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Sunday 14 Apr at : 14:00 (CEST)

April classic sale

Martin et Associés (HDV Metz) - 03.87.36.68.53 - Email

Hôtel des ventes de Metz, 43, rue Dupont-des-Loges 57000 Metz, France
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584 results

Lot 30 - Jean-Claude FAHRI, born 1940 in Paris, died 2012 in Monaco Composition - Relief 3L3, 1965 Paint and mixed media in relief Signed, titled and dated on back 122 x 203 (small accidents) Provenance: Estate of a major southern collector Jean-Claude FAHRI's paintings and compositions are rare on the market, particularly such a relief from 1965, produced quite early in the output of this major 20th-century artist. In 1957, he moved to Nice, where he took drawing classes at the Arts Décoratifs de Nice. Here he met the leading artists of the École de Nice: Ben, Gilli Alocco, Malaval and the New Realists Arman and Raysse, who introduced him to the critic Pierre Restany. In 1965/1966, he worked on "Motorcolors", followed by sculptures in Plexiglas and metal. For a time, he worked with César. From 1968 onwards (exhibition at Galerie Iris Clert), he devoted himself mainly to Plexiglas sculptures (with the support of the "Polivar" factories): columns and disks, pyramids, and then so-called "variable geometry" sculptures. It was in this direction that he developed his work with monumental works. Claude Fournet, former director of the Museums of Nice, comments: "His mastery of plastic materials, which was the primary element of his research, is combined with a functionality of form that he borrows from the world of Futurism and the Bauhaus. It is with this deviation that all artists today are founded, an act of playful appropriation that masterfully places Jean-Claude Farhi in the line of the Nouveaux-Réalistes when, playing with shapes in his highly colored material, he offers us sculptures that are so many outlines, drawn in the light of pure color. The artist is represented in numerous museums and private collections in Europe, America and Asia, and has been commissioned by the French government on several occasions.

Estim. 3 000 - 6 000 EUR

Lot 31 - Pinchus KREMEGNE Portrait of a woman.with a cat..oil on canvas Signed. 61 x 46 cm. Provenance: private collection Luxembourg Pinchus Krémègne is a French painter and lithographer of Lithuanian origin, associated with the first École de Paris. He arrived in Paris in 2012, where he was joined by Kikoine and Soutine, and settled in the workshops of La Ruche, along with his friends Marc Chagall, Fernand Léger, Chaim Jacob Lipchitz and Ossip Zadkine. Krémègne took part in the life of Montparnasse and met Amedeo Modigliani. In 1914, he made his debut at the Salon des indépendants, alongside Roger Bissière, Sonia Delaunay, Michel Kikoine, Casimir Malevitch, Amédée Ozenfant and Jean Pougny. His palette was enriched by the influence of the Fauves, and his compositions were strengthened by the works of Cézanne. He is greatly influenced by Van Gogh. His style tended towards greater expressive power, halfway between the lessons of Van Gogh, for the treatment of color, and Cézanne for the construction of planes. Added to this are his own qualities of synthesis and rigor. His pastes have a thick, rich materiality, largely worked with brushes in the style of colored expressionism. In the 1950s, the clear organization of shapes disappeared in favor of chromatic preoccupations, with brighter colors, more agitated and sometimes even lyrical brushstrokes. Houses and mountains fade into the background, replaced by a profusion of vegetation. Pinchus Kremegne is represented in the public collections of numerous museums in the UK, France, Switzerland and the USA. Israel, Russia, Lithuania, Australia, etc.

