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Thu 11 Jul

Marc GENEIX, born 1975 Untitled, Es-tu isocèle? series , 2023 Oak chair, unique piece, unsigned. Height 82 - Width 41 - Depth 43 cm --- Marc GENEIX, born in 1975 Marc Geneix has lived in Brittany for the past seven years, and began creating sculptures and paintings using lutherie techniques in a minimalist approach, focusing on simple geometric forms. Paradoxically, however, he is also particularly attached to an expressive form, seeking out points of friction. It's a game of contrasts, and in this sense, he tries to work playfully with minimal forms within a rich semantic field, creating a discrepancy. Often, this discrepancy is dealt with by working details into basic shapes, by playing with textures, or by a kind of narrative created by adding references to the history of art or furniture, musical instruments, etc. Many elements in his work refer to the history of the world of furniture. Numerous elements in his work refer to the crafts, through the appropriation of know-how, techniques, materials and so on. This naturally leads Marc Geneix to work in which the production of objects - and, by extension, design - plays an increasingly important role. Today, he is driven by the idea of creating a dialogue between these different bodies - art/design, sculptures/paintings/objects - and by the creation of a system of circulation of forms, materials and techniques, between pictorial and sculptural pieces, and furniture. As part of the Ar Seiz Avel event, he is offering a selection of wooden furniture, including an asymmetrical desk with a bronze handle.

Thu 11 Jul

Marc GENEIX, born 1975 Untitled, 2024 Natural oak desk, opening to a drawer in the waist, bronze handle, unique piece, unsigned. Height 75 - Length 158 - Depth 66 cm --- Marc GENEIX, born in 1975 Marc Geneix has lived in Brittany for the past seven years, and began creating sculptures and paintings using lutherie techniques in a minimalist approach, focusing on simple geometric forms. Paradoxically, however, he is also particularly attached to an expressive form, seeking out points of friction. It's a game of contrasts, and in this sense, he tries to work playfully with minimal forms within a rich semantic field, creating a discrepancy. Often, this discrepancy is dealt with by working details into basic shapes, by playing with textures, or by a kind of narrative created by adding references to the history of art or furniture, musical instruments, etc. Many elements in his work refer to the history of the world of furniture. Numerous elements in his work refer to the crafts, through the appropriation of know-how, techniques, materials and so on. This naturally leads Marc Geneix to work in which the production of objects - and, by extension, design - plays an increasingly important role. Today, he is driven by the idea of creating a dialogue between these different bodies - art/design, sculptures/paintings/objects - and by the creation of a system of circulation of forms, materials and techniques, between pictorial and sculptural pieces, and furniture. As part of the Ar Seiz Avel event, he is offering a selection of wooden furniture, including an asymmetrical desk with a bronze handle.

Thu 11 Jul

Marc GENEIX, born 1975 Untitled, Ondes series, 2023 Stained oak bench, unique piece, unsigned. Height 45 - Length 160 - Depth 34 cm --- Marc GENEIX, born in 1975 Marc Geneix has lived in Brittany for the past seven years, and began creating sculptures and paintings using lutherie techniques in a minimalist approach, focusing on simple geometric forms. On the other hand, in a paradoxical but assertive way, he is also particularly attached to an expressive form and searches for points of friction. It's a game of contrasts, and in this sense, he tries to work playfully with minimal forms within a rich semantic field, creating a discrepancy. Often, this discrepancy is dealt with by working details into basic shapes, by playing with textures, or by a kind of narrative created by adding references to the history of art or furniture, musical instruments, etc. Many elements in his work refer to the history of the world of furniture. Numerous elements in his work refer to craftsmanship, through the appropriation of know-how, techniques, materials, etc. This naturally leads Marc Geneix to work in which the production of objects - and, by extension, design - plays an increasingly important role. Today, he is driven by the idea of creating a dialogue between these different bodies - art/design, sculptures/paintings/objects - and by the creation of a system of circulation of forms, materials and techniques, between pictorial and sculptural pieces, and furniture. As part of the Ar Seiz Avel event, he is offering a selection of wooden furniture, including an asymmetrical desk with bronze handle...

Thu 11 Jul

Marc GENEIX, born 1975 Untitled, Ondes series, 2023 Natural oak bench, unique piece, unsigned. Height 45 - Length 79 - Depth 34 cm --- Marc GENEIX, born in 1975 Marc Geneix has lived in Brittany for the past seven years, and began creating sculptures and paintings using lutherie techniques in a minimalist approach, focusing on simple geometric forms. On the other hand, in a paradoxical but assertive way, he is also particularly attached to an expressive form and searches for points of friction. It's a game of contrasts, and in this sense, he tries to work playfully with minimal forms within a rich semantic field, creating a discrepancy. Often, this discrepancy is dealt with by working details into basic shapes, by playing with textures, or by a kind of narrative created by adding references to the history of art or furniture, musical instruments, etc. Many elements in his work refer to the history of the world of furniture. Numerous elements in his work refer to craftsmanship, through the appropriation of know-how, techniques, materials, etc. This naturally leads Marc Geneix to work in which the production of objects - and, by extension, design - plays an increasingly important role. Today, he is driven by the idea of creating a dialogue between these different bodies - art/design, sculptures/paintings/objects - and by the creation of a system of circulation of forms, materials and techniques, between pictorial and sculptural pieces, and furniture. As part of the Ar Seiz Avel event, he is offering a selection of wooden furniture, including an asymmetrical desk with a bronze handle.

Thu 11 Jul

Marc GENEIX, born 1975 Untitled, "Es-tu isocèle?" series, 2023 Rocking chair in natural oak, unique piece, unsigned. Height 80 - Width 55 - Depth 41 cm --- Marc GENEIX, born in 1975 Marc Geneix has lived in Brittany for the past seven years, and began creating sculptures and paintings using lutherie techniques in a minimalist approach, focusing on simple geometric forms. On the other hand, in a paradoxical but assertive way, he is also particularly attached to an expressive form and searches for points of friction. It's a game of contrasts, and in this sense, he tries to work playfully with minimal forms within a rich semantic field, creating a discrepancy. Often, this discrepancy is dealt with by working details into basic shapes, by playing with textures, or by a kind of narrative created by adding references to the history of art or furniture, musical instruments, etc. Many elements in his work refer to the history of the world of furniture. Numerous elements in his work refer to fine craftsmanship, through the appropriation of know-how, techniques, materials, etc. This naturally leads Marc Geneix to work in which the production of objects - and, by extension, design - plays an increasingly important role. Today, he is driven by the idea of creating a dialogue between these different bodies - art/design, sculptures/paintings/objects - and by the creation of a system of circulation of forms, materials and techniques, between pictorial and sculptural pieces, and furniture. As part of the Ar Seiz Avel event, he is offering a selection of wooden furniture, including an asymmetrical desk with a bronze handle.

