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Paintings

Time for time ! In paintings auctions, old masters hold sway over a huge field covering seven centuries from graeco-byzantine icons to romantic landscapes.
Impressionist and modern paintings follow close on their heels, from 1870, up to the second world war, with the impressionists and neo-impressionists, then the fauves, cubists and surrealists.
As from 1945, post-war and contemporary paintings range from abstract expressionism up to arte povera, by way of spatialism and pop art. The paintings offered in online paintings auctions provide a stunning overview of the entire history of art, with religious paintings, still lifes, vanitases, flower and genre paintings of the dutch and flemish schools, historical subjects and mythological scenes, history paintings and works from the late 18th and early 19th centuries. Pictorial revolutions from the late 19th century and the thrilling age of the 20th century avant-gardes parade before us in auctions, right through to the very latest in subversive art.

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Achille LAUGE (1861-1944). Genets in bloom. Pastel on canvas signed lower right. Height 34 - W 44 cm (restoration) Provenance : Former collection of the Governor of French Indochina Albert Sarraut (1911-1914; 1917-1919) then by direct descent. Achille Laugé, a native of Arzens in the Aude region, began his classical training at the Ecole des Beaux Arts in Toulouse in 1876, where he befriended the sculptor Antoine Bourdelle. In 1882, he entered the Ecole Nationale Supérieure des Beaux Arts in Paris, first studying with Alexandre Cabanel, then Jean-Paul Laurens, and was struck by the avant-garde ideas of Picasso and Seurat. From then on, he questioned his entire apprenticeship. Returning to his native region, he settled in the small village of Cailhau, where he perfectly applied the principles of Divisionism to the broom-blossomed Aude countryside. On the bangs of modern trends, Laugé nevertheless took part in the Salon des Indépendants in 1894, alongside Maurice Denis and Paul Sérusier. He was supported by galleries and friends, including the statesman Albert Sarraut, whose self-portrait he painted is now in the Musée des Beaux-Arts in Carcassonne. The work we present here is a pastel whose technique is materialized by fine hatching, very vivid and evanescent in the memory of Divisionism. It tells several stories: first and foremost, the famous brooms near Cailhau, the painter's favorite subject and a token of his attachment to his origins. Secondly, the bond and unfailing support between him and Albert Sarraut.

Estim. 1,000 - 2,000 EUR

Yvonne KLEISS- HERZIG (Algérie, 1895 - France, 1968) - Animated garden Gouache on paper 38 x 44 cm on view Signed lower right Yvonne Herzig. An unclassifiable artist, Yvonne Kleiss Herzig is the author of a unique body of work. A French artist from Algeria of Swiss-Alsatian origin, born into a family of artists, Yvonne Kleiss was an illustrator, portraitist, genre painter and wildlife artist. She trained at the École Nationale des Beaux-Arts in Algiers under Léon Cauvy, before moving to Paris in 1913, where she became a pupil of Jean-Paul Laurens at the Académie Julian. Her work embodies the new vision of the Algiers school, that of realistic Orientalism. She is known for her naturalistic paintings, notably her scenes of rural and urban life in her native Kabylia and the Tlemcen region. Considered an outstanding illustrator, the originality of her work lies in the blend of decorative style and ethnological rigor in her depictions of daily life, customs and mores of the Kabylie population, which she loved to illustrate in her famous gouaches. L'Echo d'Alger of April 12, 1944 echoed her exhibition, which featured many scenes - peasant or intimate: "From the sober truth of these moments of local life, from their unconscious poetry, we know that the painter has penetrated the psychology of the Kabyle country or the Arab streets, that, for Yvonne Kleiss-Herzig, landscapes, like people, first have a soul". A loyal member of the Société des Artistes orientalistes et algériens since 1911, she was one of the few women to take part in the 1931 Colonial Exhibition. As a sign of her institutional recognition as a woman artist, she won the Grand Prix Artistique d'Algérie in 1928, as well as the Gold Medal of the French Orientalists in 1934. In 1952, she moved to Sidi Slimane in Morocco, before passing away in Mougins in 1968.

