - PORTOCARRERO.R -
PROT.A - QUEMERE.J - QUERVAL.V - RA KAW -
REBEYROLLE.P - ROUAULT.G - S.DALI - SAULTERRE.G -
SCHAUERTE.R - SCHURR.C - SHAHABUDDIN - SICHE.P -
SIGNORET.A - SIGNORI.I - SINYAVSKY.D - SPEURT.O -
STEMANS.W - TAILLANDIER.Y - TARDY.M - TATENO.T -
THEOBALD.R - THIBERVILLE.C - TOBIASSE.T - TURLAIS.A -
VAN DONGEN.K - VANDENBOSCH.S - VANSTAEN.E -
VASARELY.V - VAUCHEL.C - VELTZ.A - VERNEVEAUX.M -
WILSON-CRUTIU.R - WIRTH.P - ZAO WOU-KI -
ZLOTYKAMIEN.G - ZOU
DOMINIQUE STAL
EXPERT
8, rue Sainte Lucie - 75015 PARIS
Phone (0033) 01 45 78 79 03
Fax. (0033) 01 45 77 04 74
Mobile 06 80 92 00 39
Mobile 06 26 65 17 42
dominique.stal@wanadoo.fr

Quartier Drouot
3, rue Rossini – 75009 Paris
Tel : +33 (0)1 42 46 76 59
Metro : Richelieu-Drouot
197 HELION Jean (1904-1987)
COLLECTION OF PAINTINGS
AND SCULPTURES
A V A I L A B L E O N
THE FOLLOWING SITES
f r o m 2 7 / 0 3 / 1 3
www.artprice.com
www.stal-expert.com
www.gazette-drouot.com
www.worldencheres.com
www.interencheres.com
FRENCH, DEUTSCH, ENGLISH,
ARABIC, SPANISH AND
ITALIAN-SPEAKING STAFF
BERTRAND FRAISSE ET BERTRAND JABOT
COMMISSAIRES PRISEURS
Habilités SVV Giraudeau – Agrément n°2004 – 529
248, rue Giraudeau – 37000 Tours - Tel. (00 33) 02 47 37 71 71 - Fax (00 33) 02 47 39 25 55
E-mail: giraudeau.tours@wanadoo.fr
MODERN AND CONTEMPORARY ART
Thursday 11th April 2013 at 2 p.m.
‘Nouvelle scène journalière’, acrylic on canvas, signed on the back, 1983, 1,75 x 2,50 m
DOMINIQUE STAL
EXPERT
8, rue Sainte Lucie - 75015 PARIS
Phone (0033) 01 45 78 79 03
Fax. (0033) 01 45 77 04 74
Mobile 06 80 92 00 39
Mobile 06 26 65 17 42
dominique.stal@wanadoo.fr
Instant live auction available at Drouot Live
www.drouot-live.com
Upon registration one week prior, with RIB bank
details in order to carry out bids.
Catalogue 5 €
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 €
Public Exhibitions
Wednesday the 10 th of April 2013 from 11am till 19.30pm
Thursday the 11 th of April 2013 from 9am till 11am

THE MAGAZINE UPCOMING AUCTIONS
Henri Hayden (1883-1970),
"Nature morte à la bouteille de chablis", 1917,
oil on canvas, 81 x 60 cm.
Estimate: €80,000/100,000.
Henry
Hayden
11 April
When Henri Hayden arrived in Paris from his native Poland, the artistic scene was in turmoil. No sooner had the Fauves
announced their colour revolution than Picasso and Braque shattered the forms established since the Renaissance and
even Antiquity. With Cubism, the representation of the real took on a kaleidoscopic aspect, and it inspired numerous
artists to explore their own particular visions. Henry Hayden, whose admiration for Cézanne was a great influence in his
work, 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 multiple
points 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 out
against sections of pinky-mauve, pistachio green and grey. Through subtle play with colour, he emphasises the simple
forms of this still life, which seems to be split up around the blue rectangle of the bottle. A sober but effective arrangement
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 period
already anticipate the rule Hayden was to formulate later on: "Painting is not addition, but subtraction", where "only
the essential remains". Anne Foster
26 GAZETTE DROUOT INTERNATIONAL I N° 24

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

THE MAGAZINE UPCOMING AUCTIONS
Katsina masks
12 April
Just as Autry’s Southwest Museum of the American
Indian in Los Angeles is devoting an exhibition
to Katsina dolls, until 1 December 2013, the Paris
auction house Néret-Minet is dispersing 70 Katsina
masks at Paris-Drouot. These ritual objects belong to
the collection of an enthusiast of the Hopi culture,
who lived in America for thirty years, and was privileged
enough to attend the ceremonies of these
Indians. The Hopi, living in Arizona in south-west
America, carved wooden effigies of spirits that
appear to them for six months of the year during
ceremonies held from February to July. In these,
dancers don masks and paint their bodies with codified
patterns and colours, each embodying a spirit
from the Hopi pantheon. The dancers disappear
behind the costumes and symbolic movements:
genuine incantations designed to make the spirits of
the earth appear. The ritual dance then becomes
metaphysical. Through the dancers transfigured into
supernatural spirits, playing their roles of intercessors
and messengers, the cycle of nature and life is
repeated without interruption: rain falls, and the sun
rises. Once the rite is complete, the Katsina dolls are
there to remind the Hopi of the spirits each characteristic
typical of the divinities whose names they bear,
these statuettes, given to the women and children,
are carefully preserved in people's homes, where
28 GAZETTE DROUOT INTERNATIONAL I N° 24
they are used as aids for religious education. The
youngest children are thus initiated into the Katsina
cult during Powamuya (equivalent to February), the
month dedicated to purification, overseen by the
twin sons of the "Crow Mother", Angwusnasomtaqa.
One of them, Hú the "Whipper Katsina", will be represented
in this sale by a mask with protuberant eyes
and horns (€6,000/8,000). His mother will undoubtedly
be the highlight of the collection, with her
helmet mask dating from the 1880s: a turquoise
leather headdress flanked by two spread crow's
wings. This spectacular piece is estimated at between
€40,000 and 50,000. Not all the masks have such a
striking appearance, but all of them fulfil their roles,
like the sacred clown Kooyemsi, known as the
"Mudhead" Katsina, consisting of a fabric hood
covered with four protuberances, with three holes for
the eyes and mouth (€1,500/2,000). Some masks
directly evoke nature, like one made from a
hollowed-out squash and others suggesting corn in
various stages of maturity. There are also specimens
depicting the animal kingdom in the shape of
humming birds, rattlesnakes and badgers. The daily
life of the Hopi emerges behind these remarkable
pieces, evoking the spirits in their pantheon. Here the
real mingles with the supernatural – to the total
delight of enthusiasts. Sophie Reyssat
>

HD
UPCOMING AUCTIONS THE MAGAZINE
Angwusnasomtaqa or Tumas Crow
Mother helmet mask (Colton 12),
c. 1880, 63 x 62 cm.
Estimate: €40,000/50,000.

THE MAGAZINE UPCOMING AUCTIONS
13 April
Monets from Monet's son
Michel Monet was the charming child in a bobble hat painted by his father Claude. At his death in 1966, he bequeathed
his 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 at
nearly 8 billion old French Francs at the time. A generous man, Michel Monet had also given a couple of friends a series
of canvases, shortly starring in a sale in Dreux on 13 April (Laurent Bernard). These works, which have never been on
the 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 (€3,000
to €15,000). However, this landscape, "Sapins à Varengeville", is listed in the Monet catalogue raisonné by the Wildenstein
as number 800. It carries stamps of the signature on the bottom right, and one on the back:"certified authentic by
Michel 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. Effet
d'après-midi", an 1882 painting now in the Musée d'Orsay. That year he produced several compositions of this village
in the Seine-Maritime. The Birmingham University Barber Institute of Art, in England, also has a painting by Monet from
1882 of the church at Varengeville, with a remarkable fir tree in the foreground. Monet would often work on several
paintings at once to capture the light at different times of day. The landscape here is imbued with the warm colours of
a late summer afternoon... Stéphanie Perris-Delmas
>
Claude MONET (1840-1926),
"Sapins à Varengeville", oil on canvas,
60 x 81 cm. Estimate: €300,000/500,000.
SEE THE 4
VIDEO

Charles Le Brun (1619-1690),
"The Sacrifice of Polyxena", oil on canvas
signed and dated 1647, 179 x 131 cm.
Estimate: €300,000/500,000.
French
taste
UPCOMING AUCTIONS THE MAGAZINE
15 April
A picture by Le Brun, the iconic painter
of Louis XIV's Versailles, will incontestably
be the chief attraction in a Paris
sale of paintings (Christie's). Apart from
its creator, its provenance should also
whet a few appetites, as the painting
used to hang in one of Paris's most celebrated
luxury hotels, the Ritz – and in
Coco Chanel's suite to boot.
The picture has probably never left the
building in the Place Vendôme,
formerly the Hôtel de Gramont, whose
construction, begun in 1685 by Louvois, the Sun King's Surveyor General, was completed in 1705. Although visible
to everyone, the picture became strangely disregarded, blending into the mansion's magnificent interior decoration.
And yet the imposingly sized "Sacrifice de Polyxène" was signed by Le Brun and dated 1647. The painter, then
aged 28, had recently spent four years in Rome, where Poussin took him under his wing. He then attracted the
notice of Pope Urban VIII, and gained popularity with the most eminent figures at court. He returned to France with
a glowing reputation already well established. From then on, Le Brun received a string of increasingly prestigious
commissions that paved his way to glory. Participating in the founding of the Académie in 1648, he was soon
chosen by the Superintendent of Finances, Fouquet, for the interior decoration of the Château de Vaux, before becoming
First Painter to Louis XIV after Fouquet's disgrace. Not only one of the most celebrated painters of the French
17th 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
N° 24 I GAZETTE DROUOT INTERNATIONAL
31

Hôtel
des Ventes
d’Avignon
EXPERTS
Nineteenth 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
M e Patrick Armengau
Auctioneer
2 rue Mère Térésa
84000 AVIGNON
Tél. : +33 4.90.86.35.35
Fax : +33 4.90.86.67.61
contact@avignon-encheres.com
www.avignon-encheres.com
Sarl Hôtel des Ventes d’Avignon
SVV N° 2002-166
Patrick Armengau Auctioneer
NINETEENTH CENTURY PAINTING
(FORMER COLLECTION OF FELIX GÉRARD)
FINE FURNISHINGS OBJETS D’ART & MILITARIA
Saturday 6 April at 2:15 pm
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’.
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 Jongkind
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.
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.
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.

Hôtel
des Ventes
d’Avignon
EXPERT
20th Century Furniture:
Emmanuel EYRAUD
Tel. +33 3 86 91 42 12
CATALOGUE
AND INFORMATION
available at
www.avignon-encheres.com
HÔTEL DES VENTES
D’AVIGNON
M e Patrick Armengau
Auctioneer
2 rue Mère Térésa
84000 AVIGNON
Tél. : +33 4.90.86.35.35
Fax : +33 4.90.86.67.61
contact@avignon-encheres.com
www.avignon-encheres.com
Sarl Hôtel des Ventes d’Avignon
SVV N° 2002-166
Patrick Armengau Auctioneer
MODERN AND CONTEMPORARY ART - DESIGN
Saturday 20 April at 2:15 pm
CARLO BUGATTI (1856-1940): Stepped
wall bracket, of Moorish inspiration, made
from darkened oak and with mahogany
plaquettes applied, H. 40 cm.
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.
ALEXANDER CALDER (1898-1976): "Halo".
Gouache signed Sandy Calder, dated 73, 75 x 110 cm
Provenance : Adrien Maeght. Former Halle collection.
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.

BID AT WWW.DROUOTLIVE.COM
FREE SERVICE AND WITHOUT EXTRA FEES
BID AT DROUOT ANYWHERE !