Thu 11 Jul

Eva MORAZE, born 2001 Le Père Douarnenez, Nantes - 2024 Watercolor, acryla-gouache and colored pencils on 300g paper. Unique piece, dated and signed lower left. 29.7 x 21 cm Includes a set of Seven Families cards 09/72 and an edition 06/50. Man wearing traditional Douarnenez costume, early 20th century. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Ecole Pivaut in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game, on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

Thu 11 Jul

Eva MORAZE, born 2001 La Fille Locronan, Nantes - 2024 Watercolor, acryla-gouache and colored pencils on 300g paper. Unique piece, dated and signed lower left. 29.7 x 21 cm Includes a set of Seven Families cards 04/72 and an edition 01/50. Young girl wearing the Locronan costume of 1880. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Ecole Pivaut in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game, on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

Thu 11 Jul

Eva MORAZE, born 2001 Le Fils Pont-Aven, Nantes - 2024 Watercolor, acryla-gouache and colored pencils on 300g paper. Unique piece, dated and signed lower left. 29.7 x 21 cm Includes a set of Seven Families cards 07/72 and an edition 04/50. Little boy wearing Pont-Aven costume, early 20th century. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Ecole Pivaut in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game, on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

Thu 11 Jul

Eva MORAZE, born 2001 La Mère Pont-L'Abbé, Nantes - 2024 Watercolor, acryla-gouache and colored pencil on 300g paper. Unique piece, dated and signed lower left, with certificate of authenticity. 29.7 x 21 cm Includes a set of Seven Families cards 08/72 and an edition 05/50. Young woman wearing Pontl'Abbé costume, early 20th century. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Ecole Pivaut in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game, on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

Thu 11 Jul

Eva MORAZE, born 2001 Le Fils Pont-L'Abbé, Nantes - 2024 Watercolor, acryla-gouache and colored pencil on 300g paper. Unique piece, dated and signed lower left, with certificate of authenticity. 29.7 x 21 cm Includes a set of Seven Families cards 10/72 and an edition 07/50. Little boy wearing Pont-L'Abbé costume, early 20th century. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Pivaut school in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

Thu 11 Jul

Eva MORAZE, born 2001 La Fille Plougastel-Daoulas, Nantes - 2024 Watercolor, acryla-gouache and colored pencils on 300g paper. Single piece, dated and signed lower left. 29.7 x 21 cm Includes a set of Seven Families cards 05/72 and an edition 02/50. Little girl wearing pink Plougastel costume, early 20th century. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Ecole Pivaut in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game, on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

Thu 11 Jul

Eva MORAZE, born 2001 Father Plougastel-Daoulas, Nantes - 2024 Watercolor, acryla-gouache and colored pencils on 300g paper. Single piece, dated and signed lower left. 29.7 x 21 cm A set of Seven Families cards 12/72 and an edition 09/50 are included. Man wearing traditional pink Plougastel costume, early 20th century. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Ecole Pivaut in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game, on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

Thu 11 Jul

Eva MORAZE, born 2001 The Elliant Son, Nantes - 2024 Watercolor, acryla-gouache and colored pencils on 300g paper. Unique piece, dated and signed lower left. 29.7 x 21 cm Includes a set of Seven Families cards 06/72 and an edition 03/50. Little boy wearing Elliant costume, early 20th century. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Ecole Pivaut in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

Thu 11 Jul

Eva MORAZE, born 2001 Le Père Pontivy, Nantes - 2024 Watercolor, acryla-gouache and colored pencils on 300g paper. Single piece, dated and signed lower left. 29.7 x 21 cm Includes a set of Seven Families cards 11/72 and an edition 08/50. Man wearing white Pontivy costume, early 20th century. --- Eva MORAZE, born 2001 Originally from Rennes, Eva Morazé lived for ten years in Lorient, then in Lesconil. A recent graduate of the Ecole Pivaut in Nantes, she is presenting a work for Ar Seiz Avel based on the Seven Families game, on the theme of Brittany. Seven Families game on the theme of Brittany of yesteryear. Her references are mainly George Robin, for his engraving compositions, but also Suzanne Candré-Creston for her motifs and colors. René-Yves Creston for his paintings and Mathurin Méheut for his gouaches and motifs. She is also inspired by Alphonse Mucha and his poster compositions, notably those of La Bretonne and La Normande. Through her work, she highlights the diversity of traditional Breton costumes and, through her visually rich drawings, perpetuates an aesthetic and culture that must not be forgotten. In this way, Eva Morazé contributes to the playful rehabilitation of Breton culture. In her game, each Family is named after a Breton town or village: Elliant, Pont l'Abbé, Pontivy, Douarnenez, Ploaré, Plougastel Daoulas, Pont-Aven, Locronan, each dressed in its own Breton costume, color palette and design. Of the thirty or so illustrations, the artist has selected nine original copies, sold with a deck of cards and an edition.

LE CORBUSIER - LE CORBUSIER (Charles-Edouard Jeanneret, known as) (1887-1965) Two women passing through a doorway, 1938 Heliogravure Unsigned Morancé edition On paper, 22.5 x 27 cm approx. Information : Genuine 1938 first edition, not a modern reproduction Plate from the portfolio "Le Corbusier, Oeuvre Plastique, Peintures et Dessins" published in an edition of approx. 1000 copies Excellent condition We can arrange shipment of your purchases at the following negotiated rates: - From 1 to 5 lithographs: €18 incl. VAT for France (€20 incl. VAT for Europe / €30 for international) - From 6 to 10 lithographs: €24 / €28 / €40 - Works not available in tubes: on quotation This description has been translated automatically: LE CORBUSIER (Charles-Edouard Jeanneret, known as) (1887-1965) Two women passing through a door, 1938 Heliogravure Unsigned Edition Morancé On paper, approximately 22.5 x 27 cm Information: True original edition from 1938, this is not a modern reproduction Plate from the portfolio "Le Corbusier, Plastic Work, Paintings and Drawings" published in approximately 1000 copies Excellent condition We can provide shipping service under demand - For 1 to 5 lithographs : 18 € TTC for France (20 € TTC for Europe / 30 € for international) - For 6 to 10 lithographs : 24 € / 28 € / 40 € TTC - Products that can't be sent in a tube : price under request

