DROUOT
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Post-war & contemporary art

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164 bis, avenue Charles-de-Gaulle 92200 Neuilly-sur-Seine, France
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116 results

Lot 5 - OLIVIER DEBRÉ (1920-1999) - Blanche de Loire au trait bleu sombre, Touraine, 1984 Oil on canvas, signed, dated and titled on back 100 x 100 cm - 39 23/64 x 39 23/64 in. Oil on canvas, signed, dated and titled on reverse A certificate of authenticity from the Comité Olivier Debré will be given to the buyer. PROVENANCE Galerie Convergence, Nantes, 1999 Private collection, Nantes Olivier Debré is one of the leading exponents of lyrical abstraction in France. Grandson of the painter Edouard Debat-Ponsan, he received a real artistic shock in 1937 when he saw Picasso's Guernica. This influence was to prove decisive for the artist, who abandoned figurative painting to devote himself to abstract expression of the sign as a vector of emotion and thought. After graduating from the École des Beaux-Arts in Paris in 1938, he seemed destined for a career in architecture. Yet it was in painting that he would express his plastic genius. His artistic culture led him to explore the field of Impressionism, while his style evolved into the elaboration of larger colored surfaces, making him the first representative of gestural abstraction. The poetry of his work lies in an immersion lulled by the colors of his peregrinations. A skilful blend of space and light, Olivier Debré's style is the expression of a feeling, an emotion, that he associates with a particular moment. In this way, the horizon of his works extends beyond the chromatic range he embodies in each of his paintings. Here, the two works presented reveal the virtually monochromatic nuances chosen by the artist to explore the space of the canvas. Through the cool nuances of Olivier Debré's palette, the viewer is plunged into contemplation of the immense detail before him. The painter's style is a synthesis of his mastery of color, supported by the oscillation of the thicknesses laid down on the canvas, multiplied tenfold by the format of his works. As a "European Rothko", Olivier Debré cannot leave the discerning eye unmoved, arousing emotion through gesture. Representative of lyrical abstraction, Olivier Debré is a major French painter. Grandson of the painter Edouard Debat-Ponsan, he received in 1937, a real artistic shock in front of the Guernica of Picasso's Guernica. This influence will be decisive for the artist, who will abandon figuration, to devote himself to the abstract expression of the sign, vector of emotions and thought. Graduated from the École des Beaux-Arts de Paris in 1938, he seemed to be promised to a career as architect. However, it is in painting that he will express his plastic genius. His artistic culture makes him explore the field of impressionism while his style evolves in the elaboration of the elaboration of larger colored surfaces, making him the first representative of the gestural abstraction gestural. The poetry of his work resides in an immersion rocked by the colors of his peregrinations. A clever mixture of space and light, Olivier Debré's style is the expression of a feeling, an emotion an emotion, which he associates with a particular moment. Thus, the horizon of his works beyond the chromatic range that he embodies in each of his paintings. Here, the two works presented reveal the practically monochromatic shades chosen by the artist to explore the the artist to explore the space of the canvas. Through the cold shades of Olivier Debré's palette, the viewer is the viewer is immersed in the contemplation of the immense detail before him. The style of the style is a synthesis of his mastery of colors, supported by the oscillation of the thicknesses on the canvas, which increases tenfold the format of his works. As a "European Rothko" Olivier Debré would not leave an informed eye unmoved, arousing emotion through gesture.

Estim. 25 000 - 35 000 EUR

Lot 6 - BEN VAUTIER (1935 - 2024) - Pour le groupe Zero, 1990 Acrylic on canvas signed lower right, countersigned and dated on the back, and hanging of a plastic rattle 42 x 16 cm - 16 17/32 x 6 19/64 in. 22 x 16 cm (canvas) - 8 21/32 x 6 19/64 in. Acrylic on canvas, signed lower right, countersigned and dated on reverse, hanging of a plastic rattle This work is listed in Ben Vautier's catalog raisonné under archive number 3952. PROVENANCE Galerie Catherine Issert, Saint-Paul-de-Vence Private collection, France Ben, pseudonym of Benjamin Vautier, is a French artist of Swiss origin, born in Naples in 1935. He lived and worked in Nice, where he arrived at the age of fourteen. During the years 1959 - 1960, the main members of what came to be known as the Nice School met in his store, or on the sidewalk. Close to Yves Klein and the Nouveaux Réalistes, he belonged to the artistic avant-garde, more specifically post-modernism and the Fluxus group. By the end of the 1960s, he had established a solid public reputation, His "writings" took on a variety of forms, as seen here in Pour le groupe Zero (1990). Ben, pseudonym of Benjamin Vautier, is a French artist of born in Naples in 1935. He lives and works in Nice, where he at the age of fourteen. During the years 1959 - 1960, the principal members of what came to be known as the Nice School meet in his store, or on the sidewalk. Close to Yves Klein and the Nouveaux Réalistes, he belongs to the artistic avant-garde, more specifically post-modernism and the Fluxus group. He acquires a solid reputation with the public in the late 1960s, in particular through his "writings", which took a variety of forms such as Pour le groupe zero (1990).