Amiens - Saturday 25 May 2013
JEWELLERY - PAINTINGS - OBJETS D’ART - FURNITURE
TO CONSIGN LOTS TO THIS SALE PLEASE CONTACT:
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 stained
glass work is located in
french public buildings such
as churches or Town Halls.
Origin: Private house
staircase-window, North
of France.
Estimate on request”
M e Frédéric DELOBEAU - Accredited auctioneer
237 rue Jean-Moulin - 80000 AMIENS
Tél. +33 (0) 3 22 95 20 15 - Fax : +33 (0) 3 22 95 15 06 - E-mail : secretariat@hoteldesventesamiens.com
OVV ARCADIA n° 2002-254

THE MAGAZINE UPCOMING AUCTIONS
15 and 16 April
A very...natural collection
Here, "extraordinary" is not too strong a word to describe Marcel and Gisèle Pitel's collection dedicated to natural
history and hunting weapons. Throughout their lives, this pair of enthusiasts amassed a unique collection containing
6,000 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 of
family 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 of
paradise in mating plumage, estimated at €2,000/3,000. Another choice piece in the collection is a papier maché
exploded egg made by the Auzoux company to illustrate the embryo's various stages of development. A very rare
object, 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 36
boxes, 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 the
Muséum National d'Histoire Naturelle, Jacques Berlioz (€35,000/45,000). Stéphanie Perris-Delmas
36 GAZETTE DROUOT INTERNATIONAL I N° 24
>

UPCOMING AUCTIONS THE MAGAZINE
18 April
Blo Void I by Ron Arad
For sale on 18 April in Lyon (Enchères Rhône Alpes), this odd-looking chair in the shape of butterfly wings is easily recognisable
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 attractive
line of Oh Voids. The polished surface is another elemental feature in the work of Arad, who is fascinated with new industrial
techniques. So as not to overload the structure, he uses superform aluminium, obtained by heating an aluminium and
plastic alloy to 500 degrees in steel moulds. Another constant is his interest in a rocking motion. In short, unstable lines
and volumes are a leitmotif with this architect, who says that he came to design by accident. Aluminium polished to mirror
brightness readily contributes to creating models with an unstable appearance: a paradox in an object promising all the
comfort 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 be
made 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 still
being comfortable and soft to the touch. Infinitely sensual work. Anne Foster
HD
Ron Arad (b. 1951), Blo Void I, rocking-chair with seat and backrest in
superform 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.
N° 24 I GAZETTE DROUOT INTERNATIONAL
37

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

UPCOMING AUCTIONS THE MAGAZINE
Pre-Columbian
portraits
24 April
No fewer than six European collections of Pre-Columbian
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 of
pieces, the star of the event will be Mexico and its wide
variety of cultures. The famous Olmec "baby-face"
figurines and stone yokes from Veracruz will be rubbing
shoulders with a number of expressive figures made in
terracotta by the people of Colima, Nayarit and Jalisco.
Estimates start at around €3,000, and prices look set to
soar for a naked man with a powerful body wearing leg
bracelets and shoulder-pieces. This seated cross-legged
Jalisco figure, made between 100 BC and 250 AD, is
ready to receive bids in the €350,000 to €380,000 range.
As the Mayan apocalypse apparently scheduled for 20
December 2012 did not take place, collectors will have
plenty of time to linger over an anthropomorphic censer
featuring the sun god K’inich Ajaw (€200,000/250,000).
This divinity, who took the form of a jaguar during his
nocturnal journey in the underworld, was closely linked
with the sovereigns of Palenque: they would join the
name "K’inich" to their own to benefit from their association
with the god. A very different effigy, that of a signatory,
not in ceramic but carved from serpentine, will also
be among the choicest pieces of the sale. His broad face
with stylised features, similar to Teotihuacan masks, is
larger than his body, which is extremely simplified.
This geometrised physiognomy contributes to the
hieratic quality of the figure, sculpted during the classic
period 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.
N° 24 I GAZETTE DROUOT INTERNATIONAL
39

THE MAGAZINE UPCOMING AUCTIONS
27 April
"L'Amitié"
by Jean-Jacques Caffieri
This is an extremely well-documented work, apart
from its direct provenance, which is still uncertain.
The sale catalogue (Wetterwald & Rannou-Cassegrain)
indicates that this terracotta by Jean-Jacques
Caffieri, to be sold in Nice, could be the group
described at the sale of the Château d'Arconville's
furniture on 16 June 1851. Otherwise there is a
wealth of information, starting with its presentation
at the Salon of 1767, as number 206, when it was
roundly acclaimed by one Denis Diderot. From this
Salon we also have a drawing by Gabriel de Saint-
Aubin, whose depiction of the presentation of the
works at the event shows this ravishing "Amitié pleurant
sur un tombeau" on the left of the composition
(a drawing published in 1984 on page 91 of the exhibition
catalogue for Diderot et l’Art de Boucher à
David at the Hôtel de la Monnaie in Paris). A pupil of
Jean-Baptiste II Lemoyne, Jean-Jacques Caffieri here
took inspiration from a theme used before him by
famous artists like Pajou and Bouchardon: a young
woman weeping or meditating by a funeral urn,
also featuring the attributes of friendship
(€60,000/80,000). It admirably evinces the highquality
sculpture and refined details, notably the
drapes, typically found in terracotta moulded by the
hand of a great sculptor. Stéphanie Perris-Delmas
40 GAZETTE DROUOT INTERNATIONAL I N° 24
HD

UPCOMING AUCTIONS THE MAGAZINE

Cannes
Saturday 20 April at 2 pm
Experts : M. Pierre Ansas and Mme Anne Papillon d’Alton – 9 Boulevard Montmartre 75002 Paris
Tel : + 33 6 25 84 56 34 – ansaspasia@hotmail.com – 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 expert
until 17 April.
An Imperial rhinoceros horn libation cup dated 1788
Qianlong 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 exportation
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 PM
SATURDAY 20 APRIL FROM 9 AM TO 12 PM OR BY MEETING
Hôtel des Ventes - 31 Boulevard d’Alsace - 06400 CANNES - SCP François ISSALY - Julien PICHON
Judicial Auctioneers - AEC agrément 2002-330
Tel. + 33 4.93.39.01.35 - Fax. + 33 4.93.68.28.32 - j.pichon@issaly-pichon.com
Asia Sale
François ISSALY & Julien PICHON Associate Auctioneers
News available by following the
link “Azur Enchères Cannes”
All the lots in the sale can be viewed at www.interencheres/06005 and www.auction.fr

www.laurentbernard.com
SATURDAY, APRIL 13, 2013 3 pm
HÔTEL DES VENTES DE DREUX
COLLECTION DE MONSIEUR ET MADAME B.
CLAUDE MONET (1840-1926), Sapins à Varengeville, 1882,
Oil on Canvas, Stamped with the studio mark lower right
60 x 81 cm ( 23 5/8 x 31 7/8 in.)
Provenance : Michel Monet, Giverny. 300 000/500 000 €
EXPERT : Bruno JANSEM - T + 33 6 10 15 41 08 - bruno@jansem.org
HÔTEL DES VENTES DE DREUX
Exhibition : Friday, April 12, 2013 - 10 am to 12:30 and 2 pm to 6 pm
Saturday, April 13, 2013 - 10:30 am to 12 pm
Preview : Saturday, April 6 to monday, April 8, 2013 - 11 am to 6 pm
Galerie Flora Jansem - 18 avenue Matignon - 75008 PARIS (F)
2, RUE DU GUÉ AUX ANES - 28100 DREUX (F)
T + 33 2 37 46 04 22 - Fax + 33 2 37 42 88 97 - encheres@laurentbernard.com
COMMISSAIRE-PRISEUR HABILITÉ ET JUDICIAIRE : LAURENT BERNARD - SVV agrément N°2002-230 – Frais de vente : 22.72% TTC

Le Cannet
06110
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
Office opened from Monday to Friday - From 10 am to 12 pm
and 2 pm to 6 pm - Free expertise on Thursdays without prior appointment.
15, Bd. Gambetta - 06110 Le Cannet - Tél.: +33(0)4 89 68 64 46

58 BLACK-MANED LION
AND IMPALA
Entire naturalised animals
Prov: border SA/Botswana 2002
99 SET OF 6 ROYAL ARMCHAIRS
Very large, in mahogany,19th century
Prov: Ministry of Foreign and European
Affairs (France). H: 101 ; L: 75 ; D: 64 cm
148 « SUZON»
BUST BY
RODIN
signed Auguste
Rodin (1840-
1917) Fonderie
de Bruxelles
H: 40 ; L: 18 cm
227 FREE STANDING FLAT-TOPPED DESK
Model by DELORME, 19th century
H: 78 ; L: 172 ; D: 88 cm
OISE ENCHERES
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
info@oise-encheres.com / www.oise-encheres.com
Commissaire-Priseur habilité: Maître Grégoire Bailly
Expert Agréé: Pascal Denoyelle: +33 (0) 6 07 47 27 17
236 HERD OF ELEPHANTS
Bronze,signed by David josé-Maria (1944-)
Numbered:2/8 Founder: Landowsky
H: 30 ; L: 80 ; D: 37 cm
95 RARE PAIR OF WALL BRACKETS
CONSOLE TABLE IN GILDED WOOD
One 18th Century and the other 19th Century
H: 78 ; L: 90 ; D: 37 cm
200 EXCEPTIONAL
ITALIAN
CABINET
Ebony and inlaid
ivory
End of 17th century
beginning of 18th
century
H: 169 ; L: 146 ;
D: 74 cm
220 THE EAGLE HUNT
Bronze master model, signed by Louis
de Monard (1873-1939)
H: 145 ; L: 71 ; D: 90 cm
RESSONS SUR MATZ
A1 - 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
191 RARE BUST
BY CARPEAUX
« Bacchante with
roses » marble signed
by Carpeaux (1827-
1875) 19th century
H: 65 ; L: 42 cm
281 THE WALKING PANTHER
Bronze signed by Maurice Prost (1894-
1967), Susse Frères Founders
H: 46 ; L: 90 ; P: 15 cm
IMPORTANT COLLECTION OF MORE THAN 50 CLOCKS
CATALOGUE AND PURCHASE ORDER AT :
www.oise-encheres.com
Free and confidential expertise and estimate by meeting

THE MAGAZINE UPCOMING AUCTIONS
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 enrich
the works on offer by proposing their best pieces. Here follows a selection...

UPCOMING AUCTIONS THE MAGAZINE
Degas estate 10 April
On the opening day of the Salon du Dessin in
Paris, the Artcurial auction house is offering a
collection of drawings for sale (nearly 85 lots).
Worth noting at the start of the sale: the works
collected by James Forbes, a British gentleman
and author of “Oriental Memoirs”, published in
1813. Connoisseurs will be sure to linger over the
collection of 93 drawings, presented in an album,
of works by European schools of the 16th to 18th
centuries (€30,000/40,000). From a collection in
central France, a 1763 sanguine capriccio by
Hubert Robert showing part of the main door of
St Peter's in Rome (€30,000/40,000) stands out in
the well-furnished 18th century section. From the
19th century, there is a noteworthy pen, brown ink
and brown wash drawing by Victor Hugo
(€90,000/120,000) and this young lady in black
pencil 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 Degas
estate, and once belonged to the painter's
descendants.
Modern drawings 10 and 11 April
Sensitive to developments in the drawing market, Christie's is staging an event entirely dedicated to
modern works for the first time. As we know, it already puts on a sale of Old Master drawings on 10 April
every year during the Paris fair at the Palais Brongniart. Getting off to a good start, the auction house has
brought together some famous pieces by Rodin, Modigliani and Van Dongen, including his "Parade du
cirque" here, in watercolour, gouache and ink on paper, executed in 1904 (€200,000/300,000). To mark
the event, its star lot is a drawing by Picasso, which has never come up at auction before – one he
produced during the dark years of the Second World War and his idyll with Dora Maar, here shown
seated and in full figure (€800,000/1.2M).
N° 24 I GAZETTE DROUOT INTERNATIONAL
47

THE MAGAZINE UPCOMING AUCTIONS
16th century Italian drawings 12 April
This is the third sale of Mr. S's collection, dedicated
to Old Masters, featuring a total of 206 lots (Millon
auction house), including numerous Italian
drawings from the 16th, 17th and 18th centuries.
The best pieces include this "Ecce Agnus Dei" by
Giovanni Domenico Tiepolo in pen, brown ink and
brown wash (€80,000/100,000) together with
another, this time with black pencil highlights
(€80,000/100,000), of "Saint Peter on the road to
Jaffa". The 17th century French school, is well
represented through the works of Charles-Joseph
Natoire, François Boucher, Hubert Robert and
Jean Baptiste Greuze, and offers a pen and brown
ink by Jacques Stella of "Le Buveur" (The Drinker)
(€10,000/12,000). This drawing from 1619 dates
back to the artist's first years in Florence. It comes
from the former Chennevièves collection.
>

An unknown drawing by Victor Brauner
13 April
This is the kind of story that sometimes comes to light in
the art market. In 1930 an artist, Victor Brauner, fled to
Paris to escape the terror of the Romanian Iron Guard,
but was caught up by further events and once more
had to go into exile, fleeing Occupied France for
Marseille. There he met a number of Surrealists waiting
to leave for America. Duchamp and Max Ernst obtained
their tickets, but Victor Brauner had to remain behind
at the mercy of the occupying forces. Hospitalised
during 1941, he left this delightful drawing of a
woman as a souvenir for his nurse. She kept it until her
death, which occurred recently. This hitherto
unknown 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 Surrealist
chapter at the Villa Air-Bel, a place of waiting and
creativity, the drawing above all casts light on the
work of its creator. During this period of secrecy,
Brauner produced a large number of drawings, considered
the noteworthy part of a weird, dreamlike and
poetic output.
UPCOMING AUCTIONS THE MAGAZINE
Van Der Meulen for Louis XIV 5 April
On offer at a classic sale of furniture and objets d'art staged by the Paris auction house Beaussant
Lefèvre, this black chalk and watercolour drawing is the work of the painter Adam Frans Van der
Meulen (€15,000/20,000). A pupil of Pieter Snayers, he left his native Brussels for Paris, where he
was 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 juin
1684", a painting delivered in 1686 for the Royal Pavilion at Marly. For this leisure residence, of
which Louis XIV was very fond, the painter produced numerous compositions celebrating the
sovereign'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.
>
N° 24 I GAZETTE DROUOT INTERNATIONAL
49

THE MAGAZINE UPCOMING AUCTIONS
Miró's "Lézard aux plumes d'or" 21 April
This 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 April
Up 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, lithographer,
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.
>