LE CORBUSIER - LE CORBUSIER (Charles-Edouard Jeanneret, known as) (1887-1965) Woman, rope and open door, 1938 Heliogravure Unsigned Morancé edition On paper, 22.5 x 27 cm approx. Information : Genuine 1938 first edition, not a modern reproduction Plate from the portfolio "Le Corbusier, Oeuvre Plastique, Peintures et Dessins" published in an edition of approx. 1000 copies Excellent condition We can arrange shipment of your purchases at the following negotiated rates: - From 1 to 5 lithographs: €18 incl. VAT for France (€20 incl. VAT for Europe / €30 for international) - From 6 to 10 lithographs: €24 / €28 / €40 - Works not available in tubes: on quotation This description has been translated automatically: LE CORBUSIER (Charles-Edouard Jeanneret, known as) (1887-1965) Woman, rope and open door, 1938 Heliogravure Unsigned Edition Morancé On paper, approximately 22.5 x 27 cm Information: True original edition from 1938, this is not a modern reproduction Plate from the portfolio "Le Corbusier, Plastic Work, Paintings and Drawings" published in approximately 1000 copies Excellent condition We can provide shipping service under demand - For 1 to 5 lithographs : 18 € TTC for France (20 € TTC for Europe / 30 € for international) - For 6 to 10 lithographs : 24 € / 28 € / 40 € TTC - Products that can't be sent in a tube : price under request

PRE SAINT GERVAIS (93) - PAPIERS PEINTS XVIIIème / Relics of 2 fragments of wallpaper, whose history the former collector tells: on May 4, 1901, he bought them from the demolishers of a house at 90 rue Platrière in Le Pré Saint-Gervais, known as the "Belle Gabrielle" house (Gabrielle d'Estrée, Henri IV's mistress), which was said to have sheltered their amorous passions - in fact, as a history buff, he wanted to stop the demolition of this heritage and alerted his friend Paul Delay, a journalist with L'Echo de Paris, who sent him a letter (aut. signed. of 4 p), we learn that he had investigated and visited the site with a specialist, and in fact this house was at most Louis XIII, "besides the ceiling paintings are by Dupuis who was born in 1608 while Gabrielle died in 1599", the original house had certainly been partly transformed - the journalist learned that the new owner was Count Foy (grandson of the Empire general) and that he had already sold the ceiling to an antique dealer - our collector continued to investigate this house and enclosed a set of notes and documents, including the Dupuis ceiling buyer's card - The collector assumes that the 2 wallpaper fragments are from the Fabrique de Jean-Baptiste Révillon (1725-1811), the smaller of which has underneath a first layer of 18th-century print and a second of 17th-century manuscript fragments re-used to support the wallpaper

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four paintings Seashore, rocks and village in Brittany Oil on cardboard or oil on canvas mounted on cardboard The first signed lower right, the last three signed lower left (Small gaps in the paint layer, soiling and very oxidized varnish on one) A set of four paintings, oil on cardboard or oil on canvas laid on cardboard, the first one signed lower right and the three last ones signed lower left 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Port scenes with boats Oil on canvas The first signed lower left, the second signed lower right (Small gaps in the paint layer and soiling) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower right 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Seaside Oil on canvas The first signed with the signature stamp [non Lugt] lower left, the second signed lower right (Discoloration and soiling) A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower left, the second one signed lower right 22 x 35 cm - 8 5/8 x 13 3/4 in. 33 x 55 cm - 13 x 21 5/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-s

Wed 11 Sep

Lot of 10 books: Paul Jarry, Le dernier logis de Balzac. Paris, Sagittaire, 1924. Montoux, Deux lieux balzaciens : Vonnes à Pont-de-Ruan and La Haute Chevrière à Sache. 1986 Guignard, A Issoudun with H de Balzac. Courrier balzacien n°91-92, 2003, on Balzac's household book. Bulletin de la société archéologique de Nantes. 1950. Article "Balzac au pays guérandais". Patate en coque de pain - Honoré de Balzac et Alexandre Gautier. 2012. Gengembre, Balzac le napoléon des lettres. Lascar, Honoré de Balzac un prométhée créateur. 2006. Mirbeau, Balzac sa vie prodigieuse, son mariage, ses derniers moments. 1918. Balzac's letters to Saché 1823-1848. C.L.D., 2000. Eugène Gilbert, Balzac à vingt ans. Photocopy of the 1904 edition. M-Françoise Sassier, Le château de Saché, refude de Balzac. 2001. La comédie humaine en peinture - le regard de Serge Kantorowicz. Paris-musées. 2000. Maison de Balzac - L'Artiste selon Balzac - entre la toise du savant et le vertige du fou. Paris-musées. 1999. Set of 5 exhibition catalogs from the Maison Balzac: Balzac et l'administration (1974) Les portraits de Balzac connus et inconnus (1971) Balzac et la médecine de son temps (1976). 2 copies. Balzac and the French Revolution (1989).

Albert MARQUET - Albert MARQUET (1875-1947) Washing boats and Pont Neuf, 1960 Lithographed poster (Mourlot workshop) Signed in the plate On paper 75 × 50.5 cm Poster produced for the major "Marquet à Bordeaux" retrospective at the Maison de la Pensée Française in 1960; here an edition without text. INFORMATION: Albert Marquet was a French painter and a close friend of Henri Matisse. His paintings show the quays of Paris in the colors of post-impressionism and the fauve movement. Excellent condition We can arrange shipment of your purchases at the following negotiated rates: - From 1 to 5 lithographs: €18 incl. VAT for France (€20 incl. VAT for Europe / €30 for international) - From 6 to 10 lithographs: €24 / €28 / €40 - Works not available in tubes: on quotation This description has been translated automatically: Albert MARQUET (1875-1947) Wash boats and Pont Neuf, 1960 Lithograph poster (Mourlot workshop) Signed in the plate On paper 75 × 50.5 cm Poster produced on the occasion of the major retrospective "Marquet in Bordeaux" at the Maison de la Pensée Française in 1960; here an edition without the text. INFORMATION: Albert Marquet is a French painter and a great friend of Henri Matisse. In his paintings he shows us the quays of Paris in the colors of post-impressionism and the Fauve movement. Excellent condition We can provide shipping service under demand - For 1 to 5 lithographs : 18 € TTC for France (20 € TTC for Europe / 30 € for international) - For 6 to 10 lithographs : 24 € / 28 € / 40 € TTC - Products that can't be sent in a tube : price under request