Estim. 300 - 400 EUR

Charles FOUQUERAY (Le Mans 1869- Paris 1956) - Gulf of Akaba Oil on canvas 107 x 141 cm Signed and located lower right. Akaba D. Charles Fouqueray Charles Fouqueray, trained by Alexandre Cabanel and history painter Fernand Cormon, became official painter to the French navy and toured the colonies of Africa, Asia and Australia. Fouqueray painted a limited number of works during his stay in the Orient, but his unique palette, both impressionistic and original, earned him an important place in the annals of French art. Fouqueray received numerous awards during his career, the most notable being his appointment to the rank of Officier de la Légion d'Honneur in 1909, as well as the Prix Rosa Bonheur (also in 1909) and a gold medal for engraving in 1920. Several of Fouqueray's major works are held in French museums, such as L'Affaire des Brûlots, now in the Musée de l'Île d'Aix, Pélerins à Djeddah, now in the Musée du Quai Branly, and his depiction of the naval battle entitled Palermo in the collection of the Musée d'Orsay in Paris. In this painting, Fouqueray depicts the Gulf of Aqaba, a vast gulf at the northern tip of the Red Sea, through an impressive scene of the Red Sea and the Sinai mountains. Color is an exceptional aspect of this work. Fouqueray uses a rich, vibrant color palette to capture the beauty of the landscape. The warm tones of the Sinai mountains contrast with the cooler tones of the water, sky and mountains to create a spectacular vision.

Estim. 1,000 - 1,500 EUR

Maria BLANCHARD (1881-1932). Maternity. Pastel on paper. Height 97 - W 70 cm at sight (one tiny abrasion) Provenance : Family of writer Paul Claudel. Formerly on deposit at Musée de la Piscine, Roubaix, until January 27, 2023. Maria Blanchard was born in Santander, Spain, in 1881. On her arrival in France in 1909, she trained with Kees Van Dongen. An emblematic painter of the First Paris School and Cubist experimentation, she returned to figurative painting at the end of her life. During her Parisian career, this creator's relationships with the artistic community of the turn of the century abounded, including the prestigious names of Picasso, Juan Gris, Laurencin, Modigliani and the poet Paul Claudel. Our "Maternité" is one of the most imposing and accomplished pastels of the artist's career, anchored in his return to the post-Cubist figuration of the early 1920s. As he approached the climax of this period, Paul Claudel met the woman he described in his diary, with his usual verve, as a "frightfully hunchbacked Spanish painter". Seduced by her spiritual painting and the incredible intensity of her "radiant faces", the poet bought several of her paintings, including Saint Tarcisius and the Child with the Chocolate Bowl. This childlike figure is probably the same as the one who reappears in a feminized, adult form in our painting. Also from the Claudel family collection, our work, an ode to maternal tenderness, was kept in the Musée de la Piscine in Roubaix, alongside another Mother and Child with Cubist accents from 1924. Whether it was the Spanish poet Federico García Lorca, who considered Maria Blanchard one of his muses and saw: "The struggle of angel and demon expressed mathematically in your body", or Paul Claudel, who dedicated a poem to her in his collection Visages radieux in 1931, Maria Blanchard died in Paris in 1932, having marked and inspired the greatest literary minds of her time. In 2022, the artist joins Mela Muter in the Musée du Luxembourg's flagship exhibition Pionnières. Here, she asserts her historic place in the Cubist adventure, complementing her Parisian presence at the Centre Pompidou, in her hometown of Santander and at Madrid's Prado, Reina Sofia and Thyssen-Bornemisza museums.

