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Juan GRIS (1887-1927) Cubist harlequin, 1953 Collotype (a process similar to photolithography) Signed in the plate On heavy paper 56 x 46 cm Published by Valart Co in 1953 and produced in the workshops of Arthur Jaffé (USA) Very fine original vintage edition Excellent condition Mandatory shipping, up to 5 Lithographs in your parcel for €14.76 incl. VAT in mainland France, and €29.64 incl. VAT for Europe (Transport insurance not included, see CGE)

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Juan GRIS (1887-1927) Cubist harlequin, 1953 Collotype (a process similar to photolithography) Signed in the plate On heavy paper 56 x 46 cm Published by Valart Co in 1953 and produced in the workshops of Arthur Jaffé (USA) Very fine original vintage edition Excellent condition Mandatory shipping, up to 5 Lithographs in your parcel for €14.76 incl. VAT in mainland France, and €29.64 incl. VAT for Europe (Transport insurance not included, see CGE)

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Estimate 70 - 90 EUR

Current bid 70 EUR

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le-mans, France

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Georges Kars (Czech, 1880-1945) - Female Nude, Charcoal and Pastel on Paper. Georges Kars (Czech, 1880-1945) - Female Nude, Charcoal and Pastel on Paper. Stamped signature. 36x52cm. Georges Kars (b.1880 in Kralupy – d.1945 in Geneva) was a Czech painter known for his landscapes and nude paintings. Georges Kars was born to a German Jewish family. His father was a miller. When he was 18, Kars was sent to study in art in Munich with Heinrich Knirr and Franz von Stuck. From 1905 he traveled to Madrid where he met Juan Gris and immersed himself in the painting styles of Velasquez and Goya. In 1908, Kars arrived in Paris and settled in Montmartre at the time of the Cubist revolution, which also had an influence on his work, he met Suzanne Valadon and Maurice Utrillo well connected to the artist community. His work was interrupted by the First World War which he spent on the Galician Front and in Russian captivity. He renewed his friendship with Pascin and frequented Chagall, Apollinaire, Max Jacob, the art critic Maurice Raynal and the Greek painter Demetrius Galanis. He spent the summer of 1923 in Segalas, Hautes-Pyrenees region, with Suzanne Valadon’s family. An exhibition of his work took place at the Berthe Weill gallery in 1928. In 1933, he bought a house in Tossa de Mar near Barcelona. Along with a group of artists (Rafael Benet, Enric Casanovas and Alberto del Castillo) he inaugurated the Museu Municipal De Tossa Del Mar on 1 September 1935 as a modern art museum. He returned to live in Caulaincourt street in Montmartre, Paris, in 1936. When World ...

Lot 822

No estimate

Goddess head made of iron. Roman Culture, 2nd - 3rd century AD Origin - Private collection, Miklos Bokor (Budapest, 1927 - Paris, 2019), Paris, France. *Miklos Bokor was a Franco-Hungarian painter and essayist born in Budapest on March 2, 1927 and died in Paris on March 18, 2019. Miklos Bokor was deported to the Auschwitz extermination camp with his entire family in 1944. After the death of his mother, he was transferred to Buchenwald, Rhemsdorf, Tröglitz and Kleinau with his father, who disappeared in Bergen-Belsen. After being liberated in 1945, he was repatriated to Budapest by the International Red Cross and Red Crescent Movement. After a first private exhibition in Budapest in 1953, Miklos Bokor remained in Paris and settled definitively in France in 1960. definitively in France in 1960. At the Janine Hoa gallery, which presented his paintings in 1962, he became friends with the poets Yves Bonnefoy and André du Bouchet, who would later regularly present his exhibitions. For more than 40 years he had a workshop at La Ruche, the famous Paris artists' residence. Boklor's art was inspired by his experiences in the Holocaust and his work reflects the horror of the extermination. He once described this impact in his work as: Something happened in Auschwitz that haunts society like a gap, a wound that does not heal. Upon returning from death, he who has lived in his flesh and in his spirit the experience of dehumanization begins to paint the unspeakable. Much of Boklor's work is part of the collections of the Museum of Modern Art in Paris. As an artist he was interested in other painters as well as in cultures prior to the civilization that triggered such a terrible situation. He formed a large collection of archaeological objects, focused above all on the Near East and the birth of civilization on the banks of the Euphrates. 6.5cm high

Lot 76

Estim. 200 - 300 EUR

Émile COHL (1857-1938) Frères, il nous faut rire! Jules Lévy le père des incohérents dessiné incohérentement par Emile Cohl Encre de Chine sur papier doublé sur carton signée en bas à gauche, titrée au centre. 36,5 x 25 cm Bibliographie : Juan Gris, dessinateur de presse à Montmartre, Pierre Bacholet, Editions Louise Leiris, reproduit et décrit en page 495 avec le texte suivant : Dessin d'Emile Cohl, l'ami d'André Gil, et l'un des créateurs du dessin d'animation, paru dans Le Courrier français n°39, 12 mars 1885. Reproduit dans le Courrier français du 12 mars 1885 qui "devint au début de sa publication l'organe des Incohérents, un groupe d'artiste qui voulaient pousser jusqu'à l'absurde certaines audaces graphiques, qui ne sont pas sans annoncer le cubisme... La revue avait ses bureaux dans le quartier de la presse au 25, rue de Richelieu, dans l'immeuble voisin du Cri de Paris. Toute une foule d'artistes se succédèrent au Courrier français parmi lesquels Willette, Forain, Félicien Rops, Louis Legrand, Hermann-Paul, Emile Cohl, Uzès, Toulouse-Lautrec, Henri Pille, Ferdinand Lunel, Steinlen, Félix Vallotton, Jacques Villon, Marcel Duchamp et Juan Gris." Pierre Bacholet, op. cit. Frères, il nous faut rire ! Là est bel et bien le dogme du mouvement artistique dit des Incohérents. Si il est un peu abusif de parler de mouvement artistique en tant que tel, ce moment de l'histoire de l'art peut être considéré comme étant "l'avant-garde de l'avant-garde". Encore mal connu, peu documenté mais promu depuis quelques années par des historien d'art et notamment par le philosophe Michel Onfray, l'art incohérent trouve son origine à la fin du XIXe siècle grâce à Jules Lévy et des personnalités dont l'objectif était de se moquer de l'art officiel, sinon sérieux, en adoptant ses codes et en les détournant. C'est dans cette atmosphère qu'eut lieu en 1882 à Paris la première exposition réunissant des gens ne sachant pas dessiner. Une des toiles exposées y eut pour titre Combat de nègres dans une cave pendant la nuit. Il s'agissait du premier monochrome de l'histoire de l'art, avant Malevitch ou Klein. Pour la première fois aussi y furent présentés des objets usuels simplement exposés pour ce qu'ils étaient. Par exemple une simple paire de bretelles y trouva sa place au milieu des tableaux et autres objets présentés comme étant de l'art. Il s'agissait là aussi du premier Readymade, plus de vingt ans avant Marcel Duchamp et son célèbre Urinoir. Animé par un esprit pré-Dada, pré-Surréaliste, les Incohérents choisirent le rire, le calembour pour tourner en dérision l'art officiel. C'est bien cette atmosphère que traduit notre dessin : Emile Cohl portraiturant Jules Lévy, le père des Incohérents aux yeux malicieux et au sourire plein de dents, surmonté d'un arlequin à grelots, semble nous convier à son inspiration de bouffonnerie jubilatoire. Michel Onfray, Les Anartistes. Le trésor retrouvé des Arts incohérents, Paris, Albin Michel, avril 2022

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