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Paysage aux barques, 1935 - Boat taking on water Oil on canvas The first signed lower right and dated 'mars 1935' on the back, the second signed lower right (Dirt and small gaps in the paint layer and stretcher mark) A set of two paintings, oil on canvas, the first one signed lower right and dated 'mars 1935' on the reverse, the second one signed lower right 46 x 55 cm - 18 1/8 x 21 5/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Peig

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four paintings Heath - River banks Oil on canvas mounted on cardboard; oil on cardboard or oil on panel The first and second signed lower right, the third signed with the signature stamp [non Lugt] lower right and the third signed lower left. (Large arrow on the second, thumbtack holes at the top of the third, small gaps in the paint layer and soiling) A set of four paintings, oil on canvas laid on cardboard, oil on cardboard or oil on panel, the two first ones signed lower right, the third one stamped with the signature's mark lower right and the third one signed lower left 32 x 41 cm - 12 5/8 x 16 1/8 in. 26 x 35 cm - 10 ¼ x 13 3/4 in. 26,5 x 35 cm - 10 3/8 x 13 3/4 in. 27 x 34,5 cm - 10 5/8 x 13 5/8 in. Provenance Private collection, France Note "This is an acute 'eye', which translates with undeniable constructive power, and without any false note of very close tones, the hollow paths, lonely roads and wet skies of Brittany." Gérald Schurr, "Les petits maîtres de la peinture, valeur de demain", Volume 2, Paris: Les Éditions de l'Amateur, 1972, pp. 135 and 138 André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the m

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) View of Paris with Notre-Dame, 1931 Oil on canvas Signed lower left Dated 'novembre 1931' on the back (Scratch with indentation) Oil on canvas, signed lower left, dated 'novembre 1931' on the reverse 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Roadside houses - Farm landscape Oil on canvas The first signed lower left, the second signed lower left A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower left 46 x 55 cm - 18 1/8 x 21 5/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Landscape with a church - Landscape with a river Oil on canvas The first signed lower left, the second signed lower right (dents, missing paint layer and soiling) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower right 33 x 46 cm - 13 x 18 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three unframed paintings Cour de ferme - Maisons au bord du chemin, 1935 - Soleil couchant sur la vallée, 1928 Oil on loose canvas Signed lower right (Tack holes and small gaps in the paint layer) A set of three paintings without stretcher, oil on free canvas, signed lower right Ca. 52,5 x 63,5 cm - Ca. 20 5/8 x 25 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Houses by the water - Fruit trees in bloom Oil on canvas The first signed lower left, the second signed lower right (Marks on the stretcher of the second) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower right 50 x 61 cm - 19 3/4 x 24 in. 50 x 61 cm - 19 3/4 x 24 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Bust-Length Portrait of a Woman, 1940 Oil on canvas Signed lower right and dated 'octobre 1940' on the back (Marks and soiling) Oil on canvas, signed lower right and dated 'octobre 1940' on the reverse 55 x 46 cm - 21 5/8 x 18 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three paintings without stretcher Paysage au pont - Bord de rivière à la barque - Bord de rivière aux barques Oil on canvas The first and second signed lower right The third signed lower left (Tack holes and dirt) A set of three paintings without stretcher, oil on free canvas, the first and second ones signed lower right, the third one signed lower left Ca. 53,5 x 63,5 cm - Ca. 21 x 25 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three paintings Bouquets de fleurs Oil on canvas Signed lower right (Gaps in the paint layer and soiling) A set of three paintings, oil on canvas, signed lower right 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Personnage dans un paysage - Bords de rivière Oil on canvas Signed lower left (Soiling) A set of two paintings, oil on canvas, signed lower left 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Water lilies - River banks Oil on canvas The first signed upper left, the second signed lower left A set of two paintings, oil on canvas, the first one signed upper left, the second one signed lower left 55,5 x 33 cm - 21 7/8 x 13 in. 55,5 x 33 cm - 21 7/8 x 13 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three paintings Country landscapes Oil on canvas Signed lower left (Soiling) A set of three paintings, oil on canvas, signed lower left 24 x 41 cm - 9 1/2 x 16 1/8 in 22 x 41 cm - 8 5/8 x 16 1/8 in. 19,5 x 24 cm - 7 5/8 x 9 1/2 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

JOHN THEODORE JOHNSON (1902-1963) - JOHN THEODORE JOHNSON (1902-1963) The Black Model, 1956 Oil on canvas Signed and dated '1956' lower right (Soiling and staining) Oil on canvas, signed and dated '1956' lower right 119 x 80 cm - 46 7/8 x 31 1/2 in. Provenance - Private collection, France - Acquired from the previous "[J. Theodore] Johnson is one of the best painters I have ever known. He is a 'painter's painter' with a magnificent sense of color." Leopold Seyffert, N.A. (1953) [John Theodore Johnson (1902-1963) was an American artist active in the mid-twentieth century. Of Swedish-American descent, Johnson was born in Oregon, Illinois. His father, Theodore Johnson, was a woodcarver. From 1920 to 1925, Ted studied at the Art Institute of Chicago. After graduating, he was awarded the American Traveling Scholarship, which took him to Paris, where he studied under André Lhote at La Grande Chaumière. In 1931, he returned to Illinois to collaborate on his Federal Art Project (1935-1943). He worked with the FAP until 1938, creating historical murals, book illustrations and a map ("Illinois Its Geography Its history"). In 1938, he moved to Minneapolis to take up a position at the Minneapolis School of Art, where he remained until 1945. From then on, he taught at San Jose State College. He spent the rest of his life in California, where he died in 1963. [John Theodore Johnson (1902-1963) was an American artist active in the mid-20th century. Johnson was born in Oregon, Illinois, and was of Swedish-American descent. His father, Theodore Johnson was a wood carver. From 1920-25 Ted studied at the Art institute of Chicago. Graduating, he was awarded the American Traveling Scholarship, which took him to Paris where he studied under André Lhote at La Grande Chaumière. He returned to the Illinois in 1931, taking work with the WPA initiative Illinois Federal Art Project (1935-1943). He worked with the FAP through 1938, producing several historical murals as well as Illinois-related book illustrations and at least one pictorial map ("Illinois Its Geography Its history"). He moved to Minneapolis in 1938 to take a position with the Minneapolis School of Art, where he remained until 1945. At that time, he received a professorship at San Jose State College, California. He remained in San Jose until his death in 1963.

