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Françoise GILOT 1921-2023 MODEL AT MY STUDIO, 1958 Encre noire et lavis d’encre signé en bas à droite 57 x 38 cm Cette œuvre est enregistrée dans les archives Françoise Gilot sous le n° G 1498

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Françoise GILOT 1921-2023 MODEL AT MY STUDIO, 1958 Encre noire et lavis d’encre signé en bas à droite 57 x 38 cm Cette œuvre est enregistrée dans les archives Françoise Gilot sous le n° G 1498

Estimate 7 000 - 8 000 EUR

* Not including buyer’s premium.
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Sale fees: 28.8 %
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For sale on Thursday 15 Aug : 14:30 (CEST)
cannes, France
Besch Cannes Auction
+33493992260

Exhibition of lots
mardi 13 août - 16:00/19:00, Cannes
mercredi 14 août - 10:30/19:00, Cannes
jeudi 15 août - 10:30/12:30, Cannes
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LEWIS MORLEY (Hong Kong, 1925-Sidney, 2013). "Christine Keeler," 1963. Gelatin silver. Signed, titled and dated in ink (in the margin). Provenance: Bennett Private Collection, New York. Measurements: 31.5 x 25 cm (image); 36 x 28.9 cm (paper). After cabaret performer and dancer Christine Keeler had an affair with a minister in Harold Macmillan's government, which brought the Conservative Party into disrepute in what became known as the Profumo affair, she was called to do a photo shoot at Lewis Morley's studio. The events took place because a film production company intended to make a movie about the scandal and needed some publicity photographs. Although Keeler had initially agreed to be photographed nude, when she arrived at the studio she was reluctant to do so. For this reason, Lewis Morley began the photo shoot by capturing the model with her clothes on, but the film company's representatives insisted that she pose nude. The photographer, sensing Keeler's discomfort, had the others present leave and, turning his back to her while Keeler undressed, suggested that she pose on the studio chair placed upside down. Lewis Morley began his career with assignments for magazines such as Tatler and was a successful theater photographer for over 100 West End productions. His publicity photographs for Beyond The Fringe magazine (1961) included a study of the cast Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller, which was used for the cover of the show's best-selling LP. In 1971 he moved to Sydney, where he worked on magazines such as Belle and with interior designers and stylists such as Babette Hayes and Charmaine Solomon. In 1989 he collaborated with photography curator Terence Pepper in staging his first museum retrospective at the National Portrait Gallery in London and subsequently donated all the images printed for the exhibition as part of a larger archive of his work. His first autobiography, Black and White Lies, was published in 1992. In 2003, a film about his life was released and an exhibition entitled Myself and Eye was held at the National Portrait Gallery in Canberra. In 2006, the Art Gallery of New South Wales presented a comprehensive exhibition showcasing 50 years of his work. Entitled Lewis Morley: 50 Years of Photography, the exhibition included 150 of his works spanning fashion, theater and reportage, many of which had never been seen before. After his death his archive was subsequently donated to the National Media Museum in Bradford, England.

Alexandre IACOVLEFF (1887-1938) Portrait de Ashkhen Manucharovna Melikova Sanguine et crayon noir sur papier. Inscriptions cyrilliques passées : "..." / ... (A ma chère /amie Ashkhen/ en souvenir/ ...) en bas à droite. Quelques légers manques sur les bords, papier insolé. 45,5 x 35,5 cm Ashkhen Manucharovna Melikova était une amie de la princesse géorgienne Salomé Nikolaevna Andronikova, égérie de l'Âge d'argent à la beauté remarquable, inspiratrice de nombreux poètes et artistes comme Anna Akhmatova, Ossip Mandelstam, Savely Sorine, Boris Grigorieff, Vassili Choukhaieff... Proche des deux amies à Paris, Alexandre Iacovleff a réalisé une composition à l'huile, au début des années vingt, intitulée Trois femmes, la troisième femme en haut de l'escalier étant vraisemblablement Vera Choukhaieff. Aujourd'hui, le tableau n'est pas localisé. Ici, dans cette sanguine préparatoire à l'huile Trois femmes, on est happé par le regard profond d'Ashkhen et son beau visage. Une fois déchiffrées, les inscriptions cyrilliques " A ma chère amie Ashkhen en souvenir … ", témoignent de la complicité d'Alexandre Iacovleff avec son modèle. Boris Grigorieff a également peint, en 1921, à Paris, un portrait saisissant de modernité Femme aux yeux noirs, représentant Ashkhen. Un certificat d'authenticité de Mme Caroline Haardt de La Baume, experte de l'oeuvre d'Alexandre Iacovleff, sera remis à l'acquéreur. Ce lot sera inscrit au catalogue raisonné d'Alexandre Iacovleff en préparation.