Estim. 20,000 - 30,000 EUR

Johann BRETSCHNEIDER (1680-1729). - Johann BRETSCHNEIDER (1680-1729). A collector's interior. At the crossroads of the 17th and 18th centuries, Johann Michael Bretschneider was a German painter renowned for his numerous depictions of interiors. One of the artist's most famous series brings together the grandeur and richness of collectors' cabinets and art galleries. The latter promotes scholarly places, characterized by spacious exhibition spaces, in which astronomical objects, furniture and paintings are grouped together. The composition of our study can be compared with that of the Gemäldegalerie, owned by the State of Bavaria and currently on display in the Bamberg residence. The works show an omnipresence of paintings, enhanced by a perfect arrangement of settings and symmetrical subjects. Still lifes, portraits, genre scenes and history are all on display. The recurrent presence of figures in Bretschneider's productions is noteworthy, and contributes to inking the settings with a certain dynamism, reflecting the curiosity aroused in spectators in these places of wealth. The following works can be recognized in our painting: -Susanna and the Elders, Rubens, 1607, Rome, Galerie Borghèse (other version in Madrid, Royal Academy of Fine Arts Saint-Ferdinand, -The Abduction of Ganymede, Correggio, c. 1530, Kunsthistorisches Museum, Vienna, -Philippe IV on horseback, Velasquez, c. 1635, Prado Museum, Madrid, -Adoration of the Shepherds, Hans von Aachen, late 16th century. - Altarpiece painted around 1577 in Rome for the Gesù church, no longer extant. Aegidius copper engraving and drawing, preserved in the British Museum (c. 1586-1588), -Study room of an alchemist, Thomas Wyck. Oil on canvas. Bears a signature "Teniers" in the lower right-hand corner. Lining, old restorations. Dimensions : 87 x 121 cm. Expert : Cabinet Turquin Paris.

Estim. 40,000 - 60,000 EUR

IMPORTANT SITARA HANGING FOR THE INNER DOOR OF THE KAABA (BAB AL-TAWBA) In the name of Ottoman Sultan Mehmet V and Khedive 'Abbas II Hilmi, Cairo, Egypt, dated 1331 H/1912-13 Rectangular in shape, pink and green silk satin appliqué on black silk velvet, embroidered with gold and silver threads, on a cotton core, five cartouches inscribed in elegant thuluth, the last smaller cartouche containing the name of Ottoman Sultan Mehmet V (r. 1900-1918), they cap the lower part decorated with a lobed medallion containing the dedication of Khedive 'Abbas II Hilmi, the background worked with arabesques and foliage, the borders adorned with circular medallions, lined with green silk, numerous areas of fraying, partially tarnished silver. Size: 284 x 160 cm Registration: Upper panel: the basmallah, followed by Sura 6 al-an'am, v.54, followed by " This noble sitara was commissioned by His Majesty our Master the Mighty Sultan Mehmet Khan the Fifth may God help him". Lower medallion: " This noble sitara was renewed in 1331 by His Majesty our Master the Mighty 'Abbas Hilmi Pasha, Khedive of Egypt, son of the late Muhammad Tawfiq Pasha, may God honour them". Provenance: Possibly from the Kérimé Osman Fuad collection (1898-1971), daughter of Khedive Abbas Hilmi and granddaughter of Sultan Murad V, Nice Private collection, Nice An Important Sitara for the Inner Door of the Ka'ba (Bab al-Tawba) In the Name of the Ottoman Sultan Mehmet V and Commissioned by Egypt's Khediv 'Abbas Hilmi, Cairo, Warshat al-Khurunfish Workshop, Dated 1331 H/1912-13 This luxurious hanging was intended to adorn the interior of the Kaaba in Mecca, and more specifically to cover Bab al-Tawba or Gate of Repentance. This door opens onto the staircase leading to the roof of the building. The production of luxurious textiles embroidered with metal threads to cover the Kaaba was the occasion of an important ceremony culminating in the changing of the draperies decorating it. The inscription on our sitara mentions this "renewal" ( jaddada hadhihi al-sitara). If the kiswa covering the outside of the Kaaba is changed annually, the textiles hanging inside are changed only occasionally - they are therefore much rarer. This practice of renewal is attested as far back as the Umayyad and Abbasid periods: these inscribed textiles, which proclaim the name of the caliph, also have great symbolic significance (Hülya Tezcan, Sacred Covers of Islam's Holy Shrines with samples from Topkapi Palace, Istanbul, 2017, p. 74). In the Ottoman period, the practice of sending these textiles with the sultan's titles and genealogy to Mecca seems to have become standardized. Textiles were then produced in Damascus or often in Cairo, where our sitara. This textile, bearing the name of the Ottoman Sultan Mehmet V and the Khedive of Egypt, his nominal vassal, was also part of the Ottoman tradition of diplomatic gifts of luxurious textiles to the Guardians of the Holy Places. A headband from the hizam of the Kaaba offered by Egyptian President Muhammad Naguib to King Ibn Saud of Saudi Arabia, Custodian of the Holy Places, was sold at Artcurial on May 24, 2023, no. 171. At the end of the XIX th and early XX th century, the hangings covering the Gate of Repentance seem to follow an identical pattern, with a few variations in color or floral motifs. At the Topkapi Museum, for example, a sitara sitara particularly close to ours, complete and dated 1325 H/1907, with identical inscriptions, and a fragment of a similar sitara (Tezcan 2017, cat. 52, p. 256-57 and cat. 51, p. 254-55). A second, undated and decorated simply with Koranic verses without bearing the names of the khedive and Ottoman sultan, is in the Khalili Collection in London. Two others are in the Metropolitan Museum, New York, dated 1897-98 (2009.59.1) and in the Textile Museum in Cairo, in the name of King Farouq, dated 1937. According to H. Tuzcan, the calligraphic patterns for these hangings, executed in a magnificent jali thuluth style, are said to be preserved at Topkapi (Tuzcan 2017, p.256). In addition to these four complete examples, only one other authentic authentic sitara from the Gate of Repentance seems to have appeared on the market in recent decades. This is a fragment of a hanging bearing the name of Mehmet V sold at Christie's in London on April 8, 2008, no. 157.