Sat 13 Jul

Lucien Coutaud (1904-1977) - Surrealist composition 1968 Oil on canvas signed and dated lower left 58 x 70 cm Provenance: > Private collection, Paris Condition report : Framed "Lucien Coutaud is little known. Yet he was one of the most singular and prolific painters of the 20th century. He mastered every technique and excelled in every field, as his work testifies, comprising almost two thousand paintings and gouaches, as many drawings, twenty-nine tapestries (as part of the first generation of artists involved in the revival of Aubusson tapestry, Coutaud occupies a singular place, by his deliberately limited production, his refusal of numbering, his large-scale cartoons, always done in gouache, and his choice of subjects always in keeping with his pictorial world, inspired by music, games and magic), nearly one hundred copper etchings, twenty-nine lithographs, twenty-five set and costume designs for theater and opera (from his first collaboration with Charles Dullin, in 1928, until 1972, Coutaud never stopped working with the greatest directors and choreographers of his time, who called on his sense of the magical and the monumental, his attraction to the baroque and onirism), forty-three illustrated books, from André Fraigneau, in 1925, to Pauline Réage and her Histoire d'O, in 1972, via Voltaire, Alfred Jarry, Arthur Rimbaud, Maurice Blanchard, Paul Eluard, Robert Desnos, Gilbert Lely, Jean-Paul Sartre, Paul Claudel, Hemingway, Proust and Jules Laforgue. Lucien Coutaud invented Eroticomagie, a form of painting that is the direct language of the mind, activating both our consciousness and our emotions. The images present themselves to us charged with desires and anxieties, demanding a dazzling materialization of space; they break through the worn-out frames of reality... (...) It has to be said that Coutaldi's work, like that of the Surrealists, is a continuous exploration of the dream state, in order to discover its true limits, which are far too blurred in literature and painting, and too restricted in psychology. The real does exist for Coutaud, as Alain Bosquet would later point out. The sea is a sea, the beach is sand, the bread is yeast, the bull bleeds, the houses resemble those of Nîmes; but the dream never ceases to develop at the same time, to impregnate, to merge with reality; the dream with its procession of adorable obsessions: superimposed flowers form beings between woman and idol; mirrors and shells change function, some retaining a beloved landscape whatever the object reflected in it, and others hesitating between metamorphosis and perpetuated enigma. From this kind of dream we can deduce a kind of rule, of which Coutaud is the master in his own right. It is possible, for example, to deny gravity, the constitution of matter, universal gravitation, when observing a figure whose torso is detached from the rest of his body. Through dreams, reality is rehabilitated. Let's not forget either that Coutaud drew and painted Dormeurs throughout his work: figures whose eyeless heads, in 1946, came to resemble melocactus (melon-shaped cactus), as if to insist on the omnipotence of dreams understood as absolute reality and protected from the outside world by powerful thorns...". (Christophe Dauphin, excerpts from Lucien Coutaud, le peintre de l'Eroticomagie, ed. Rafael de Surtis, 2009)

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings View of Paris at the Sacré-Coeur - Paris under the snow Oil on canvas The first signed lower left, the second signed lower left (Soiling, stretcher mark and worn upper edge on the second) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower left 55 x 46 cm - 21 5/8 x 18 1/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Vue de Montmartre à la colonne Morris, 1927 - Vue de Montmartre au Sacré-Coeur Oil on canvas The first signed with the signature stamp [non Lugt] lower right and dated 'mai 1927' on the back, the second signed lower left. A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower right and dated 'mai 1927' on the reverse, the second one signed lower left 54 x 65 cm - 21 1/4 x 25 5/8 in. 65 x 54 cm - 25 5/8 x 21 1/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of three paintings Still life with flowers Oil on canvas The first signed with the signature stamp [non Lugt] upper right, the second and third signed with the signature stamp [non Lugt] lower right (Marks on the stretcher, wear and soiling) A set of three paintings, oil on canvas, the first one stamped with the signature's mark upper right, the second and third one stamped with the signature's mark lower right 65 x 54 cm - 25 5/8 x 21 1/4 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. 61 x 50 cm - 24 x 19 3/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Thatched farmhouse - House by the river Oil on canvas The first signed lower right, the second signed with the signature stamp [non Lugt] lower left (Chassis marks on the first) A set of two paintings, oil on canvas, the first one signed lower right, the second one stamped with the signature's mark lower left 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Walkers in the forest, 193[?] - Road in the countryside Oil on canvas The first signed lower left and dated 'mars 193[?]' on the back, the second signed lower left. (Chassis mark, dent and canvas to be reattached to the stretcher for the second) A set of two paintings, oil on canvas, the first one signed lower left and dated 'mars 193[?]' on the reverse, the second one signed lower left 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Collection of three unframed paintings Femme sur un chemin - Maison bourgeoise au bord de l'eau, 1938 - Chemin dans la campagne Oil on canvas The first and second signed lower left, the third signed with the signature stamp [non Lugt] lower left. (Tack holes in the corners and small gaps in the paint layer of one) A set of three paintings without stretcher, oil on free canvas, the first and second ones signed lower left, the third one stamped with the signature's mark lower left Ca. 45 x 53,5 cm - Ca. 17 3/4 x 21 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Bouquets de fleurs Oil on canvas The first signed lower right and dated 'February 1925' on the back, the second signed with the signature stamp [non Lugt] lower left and dated 'March 1934'. (Small gaps in the paint layer and stretcher mark on the second). A set of two paintings, oil on canvas, the first one signed lower right and dated 'février 1925' on the reverse, the second one stamped with the signature's mark lower left and dated 'mars 1934' 55 x 46 cm - 21 5/8 x 18 1/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Riverside Oil on canvas the first signed with the signature's mark [non Lugt] lower left and dated 'juin 1930' on the back, the second signed lower left A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower left and dated 'juin 1930' on the reverse, the second one signed lower left 46 x 55 cm - 18 1/8 x 21 5/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Paysage à la ferme, 193[?] - Paysage au pont, 1934 Oil on canvas The first signed lower left and dated 'juillet 193[?]' on the back, the second signed lower left and dated 'mai 1934' on the back. (Scratches on the first) A set of two paintings, oil on canvas, the first one signed lower left and dated 'juillet 193[?]' on the reverse, the second one signed lower left and dated 'mai 1934' on the reverse 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of four paintings River banks with rocks - Landscape with church - Person on a path - Bouquet of flowers in a vase Oil on cardboard; oil on panel and oil on canvas mounted on cardboard The first three signed lower right, the fourth signed upper right (Small gaps in the paint layer, folds, small perforations and soiling) A set of four paintings, oil on cardboard, oil on panel and oil on canvas laid on cardboard, the three first ones signed lower right and the fourth one signed upper right 32 x 42 cm - 12 5/8 x 16 1/2 in. 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings without stretcher La couture sur la plage - Still life with hare and rifle, 1925 Oil on loose canvas The first signed with the signature stamp [non Lugt] lower right, the second signed upper left. (Tack holes and small gaps in the paint layer) A set of two paintings without stretcher, oil on free canvas, the first one stamped with the signature's mark lower right, the second one signed upper left 40,5 x 56,5 cm - 16 x 22 1/4 in. 45 x 54 cm - 17 ¾ x 21 1/4 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtessss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Houses and trees in bloom, 1927 - Path in the countryside Oil on canvas The first signed with the signature stamp [non Lugt] lower right and dated 'juin 1927' on the back, the second signed lower left. (Chassis marks on the first and soiling) A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower right and dated 'juin 1927' on the reverse, the second one signed lower left 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Garden corner - Walkers on a path Oil on canvas The first signed lower left, the second signed with the signature stamp [non Lugt] lower right (Chancis, tears, perforations, missing paint layer and soiling) A set of two paintings, oil on canvas, the first one signed lower left, the second one stamped with the signature's mark lower right 41 x 33 cm - 16 1/8 x 13 in. 33 x 46 cm - 13 x 18 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Bouquets de fleurs Oil on canvas The first signed lower right, the second signed with the signature stamp [non Lugt] lower left (Soiling, open craquelure and lifting) A set of two paintings, oil on canvas, the first one signed lower right, the second one stamped with the signature's mark lower left 33 x 41 cm - 13 x 16 1/8 in. 33 x 41 cm - 13 x 16 1/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Sun 21 Jul