Estim. 4 000 - 6 000 EUR

Lot 7 - [FERNANDO BOTERO] - Commemorative medal for the "Fernando Botero aux Champs-Élysées" exhibition in 1992, struck by the Monnaie de Paris Medal in 18k (750) gold, bearing the Corne d'abondance hallmark of the Monnaie de Paris on one side and the fleurette hallmark of the Atelier de Gravure des Monnaies et Médailles on the other, numbered I/III and bearing the Corne d'abondance hallmark on the edge. Poids - Weight : 1,7 kg9.5 x 3 cm - 3 47/64 x 11 1/64 in. Medal of Gold 18k (750), bearing on a face the stamp Corne d'abondance by the Monnaie de Paris and the stamp of the Atelier de Gravure des Monnaies et Médailles, numbered I/III and bearing the stamp Corne d'abondance on the edge With a certificate of authenticity from the Monnaie de Paris numbered I/III, an explanatory leaflet and its original case. It is impossible to dissociate contemporary art from the figure of Fernando Botero, so remarkable has been his influence on our culture. his influence on our culture. Today, his works are omnipresent, not only on the streets and in large interiors, but also in popular culture and on social networks. The artist's death in 2023 brought to a close an exceptionally prolific and varied career, whose sometimes misunderstood avant-gardism is still far from a public consensus. Sometimes parodied, sometimes adored, his work leaves no one indifferent, and is still talked about today. Fernando Botero was born in Medellin, Colombia, in 1932. Raised by his mother and uncle in the tradition of Colombian culture, he trained at the bullfighting school before quickly abandoning the red cape and tercio de piques for the pencil. Inspired by pre-Columbian and Spanish art, Botero decided to embark on a career as an artist. Eager for adventure, the artist left for the capital Bogota. There, he held his first exhibition and sold his first canvases, with the money from which he flew to Europe in 1952. An initiatory journey followed: Botero studied the Spanish masters at the Prado and discovered the Old Masters at the Louvre, before learning the art of fresco in Florence. He exhibited in New York, collaborated with Vogue Paris to illustrate haute couture collections, then moved to Pietrasanta in Italy before finally settling in Paris in 1973. He then began to work on sculpture in addition to his pictorial work. In 1992, a major exhibition of his sculptural work was held on the Champs-Élysées. More than 30 sculptures were on view from October 22, 1992 to January 30, 1993 on the avenue, and some 100 paintings at the Grand Palais. Among these works were a number of celebrities, including a giant torso over 4 meters high, cyclopean in scale, in the image of his extraordinary production. Inspired by pre-Columbian art, prehistoric Venus and the Italian Renaissance, these callipygous figures carry an immense cultural baggage, heirs to an iconographic tradition as old as humanity itself. This exceptional ensemble was intended to mark the artist's return to the limelight after several years' absence. To mark the occasion, the artist, in collaboration with La Monnaie de Paris, commissioned the minting of 703 copies of this medal: 500 in bronze, 200 in solid silver, and finally 3 in gold. This solid 18-carat gold medal is numbered I/III on the edge, where it also bears the cornucopia, the Monnaie de Paris hallmark guaranteeing its provenance and authenticity. This extremely rare object is signed on the side bearing the artist's self-portrait, while the other side depicts one of Botero's most famous works, proudly displayed in front of the Arc de Triomphe. With its exceptional relief for this type of production, it took five consecutive strikes under a 2,500-ton press at La Monnaie de Paris to achieve such a contrasting result. Testifying to Botero's artistic consecration, this medal marks an unprecedented event in the career of one of the century's most celebrated personalities. Inspired by mythical representations, he ultimately became a symbol himself, and his visionary aesthetic continues to overturn preconceived ideas. It is impossible to dissociate contemporary art from the figure of Fernando Botero, such has been his influence on our culture. His influence on our culture has been so remarkable, today, his works are ubiquitous, as much in the streets and large as they are in popular culture and on social networks. The artist's death in 2023 brought to a close an exceptionally prolific and varied career, whose