UPCOMING AUCTIONS THE MAGAZINE
N° 24 I GAZETTE DROUOT INTERNATIONAL
51

THE MAGAZINE UPCOMING AUCTIONS
52 GAZETTE DROUOT INTERNATIONAL I N° 24
Joachin Sunyer 10 April
This black lead and watercolour drawing is the
work of Catalan artist Joaquim Sunyer. After
studying at the fine arts school in Barcelona, the
painter emigrated to Paris in 1896. This "Coin de la
zone", which he produced in around 1902,
inevitably evokes Picasso's Blue period. The two
men met in Paris at the house of their mutual
friend Ricard Canals, who had introduced Picasso
to engraving. As a result, Picasso was frequently
to be found at Canals' studio, where he met
Fernande. (It seems that Picasso and Sunyer
shared the favours of the beauty.) This drawing
dates from those productive years at the Bateau
Lavoir, and is one of a series by Joachim Sunyer
now in the Catalan National Art Museum in
Barcelona. It will be offered for sale by the Paris
auction house Ferri (€3,500/4,000), which is also
selling 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 works
of this series devoted to artists, this drawing
evinces Daumier's greater empathy for his
subjects (€30,000/35,000).
Jenny de Lavalette by Ingres 12 April
This marvellous portrait by Jean Auguste Dominique Ingres (€250,000/300,000) is the star of a sale of paintings
and drawings staged by the Piasa auction house. His pencil portraits represent one of the summits
of the painter's work, particularly those of his friends and family. In his drawings the artist achieved the
quintessence of his art, capturing the character of his subjects, the refinement of materials and the grace
of a pose with incredible accuracy. Ingres was in Rome at the dawn of the 19th century, and made a
speciality of painted portraits of French aristocrats who had settled in the Eternal City. However, when
commissions became thinner on the ground after the defeat of 1814, Ingres turned to drawing. This
portrait shows the delightful Jenny de Lavalette, a friend of Charles Thévenin, to whom the drawing is
dedicated, with the date 1817. The artist was the director of the Villa Médicis from 1816 to 1823. The year
in which he took up his duties, replacing Guillaume Guillon-Lethière, Ingres drew the portrait of his friend
and mentor.
>
>

UPCOMING AUCTIONS THE MAGAZINE
53

THE MAGAZINE UPCOMING AUCTIONS
The fabulous bestiary of Joseph Baqué 11 April
At a sale of drawings, the Paris auction house Ader is offering a series of works
showing the exuberant imagination of Joseph Baqué, a little-known Catalan
artist whose works were discovered after his death in 1967. They consist of 454
plates depicting a fantastical bestiary in watercolour, gouache, and graphite
with 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 at
between €100,000 and €150,000. The Musée d'Art Brut in Lausanne has a collection
of twelve works by this artist. At this sale, all eyes will also be on a black lead
study 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 of
Georges Bauquier, Léger's assistant and the director of the museum dedicated
to the painter (€20,000/30,000).
>

HD
UPCOMING AUCTIONS THE MAGAZINE
Rodin's black drawing 5 April
Rodin's drawings, as the sculptor said himself, are the key to his
work. He devoted himself to them all through his life, producing
around 10,000. In 1880, the year when the French state
commissioned the monumental doors of the future Musée des
Arts Décoratifs, the celebrated Gates of Hell, Rodin began to
immerse himself in Dante's Divine Comedy, and his readings
inspired a number of drawings. This drawing of a nude
(€20,000/30,000) in graphite, black ink and gouache, to be sold
on 5 April in Paris (Aguttes), is one of the famous "black
drawings" the artist produced during the 1880s. Here the artist
deployed a process he often used: cutting out a drawing and
gluing it onto a larger sheet, thus enabling him to consolidate
and enlarge it. The artist would often re-use these drawings in
later works. This one has a dedication, probably to Laurent
Lucien Gsell, known as Laurent-Gsell (1860-1944), a French
painter and illustrator. Stéphanie Perris-Delmas
>
N° 24 I GAZETTE DROUOT INTERNATIONAL
55

THE MAGAZINE UPCOMING AUCTIONS INTERNATIONAL
HD
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.
56 GAZETTE DROUOT INTERNATIONAL I N° 24
International

3 to 7 April
Four days of sales for a twofold celebration: the success
of the inaugural sale of the Poly Auction company in
Hong Kong last September, and that of the opening of
a permanent gallery dedicated to art in all its forms. The
sales consist mainly of Chinese works. There were also a
number of watches, including two for men by Patek
Philippe in platinum, both produced recently and each
estimated at around HK$1 M, and some jewellery. This
notably included a ring made in honour of Her Majesty
Queen Elizabeth II's Jubilee, in the form of a clover and
set with four diamonds, two pink and two blue (each
stone between 0.88 and 1.02 ct; HK$8.8/12 M), together
with two jewellery sets, each comprising a ring and a
pair of earrings, one set with cabochon Burmese rubies,
the other with jades (each around HK$1 M). As we
mentioned, the other sales consist solely of Chinese
works, 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 this
painting 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), to
whom we also owe "Tigers", a pen and watercolour on
paper (HK$7/14 M for this work, which belongs to a set
of five). With Zeng Fanzhi, a painting from the series
"Masks" (HK$8/10 M) has a certain connection with
Western 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 of
calligraphy (see photo). Also noteworthy: some
UPCOMING AUCTIONS INTERNATIONAL THE MAGAZINE
The arts
of China
watercolours by Xu Beihong ("Two magpies on a pine
tree", HK$2/5 M), Fu Baoshi ("Returning home in the
rain", HK$6/9 M), Zhan Daquian (“Journey to the West”,
HK$3/5 M) and Qi Baishi “Mice and candle”, HK$1.8/2.8
M). These works on paper can be compared with some
that 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 of
the Ming dynasty, and, by the Kangxi Emperor, one of
the best-known monarchs of the same dynasty, a calligraphy
after Dong Qichang, on a poem that accompanies
an ink drawing on satin showing "The monument
to Confucius" (HK$2/2.4 M). The objects are quite as
impressive as the graphic arts, with around forty pieces
from the collection of E.T. Chow, a vase produced in the
imperial workshops under the Qianlong Emperor
(HK£6/8 M for this 17 cm high Famille Rose object with
a decoration of peonies),a Wanli jar with a "Four Immortals"
decoration (h.: 13.5 cm; HK$6/800,000) and a
Yongzheng period bowl with "kingfisher's egg" glaze
(diam.: 22 cm; HK$4/6 M). Two "Bi" in jade, one from the
Qianlong period, the other carrying an imperial inscription
(each 17.2 cm) appear side by side with a sceptre of
exceptional size, carved in the same material (HK$8/12
M). Lastly, as though all these objects didn't already
inspire keen enthusiasm, we have a bronze wine vase
from the Shang period, expected to fetch HK$3 to 5 M.
Though its buyer may not be literally inebriated, he or
she will surely be exhilarated by obtaining the flagon...
at an intoxicating price!
Xavier Narbaïts
N° 24 I GAZETTE DROUOT INTERNATIONAL
57

www.fwfa.hk
18 th April & 20 th April 2013
HONG KONG
THE EXCELSIOR HOTEL
The Different Spring Auction 3
Jack-Philippe RUELLAN
Auction House
+33 (0)2 97 47 26 32
ruellan.cpriseur@orange.fr
Marc LABARBE
Auction House
+33 (0)5 61 23 58 78
marc.labarbe@etxe.fr
Jack-Philippe RUELLAN & Marc LABARBE
Auctioneers
Wine Expert :
Jean-Christophe LUCQUIAUD
+33 (0)5 56 44 64 65
jplvins@orange.fr
Live Auction :
www.the-saleroom.com
www.lefigaro.fr/encheres

Masterpieces
April 23, 2013 300 Years Kinsky Palace
95 th Art Auction. Art works on display: April 18–23, 2013, online catalogue: www.imkinsky.com
Catalogue order & information: T +43 1 532 42 00, office@imkinsky.com
Léon-François Comerre
Odalisque, oil on canvas,
€ 70.000–150.000
Oskar Kokoschka
Floral still life, 1959,
oil on canvas, € 180.000–300.000
Egon Schiele
Female nude lying on her side and leaning on one elbow, 1918,
black charcoal on paper, € 150.000–300.000
We are acquiring high-qualtiy art objects for our 2013 auctions. Our experts for your questions:
Old Master Paintings
19th Century Paintings
Antiques
Art Nouveau
Impressionist and Modern Art
Contemporary Art
Pablo Picasso
Guitar and fruit bowl on a table, 1920,
gouache on paper, € 50.000–100.000
Anselm Kiefer
The raft of the Medusa, 2003,
gouache on photographic paper, € 70.000–140.000
Free Print Catalogue to order here: office@imkinsky.com, while stocks last!
ım Kinsky
Auktionshaus im Kinsky GmbH, Palais Kinsky
A-1010 Wien, Freyung 4, www.imkinsky.com
Max Oppenheimer
Portrait of Emil Hermann, 1946, oil on canvas,
€ 150.000–300.000
Anna Mahler
Gustav Mahler, after 1945, plaster model,
unique piece, € 50.000–100.000
Kareen Schmid, T +43 1 532 42 00-20, schmid@imkinsky.com
Monika Schweighofer, T +43 1 532 42 00-10, schweighofer@imkinsky.com
Mag. Roswitha Holly, T +43 1 532 42 00-19, holly@imkinsky.com
Magda Pfabigan, T +43 1 532 42 00-15, pfabigan@imkinsky.com
Claudia Mörth-Gasser, T +43 1 532 42 00-14, moerth-gasser@imkinsky.com
Astrid Pfeiffer, T +43 1 532 42 00-13, pfeiffer@imkinsky.com

THE MAGAZINE UPCOMING AUCTIONS INTERNATIONAL
6 April
Russian avant-garde
On 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 the
Suprematist style. Kogan was an instrumental member of the UNOVIS group, a branch of the Russian avant-garde
founded and led by Malevich, and knew Malevich and Chagall personally. She also taught at the Vitebsk School of Art
which was founder by Chagall in 1918. The distinctive geometric forms used by Kogan interact and contrast to create
a 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 interesting
piece of Russian avant-garde history.
60 GAZETTE DROUOT INTERNATIONAL I N° 24
>
HD
Nina Kogan (1887-1942),
Chess, abstract geometric
shapes, 1929
Portfolio Supremus
cardboard and 8
compositions
Suprematists1929
Estimate : €60.000-80.000.

HD
UPCOMING AUCTIONS INTERNATIONAL THE MAGAZINE
6 April
Chinese textiles
The Boston auction house Skinner will present a sale of fine Chinese textiles on 6 April offering a selection
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, this
fine example of Chinese craftsmanship is intricately decorated with eight dragons chasing flaming
pearls surrounded by clouds, bats and the eight Buddhist emblems. This will be one of several lavish
robes presented at the auction from various private collections.
N° 24 I GAZETTE DROUOT INTERNATIONAL
61

THE MAGAZINE UPCOMING AUCTIONS INTERNATIONAL
13 April
Russian art
On 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 a
Ukrainian 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, where
a similar work of his, "Lunch at the Village" (1864), now hangs in the State Russian Museum. A selection of icons ranging
in price from €200 to €120,000 and a "king’s door" from the end of the 16th century will be among the other Russian
gems on offer.
Pyotr Alexandrovich Sukhodolsky (1835-1903),
‘Ukrainian village’ (1865).
Estimate : €150.000/200.000.
62 GAZETTE DROUOT INTERNATIONAL I N° 24

Julio Le Parc, ‘Continuel Mobile
Transparent’, 1960, Stainless steel,
acrylic, aluminum, fishing line
Estimate: $100,000-150,000.
UPCOMING AUCTIONS INTERNATIONAL THE MAGAZINE
25 April
Julio 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 appetites
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 interesting
and personal perspective on the legendary figure and his work. Polly Brock
N° 24 I GAZETTE DROUOT INTERNATIONAL
63

Francisco José de Goya, Dibersion de España (detail), lithograph, 1825. Estimate $70,000 to $100,000.
Old Master Through Modern Prints
MAY 1
Specialist: Todd Weyman • tweyman@swanngalleries.com
Visit our website for catalogues, previews and auction times
104 East 25th St, New York, NY 10010 • tel 212 254 4710
SWANNGALLERIES.COM

Masterpieces
April 23, 2013 300 Years Kinsky Palace
95 th Art Auction. Art works on display: April 18–23, 2013, online catalogue: www.imkinsky.com
Catalogue order & information: T +43 1 532 42 00, office@imkinsky.com
Jean ( Hans ) Egger
Signe, about 1930, oil on canvas
€ 35.000–70.000
Emil Nolde
Gipsy girl, 1921, watercolour on Japanese
tissue paper, € 100.000–180.000
Egon Schiele
Alfons Walde
Standing Nude, 1918, black charcoal Mountain village (Kitzbühel), about 1927, oil on cardboard
on paper, € 150.000–300.000 € 150.000–300.000
Arnulf Rainer
Black on white, 1955, Indian ink on paper
€ 30.000–50.000
Free Print Catalogue to order here: office@imkinsky.com, while stocks last!
We are acquiring high-qualtiy art objects for our 2013 auctions. Our experts for your questions:
Old Master Paintings
19th Century Paintings
Antiques
Art Nouveau
Impressionist and Modern Art
Contemporary Art
ım Kinsky
Auktionshaus im Kinsky GmbH, Palais Kinsky
A-1010 Wien, Freyung 4, www.imkinsky.com
Gustav Klimt
Head Study, late 1880-ies, oil on cardboard
€ 70.000–140.000
Richard Gerstl
Self-Portrait, 1906/07, oil on canvas
€ 70.000–140.000
Kareen Schmid, T +43 1 532 42 00-20, schmid@imkinsky.com
Monika Schweighofer, T +43 1 532 42 00-10, schweighofer@imkinsky.com
Mag. Roswitha Holly, T +43 1 532 42 00-19, holly@imkinsky.com
Magda Pfabigan, T +43 1 532 42 00-15, pfabigan@imkinsky.com
Claudia Mörth-Gasser, T +43 1 532 42 00-14, moerth-gasser@imkinsky.com
Astrid Pfeiffer, T +43 1 532 42 00-13, pfeiffer@imkinsky.com