VERY BEAUTIFUL "ANTELOPE VALLEY" by Granville Seymour REDMOND (1871-1935) Framed oil on canvas, signed and dated lower left "32". On the back on canvas, localized, dated 1932 and marked "With Love Granville Redmond". A 1971 Russian facsimile of the work by the "Ministry of Culture of the USSR" accompanies it. Provenance: Private collection. Size: 32 x 40 cm Granville Redmond was born on March 9, 1871 in Philadelphia, Pennsylvania. Around the age of two and a half, he contracted scarlet fever, which left him deaf. He attended the California School for the Deaf from 1879 to 1890, where he discovered his artistic talents thanks to his teacher Théophile d'Estrella, who taught him painting, drawing and pantomime. After graduating, he decided to continue studying art and enrolled at the San Francisco School of Design, where he worked for three years with professors Arthur Frank Mathews and Amédée Joullin. There he met artists such as Gottardo Piazzoni and Giuseppe Cadenasso. He became close friends with Piazzoni, who learned American Sign Language. They lived together in Parkfield and Tiburon, California. During his stay in Los Angeles, he befriended Charles Chaplin, who asked him to teach him signs and pantomime. In fact, he used some of these signs, such as "enfant" and "bébé", in the film "Une vie de chien". Thanks to Granville, Chaplin became one of the few actors to act with his mouth closed, without uttering any words. He appears in seven Chaplin films. Impressed by Redmond's skills as a painter, Chaplin collected his paintings and offered him a studio in his film studios, as well as silent roles, such as the sculptor in "City Lights".

Tue 16 Jul

ANDRÉ-LÉON VIVREL (1886-1976) - ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings Maisons au bord de l'eau, 1927 - Paysage aux barques, 1928 Oil on canvas The first signed with the signature stamp [non Lugt] lower right and dated 'mai 1927' on the back, the second signed with the signature stamp [non Lugt] lower left and dated 'septembre 1928' on the back. (Small gaps in the paint layer, lifting and slight indentation on the second) A set of two paintings, oil on canvas, the first one stamped with the signature's mark lower right and dated 'mai 1927' on the reverse, the second one stamped with the signature's mark lower left and dated 'septembre 1928' on the reverse 54 x 65 cm - 21 1/4 x 25 5/8 in. 54 x 65 cm - 21 1/4 x 25 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining larggge in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Sat 20 Jul

Henry MORET (1856-1913) Two Breton Women on the Cliffs at Moëlan (circa 1898) Oil on canvas, signed lower left 53.5 x 65 cm A certificate of authenticity from Mr. Jean-Yves Rolland will be given to the buyer. The work will be included in the artist's catalog raisonné currently in preparation. PROVENANCE : Private collection, acquired in 2019 from Doyle Auctions, New York EXHIBITIONS : - Musée des Beaux-Arts de Quimper "Henry Moret 1856-1913: De Pont-Aven à l'impressionnisme en Bretagne", from June 24 to October 4, 2021: our painting is illustrated on page 121 and on the 4th cover of the exhibition catalog At the end of the 19th century, Moret's painting flourished, resulting in the creation of a small number of masterpieces that exerted an unrivalled fascination. This radiant canvas perfectly illustrates the subtle balance the painter had achieved between the synthesizing experience of the Pont-Aven school and the sensory research of the great Impressionist artists. The firmness of the composition, with its well-timed spread of color, is modulated by the brushwork that swirls across the entire surface. From the foreground lit by orange-green grass to the dew of the cliffs, the painter plays with the vertigo of color, culminating in the deep blues of the ocean or the softer blues of the sky. The brushstrokes, fragmented and sometimes juxtaposed in batônets, exalt the pleasure of sensation: Moret's virtuosity invites us to feel the gentle rustle of the wind as it caresses this sun-drenched coastline. Slightly off-center, two young peasant women seem absorbed in their sewing. This motif cleverly revives memories of Paul Gauguin, whose numerous Breton examples combine domestic activities with flamboyant landscapes. It adds much to the charm of this luminous work, humanizing a harsh nature. As a leading artist, Henry Moret dominated the post-Gauguin world, infusing his Breton paintings with the visual energy of the great Impressionists (Monet, Pissarro, etc.) while asserting a search for formal firmness inherited from the Pont-Aven school.