Estim. 60 000 - 80 000 EUR

Lot 9 - JACQUES VILLEGLÉ (1926 - 2022) - Rue Bobillot / Place d'Italie, May 19, 1987 Torn posters mounted on canvas, signed lower right, titled and dated on back 170 x 250 cm - 65 47/64 x 98 1/64 in. Slashed posters mounted on canvas, signed lower right, titled and dated on reverse A certificate of authenticity signed by the artist dated May 25, 2019 will be given to the buyer. PROVENANCE Sabine Wachters Gallery, Knokke, Belgium Jacques Villeglé is regarded today as the emblematic French poster artist, his name inextricably linked with this technique. Indeed, Villeglé was a lifelong practitioner of lacerations, starting with his first poster tear-down in 1949. His best-known works include Rues Desprez and Vercingétorix, from 1966. The work we present, Rue Bobillot / Place d'Italie, is a continuation of his approach. This small-scale laceration is particularly representative of the philosophy of French poster artists. Indeed, they take posters as they come, without altering the result, and as proof of this, the works have their place of production as their title. Villeglé has come to be known as the emblematic poster-shredding French artist. His name is inseparable from this technique, which he began using in 1949. One of his best-known works is Rues Desprez et Vercingétorix from 1966. The small work we are presenting, Rue Bobillot/Place d'Italie, exemplifies his approach. It is particularly representative of the French poster artists' methods. They take the posters as they are without modifying the result and as proof the works are named after their place of production.

Estim. 60 000 - 80 000 EUR

Lot 13 - ABOUDIA (né en 1983) - Môgô, 2017 Acrylic, pencil, oil pastel and collage on canvas 118 x 150 cm - 46 29/64 x 59 1/16 in. Acrylic, pencil, oil pastel and collage on canvas A certificate of authenticity signed by the artist will be given to the buyer. PROVENANCE Private collection, France Aboudia, whose full name is Abdoulaye Diarrassouba, is a contemporary painter from Côte d'Ivoire. Born in 1983 in Abidjan, he is best known for his vibrant, energetic works that blend graffiti and traditional painting, reflecting the social and political complexities of his native country as well as the urban realities of street children. His works are often populated with childlike figures, animals, symbols and text, creating vibrant, chaotic scenes that capture the effervescence of the streets of Abidjan. The artist draws inspiration from his immediate environment, particularly street children, and his works bear witness to the political tumult and social difficulties of Côte d'Ivoire. His distinctive, faux-naïve style is inspired by the iconography of Abidjan's 'Nouchi' graffiti (the term refers to a colloquial dialect that is the preferred language of Ivorians in Abidjan), traditional wooden masks and Vodou. He employs the figure of the Môgô, which in Ivorian means "the guy" or "the guy", i.e. the everyday man. Aboudia was discovered in 2011 by a German artist, Stefan Meisel, who saw his work on social networks, bought two paintings and offered to represent him. Following two exhibitions in London at major international galleries, his work has found its way into major private collections and major art fairs. Aboudia, whose full name is Abdoulaye Diarrassouba, is a contemporary painter from Côte d'Ivoire. Born in 1983 in Abidjan, he is best known for his vibrant, energetic works that blend graffiti and traditional painting, reflecting the social and political complexities of his native country as well as the urban realities of street children. His works are often populated with childlike figures, animals, symbols and text, creating vibrant, chaotic scenes that capture the effervescence of the streets of Abidjan. The artist draws inspiration from his immediate environment, particularly street children, and his works bear witness to the political tumult and social difficulties of Côte d'Ivoire. His distinctive, faux-naïve style is inspired by the iconography of Abidjan's 'Nouchi' graffiti (the term refers to a colloquial dialect that is the preferred language of Ivorians in Abidjan), traditional wooden masks and Vodou. He employs the figure of the Môgô, which in Ivorian means "the guy" or "the guy", i.e. the everyday man. Aboudia was discovered in 2011 by a German artist, Stefan Meisel, who saw his work on social networks, bought two paintings and offered to represent him. Following two exhibitions in London at major international galleries, his work has found its way into major private collections and major art fairs.

Estim. 50 000 - 70 000 EUR