THE MAGAZINE UPCOMING AUCTIONS INTERNATIONAL
27 April
From Monet to Mubin Orhon
This oil on canvas by Mubin Orhon is a fine
example of the intensity and vigour imbuing
each of the artist's works. His deft, intuitive use
of colour and mastery of expressive brushwork
were influenced by Lyrical Abstraction,
enabling him to paint with remarkable power
and serenity. Although Turkish in origin, Orhon
moved to Paris in 1948 and spent many years
there. Here he was acclaimed as an artist, exhibiting
regularly at the Salon des Réalités
Nouvelles and the Salon de Mai. This "Composition
in red" is signed, dated and located in Paris
in 1959. Orhon’s work has since achieved international
recognition; a collection of his work
was the focal point of Sotheby’s 2011 Contemporary
Turkish Sale in London, while the
auction house Antik A.S. in his native Turkey
sold one of his works for TRY 1,357,295 in
recent years (source: Artnet). This work will go
on sale on 27 April at Fine Art Auctions Miami
alongside other notable pieces, such as a painting
of a bank of the Seine by Monet ($4-6 M),
and a work by the Chilean hyperrealist painter
Claudio Bravo ($300,000/500,000). P.B
29 April to 9 May
After the original Holy Blood of Bruges
The Munich auction house Hermann Historica will host its 66th auction from 29 April to 9 May, comprising some
5,500 historical and military lots. An intricately decorated reliquary looks set to be the standout piece. Crafted by
the Viennese court jeweller Ludwig Politzer, it was given to Emperor Franz Joseph I of Austria and Empress Elizabeth
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 the
Renaissance 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
66 GAZETTE DROUOT INTERNATIONAL I N° 24
HD

UPCOMING AUCTIONS INTERNATIONAL THE MAGAZINE
2, 3 and 4 May
A for Arnal and Aboriginal art
This celebrated chaise longue by François Arnal is part of the design selection in a Brussels sale staged
by the Millon auction house. This "Formula 1" dreamed up by the artist during the "Atelier A" venture is
a classic of its kind. The aim of this group of artists led by François Arnal from the end of the Sixties to the
beginning of the next decade was to extend art into all areas of life, including furniture. This model in
chrome-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 of
Drawers", an astounding piece by Tejo Remy. In the Nineties, the artist was working with the Dutch
group 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 Aboriginal
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 the
Musée du Quai Branly in Paris, Aboriginal art is decidedly on a roll! Stéphanie Perris-Delmas
N° 24 I GAZETTE DROUOT INTERNATIONAL
67

License n.: AB3131
FINE ART AUCTIONS MIAMI
346 NW 29 th st. Miami, FL 33127 - www.faamiami.com
IMPORTANT AUCTION OF PAINTINGS AND SCULPTURES
APRIL 27 TH 2013, IN MIAMI
Fernando BOTERO
Roberto MATTA
Wifredo LAM
IMPRESSIONIST, MODERN, LATIN AMERICAN WORKS OF ART
TO INCLUDE YOUR PROPERTY IN THIS AUCTION PLEASE CONTACT:
FREDERIC THUT - NY & MIAMI
info@faamiami.com
+1 305 573 4228
Claudio BRAVO (1936-2011), 1999; Oil on canvas, 200 x 130 cm.
Estimate: $300,000 - $500,000
Carlos CRUZ-DIEZ
DAN COISSARD - PARIS
info@faamiami.com
+33 6 62 09 6088
Rafael SOTO
Armando MORALES

Ansel Adams, Moonrise, Hernandez, New Mexico (detail), silver print, 1941, printed 1978. Estimate $15,000 to $25,000.
Fine Photographs & Photobooks
APRIL 18
Specialist: Daile Kaplan • dkaplan@swanngalleries.com
Visit our website for catalogues, previews and auction times
104 East 25th St, New York, NY 10010 • tel 212 254 4710
SWANNGALLERIES.COM
© The Ansel Adams Publishing Rights Trust

AUCTION
RESULTS
FIND AUCTION RESULTS ON THE INTERNET
W

THE MAGAZINE AUCTION RESULTS
72 GAZETTE DROUOT INTERNATIONAL I N° 24
€19,827
Pierre Bayle at the top
On February 25 at Drouot, (Camard & Associés), the sale of the collection of
gallery owners Daniel and Michèle Sarver, involving various other provenances,
achieved a total of €455,344. One of their protégés, Pierre Bayle, met
with universal approval, even posting a world record (source: Artnet) with
the €19,827 fetched by the piece in this photo. Its title, Grand Gaea, is taken
from 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: terra
sigillata, which produces a glossy surface without any polishing. The ceramist
indicated that Gaea was one of the few pieces on which he
worked after throwing it, applying each point in relief separately.
The previous record, €10,000, had been achieved on 20
February 2008 by another large format example of Gaea,
presented by the same auction house. S.A.

Bwete reliquary
€206,250
At €206,250, this "bwete" reliquary figure, sold on 1 March in
Paris (Binoche & Giquello), greatly exceeded its estimate. The
patina of its lower wooden section, which forms a handle, bears
witness to its great age. The evident sculptural qualities of this
figure are confirmed by its impeccable pedigree. It was
acquired in Africa by Aristide Courtois (1883-1962), the
governor of Middle Congo, who sold many pieces to Paul
Guillaume, Ernst Ascher and Charles Ratton. This piece in fact
passed on to Ratton, who was introduced to African art by
André Derain. He then sold it to the American actor Edward G.
Robinson (1893-1973), for whom Pierre Matisse often acted as
intermediary (as we know, the artist's son was a gallery owner
in New York). The year the actor died, his collection of African,
Oceanic and Colombian art was put up for sale in London at
Sotheby’s, when this figure sold for £1,400 (around €18,000 at
today's value). It then went to the Arman collection, and after
that to a private French owner. The excellence of its record is
rubber-stamped by Kichizo Inagaki's base. This Japanese
cabinetmaker (1876-1951), who had settled in Paris, was
Rodin's preferred plinth-maker. As from 1910, he shared his
lodgings with his compatriot, Seizo Sugawara, who helped
Eileen Gray perfect her lacquer work. Inagaki also made
plinths for top tribal art dealers and collectors; a base with
his signature was almost always evidence of a high quality
provenance. The reliquary figure here was made by the
Mahongwé ethnic group of the Kota people. One of their
customs was to place the bones of tribal founders in a
basket surmounted by a figure in wood plated with a
copper strip. Sylvain Alliod
Mahongwé ethnic group, Gabon, 19th century, "bwete" reliquary
figure, wood, inlaid copper and brass strip, base by Inagaki, h. 50 cm.
AUCTION RESULTS THE MAGAZINE
HD

THE MAGAZINE AUCTION RESULTS
Van Dael by Van Bree
€112,500
This painting depicts the studio of a Flemish painter who settled in Paris, Jan Franz Van Dael (1764-1840). The final
verdict 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 2011
for £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 painter
initiated 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 was
presented in 1817, as indicated by the annotation in the black band on the left of the picture. Van Bree, who arrived in
Paris in 1811, had begun studying at her brother’s studio, Mathieu Ignace, and continued with Girodet. Five years later
he travelled to Rome, where he remained for two years. He must have executed this painting before leaving for the
Eternal 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, dating
from 1833. Ten years earlier, in Rome, he had painted his own working environment, where we see Canova honouring
him 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 bringing
in an average of €2,000 per year excluding the buyer's premium. An excellent investment… S.A.
74 GAZETTE DROUOT INTERNATIONAL I N° 24
HD
Philippe Jacques Van
Bree (1786-1871),
“Interior of Jan Franz
Van Dael's Studio
at the Sorbonne”,
oil on canvas, 46 x 56.5 cm.
WORLD RECORD FOR
THE ARTIST.

AUCTION RESULTS THE MAGAZINE
€49,170
Fabergé, Michael Perchin’s stamp
On 28 February at Drouot (Beaussant-Lefèvre), this quadriptych by Fabergé in pink gold shot up
far beyond its estimate (€2,000) to €49,170. These ovals designed to hold photographs have
simple silver borders. With no enamel or precious stones, this small frame bears the Saint-Petersburg
stamp for the period 1896-1908 and that of Michael Perchin, the company's most important
foreman with Henrik Wigström. Perchin supervised the production of the famous imperial eggs
from 1886 to his death in 1923. He also stood out for his ability to cover all styles, from the Renaissance
to the Neorococo. This piece is overtly Neoclassical. As we have seen, Karl Fabergé enthusiasts
eagerly pushed up the bidding to obtain the object of their desire... and maybe put some
photos of the Russian imperial family in the frame? At that price… Sylvain Alliod
N° 24 I GAZETTE DROUOT INTERNATIONAL
75

THE MAGAZINE AUCTION RESULTS
The Emperor
or his Marshall ?
€110,400
Ernest Meissonier, a protégé of Emperor Napoleon III, began a
long career of military painting under the Second Empire.
Following the example of Martin-des-Batailles, who accompanied
Louis XIV to Flanders, the artist became the Emperor's ‘painter
reporter’ in 1859 during the Italian campaign. This led him
to paint the masterful ‘Emperor Napoleon III at Solferino’, now in
the Louvre museum. In homage to his uncle, the emperor
commissioned a series of paintings from Meissonier recalling the
conquests of the ‘Grande Armée’. Also a sculptor, Meissonier
produced statuettes, mainly equestrian. These served as
preparatory studies for military paintings, as Antoinette
Lenormand-Romain demonstrated in a major retrospective on
the artist at Lyon in 1993. An excellent animal sculptor, Meissonier
observed the horse in meticulous detail, carving it with realism,
power and precision. The bronze here, typically in this vein, was
estimated at around €10,000. Offered in good condition, it was
cast after Meisonnier's death by the Siot-Decauville foundry from
an original wax sculpture (now in the Musée d’Orsay) of
astonishing naturalism. Other copies can be seen today in the
museums of Washington, Bordeaux and Reims. Bearing the proof
number 30, this copy was first thought to show Napoleon I during
the retreat from Russia. Then art historians identified it as an
equestrian portrait of Marshall Ney. After being cut off from the
main army, he successfully managed to rejoin them, which
earned him the distinction of ‘the bravest of the brave’. A tough
and courageous soldier, he was one of the last Frenchmen to
cross the famous bridge of Berezina. This ‘Traveller’, however, did
not languish like those during that terrible battle: far from it! At its
sale at Morlaix on 26 February, it was vigorously fought over by
the room and several telephone bidders, finally going to a French
buyer for ten times its estimate (Dupont & Associés).
Chantal Humbert
76 GAZETTE DROUOT INTERNATIONAL I N° 24

AUCTION RESULTS THE MAGAZINE
Ernest Meissonier (1815-1891),
"Le Voyageur" or "Cavalier dans
la tempête" (horseman in a storm),
bronze with green-tinged brown
patina, signed "Meissonier", late 19th
century, circular foundry stamp of Siot-
Decauville, Paris, 48 x 60 cm.
N° 24 I GAZETTE DROUOT INTERNATIONAL
77

THE MAGAZINE AUCTION RESULTS
Pierre Puvis de Chavannes (1824-1898),
"Ludus pro Patria", drawing in sepia on
canvas, signed, c. 1879,
27 x 118 cm.
HD
€121,125
Attributed to Bartolomeo Bon
On 15 March, the Paris sale of the auction house
Aguttes, devoted solely to the Middle Ages,
totalled €1,162,792 and totted up no fewer than
29 five-figure bids. The star was this marble
sculpture, probably an allegory. It is attributed
to Bartolomeo Bon (1410-1467), one of the last
proponents of Venetian Gothic sculpture
whose style already looks forward to the Renaissance.
A native of Ticino, he first worked in
Venice with his father Giovanni, mainly on the
decoration of the celebrated Ca’ d’oro palace.
On his own, he completed several doors, including
the one of San Giovanni e Paolo church,
and the one linking the Doge's Palace to the
San Marco basilica. His sculpture here fetched
€121,125. S.A.