Sat 20 Jul

Henry MORET (1856-1913) L'Averse, Brittany coast, 1902 Oil on canvas, signed lower left Exhibition label on reverse 65 x 92 cm PROVENANCE : Finistère private collection (Estate) EXHIBITIONS : 1966, Paris, Galerie Durand-Ruel, January 5 - 29, 1966, Henry Moret, no. 28. 1994, Paris, Galerie l'Ergastère, May 6 - July 13, 1994, Henry Moret, page 26, reproduction page 27. 2021, Quimper, musée des beaux-arts, June 24 - October 4, 2021, Henry Moret 1856-1913, De Pont-Aven à l'impressionnisme en Bretagne, no. 65 reproduction page 133. BIBLIOGRAPHY : Jean-Yves Rolland and Marie-Bénédicte Baranger, Henry Moret, Plomelin, Éditions Palantines, 2002, reproduction page 96. "The work of Henry Moret (1850-1913), a major painter of the Pont-Aven School, is now well known. But his life as an artist remains something of a mystery. He was a solitary master of his time. So when Wladislaw Slewinski organized a dinner to celebrate Paul Gauguin's return to Le Pouldu in 1894, Moret declined the invitation and preferred to go and work in Groix. His life as a landscape artist, constantly on the move from Houat to Ouessant, remains astonishing. In 1894, he chose Doëlan as his home port, more lively than Le Pouldu, and returned there after his long peregrinations to paint in his studio the drawings and gouaches he had taken on the spot. This gave him a certain stability, and came at a time when the famous Durand-Ruel gallery, from the heroic days of Impressionism, decided to buy his paintings and showcase his work in exhibitions. At the age of 44, Moret was able to lead a life that suited him: Doëlan was also, and perhaps above all, about hunting, fishing and playing cards in the bistro with his local friends. We know almost nothing about his itinerant life and the choices he made over the years, which led him to spend one month in Ouessant and the next in Douarnenez or Groix. He knows the Breton coasts inside out, and perhaps chooses according to the seasons and activities, such as seaweed burning. It also depends on the availability of accommodation and local contacts. So there are "privileged" places where he comes and goes to work. Raguénez en Névez has been one of them, at least since 1896. The site, close to Port-Manech, is easily accessible by boat from Doëlan, avoiding the long detour to Pont-Aven. Painting from the island of Raguénez is interesting for the painter because there's the island in the foreground, then the sea and finally the nearby coast in the background. L'averse, côte de Bretagne is part of a series of four paintings showing the house of the Marrec family, the island's farmers. Moret may well have stayed at this farm, for in his paintings he depicts the house from different angles, and it becomes the major element of the composition. And he seems familiar with the people, as evidenced by the subjects of two paintings. In L'averse côte de Bretagne, we see a man and two women, one with a red headdress, the other white, observing the state of the sea and a heavy shower in the sky. The fisherman is waiting for the weather to calm and has temporarily abandoned his two traps, oars and rigging, waiting to join his dinghy in the shelter below to go fishing. These three people, the man and the two women in different-colored headdresses, can be seen again in another painting, Gros temps à Raguénez (Sotheby's sale, London, June 29, 1994, lot 148), where they are closely observing the crashing waves, no doubt awaiting the arrival of the wreck's seaweed. In contrast to the painting L'Île de Raguénez, Bretagne (Washington, National Gallery of Art), where the house is shown in bright sunshine with a calm sea in an almost idyllic setting, Moret expresses great tension in L'averse côte de Bretagne, symbolically conveying the people's expectation of the violence of the elements. The canvas's foreground is built on a relationship between a strong green and a pink. This has characterized Moret's art ever since he adopted the principles of pontavenian synthetism through contact with Gauguin. The strong lines of the ground in the middle left and of the house fix the viewer's gaze. The whole of the upper part and towards the right are painted differently to convey ephemeral atmospheric effects. Painting rain or a downpour is undoubtedly one of the most difficult things a landscape artist can do. Such a scene and such a landscape may seem simple at first glance, but as the viewer observes, it becomes clear how Moret skilfully plays with a few elements to guide the eye, such as the piles of seaweed in the middle of the picture.

Sun 21 Jul

EXCEPTIONAL TABLEAU "NEW YORK" by Georges MATHIEU (1921-2012) Framed oil on canvas, signed and dated "54" lower left. Bears a glued label: "Elaine Graham Weitzen / Fine Arts in New York) with address and painting attribute on "Autor - Georges Mathieu, Oil on canvas, title : NY (New York), date : 1954, dimension :19,68in - 39,37in (measurements in inch = 50 x 100 in cm). On the central wooden frame on the back of the painting, there is an inscription in oil by the author (English: NY). Appraisal certificate enclosed. Provenance: Private collection. Size: 50 x 100 cm Two small holes in the lower right corner and a tiny bump in the upper right corner. Georges Mathieu is a French artist of the Tachisme school. Mathieu is one of the leading exponents of Art Informel (the French version of Abstract Expressionism) and is best known for his sharp abstract paintings in a calligraphic style, characterized by broad gestures, with a lyrical abstraction style, but also with tachism. Mathieu's expressive art combined with a natural talent for self-promotion earned him an international reputation in the 1950s. It's curious that Mathieu doesn't see himself as a practitioner of non-objective art, but rather as a historical artist using abstract forms. Be that as it may, his distinctive style has made him one of the most recognizable artists of the twentieth century in the language of Art Informel. In 1967, Air France commissioned him to paint fourteen pictures to be used as advertisements for the company. The basis for these paintings was (New York) 1954. Mathieu's gestural style was influenced by many people, including Taschist Hans Hartung (1904-89), American Jackson Pollock (1912-56), the inventor of action painting, and members of Japan's Gutai Artists Association (1954-72). A natural self-promoter, Mathieu painted many of his pictures at public appearances, usually applying the paint directly from the tube onto the canvas. At the height of his career, Mathieu was one of France's most successful artists and, in 1974, appeared in the documentary film Georges Mathieu, ou la fureur de l'être. Regarding the gallery's owner, Elaine Graham Weitzen (1920-2017) was a private New York art dealer and committed philanthropist whose keen eye and interest in new and emerging artists helped create an eclectic and personal collection. Inspired by her mother's passion for music and art, Mrs. Weitzen began collecting art in the 1950s and quickly forged friendships with artists Mark Tobey, Charles Seliger, George Rickey and Arnold Newman, among others. A dedicated member of the Sculpture Center's Board of Trustees, Elaine G. Weitzen's collection is rich in sculpture and champions the work of both young and established sculptors. It includes works by George Rickey, Jean Arp, Ronald Bladen, Menashe Kadishman and José de Rivera. Seeing herself as a bridge between the art world and the artists themselves, Ms. Weitzen understood the challenges artists face when trying to create their art and earn a living. Ms. Weitzen's passion for the arts and her commitment to young emerging artists are supported by the Elaine G. Weitzen Foundation for the Fine Arts.

