Back to Calendar > Les Floralies, art moderne et contemporain...
DROUOT
Sunday 07 Jul at : 14:00 (CEST)

Les Floralies 2024 - Modern and contemporary art

Osenat - +33164222762 - Email CVV

13, avenue de Saint-Cloud 78000 Versailles, France
Information Conditions of sale
PDF Ebook Article Gazette Drouot
See all the auctions Osenat
Live
Register
Reset all filters
203 results

Lot 137 - François GALL (1912-1987) Les deux bouquets au compotier, 1957 Oil on canvas Signed lower left 61 x 46 cm; with frame 82 x 67 cm Bibliography : - François Gall, by André Flament, Editions Vision sur les Arts, Paris, p 29 Among the fresh bursts of country bouquets, often combined with newspapers, pipe and tobacco tin, chess sets, the same fluted glass, and fruit from the garden of grandfather Ferdinand, a cartwright in Martel-en-Quercy. "Tasty, pulpy pieces of paint [...] where the colors seem to harmonize by themselves", as if extracted from the tapestries in the background. François Gall (1912-1987) After the dark, social subjects of the war years, Gàll Ferencz discovered light and freedom in the France he had chosen, a dream of his teenage years spent at the Nagybànya School, the Hungarian Barbizon of Transylvania. After meeting the young Quercy poet Eugénie in 1946, his style and subjects evolved. Impressionist gallery owner Charles Durand-Ruel, whose portrait he painted, exhibited his work from 1949. "...from intimacies to landscapes, Gall extends his visual field with a brio that brings to mind the masters of the early twentieth century. His work is clear and joyful, full of optimism like the man himself. He makes us witness a perpetual feast of color and light". (Jean Bouret, excerpt from the exhibition catalog). A naturalized François Gall, he lovingly painted Parisian life, posing Eugénie, their three children, collectors and friends.

Estim. 2 500 - 3 000 EUR

Lot 138 - François GALL (1912-1987) Les demoiselles du Pont Neuf en été or Conversation on the Pont Neuf, 1972 Oil on canvas Signed lower right 81 x 100 cm; with frame 103 x 120 cm Exhibited at the Salon des Artistes Français 1978. Here, on the Pont Neuf, Gall's first open-air studio opposite his attic on rue Dauphine, is his youngest daughter Elizabeth-Anne with her childhood friend. The summer light was intense, and under Catherine's straw hat and graceful gesture, she prepared for the usual stroll to the artist's bookshop friends, in search of old prints and books. This work has been recorded in the Gall family archives for the catalog raisonné currently in preparation. François Gall (1912-1987) After the dark, social subjects of the war years, Gàll Ferencz discovered light and freedom in the France he had chosen, a dream of his teenage years spent at the Nagybànya School, the Hungarian Barbizon of Transylvania. After meeting the young Quercy poet Eugénie in 1946, his style and subjects evolved. Impressionist gallery owner Charles Durand-Ruel, whose portrait he painted, exhibited his work from 1949. "...from intimacies to landscapes, Gall extends his visual field with a brio that brings to mind the masters of the early twentieth century. His work is clear and joyful, full of optimism like the man himself. He makes us witness a perpetual feast of color and light". (Jean Bouret, excerpt from the exhibition catalog). A naturalized François Gall, he lovingly painted Parisian life, posing Eugénie, their three children, collectors and friends.

Estim. 4 000 - 6 000 EUR

Lot 160 - Michel JOURNIAC (France / 1935-1995) Alphabet of the body, 1965 Oil on canvas (supplier's mark (BOSSELUT / Île Saint Louis', on stretcher) Signed and dated 'Journiac 65' (lower right) 116 x 81 cm (sold unframed) Provenance : -Éditions La Différence, Paris (gift of the artist). -Private collection, Paris. MICHEL JOURNIAC (1935-1995), ALPHABET D'IDENTITÉES : WORKS FROM THE COLETTE LAMBRICHS COLLECTION, ÉDITIONS LA DIFFÉRENCE The woman of letters Colette Lambrichs (b. 1946), from whom the following two works by Michel Journiac from the "Alphabet" series come (lots 160 and 161), claimed that "the artist should have been at the forefront of French art in the 80s". This is now the case, as Journiac is widely represented in François Pinault's collection. Director of the renowned publishing house La Différence since 1976, Colette Lambrichs recognized the importance of French painter, performer and transvestite Michel Journiac (1935-1995) as early as the 1960s, at the dawn of the May 1968 revolution in morality, who focused on questioning gender identity and the notion of the traditional family. Known for his performances and photos in which he dresses and makes up as each member of his family, Journiac questions traditional family roles and gender identity, following in the footsteps of Claude Cahun. Michel Journiac's paintings from the 1960s, which follow the same approach and of which Osenat is presenting two important works, are less well known, and have a more intimate and carnal side. The two present paintings are biomorphic, gridded abstractions, halfway between carnal surrealism and rational minimalism, unprecedented in Parisian art of the 1960s, presenting a synthesis of lyrical abstraction and minimalism. A rational grid of multiple entrails. One thinks of the viscerality of Chaïm Soutine, but also of the rationalism of Bernd and Hilla Becher. One thinks of the fluidity of Achille Gorky, and the coldness of Donald Judd. Colette Lambrichs, to whom these two works belonged personally, wrote of her encounter with Journiac: "Michel Journiac was a great friend of ours, both to Joaquim Vital (1948-2010, Portuguese poet) and to me. A former seminarian, [Journiac] created a political, libertarian and inspired body of work that should have been at the forefront of French art in the 1980s. When I left Belgium in 1972, I took an exhibition I'd organized at the Palais des Beaux-Arts in Brussels, entitled "La Vénus de Milo ou les dangers de la célébrité", to the Musée des Arts décoratifs in Paris. Among the contemporary artists I asked to create a Venus de Milo was Michel Journiac. Three years later, when I met Joaquim Vital in the offices of Éditions de la Différence, which he had just founded, I was surprised to see Journiac's Venus in his hands. He had bought it along with several other pieces. Éditions de la Différence, to whom the two present works were donated by Journiac, published the first essay on Journiac's work in 1977, "Michel Journiac, l'ossuaire de l'esprit" by Marcel Paquet, as well as a book of the artist's poems, "Délit du corps", in 1978. They had planned to publish a volume on Journiac in the "Mains et Merveilles" collection, but the artist's death in 1995, followed by that of Pierre Restany, who was to have written the text, postponed the publication, which ultimately never took place."