AUCTION RESULTS THE MAGAZINE
€55,200
To the glory of Picardy
Offered for sale in Lyon (Chenu - Bérard - Péron) on 17 March, this drawing roused a lively battle
between 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 major
figure 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, decorative
compositions with a highly stylised feel, deliberately deepened with pale and muted shades. They
included monumental commissions for the Panthéon, notably scenes from the childhood of Saint
Genevieve. A few years later, the artist, reviving the allegorical genre, painted a magnificent "Pro Patria
Ludus": 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 the
javelin 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 several
compositions depicting confident love, happy childhood and contemplative old age. The monumental
decoration required numerous drafts, studies and canvases, which made their way into American art
museums like the Metropolitan of Art in New York. Referring to this magisterial mural, the drawing here
is marked "projet pour le tableau des Picards" ("draft for the Picard painting"). Chantal Humbert
N° 24 I GAZETTE DROUOT INTERNATIONAL
HD
79

THE MAGAZINE AUCTION RESULTS
€120,000
Cord 810 Sportsman
A throng of car enthusiasts contributed to the success of this sale by Osenat in Rue
Royale at Fontainbleau. The Cord 810 Sportsman from 1936, a coupé convertiblewith
a particularly original line and an ingenious and innovative interior layout, could
hardly pass unnoticed. It had already caused a sensation at the New York motor
show of 1935. With this Cord 810, Gordon Buehrig aimed at a pioneering silhouette.
Anything that interrupted its fluid lines was eliminated, starting with the running
boards; the headlights became retractable, the fuel filler was concealed behind a
hatch, 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
80 GAZETTE DROUOT INTERNATIONAL I N° 24

AUCTION RESULTS THE MAGAZINE
€1,610,960
La Rosa by Pissarro
On 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 the
young lady, the painting had the advantage of appearing for the first time at auction since its sale on 16 April 1896 by
Durand-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 the
Musée Carnavalet in 1953, "Masterpieces from Paris collections: paintings and drawings from the 19th century French
school". This painting is the only one of Rosa in the Artnet database. The young woman was engaged as a servant by
the 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 1896
for "La Petite bonne" and "Petite
bonne flamande". On 15 January
1896, Pissarro wrote to his son: “I've
finished four paintings of ten and
fifteen of La Rosa.” This one, a figure
of 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.
HD
N° 24 I GAZETTE DROUOT INTERNATIONAL
81

THE MAGAZINE AUCTION RESULTS
€495,680
If you didn't know, the diadem is right on trend! At the
most recent Biennale des Antiquaires, the Chaumet
company kept the fashion alive by presenting no fewer
than twelve new variations of the jewellery item. At
Drouot on 20 March (Beaussant–Lefèvre), an older
piece changed heads, soaring to €495,680 after a high
estimate of €150,000. It was executed in 1908 for a
great aristocratic French family, for a wedding.
According to designer Béatrice de Plinval, director of
the Musée Chaumet, only three examples of this
model were made, each with slight variants.
The 12 carnations crowning the one here are mounted
on springs: a technical refinement discreetly integrated
into a design as delicate as it is elegant. A real feat!
Over the years, Chaumet can boast of having produced
some three thousand tiaras in its workshops... and the
company incidentally has a historical legitimacy in this
respect. This head ornament, whose origins can be
traced back to high antiquity - it designated the white
wool ribbon surrounding the tiara of the Kings of
Persia - was revived in the taste of the day during a
period where the Graeco-Roman model became the
ultimate 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 to
wear this piece of jewellery, placed sufficiently high in
their hairstyles to give them a dignity worthy of the
family's place in the new Europe desired by the French
sovereign. The tiara remained in vogue during the
whole of the 19th century, adapting to all the stylistic
variations of an eclectic epoch. Sylvain Alliod
82 GAZETTE DROUOT INTERNATIONAL I N° 24
HD
Joseph Chaumet, c. 1908: openwork platinum diadem
decorated with carnations and foliage entirely set with
antique cut diamonds, fourt een of a larger size; some
elements mounted on springs. Gross weight: 155 g.
C
h

AUCTION RESULTS THE MAGAZINE
haumet
lds its head high !

THE MAGAZINE AUCTION RESULTS
HD
€514,268
Jacques-Émile Blanche,
Gide collection
The total of this sale on 20 March at
Drouot came to €2,794,483 (Thierry de
Maigret) including €1,610,960 for an oil
on canvas by Camille Pissarro of 1896,
"Tête de jeune fille de profil dite La Rosa"
(see page 81). There were two noteworthy
six-figure results for two paintings
by Jacques-Émile Blanche, which
had belonged to the collection of André
Gide. They greatly exceeded their estimates,
the 1890 "Portrait d'André Gide
ou André Gide à 21 ans" (107 x 73 cm)
soaring up to €346,976 and the
"Portrait de Georges Porto-Riche" (100 x
65 cm), painted in Dieppe and dedicated
to Rodin, to €167,292. This was
perhaps painted in 1889. The portrait
of André Gide clocked in at second
place in the artist's results worldwide
(source: Artnet). It was a French record.
S. A

€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, and
it is one of the rarest torches after those of the Summer Helsinki Games of 1952. The ultimate symbol of the
Olympic Games, it was announced at around €30,000, but fired enthusiasts to battle ardently for it in the room and
via several telephones. Smashing its estimates, it finally went on to embellish a foreign collection, and posted a
new 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
€114,219
A collection full of surprises
A Belgian collection containing over 700 lots
required three days of sales on 6, 7 and 8 March in
Paris (Millon & Associés). The reasonable estimates
were often – and largely – exceeded, notably for
the art of weaving, which made an impression
with the €114,219 garnered for this Gobelins
tapestry (almost ten times the estimate). This was a
rewoven 18th century version of one of the eight
pieces in the "Anciennes et Nouvelles Indes" (Old
and New Indies) series, created by the painters Van
Eeckhout and Franz Post to mark a voyage to
Dutch Brazil between 1637 and 1644. The first
version, woven at the Gobelins, was presented to
Louis XIV. In 1737, François Desportes began to
modify the cartoons, adding a number of African
animals, and calling the hangings the "Nouvelles
Indes". The tapestry here probably belongs to the
second series. Three 17th century Flemish tapestries
from the long series The Story of Alexander
("and the Amazons") totalled €86,299. A battle for
the largest (330 x 450 cm), showing Hercules and
Theseus seeking the friendship of the Amazons,
was pushed up to €40,614. Sylvain Alliod
AUCTION RESULTS THE MAGAZINE
HD
N° 24 I GAZETTE DROUOT INTERNATIONAL
85

THE MAGAZINE AUCTION RESULTS
86 GAZETTE DROUOT INTERNATIONAL I N° 24
HD

€1,707,542
On 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 the
moment. As we remember, during the second
session, "La Prose du Transsibérien" by Blaise
Cendrars, illustrated by Sonia Delaunay, obtained a
record for the book at €312,750. There were 125 lots
in the catalogue of this third sale. Two of them
exceeded the €100,000 mark and 29 posted five
figure bids. The highest price, €173,600, went to the
only copy on imperial Japan paper of "Venise, seuil
des eaux" by Paul Leclère, illustrated with 10 inserted
compositions by Van Dongen. The binding by
Legrain also holds five watercolours used as
illustrations. François-Louis Schmied entered the
scene at €131,440 with one of 20 copies on Japan
paper of the "Histoire de la princesse Boudour. Contes
des mille nuits et une", translated by Dr J.-C. Mardrus
(Paris, Schmied, 1926), with a fine binding by Jean
Lambert in Moroccan blue with a mosaic of coloured
geometric motifs. Schmied embellished the book
with 52 illustrations, 18 of them inserts; the copy here
contains one of five sets of line prints engraved in
black on Chinese paper. The plates of this legendary
book were coloured in the lacquer workshops of Jean
Dunand. Sylvain Alliod
AUCTION RESULTS THE MAGAZINE
R. and B.L. library
chapter three
€173,600 Paul Leclère, "Venise, seuil des eaux", Paris, at the Cité des
Livres, 1925, illustrated by Kees Van Dongen (1877-1968), in-quarto,
morocco binding with mosaic decoration by Pierre Legrain.
N° 24 I GAZETTE DROUOT INTERNATIONAL
87

THE MAGAZINE AUCTION RESULTS
88 GAZETTE DROUOT INTERNATIONAL I N° 24
€10,3M
A muted result for
the Barbier Mueller collection
With a total of €10.3 M, the Barbier Mueller collection of Pre-Columbian
art did not fulfil its forecasts. This might have been because of the destabilisation
campaign orchestrated by Peru and Mexico before the sale...
And yet actions from countries wishing to recover their heritage have
been 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 of
pre-Columbian art. Nonetheless, the Barbier Mueller collection beats this
previous record, and its large callipygian Venus from the Chupicuaro
culture posted a world record at €2 M.
€343,056
Paul Dupré-Lafon: a Thirties desk
Paul Dupré-Lafon once again justified his title of "the millionaire's
interior designer" with the €343,056 obtained (above
the estimate) for this desk on 22 March at Drouot (Aguttes).
Executed in around 1937-1939, it is made from the noblest
materials, including Macassar ebony and bronze, while the
leather elements were made by Hermès, whose signature
appears on the desk blotter. The latter, as often with Dupré-
Lafon, hides a storage compartment whose meticulous
finish illustrates the care the designer took over his furniture.
The play with geometric volumes is typical of his style, and
the massive appearance of the desk is alleviated by the
curvature marking the centre of the top on the user's side,
while the rectangular base is softened by the delicate slope
emphasising the gilt bronze trimming.

AUCTION RESULTS THE MAGAZINE
€941,416
A collection of Lin Fengmians
At its contemporary art sale on 20 March, the Paris
Millon auction house offered a collection of 18 works
on paper by the Chinese painter Lin Fengmian. This
collection had been built up by the Russian poet
Larissa Andersen Chaize, who died in 2012, during the
years she spent in Shanghai, when she was friends with
the artist. The collection garnered a total of €941,416,
with 90% of buyers being Chinese bidders from Hong
Kong or New York. This "Lotus pond at night", painted
in 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 estimate
of €60,000: results far above the forecasts, confirming
the painter's high popularity rating.
N° 24 I GAZETTE DROUOT INTERNATIONAL
89

THE MAGAZINE AUCTION RESULTS INTERNATIONAL
$2.22M
The 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 achieved
a transaction good enough to turn the craftiest Wall Street operator green with envy. Picked up six years ago in a
yard sale for $3, this small ceramic Song piece sold for the staggering sum of $2.23 M at Sotheby's! History does not
relate whether this feat was the work of a discreet connoisseur or just a lucky break… Meanwhile the buyer, none
other than Giuseppe Eskenazi (the well-known London art dealer behind the highest bids in the speciality), walked
off with a remarkable example of Ding tableware: a model known through only one other specimen now in
London's British Museum. This "British subject" had been left to the institution in 1947 by Henry J. Oppenheim, a
collector and eminent member of the Oriental Ceramic Society. No need to dwell on the unparalleled virtues of this
type of porcelain produced during the Song dynasty, which ruled from the 10th to the 13th century. It embodied
the perfection of an intellectual century. The beauty of these pieces lay in their pure lines and the attention lavished
on the decoration, here delicate petals traced with a bamboo knife – not to mention their colour, an evanescent
creamy-white, ideal for expressing "the taste of spring water" dear to neo-Confucian scholars (“La Chine des
porcelaines”, Musée Guimet, 2004). Stéphanie Perris-Delmas
90 GAZETTE DROUOT INTERNATIONAL I N° 24

Axel Salto
at his peak
DKK 1.488.000
"Creating in harmony with nature rather than
copying its external appearance" was the maxim
of Axel Salto (1889-1961), the Danish designer
who was a sculptor, painter and illustrator, but
above all a ceramist. One of his works, a large vase
with a greeny-black glaze, was sold on 8 March in
Copenhagen for DKK 1.488.000 (Bruun
Rasmussen). There were no other pieces of comparable
significance in the sale, but other works of his
achieved some excellent prices, from DKK 170,000 for
a vase from 1966 with high relief decoration bringing
out the subtleties of the blue glaze, to DKK 750,000 for a
vase in the shape of a fruit. A "Janus" vase went for DKK
300,000; this carried the mark of the celebrated "Royal Copenhagen"
factory, for which Salto worked. Inspired simultaneously
by mythology, Art Deco and religion, the artist's approach was radically
different to the work of his contemporaries (and successors) as
proponents of a functionalism applied to the decorative arts. This is
the aspect most often associated with Scandinavian designers, and
the 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 teak
desk by Hans Wegner faintly reminiscent of Chinese furniture.
Another of his desks in wenge and chrome-plated steel fetched DKK
200,000. Scandinavian design, which has long been the delight of the
art trade, cleavly still has its fans… Xavier Narbaïts
AUCTION RESULTS INTERNATIONAL THE MAGAZINE
Axel Salto: Very large stoneware vase in budded
style with black olivine glaze. Signed "Salto",
21380. Royal Copenhagen. H. 51 cm.
DKK 1.488.000.
N° 24 I GAZETTE DROUOT INTERNATIONAL
91

THE MAGAZINE AUCTION RESULTS INTERNATIONAL
$22,49 M
Chinese ceramics and objets d'art
In terms of price, the star of this New York sale on 19 and 20 March at Sotheby's (also see page 90), which
totalled $22.49 M, was one of the Qianlong Emperor's seals, in jade of a somewhat muted shade, which
doubled its high estimate in achieving $3.41 M. A long way behind it, at $545,000 and $509,000 respectively:
another Song bowl, with an interior decoration of lotus flowers and interlacing foliage, and from the
same period but in polychrome wood, a massive Bodhisattva head (h.: 95 cm) from the former Vérité
collection. Scarcely less expensive ($485,000): a "Hu" vase with blue and white decoration from the Qianlong
period – $60,000 more than a vase with removable handles, carved in celadon-coloured jade during
the 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) almost
equalled 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, as
hammer 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 side
supported on a small square foot, flanked by two rectangular handles
surmounted by crouching deer, the base with a Qianlong fourcharacter
mark, H. 11.9 cm.

