Null Paul SÉRUSIER (1864-1927)
Customs Island on the Trieux River
Charcoal, red …

Description

Paul SÉRUSIER (1864-1927) Customs Island on the Trieux River Charcoal, red chalk and white chalk on brown paper. Monogrammed lower left. On the back, study in black pencil. 15 x 23 cm A certificate from the Comité Paul Sérusier will be given to the buyer.

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Paul SÉRUSIER (1864-1927) Customs Island on the Trieux River Charcoal, red chalk and white chalk on brown paper. Monogrammed lower left. On the back, study in black pencil. 15 x 23 cm A certificate from the Comité Paul Sérusier will be given to the buyer.

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Paul SERUSIER (1864-1927) Legendary Animals, 1917 Oil on canvas, stamped with the initials lower right and stamped on the back by the stallholder Paul Sérusier. 46 x 38 cm Provenance: Private collection, France Bibliography: Paul Sérusier by Marcel Guicheteau, Editions Side, Paris, 1976, described and reproduced on pages 276 and 277, under no. 368

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Paul SERUSIER, 1864-1927 Bretonne asise dans une chapelle, circa 1887-1888 Oil on panel (minor restorations), unsigned 45.5x36.5 cm. Experts: Michel and Raphaël MAKET This work will be listed in the catalog raisonné currently in preparation. A certificate from the Comité Paul SERUSIER dated January 2024 will be given to the buyer.

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Pierre-Eugène CLAIRIN, 1897-1980 Rocky cliffs, Huelgoat forest near Châteauneuf-du-Faou, circa 1918-1919 Oil on canvas (heavy restoration), unsigned 94x97.5 cm Experts: Michel and Raphaël MAKET HISTORICAL This important painting, formerly attributed to Paul SERUSIER, is incorrectly listed in Marcel GUICHETEAU's catalog in Paul Sérusier, Tome II, Graphédis éditeur, 1989, it is described and reproduced under n°108, p.105. Pierre-Eugène CLAIRIN painted it in Châteauneuf-du-Faou around 1918-1919, when he stayed with SERUSIER and painted in the same style as SERUSIER. Pierre-Eugène CLAIRIN gave this painting to his god-daughter Nicole CORRELLEAU (1923-1984) in Pont-Aven. Nicole CORRELLEAU had taken over from her mother Julia and her aunts as head of the Hôtel de la Poste, frequented by the many painters who passed through Pont-Aven. We would like to thank Catherine PUGET for the valuable information she provided.

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