Wed 11 Sep

Léonard de Géréon, La Rampe et les Coulisses. Esquisses biographiques des directeurs, acteurs et actrices de tous les théâtres. Paris, chez les marchands de nouveautés, 1832. In-8, 292p. An interesting work for the study of theater people of this period. Provenances: Henri Espirac (1890-1950), baritone and bibliophile; sale Anne-Marie Meininger (Tajan, March 15, 2007, no. 188). Bradel half parchment, title page, untrimmed. Paper yellowed, small tear at head of upper spine. Petite biographie des acteurs et actrices des théâtres de Paris. Avec l'âge de ces dames. Published in Paris, Marchands de Nouveautés, 1832-1833. Small In-16, 108p. Bradel, smooth white parchment spine, brown title-piece with gilt title, year of edition at tail. Contemporary binding. Some scattered foxing. A good copy. Petite biographie des acteurs et actrices des théâtres de Paris. Paris, Lemoine, 1826. In-16, 133p, paperback. Alphonse Karr, Les Guêpes. Paris, Au bureau du Figaro, 1840. In-32, 96-96-94p. First edition, gathering in 1 volume the 3 issues of May, June and July 1840: 96, 96 and 94 pages. Frontispiece repeated at the head of each issue, wood-engraved by Verdeil (no longer engraved from August 1840). With the publication of the July 1840 issue of "Les Guêpes", Balzac launched his "Revue Parisienne". Balzac, in association with DUTACQ, founded this magazine in the hope of achieving similar success to that of "Les Guêpes". The astute Dutacq was already publishing Alphonse Karr's successful magazine under the same conditions, with a monthly circulation of 20,000. We know that Balzac's Revue Parisienne was not as successful as expected (only 3 issues from July to September 1840), whereas Les Guêpes was published for ten years, from 1839 to 1849. Attractive period binding, red basane, spine with 3 nerves decorated with gilt motifs, 3 cold irons, gilt pallets and roulettes. 2 corners slightly dulled. Alexandre Laya, Etudes historiques sur la vie privée, politique et littéraire de M. A. Thiers - histoire de quinze ans. : 1830-1846. Paris, Furne & Paulin, 1846. 2 vol. in-8, XV-416-XLIIp & IV-215-CCLXXIIIp. Attractive half-basane, speckled edges, scattered foxing. Armand Dayot, Journées révolutionnaires - 1830 - 1848. Paris, Flammarion, sd. Oblong folio. Important work reproducing documents from the period: paintings, sculptures, drawings, autographs, etc. Prize book, full percaline with the coat of arms of the city of Paris. Joints worn at ends, corners worn.

Wed 11 Sep

Lot of 20 studies on Balzac: Barbéris, Mythes balzaciens. Paris, Colin, 1972. Chul Lee, Les scènes de la vie de campagne d'Honoré de Balzac. ANRT diffusion, 1995. Noahisa Usa, La Madone dans l'oeuvre d'Honoré de Balzac. ANRT Diffusion, 1996. Baron, Balzac occulte. L'âge d'homme, 2012. With dispatch from the author. Boussel, Les restaurants dans la comédie humaine. La Tournelle, 1950. Gillot, Balzac d'après sa correspondance avec l'Etrangère. Grenoble, Aubert, 1924. Houssa, Balzac and Colette. Extract from Revue d'histoire littéraire de la France, 1960. La Rabouilleuse with a preface by Bouteron. Boivin, sd. Gadenne, Trois préfaces à Balzac. Le temps qu'il fait, 1992. On fine paper. Didi-Huberman, La peinture incarnée followed by Le chef-d'oeuvre inconnu. Editions de Minuit, 1985. Kempf, Balzac Baudelaire Barbey d'aurevilly - sur le dandysme. Collection 10/18 Honoré de Balzac - A Paris. Editions complexe, 1993. Preface by Caillois. Barthes, S/Z. Editions du Seuil. Savant, Le vrai Vidocq. Hachette, 1957. Le Père Goriot, text and contexts. Magnard, 1986. Brunetière, Honoré de Balzac. Sd (Nelson editions). Bozzi, Balzac et les médecins dans la Comédie humaine. 1932. Yücel, Figures and messages in La Comédie humaine. 1972. Vacarie, La vertueuse faillite de César Birotteau. 1928. Honoré de Balzac, literary criticism. 1912. Lot of 7 books: Balzac en sa Touraine. CLD Normand & Cie, 1975. Unique edition of 1,200 numbered copies, full publisher's cloth, dust jacket. René Guise, Balzac - 1 la société. Hatier, 1972. René Guise, Balzac - 2 l'individu. Hatier, 1973. Balzac, Une ténébreuse affaire. Presses pocket, 1993. Commentary by Gérard Gengembre. Balzac, monographie de la presse parisienne. Paris, Pauvert, 1965. Jean Forest, Des femmes de Balzac. Universités de Montréal et Sherbrooke, 1984. Honoré de Balzac, mémoire de la critique. Paris-Sorbonne, 1999. Prefaces and notes by Stéphane Vachon. Lot of 12 books: G Jacques, "Le doigt de Dieu" by Honoré de Balzac. Louvain, 1970. L Frary, Selon Balzac. Paris, Nilsson, sd [imp. Arrault à Tours]. Half-percaline. Kurt Sulger, La cousine Bette, essay on Honoré de Balzac. Zurich, Ruegg, 1940. Franco Simone, Un romanzo esemplare di Balzac: Les Paysans. Firenze, Olschki, 1956. N Bourgeois, Balzac peintre d'histoire et écrivain regionaliste. Paris, Bloud & Gay, 1925. P Louis, Les types sociaux chez Balzac et Zola. Paris, éditeurs associés, 1925. P Abraham, Créatures chez Balzac. Paris, NRF Gallimard, 1931. Ex press service. Notes on Le Père Goriot. Longman York Press, 1984. G Gengembre, Honoré de Balzac, Le Lys dans la vallée. PUF, 1994. E Deschanel, Le mal qu'on a dit des femmes. Paris, Levy, 1858. Half-percaline. Prophetic, picturesque and useful almanac (for 1842?). Copy incomplete of the first leaf. Contains "Balzac et la chiromancie" by Adolphe Desbarrolles. L'épée et la plume, exhibition at Château de Saché in 2004. Lot of 7 volumes: Balzac, Journaux à la mec. Introduction, notes and commentary by Louis Jaffard. Around Balzac's unknown masterpiece. Ecole nationale supérieure des arts décoratifs, 1985. Le Balzac de Rodin. Catalog of the Saché exhibition, 1999. Littérature et société, collection of studies in honor of Bernard Guyon. DDB, 1973. 6 studies on Balzac. Marc Blanchard, La campagne et ses habitants dans l'oeuvre de Balzac. Paris, Champion, 1931. Doctoral thesis. Envoi de l'auteur à "Miss Hollingworth". Histoire véritable de la bossue courageuse [Francis Lacassin]. Ecrits sur le roman, anthology.