$1,51 M
H. Schonfeld collection
Chinese snuff bottles
As a child, Hildegard Schonfeld (1923-2000) had to flee
her native country, Germany, and took refuge in
America. During a voyage with her husband, she discovered
and bought two Chinese snuff bottles, finding
them highly appealing. From then on she pursued her
passion intelligently, buying in public sales and from
the top dealers, and joining associations of enthusiasts
for these small objects, which Westerners and Chinese
buyers battle for keenly. In the end, by the time it was
put up for sale by her children on 21 March in New
York (Christie's), this magnificent collection contained
a little over a hundred pieces with first-class documentation.
The collection fetched a total of $1.51 M, and
every lot found a buyer. Prices ranged from $1,063 at
the bottom end for a simple mid-19th century colourless
glass snuff bottle with an unusual European-style
carved decoration, to $171,500 for one a century older,
carved from a block of bi-coloured tourmaline, where
the artist used the coloured zones to define the top
and bottom of the piece (see photo). But the extremes
did not reflect the reality: the most desirable lots
mainly went for between $10,000 and $35,000 on
average. The only exceptions, apart from the tourmaline
snuff bottle, were a continuously-carved white
jade bottle featuring a sage in a cave (second half of
the 18th century), which garnered $99,750; an imperial
porcelain snuff bottle decorated with Famille Rose
enamels, which fetched $87,500, and a third, the one
here, carved from a block of aquamarine, which went
for $68,750. A faultless round, then, for these exquisitely
refined Chinese objects. For a long time, they have
appealed as much to Western enthusiasts as to those
in their country of origin... Xavier Narbaïts
AUCTION RESULTS INTERNATIONAL THE MAGAZINE
N° 24 I GAZETTE DROUOT INTERNATIONAL
93

THE MAGAZINE AUCTION RESULTS INTERNATIONAL
£982,050
For the Chinese Girl
Vladimir Tretchikoff’s most iconic work, "Chinese Girl", is finally making its way home. The painting, believed to be
one of the most extensively produced and recognisable pictures in the world, sold for £982,050 at its Bonhams sale
on 20 March, becoming the highest-selling piece by the artist (source: Artnet). Tretchikoff was born in Russia, but
lived in Shanghai and Singapore. He was imprisoned in a Japanese prison camp during World War II before finally
emigrating and settling in South Africa. This was where in 1950 he painted "Chinese Girl": the undeniable highlight
of this London sale of South African art. Its lucky new owner is the British businessman, jeweller and Chairman of
Graff Diamonds International, Laurence Graff. He will be restoring it to its native South Africa, where it will be on
show to the public at the Delaire Graff Estate, near Stellenbosch. After the 2011 exhibition "Tretchikoff: The
People’s Painter" at IZIKO South African National Gallery, the value of Tretchikoff’s work has gone from strength to
strength. This last result marks a new record for a Tretchikoff painting. The previous record was held by "Portrait of
Lenka (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

Franz Liszt
for his pupil
CHF19,500
The 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 Stravinsky,
Paul Dukas, Nikita Magaloff, Joseph Szigeti
and Richard Wagner. An undeniable highlight of the
sale was a book of exercises written by the Hungarian
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.
AUCTION RESULTS INTERNATIONAL THE MAGAZINE

MAGAZINE
Console table, 1918-1920,
lacquered wood from
China. Private collection.
© Christian Baraja, Studio SLB

THE MAGAZINE ART FAIR
TEFAF an appraisal of 2013
It has to be admitted that the 26th edition of TEFAF,
The European Fine Art Fair, took place in weather
conditions that bore no resemblance to spring.
These meteorological considerations, which may
seem trivial when it comes to assessing one of the
art market's most keenly-awaited events, had a distinct
effect on attendance this year. Not only did the snow
and the cold hold up the experts expected before the
opening for the famous vetting (the strictest in the
market), but they also foiled the arrival of the happy
few invited to the inauguration. And generally
speaking, many did not try again: "Key clients have
very tight schedules," said Anisabelle Berès, "and they
don't necessarily have the leeway to re-scedule a visit
to Maastricht." Another noticeable fact: normally the
volume of exchanges is evenly spread out over the
whole event, but this year they mostly took place
during the first three days. As from the Monday, it was
mainly the "strollers" who ambled between the magnificent
floral compositions dotted along the alleyways:
one of the fair's signatures. "During the week, I felt
rather like a guide in a museum," said one exhibitor.
The reference was apposite for this fair, which lined up
a large number of specialities offered by 265 dealers,
with a typically dense and high quality selection. On
the other hand, one regular observer noticed that the
2013 vintage had a higher than usual proportion of
repetitions, i.e. works already seen in previous fairs: "On
average, 30%," he estimated. For dealers, it is not
always easy to present only new pieces, especially after
2012, a year that was not particularly rosy for some
segments of the market. As regards collectors, while
the Europeans reported present, the American
Eldorado was chiefly marked by the presence of its
98 GAZETTE DROUOT INTERNATIONAL I N° 24
A view of the Champs Elysees from the
stand of Cahn International at TEFAF 2013.

museums. A fact noted in the New York Times by Carol
Vogel, who explained that this activism was due to the
fine performances of endowments invested in the
American stock market by institutions, giving them
more liquidity. A phenomenon accompanied by a new
crop of curators, who had pinpointed gaps in their
collections and were keen to fill them. Chinese
enthusiasts, meanwhile, kept a low profile, substantia-
ART FAIR THE MAGAZINE
ting the TEFAF 2013 report drawn up by Irish economist
Clare McAndrew. This noted a clear downturn in
the Chinese market, which fell 24% in 2012 compared
with 2011 and moved down a place, enabling the
United States to regain its position as leader in the
world market. This did not prevent TEFAF from
announcing the launch in 2014 of a Beijing version of
the event in partnership with Sotheby's, itself allied
HD
© Photo by Loraine Bodewes

THE MAGAZINE ART FAIR
with a Chinese heavyweight in the art market, GeHua.
Watch this space… But these drawbacks did not make
the fair a failure – far from it. "After all, here we are, at
the TEFAF!" as one exhibitor put it, and as witness the
376 extra flights registered at the little airport of Maastricht-Aachen,
and a fine number of red dots when the
fair closed. A special mention for the Kugel gallery
stand, which featured some dazzling pieces right from
the start, as it always does. Here there was no question
of any repetitions. The star item, sold straight after the
opening for an undisclosed price, was a papal piece
that probably belonged to Benedict XIV: a painting on
marble by Antonio Tempesta literally set in an astonishing
frame from Trapani. And the rest was equally up
to scratch… The Rijksmuseum in Amsterdam, on the
lookout for pieces to display to the public when it
reopens, treated itself – again at the Kugels stand, and
thanks to the generosity of a Dutch collector – to a
silver vase made by Antoine Vechte in 1843 for the
Duke of Luynes, featuring "Neptune taming the waves"
and the triumph of Galatea". The American museums
turned up even before the fair opened. The Metropolitan
Museum of New York bought a 1779 painting by
Joseph Wright (of Derby), "Virgil's tomb by moonlight",
the first English landscape bought by the institution
since 1944 – and which the Matthiesen Gallery of
London had bought at Sotheby's for £1.49 M ($2.3 M)
in 2011. As often at Maastricht, it was noticeable that
buyers were not bothered by a work's recent journey
through the auction room... For example, the Mauritshuis
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 last
December. This London dealer also sold one of the key
pieces at its stand, "The meeting of Odysseus and
Nausicaa" by Jacob Jordaens, for £4.2M. Old Master
paintings have always been the strong point of the fair.

ART FAIR THE MAGAZINE
Otto Naumann of New York sold a "Birth of the Virgin" Gue Jue, one of the most famous artists of the period.
by Carlo Maratta for $4.9 M, and an American paid $3 The Paris gallery Tanakaya's very fine prints of "36
M for a delicate still life by Balthasar van der Ast, Views of Mount Fuji" by Hokusai all sold the first
bought on 5 December in London at Sotheby's by the evening. Also worth noting: the first participation of
Zurich gallery David Koetser for £1.49 M ($2.4 M). Sculp- the Yufuku Gallery from Tokyo, which sold a particuture,
as always, was well represented; a marble group larly high proportion of pieces, mostly contemporary
by Carpeaux, "Daphnis et Chloé" (H. 140 cm), dated Japanese ceramics. With jewellery, there was a lively
1874, sold for $3.5 M (Daniel Katz from London). The market for the creations of René Lalique: Wartski from
modern and contemporary sector, which had seen a London sold a gossamer necklace composed of inter-
number of heavyweights leaving over the past few laced dragonflies for €1.3M, and Hancocks, also from
years, was shored up by the return of Larry Gagosian, London, sold a 1907 brooch with two flying moths for
who had not made the trip to Holland since 2006. €1 M. For those only planning to be strollers at the next
Christophe Van de Weghe from New York sold a 1964 TEFAF, we might just mention that at the Maastricht
Picasso to Ronald Lauder for $8 M. With the Asian arts, fair, you can also find buys at a mere four figures... So
we can mention two objects offered at around €1 M,
sold by Littleton & Hennessy Asian Art to Chinese
book your tickets now! Sylvain Alliod
buyers: a sacrificial blue vase from the Yongzengh
period carrying an imperial mark, and a 17th century
carved bamboo brush pot bearing the signature of
TEFAF, Maastricht Exhibition & Congress Centre, MECC, Forum
I 100, 6229 GV Maastricht, Netherlands, www.tefaf.comW
A view of Trafalgar
Square at TEFAF 2013.
© Photo by Loraine Bodewes

THE MAGAZINE EVENT
Drawing conclusions
Will the latest Salon do better than
the previous ones? It's hard to
say, especially in an economic
downturn. But the Paris fair has
succeeded in setting the bar ever
higher over the years. In 2012, the professionals
unanimously acclaimed a positive result, marked by a
higher attendance rate, good sales, and the return of
American buyers, while the presence of representa-
tives from the top museums confirmed the excellence
of the works on offer. The Musée du Louvre picked up
a study by the Spanish artist Alonso Berruguete dating
from the 16th century; the Morgan Library of New York
a pastel by Benedetto Luti, and the Rijksmuseum a
Dutch landscape by Gerrit Battem (1636-1684) – three
drawings presented by the Barcelona gallery Artur
Ramon. Museums have become important players in
this decidedly unifying art fair, which is one of the few
of 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 of
honour: Bayonne's Musée Bonnat-Helleu, which will be
exhibiting the drawings recently added to its
collections through the Helleu bequest (see interview
on page 106). During the jointly staged "Semaine du
Dessin" (drawing week), visitors will also have the
chance to view the capital's key graphic art collections,
never before or very little seen by the public. For
example, the Bibliothèque Nationale de France will for
once be opening up its reserves to exhibit drawings
from the 17th century almanac. With collectors, dealers
and curators, the Salon du Dessin is a lively occasion, as
readily confirmed by one of its organisers, Bertrand
Gautier. "It's such a strong event because it's a genuine
forum where different sensibilities and points of view
are 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.

HD
Johann Wilhelm Baur ((Strasbourg, circa 1600 – Vienna,
1640), “Christ before Pilate, circa 1635”. Gouache on
vellum, 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.
© Galerie Paul Prouté
Cornelis de Vos (Hulst, 1584
- Antwerp, 1651), “Head of child”.
Graphite and red chalk highlights,
22 x 17 cm.
© De Bayser Gallery
EVENT THE MAGAZINE

THE MAGAZINE EVENT
Josep Santilari (1959), “Fruits, slices of bread and
chocolate”, 2012, Graphite pencil, 35 x 51cm.
© Artur Ramon Art
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 Edgard
Maxence on the top right.
© Talabardon & Gautier
Frantisek Kupka (Opocno, 1871 -
Puteaux, 1957),
Circular and rectilinear, circa 1930
Gouache and watercolour on paper,
25,6 x 20,3 cm.
Signed on bottom left, stamped
François Kupka on back.
© M. Ferrier. Antoine Laurentin Gallery

take shape." So what are the focal points this year?
Though increasingly rare, Old Master drawings remain
central to the selection, as we can see in this
enchanting portrait of a child in black chalk with
sanguine highlights by Cornelis de Vos, which you can
see in the Bayser gallery – or, at Didier Aaron's, this
gouache by Johann Wilhelm Baur, c. 1635, of "Christ
before Pilate" in an astounding architectural setting.
However, the trend initiated over the past few seasons,
with an increasing spotlight on the 20th century, is becoming
more established. The Italian gallery Continua
specialises in contemporary drawings, like the Galerie
des Modernes and Galerie AB in Paris: they have all now
entered the sacrosanct. As well as a 1978 composition
by Fernand Léger, Galerie AB will be offering an acrylic
and pastel by Hans Hartung. The arrival in force of
contemporary drawings is all part of the natural order,
says gallery dealer Talabardon Gautier: "Don't forget,
what's contemporary now will rapidly become the
modern of tomorrow. The role of exhibitors is precisely
to make choices within this century, and offer a selection
EVENT THE MAGAZINE
of works that will one day achieve icon status." The
Galerie Laurentin has chosen a gouache by Frantisek
Kupka for the occasion. Another high point of the fair is
the 19th century, which is gaining from the increasing
rarity of Old Masters. This is a rapidly growing sector with
some high quality pieces, as we can see in the 2013
selection – for example, a view of Avignon by William
Wyld at the Galerie Prouté, and an astonishing study of
boots and shoes by Henri-Alfred-Marie Jacquemart at
the Galerie Terrades. Meanwhile, Edgar Maxence's
divine Sapho celebrates the Symbolist trend, which has
returned to centre stage after peaking in the market
during the Seventies, says Bertrand Gautier – as has the
taste 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 to
him 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
W
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