Estim. 70,000 - 100,000 EUR

Antoine DRUET (Essertenne 1857 - 1921) - Salammbô at the mercenaries' feast Oil on canvas 195 x 296 cm Signed lower left Ant Druet Provenance Sale Collection d'un amateur, en partie Madame Jane Harding, June 15 -16, 1894, Hôtel Drouot, Maître Albinet, n° 26 (Salambô au festin des mercenaires. An important erudite painting with many characters) Sale Paintings by Antoine Druet, January 24, 1922, Hôtel Drouot, Maitre Bricout, n° 1 (Salambô au festin des mercenaires 1,95 sur 2,90) Private collection Groupe Ivoire sale, March 26, 2019, no. 50 Private collection Exhibition: Salon de la Société des Artistes Français, catalog illustré du salon, 1910, n° 680 Salambô, Musée de Rouen - Mucem - Institut National du patrimoine de Tunisie, May - September 2021; catalog no. 63, reproduced "A student of Jean Léon Gérôme at the École des Beaux-Arts, Antoine Druet made his Salon debut in 1884 with a canvas depicting the Paris of the time. Nevertheless, it was his historical compositions that brought him the greatest success. Before devoting himself to Salammbô, Druet had won acclaim for his interpretation of Théophile Gautier in La rentrée de Pharaon en Egypte. According to the dictionnaire National de contemporains, it was thanks to this painting and "Salammbô au festin des mercenaires", probably exhibited in Paris in 1894, that the painter was sent on an artistic mission to the Far East that year. A certain Raymond, a journalist for "Le Monde Artiste", describes an 1895 exhibition of 57 paintings organized by the artist in Ceylon, which included "Salammbô". This seems to be the real beginning of the painter's Orientalist vein, in which he became most famous. Druet settled in Ceylon, where he founded an academy, then traveled to India, Kashmir, Tibet, Nepal, Afghanistan and Burma. Everywhere, he acted as an ambassador for French art, facilitating the sale of contemporary works. The artist returned to France in 1900, but continued to travel in Europe, Russia, Tunisia and Algiers, where he once again set up a painting academy taught by his friend Georges Rochegrosse. In "Salammbô au festin des mercenaires", Antoine Druet chose to depict the first chapter of Flaubert's novel. This inaugural scene enabled the artist to demonstrate his ability to render the multiplicity of characters through the diversity of costumes, facial features and the profusion of decorative elements. It is also a decisive moment, recounting Salammbô's first appearance not only to the reader, but also to her suitors Mathö and Narr'Havas. Critics have praised the meticulous research deployed on the canvas, which is seen as an important scholarly tableau, animated by numerous characters. If Druet's composition brilliantly conveys the multitude portrayed by the novelist, the dramatic tension in which the painter places the heroine appears as a theatrical reference, with the canvas acting as a set. Placed in the center of attention, above the torchlight, Salammbô spreads the bars in a movement of incomprehension and reproach towards the sacrilegious mercenaries. In this, she mimics the attitudes of the performers in the opera of the same name, as portrayed in prints and photographs. Salammbô's hairstyle and costume, far removed from the black tunic described by Flaubert, rather reflect that of Rose Caron in the title role of Ernest Reyer's 1890 opera, while the overall composition evokes Act V of the same opera, several prints of which were reproduced in contemporary newspapers." S.B.H in Salammbô exhibition catalog. Musée de Rouen 2021