Estim. 5 000 - 7 000 EUR

Lot 161 - Michel JOURNIAC (France / 1935-1995) Letter for a blood alphabet, circa 1965 Oil on canvas (supplier's mark (BOSSELUT / Île Saint Louis', on stretcher) Unsigned On reverse: handwritten numbering '51'. 116 x 89 cm (sold unframed) Provenance : -Éditions La Différence, Paris (gift of the artist). -Private collection, Paris. MICHEL JOURNIAC (1935-1995), ALPHABET D'IDENTITÉES : WORKS FROM THE COLETTE LAMBRICHS COLLECTION, ÉDITIONS LA DIFFÉRENCE The woman of letters Colette Lambrichs (b. 1946), from whom the following two works by Michel Journiac from the "Alphabet" series come (lots 160 and 161), claimed that "the artist should have been at the forefront of French art in the 80s". This is now the case, as Journiac is widely represented in François Pinault's collection. Director of the renowned publishing house La Différence since 1976, Colette Lambrichs recognized the importance of French painter, performer and transvestite Michel Journiac (1935-1995) as early as the 1960s, at the dawn of the May 1968 revolution in morality, who focused on questioning gender identity and the notion of the traditional family. Known for his performances and photos in which he dresses and makes up as each member of his family, Journiac questions traditional family roles and gender identity, following in the footsteps of Claude Cahun. Michel Journiac's paintings from the 1960s, which follow the same approach and of which Osenat is presenting two important works, are less well known, and have a more intimate and carnal side. The two present paintings are biomorphic, gridded abstractions, halfway between carnal surrealism and rational minimalism, unprecedented in Parisian art of the 1960s, presenting a synthesis of lyrical abstraction and minimalism. A rational grid of multiple entrails. One thinks of the viscerality of Chaïm Soutine, but also of the rationalism of Bernd and Hilla Becher. One thinks of the fluidity of Achille Gorky, and the coldness of Donald Judd. Colette Lambrichs, to whom these two works belonged personally, wrote of her encounter with Journiac: "Michel Journiac was a great friend of ours, both to Joaquim Vital (1948-2010, Portuguese poet) and to me. A former seminarian, [Journiac] created a political, libertarian and inspired body of work that should have been at the forefront of French art in the 1980s. When I left Belgium in 1972, I took an exhibition I'd organized at the Palais des Beaux-Arts in Brussels, entitled "La Vénus de Milo ou les dangers de la célébrité", to the Musée des Arts décoratifs in Paris. Among the contemporary artists I asked to create a Venus de Milo was Michel Journiac. Three years later, when I met Joaquim Vital in the offices of Éditions de la Différence, which he had just founded, I was surprised to see Journiac's Venus in his hands. He had bought it along with several other pieces. Éditions de la Différence, to whom the two present works were donated by Journiac, published the first essay on Journiac's work in 1977, "Michel Journiac, l'ossuaire de l'esprit" by Marcel Paquet, as well as a book of the artist's poems, "Délit du corps", in 1978. They had planned to publish a volume on Journiac in the "Mains et Merveilles" collection, but the artist's death in 1995, followed by that of Pierre Restany, who was to have written the text, postponed the publication, which ultimately never took place."

Estim. 5 000 - 7 000 EUR
Security
Online payments are secured by Ingenico and encrypted transactions.
Guarantees
Each lot has been authenticated and appraised by an Auction House.
Support
Consult our FAQ or contact us
Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.
More about Drouot
Drouot certified auction houses
To buy
How to buy on Drouot.com
How to buy at the Hôtel Drouot
Glossary
Useful links
To sell
Value your property
Auctions at the Hôtel Drouot
Subscribe
SERVICES FOR PROFESSIONALS
Auctioneers
Contacts
HÔTEL DROUOT
9, rue Drouot 75009 Paris, France
+33 (0)1 48 00 20 00
[email protected]

DROUOT.com
[email protected]
Press Center
Private events
CGU and legal notice - Privacy Statement - Copyright © Drouot.com