THE MAGAZINE EVENT
Musée Bonnat-Helleu guest of the Salon du Dessin
La Gazette Drouot: Museums don't often exhibit in
a non-institutional setting…
Sophie Harent: Yes, that's true. The Salon du Dessin
began the tradition three years ago, when the Rouen
Musée des Beaux-arts was the first to present works
during the 2011 show; the following year it was the
Musée de Bergues' turn. The idea is to highlight a
graphic arts collection from one of the regional
museums. Generally speaking, the graphic arts are
presented sparingly compared with paintings, and are
thus less familiar to the public. For Bayonne, the other
reason is the very nature of the museum's collection.
The largest number of pieces comes from the painter
Léon Bonnat. At his death in 1922, he bequeathed his
collections to the French State, with the obligation of
depositing them at the Musée de Bayonne, but the
prohibition of lending them.
So tell us more about the history of the Musée de
Bayonne's amazingly rich collection.
The museum started up in the 1830s, with State
deposits and a number of purchases by the city. Léon
Bonnat, who came from Bayonne, had made it known
early on that he wanted to give part of his collections
to the city, which had encouraged him at the start of
his career, and enabled him to study in Paris and Italy.
The painter began making donations to the museum
in the 1890s. In 1901, Bayonne city council opened a
new building, named after the artist. Following his
bequest in 1922, the paintings were swelled by
a number of sculptures, antiques, objets d'art and most
importantly, a truly extraordinary collection
of drawings. The artist was an inveterate collector
of these all through his life. His meeting with Horace
106 GAZETTE DROUOT INTERNATIONAL I N° 24
His de la Salle, the great "connoisseur" who lived in the
same building in Paris, was decisive in this respect. To
encourage 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 in
terms of the graphic arts?
There are 1,792 drawings by some of the greatest
names of the Italian Renaissance, including Raphael,
Michelangelo and Titian. The nine drawings by
Leonardo da Vinci make Bayonne the holder of the
second largest collection in France after the Louvre.
The French 17th and 18th centuries are also
remarkably represented, with studies by Nicolas
Poussin, Claude Gellée, Jean-Antoine Watteau, Fragonard
and David. As to the 19th century, Bonnat took a
particular interest in works by Delacroix (nearly 100
pieces), Ingres (140 works) and Géricault (around 100).
He also collected the Northern schools, especially
Holbein and Dürer – he had a passion for Dürer, and
owned 34 of his drawings. In fact, Bonnat was never
very interested in modern artists. For him, drawing
reached its apogee more or less with Ingres.
How did the painter manage to buy so many
masterpieces?
Léon Bonnat left little evidence as to how he built up his
collections, but there is one letter, now in the Musée du
Louvre, which describes the origin of his passion and
the way he tracked down these drawings all over
Europe. He built up a network of friends in Paris (including
Both de Tauzia, the Marquis de Chennevières and
Gustave Dreyfus), and had links with foreign art lovers
in Italy and Britain. He also bought a great deal at

HD
EVENT THE MAGAZINE
Michel-Ange, Michelangelo
Buonarroti (1475-1564), "Nude
woman sitting on the lap of a nude
man: Adam and Eve", red chalk.
N° 24 I GAZETTE DROUOT INTERNATIONAL
107
© RMN-Grand Palais/René-Gabriel Ojéda

© RMN-Grand Palais/Daniel Arnaudet
THE MAGAZINE EVENT
Federico Barocci (1526/1535-
1612),"Bust of Saint Mary
Magdalen", 1582, 58 x 43 cm.
108 GAZETTE DROUOT INTERNATIONAL I N° 24

auction in Paris, Berlin and London, particularly works
from the painter Thomas Lawrence, who had a remarkable
collection. He knew the dealer Thibaudeau, who
enabled a large number of French art lovers to buy
works on the British market during the second half of
the 19th century. Bonnat never sold anything on. By
1896, he was buying less and less, and apparently
stopped in 1899. Thanks to his purchase book, now in
the Musée du Louvre, we know that his collection cost
over a million gold francs. He bought studies by
Raphael and Leonardo for 15,000 to 20,000 gold francs
per drawing. His first purchase in 1880 was Michelangelo's
Adam and Eve, for 15,000 francs: a very large sum
at the end of the 19th century. In fact, he would buy a
drawing for the price of one of his paintings (for which
he charged between 15,000 and 25,000 francs). The
fortune he earned through his portraits enabled him to
make this sort of purchase.
And apart from the Bonnat bequest…
There have been contributions from other sources,
including from Jacques Petithory in the 1990s. This
Paris dealer, who worked in the flea market, built up a
collection of very high quality paintings, objets d’art,
drawings and sculptures – including two remarkable
bronzes from Louis XIV's collections. At his death in
1992, he left his collections to the Musées Nationaux
with the obligation to deposit them at Bayonne; he
had family connections to the region. In this way, 186
drawings, mainly French and Italian from between the
16th and 19th centuries (including a group of French
works, with some exceptional studies by Jean-Baptiste
Greuze), came to make a splendid addition to the
Bonnat bequest. All in all, the museum has 3,500
graphic 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 the
architect Charles Planckaert at the end of the 19th
century. We want to put more focus on the sculptures,
give a more prominent position to Léon Bonnat, meet
our obligations to display the Helleu collection, and
also – I feel very strongly about this – make the
EVENT THE MAGAZINE
Paul-César Helleu (1859-1927), “Ellen”, pastel on canvas,
Inv. CMNI 3311.
drawing collection central to the circuit around the
museum by giving a permanent place to the graphic
arts, with small cabinets dotted around the rooms.
It is due to reopen in 2018. Between now and then, the
museum will have hardly any visibility apart from a few
temporary exhibitions to which we are lending works –
such as seven pictures by Rubens, which are to be
shown in three Japanese museums. So exhibiting at
the Salon du Dessin is a marvellous opportunity. With
the "Semaine du Dessin" as well, it's a major international
date for enthusiasts, and an excellent way of
spreading the word about the wonderful pieces we
have.
What will you be showing to the Paris public?
We won't be showing the Bonnat collections or the
works from Jacques Petithory, which are State deposits.
We are putting the spotlight on the Helleu collection,
N° 24 I GAZETTE DROUOT INTERNATIONAL
109
© Bayonne, musée Bonnat-Helleu / cliché A. Vaquero.

THE MAGAZINE EVENT
Paul César Helleu (1859-1927),
"Mademoiselle Alice Louis-Guérin",
pastel, 1884, 118 x 74 cm.
110 GAZETTE DROUOT INTERNATIONAL I N° 24
© RMN-Grand Palais/René-Gabriel Ojéda
which has not yet been published; my deputy, Elise
Voisin, is in charge of all that. The collection mainly
comes from the painter's youngest daughter, Paulette
Howard-Johnston. Paul-César Helleu (1859-1927) was
mainly known as an engraver, and portrayed all the
elegant ladies of the Belle Époque. He not only had a
career in France, but also commissions in America,
which is not so well known. While she was alive,
Mrs Howard-Johnston had already donated around a
hundred works by her father, mainly prints, in 1988.
At her death in 2009, she left all her collections to the
city of Bayonne and made the Musée Bonnat her sole
legatee. Around forty works will be on show in Paris,
including a portrait of Helleu by his friend John Singer
Sargent, and forty-odd drawings and pastels that show
a less familiar, more intimate side of his work.
How do you view the drawing market?
It's very much alive. There are some excellent dealers
and young gallery owners in Paris and outside France,
who are very knowledgeable about the graphic arts
and publish interesting catalogues. If you look at the
sales staged during the week of the Salon you can see
that there are still some very fine privately-owned
collections. You can still make some excellent buys.
Of course, prices have gone up over the last twenty
years. But some pieces are still relatively affordable,
even for private individuals or regional museums with
modest purchasing budgets. There are many appealing
19th century pieces, and you can still acquire some
fine studies for a reasonable price. Large drawings,
which are very expensive, and famous names, of
course, require more complex financial arrangements.
A drawing by Raphael for £29.7M, for instance…
The prices achieved are staggering, it's true, and these
days quite beyond a public collection. And it must be
said, it is always more difficult for a museum to buy a
drawing than a painting or a sculpture. Paper and
graphic techniques are more fragile, and require
stringent exhibition conditions: three months under
lighting at 50 lux, then three years in the reserve. Buying
a drawing imposes considerable requirements in terms
of quality and relevance in relation to existing collections.
You have to convince town councils and public

and private financers, while the works will be less on
display for conservation reasons. For a community, it's
often more difficult in terms of communications.
The Salon du Dessin provides an interesting bridge
between the market and the museums…
The dichotomy between the two sectors is less clean-cut
than it might be, it's true. Today, relations are formed on
the 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 Petithory
donated works bought on the market to a public collec-
EVENT THE MAGAZINE
tion. Forming connections with gallery owners and
keeping up with public sales is almost a logical continuation.
In the end, it's a return to old habits, which were
totally natural in the 19th century, and are now coming
back. I think that we are learning a lot, and that the eye is
trained not only through university studies, research
work or visiting public collections and drawing exhibition
rooms throughout the world, but also from art
lovers, 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
Théodore Géricault (1791-1824), "Etalon arabe conduit par deux arabes pour saillir une jument" (Arabian stallion being led by two Arabians
to breed), watercolour, lead pencil, brown paper, gouache and sanguine highlights, 22.2 x 28.3 cm.
W
N° 24 I GAZETTE DROUOT INTERNATIONAL
111
© RMN-Grand Palais/René-Gabriel Ojéda

THE MAGAZINE EXHIBITIONS
Eileen Gray a free spirit
Was Eileen Gray's most emblematic
work her Nonconformist Chair?
The dominating impression left by
the Centre Pompidou exhibition
is very much that of an extraordinarily
liberated woman. From the graceful Art Deco of
her lacquer work to the rigour of the chrome-plated
tubing in her E 1027 house, designed with Jean
Berenice Abbott, “Portrait
of Eileen Gray”, Paris, 1926.
© Berenice Abbott/Commerce Graphics
112 GAZETTE DROUOT INTERNATIONAL I N° 24
Badovici, her work betrays no trace of dogmatism. The
furniture she designed shortly afterwards for her
Tempe a Pailla house already evinced the playful spirit
of the post-war period from the early Thirties onwards.
Eileen Gray was decidedly modern in the Rimbaldian
meaning of the term: that of the avant-garde. In the
circuit laid out "in ensembles" by exhibition curator
Cloé Pitiot, we find the well-known landmarks of the
designer's career: the lacquer work she did with Seizo
Sugawara, the creations chosen by Jacques Doucet
between 1913 and 1915, the apartment designed for
Madame Mathieu Lévy in the early Twenties, the Jean
Désert gallery (1922-1930), and the construction of
E 1027. The exhibition also highlights lesser-explored
areas of her talent, like her rugs, and Tempe a Pailla,
"Eileen Gray's other house", not to mention her relationship
with Le Corbusier, her early years and her
attachment to British culture and her native Ireland,
even though she settled in Paris in 1902. This decision
was explained by the unfettered climate reigning in
the French capital. Her desire for freedom can also be
seen in her most classic pieces. Her particular
expression of Art Deco was a long way from the play
with geometric volumes sought by most proponents
of the time. Her approach was far closer to the more
historicist tone of Albert-Armand Rateau, but without
his clearly identified sources. The Far East certainly
occupied a key place in it, but without lapsing into
chinoiserie or Japonism. A more tribal inspiration can
also be seen at work in a number of pieces. But in this
little game, the most obvious source is called Eileen
Gray. 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

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.
was receptive to essentially constructivist avant-garde
movements: the Suprematism of Malevitch, and
above all the Neoplasticism of De Stijl. From this point
of view, her rug designs and the table from 1922-1924,
now in the Richmond Museum in Virginia, speak
volumes. In 1923, the bedroom-boudoir for Monte
Carlo she exhibited at the Salon des Artistes
Décorateurs illustrates the radicalisation of her
approach, not always appreciated by the critics of the
time. "Madame Eileen Gray's bedroom for Monte Carlo
is appalling, with its chrysalis lamps in parchment and
wrapping paper. It's the bedroom of Doctor Caligari's
daughter in all its horror" was the verdict of one article,
presented in a showcase. Further on, another exhibits
postcards from the De Stijl architect Jacobus Johannes
Pieter Oud from 1923 to 1924, showing far more
sensitivity to the designer's expressionism. The man
who played a major role in her initiation to modern
architecture was Jean Badovici, the tireless driving
force behind the magazine L'Architecture vivante
(1923-1933). In 1925, they went together to see the
Shröder House built by Rietveld the previous year. We
do not know when or how they met, nor the exact
nature of their relationship, as Gray took care to
destroy all traces of her personal life. Her desire for
concealment is one of the keys for interpreting her
whole work. As Frédéric Migayrou puts it in his essay
on the designer's aesthetic published in the exhibition
catalogue: "The generic essence of her work may lie in
the principle of the "shield"; the connotation of the
hinging or folding of the screen. It is a metaphor for
veiling, for the mysterious, the different; a subjectivisation
that rejects the ideology of the machine for living,
like her arbitrary quest for hygienism and
transparency". Impeccably staged, the exhibition may
leave Art Deco lovers a little frustrated. For example,
we do not find the legendary "Le Destin" screen which
reappeared at auction with the Doucet collection sale
EXHIBITIONS THE MAGAZINE
HD
© Rights reserved. Photographic credits: Centre Pompidou, Mnam-Cci. Dist. RMN-GP