Estim. 20,000 - 30,000 EUR

ALIX AYMÉ (1894 - 1989) - Famille et animaux, circa 1940 Ink and color on silk, signed lower left 29 x 43 cm - 11 3/8 x 16 7/8 in. Alix Hava, known by her married name Alix Aymé, was born in Marseille on 21 March 1894. She moved with her family to Martinique in 1909, and then to England before the First World War. On her return to Paris, she studied with George Desvallières and Maurice Denis, with whom she maintained a close correspondence throughout her career. She took part in French artistic life and regularly exhibited her work at Parisian salons (Salon des artistes français, Salon d’hiver, Salon des décorateurs etc.) and in galleries. It was while accompanying her husband, Paul de Fautereau-Vassel, a professor appointed to Shanghai, that the artist developed a passion for the Asian continent. The couple settled in Hanoi in 1921. Alix taught drawing at the technical high school and painted in her studio. She signed her works with her name Alix de Fautereau. Michel, their son, was born in 1926. Teaching drawing at the Albert-Sarraut high school, it is closer to the School of Fine Arts of Indochina where she taught in 1935, and occupied in 1936 a position as technical professor. She is interested in working on silk and contributes to developing learning the art of lacquer alongside Joseph Inguimberty. Very present with the students of the School, she provides them with lots of advice and transmits his passion for this astonishing medium. His favorite subjects revolve around motherhood and childhood, taking as models young Vietnamese women around him or again each of his sons. His workshop serves him decor. Curtain drapes and throws fabrics allow him to deepen his work of light initiated during its formation. After 1945 events, the couple returned definitively in Paris, where General Aymé died in 1950 as a result of his recent captivity. What follows for Alix Aymé the order of large lacquer panels for the liner Antilles and numerous exhibitions in Paris, in the provinces, as well as in Morocco and Italy. She decorates Bảo Đại’s apartment. Friend of Foujita and the Saint-Exupéry family, she frequents intellectual, literary and Parisian artistic establishments, where his spirit is expressed open, lively, free and curious. Until the end of his life, Alix Aymé practices the very particular technique of lacquer art. She continues to travel never without her sketchbooks and thus, at sixty-eight years old, stays eight months at Congo. She died in 1989 near Paris.

Estim. 10,000 - 15,000 EUR

Attributed to Jeanne-Elisabeth Chaudet (French, 1767-1832) A little girl trying to teach her dog to read Canvas. Height 91 Width 72.5 cm. Attributed to Jeanne-Elisabeth Chaudet. A painting entitled "Une petite fille voulant apprendre à lire à son chien" ("A little girl teaching her dog how to read"). Jeanne-Elisabeth Chaudet enjoyed great success during her lifetime with her particularly touching depictions of childhood. She exhibited regularly at the Salon from 1798 to 1817. Her canvases depict young children in familiar occupations, taking as models both anonymous youngsters and the little Marie-Laetitia Murat (Versailles, Château de Versailles), as well as other children from the great families of the Empire. By her second Salon, in 1799, she was already a great success with the public and critics alike, with "Une petite fille voulant apprendre à lire à un chien", of which our painting is another version. The charming child is shown in the early morning, still in her nightdress and barefoot, in all the freshness and naiveté of her age. Holding her little dog firmly in her lap, she teaches him, in all seriousness, to decipher the alphabet, in the candid certainty that this lesson will bear fruit. The image is animated by a discreet ray of light that separates the exterior from the room, caresses the book and the fruit basket, and balances the whole. Other versions of this composition are known, of similar dimensions, one signed (Hôtel Drouot, vente collégiale, November 12, 2015, no. 35), another unsigned (Paris, Audap et Mirabaud, sale March 28, 2012, lot 81), a version in small (panel, Height 37 Width 26.8 cm, sale Me Lombrail et Teucquam, June 18, 2008, lot 6).

Estim. 8,000 - 12,000 EUR