THE MAGAZINE EXHIBITIONS
in 1972 launching the Art Deco market, nor Madame
Lévy's glamorous "Canoe" chaise longue (although it
was exhibited by Cheska Vallois in 2008 at the Biennale
des Antiquaires). Later, the Pierre Bergé-Yves Saint
Laurent sale passed in much the same way, propelling
Gray to the summit of 20th century decorative arts
with the €21.9M garnered by her "Dragon Armchair".
This is the second most expensive piece of furniture in
history, after the Badminton cabinet, sold for £19 M
(€27.4 M) in 2004. We can imagine the soaring rise in
insurance premiums for Gray's lacquered creations, all
the more so since, as Cloé Pitiot indicates in her introduction,
three-quarters of her creations are in private
hands – "particularly the lacquer work and furniture
sold in the Jean Désert gallery". As well as the role of
discoverer played by Bob and Cheska Vallois (the name
of their gallery appears on many of the lacquered pieces
exhibited), the exhibition curator emphasises the role
played by Gilles Peyroulet with the modernist works. He
also exhibited photographs by the designer in his
gallery. The slightly disappointing Art Deco aspect is
largely made up for by the variety of the selection,
Bibendum armchair, c. 1930,
chrome-plated metal, canvas.
Furniture from the collection of
Mme Tachard, private collection.
© Mr Christian Baraja, Studio SLB

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
EXHIBITIONS THE MAGAZINE
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, Éditions
du Centre Pompidou, 232 pages. Price: €39.90.
www.centrepompidou.fr
W
Photographs by Eileen Gray, Galerie Gilles Peyroulet & Cie,
80 Rue Quincampoix, Paris 75003 - Until 27 april.
www.galeriepeyroulet.com
E 1027 house, Eileen Gray and Jean
Badovici, view of the drawing room.
Centre Pompidou, Kandinsky Library.
N° 24 I GAZETTE DROUOT INTERNATIONAL
115
© Eileen Gray collection. Photo: Alan Irvine

THE MAGAZINE MEETING
George Economou the Tycoon
Described as a tycoon by The Economist,
George Economou heads the holding
company DryShips Inc., specialising
in the shipping industry. Though
his talents are inherent in his Greek origins,
George Economou cultivated them at the Massachusetts
Institute of Technology, emerging with two
Masters of Science in transport and naval engineering.
A billionaire is never ignored – still less when he is a
collector. This twofold status has often provided excessively
fertile soil for the media. The Greek adds further to
his own legend by buying something of everything on a
large scale, from 15th century Flemish painting to
contemporary art. The names of Lucas Cranach, Delacroix,
Duchamp, Picasso, Magritte, Brassaï, Warhol,
Gerhard Richter, Rauschenberg and David La Chapelle
don't often rub shoulders with the Primitive Arts,
Edmund Adler and Johann Sperl – artists considerably
more obscure. According to the columnists, he caught
the collecting bug around fifteen years ago, and went at
it recklessly right from the start, as his collection
now contains nearly 2,500 works. In February 2011, the
people of Athens discovered him for the first time with
astonishment, and the media freely criticised a collection
that was so disparate, to say the least. But the wild
enthusiasm of his beginnings has now given way to the
age of reason: for George Economou has opened an art
centre in the suburbs of Athens. His choices have
narrowed down to the 20th century, united by a sociocultural
theme. His trump card is unquestionably
German Expressionism. He achieved a master stroke in
buying the 500-odd engravings of Otto Dix from the
Berlin dealer Florian Karsch, then in his eighties, thus
becoming the artist's leading collector. This was perhaps
116 GAZETTE DROUOT INTERNATIONAL I N° 24
decisive in his refocusing on artists of the same vein.
With the founding of a contemporary art centre, the
billionaire has the makings of a connoisseur who is not
merely content to stock up on masterpieces. It's no
longer a matter of simply participating in the ceremonial
liturgies of exhibition previews and sale rooms.
He is now up there with the leaders, where to appreciate
the 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, the
cradle of a great civilisation, I was exposed to the idea of
masterpieces at an early age. My enthusiasm was then
shaped by culture and education. As to my collection, it
came about from a ravenous need to be attached almost
physically to art, and to make it part of my daily life.
What type of collector inspired you, and which
criteria guide your acquisitions?
A work needs to inspire a lasting emotion in me.
A whole range of criteria come into play, such as its
historical importance and its representative character.
I have a genuine fascination with creativity, so
I choose pieces which materialise the moment that
the immaterial world of ideas metamorphoses into
visible reality. I find it difficult to identify with a type,
because I know all the processes a collector goes
through, which can range from strategy to instinct or
compulsive behaviour.
Do some works have particular meaning for you?
Many are very special to me, like the work by Andreas
Gursky currently on show in the exhibition

George Economou in front of a work
by David Hammons.
MEETING THE MAGAZINE
N° 24 I GAZETTE DROUOT INTERNATIONAL
HD
117
© Stathis Mamalakis © Courtesy of L & M Arts

© The George Economou Collection
THE MAGAZINE MEETING
Gary Hume (b. 1962),
"Cerith", 1997.
118 GAZETTE DROUOT INTERNATIONAL I N° 24

"En grisaille nowadays". I can perceive the artist's
monumental reappropriation of Jackson Pollock's
"Number 31" as a questioning of the role of reproduction
in our perception of a work of art. It also gets you
thinking about the past and present. My interest in
political and social history has led me to focus on the
European avant-garde movements of the first
decades of the 20th century, like German Expressionism
and the New Objectivity. Otto Dix, Georges
Grosz, Christian Schad and lesser-known artists were
the reflection of a society traumatised by the First
World War. My acquisitions of contemporary works
are an extension of these concerns.
What was your intention in creating a space dedicated
to your collection, which also has a specific
programme?
I have always wanted to share my collection and give
it visibility. Our programme aims at making the past
dialogue with the present. "En grisaille" highlights
contemporary reinterpretations of the traditional use
of black and white, from 1960 to the present day, with
Americans like Agnès Martin, Cady Noland and Jim
Dine, the German artist Heinz Mack and the Japanese
artist Yayoi Kusama. Our exhibitions will not only
show the various facets of my collection, but are also
intended to start up a dialogue with the public.
In these uncertain times, it is vital to initiate debate
both within and outside Greece. Skarlet Smatana, the
collection's artistic director, helps this process by
collaborating with experts, curators and foreign
institutions. As the curator of the exhibition
"En grisaille nowadays", she asked the art historian
Frances 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 several
museums, notably the complete collection of Otto
Dix'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 Bilbao
Guggenheim and Minneapolis.
MEETING THE MAGAZINE
Kees van Dongen (1877-1968), "Portrait of Guus", 1906.
How do you see the crisis Greece is currently undergoing?
The economic and political difficulties are affecting the
cultural sector. Museums are suffering from cuts, and
the private sector needs to be more innovative than
ever to maintain its financing. However, the crisis has
generated a large number of initiatives on the part of
artists, curators and associations, which are joining
forces in Athens and all over Greece. History has
frequently 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 June
to 27 September. www.thegeorgeeconomoucollection.com
“Gegenlicht, German Art from the George Economou
Collection”, from 24 May 2013 to 19 January 2014
at the State Hermitage Museum, Saint Petersburg.
N° 24 I GAZETTE DROUOT INTERNATIONAL
W
119
© The George Economou Collection © Adagp, Paris 2013 - Osdeete Athens 2012

THE MAGAZINE DISCOVERY
Musée d’Ennery a woman's work
At the end of the 19th century, Clémence
d’Ennery devised the magnificent project
of 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 Avenue
Foch, in Paris, for which she also designed the museography.
In 1894, probably influenced by her friend
Georges Clémenceau, another enthusiastic art lover, she
120 GAZETTE DROUOT INTERNATIONAL I N° 24
decided to donate her collection to the State
together with her mansion, which has since been
converted into a museum. Two women have
dedicated themselves to the collection of this art lover,
whom neither of them met. Born in 1924, Chantal Valluy
was 40 when she joined the Musée Guimet as its project
manager. Having studied as a sinologist, she abandoned
her main speciality to list and present the eight thousand-odd
pieces of Far Eastern art in Clémence d’Ennery's
collection, to which she devoted a thesis in 1975.
Chantal Valluy was succeeded by Hélène Bayou, heritage
curator in charge of the Japanese art section at the
Musée Guimet, whose mission was to reawaken the
Sleeping Beauty after it was closed for sixteen years. Her
task was to restore the museum, bring it up to standard
and redesign the presentation. The museum reopened
in April 2012, once more fulfilling its founder's original
intention: that of sharing her passion.
What do we know about Clémence d’Ennery?
Chantal Valluy: Amazingly, very little has been written
about her, although her husband, Adolphe d’Ennery –
a successful playwright – was much talked about. She is
mentioned 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,
Netsuke, child removing a Shishi mask, red-lacquered
wood, Japan, Edo period.
© Raphaël Chipault and Benjamin Soligny/Musée Guimet

View of the Musée d’Ennery: Salon III
and view of gallery IV before
the renovation work.
DISCOVERY THE MAGAZINE
N° 24 I GAZETTE DROUOT INTERNATIONAL
HD
121
© Raphaël Chipault and Benjamin Soligny/Musée Guimet

THE MAGAZINE DISCOVERY
and through its concept as a museum. It also reflects
the burgeoning enthusiasm for Japan at the time.
It contains some very rare works, like a set of Nambanstyle
lacquer chests and cabinets from between 1580
and 1590. Its Kakiemon-style glazed porcelains are
worthy of Japan's public collections. But the most
iconic 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 Edo
period. The craftsmen who made netsuke were
sometimes Buddhist painters or sculptors, or came
from prominent Nô mask sculptor dynasties, like the
Deme family.
What was original about this collection compared
with other major ones built up at the time?
Hélène Bayou: Clémence d’Ennery did not share her
contemporaries' interest in prints. She preferred
sculpture and a fantastical iconography: this was the
raison d'être of her netsuke and Nô mask collections.
Its other particularity, compared with Émile Guimet's
collection, for example, lies in her liking for a mythical
bestiary presented according to cumulative reasoning,
as emphasised by Jules de Goncourt.
Chimaeras and representations of ghosts,
which were certainly a personal choice,
were also in phase with the historical
situation in Japan during the Edo
period. The Chinese pieces, like the
blue and white and celadon porcelain,
carved jades and scholars' objects,
evince a more classical taste.
The collection is fascinating for its
eclecticism, while standing out as a
museum of masterpieces.
Chantal Valluy: Georges Clémenceau,
who knew her, had built up a collection
devoted to China and Japan. He also
bought from Le Bon Marché, but not the
same objects. Mme d’Ennery had almost no
bronzes, as she preferred colour. We should also
Blue and white jar decorated with figures
in a landscape, porcelain with cobalt blue
underglaze decoration, China, Ming period,
transition style, first half of 17th century.
© Raphaël Chipault and Benjamin Soligny/Musée Guimet

Porcelain with enamel decoration, Japan, Arita, Kakiemon
style, Edo period, second half of 17th century.
© Raphaël Chipault and Benjamin Soligny / Musée guimet
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 and
display cases in the Japanese style. How much is
reconstruction 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 fascination
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 restoration
work was complete?
Hélène Bayou: The presentation of the pieces was
originally more disparate, and perhaps denser.
We have grouped ensembles together to emphasise
THE MAGAZINE
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 Clémenceau
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
W
N° 24 I GAZETTE DROUOT INTERNATIONAL
123

THE MAGAZINE FREEZE FRAME
Leon Levinstein,
Fifth Avenue, ca 1959
Paris Photography and digital video capital
124 GAZETTE DROUOT INTERNATIONAL I N° 24
© Howard Greenberg Gallery / Courtesy Howard Greenberg Gallery
The Howard
Greenberg collection
Before becoming a top New York dealer,
Howard Greenberg was a photographer
while a student, and the driving force
behind an association. When he set up in the
early Eighties, photography was starting to
be exhibited, but very little. Since then it has
made huge strides, but only relatively.
Focused on mid-20th century American
expression, the fragment of his vast collection
presented here is astounding, notably
for the quality of most of the prints. As to the
collector himself, we find a little information
about money and art, love and attachment,
constraints and freedom, time and reputation:
somewhat insubstantial scraps. A more
detailed profile would have been welcome,
if only through the works. We know of
Arbus's quotation: ‘A photograph is a secret
within a secret.’ This is true of the exhibition
here as well.
I
Fondation Henri Cartier-Bresson, 2, impasse
Lebouis, Paris 75014 - Until 28 April.
www.henricartierbresson.org
W

Zhou Tao (b. 1976), image from "After Reality", digital video, 2013, high definition, colour, sound, 13’08’’.
Zhou Tao: "The Training"
People move through the countryside, fields, woods, a park on the outskirts of a town - or maybe the countryside is
moving through them… With two videos, one produced in Guangzhou, his native city, the other begun there but
completed 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 happens
between them. Zhou Tao describes leisure activities, excursion, agriculture and development, but he does it contemplatively,
in order to "slip beneath the skin"… The skin is very present in his images: that of his figures, plants or the
earth, not as a covering but as a pore, a channel for fluids and images. With "The Collector" and "After Reality", Zhou Tao
explores 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
W
FREEZE FRAME THE MAGAZINE
N° 24 I GAZETTE DROUOT INTERNATIONAL
125
© Courtesy of the artist and the Kadist Art Foundation