Estim. 1 500 - 2 500 EUR

Lot 33 - Tony SOULIE (1955) - Untitled, 1991 Acrylic, varnish and carborundum powder on canvas Signed and dated on back, 1991 150 x 150 cm (slight dent in lower left corner). Provenance: private collection Luxembourg A fine large-format work representative of the artist's research. Tony Soulié was part of the French "New Abstraction" of the 1970s-1980s. From 1983 onwards, he was an important emerging figure in the renewal of abstract art, obeying "impulses and knowledge that are no longer symbolic, since they aim to demonstrate the mechanisms of painting where ideology perhaps no longer interferes, where the tortuous paths of theory are perhaps no longer so constraining. There is one constant in the materials Soulié uses in his paintings. The use of varnish and carborundum powder added to acrylic paint has been characteristic of his art since 1992, with his first painted photographs of Africa. These materials, originally not intended for fine art, were adopted by Soulié when his studio was located in the Bastille district, then dominated by furniture manufacturing. The use of carborundum in his painting is also directly linked to his installations on volcanoes: the silicon compound is found in its pure state in nature only in volcanic exhalations. "I don't feel so abstract in my relationship to reality; through my dependence on this reality, I tend towards the simplification of line, of space, and this oscillation between the concrete and the abstract unbalances me in my research, as a result. I have a more aerial point of view, I work on the ground with more distance, more mobility, sometimes I have the impression of piloting spaces. There's a big part in the inner journey, a pure movement where lines intersect and end up weaving a core, becoming one with the space explored. "Tony Soulié His work has been exhibited at the Honolulu Museum of Contemporary Art in Hawaii, and at the Musée de l'Industrie (Bois du Cazier) in Charleroi. Soulié is represented by art dealers and galleries in London, Paris, Honolulu, Frankfurt, Copenhagen, Seoul, Tokyo, Santa Fé and other cities around the world.

Estim. 1 000 - 2 000 EUR

Lot 34 - JAN Elvire (1904-1996). "Composition. Painting on canvas. Signed and dated 1959. Countersigned and dated on the back. 73 x 92 cm. Provenance : private collection Luxembourg Elvire Kouyoumjian, known as Elvire Jan, born May 1, 1904 in Sofia, Bulgaria, is a non-figurative or abstract painter of the New School of Paris. Elvire Jan's style is one of lyrical abstraction with an impressionist essence. Her first non-figurative paintings date from 1949. Until 1953, their strongly marked structures fragmented, then softened from 1957 onwards. By 1964, their material was enriched by multiple superimpositions. Around 1970, "his palette, previously more complex, evolves - as with all great painters - towards large, simple chords, no less rich but almost monochrome, balanced on a few modulated tones, most often based on earths, elemental colors, which modestly conceal all the light", analyzes Bazaine. Her work later developed into a non-figurative landscape punctuated by an extremely lively style. From the 1960s onwards, Elvire Jan simultaneously produced numerous watercolors. "A watercolor by Elvire is, before our eyes, the world in formation - we are spectators of Genesis. Light flows from source to source, invading the emptiness of the paper, spreading in joyous waves or dramatic eddies with all the force and freedom of original water. Undifferentiated clouds, hills and rocks appear. Man is not yet formed, and the universe offers itself to us in its primitive availability", writes Bazaine5. "Space. Horizons. Terres de Haute-Provence, where the gaze reaches out into the distance. M'illumino d'immenso, as Ungaretti says. Then this gaze slowly turns in on itself, lowering itself towards a grass, a pebble, inviting each of us to descend to the depths of ourselves. Far away. The very near. A single measure. The very rhythm of creation. Everything associated... watercourses, plant sap, the flap of a shutter, blood beating under the temple. "says the artist. Works by Elvire Jan can be found in collections in France (Musée national d'art moderne de Paris, Musées de Caen, Musée Unterlinden de Colmar, Lyon, Metz, Tourcoing, etc.) and abroad in Dublin (Ireland), Luxembourg (Grand Duchy of Luxembourg), Bergen (Norway), Lund (Sweden), Sion (Switzerland) and Lisbon (Portugal), etc.

Estim. 4 000 - 6 000 EUR

Lot 35 - Pinchus KREMEGNE Still life with fruit oil on canvas Signed. 46 x 55 cm. Provenance: private collection Luxembourg Pinchus Krémègne is a French painter and lithographer of Lithuanian origin, associated with the first École de Paris. He arrived in Paris in 2012, joined by Kikoine and Soutine, and settled in the Ruche studios, along with his friends Marc Chagall, Fernand Léger, Chaim Jacob Lipchitz and Ossip Zadkine. Krémègne took part in the life of Montparnasse and met Amedeo Modigliani. In 1914, he made his debut at the Salon des indépendants, alongside Roger Bissière, Sonia Delaunay, Michel Kikoine, Casimir Malevitch, Amédée Ozenfant and Jean Pougny. His palette was enriched by the influence of the Fauves, and his compositions were strengthened by the works of Cézanne. He was greatly influenced by Van Gogh. His style tended towards greater expressive power, halfway between the lessons of Van Gogh, for the treatment of color, and Cézanne for the construction of planes. Added to this are his own qualities of synthesis and rigor, where the pastes have a thick, rich materiality, largely worked with a brush in the style of colored expressionism. In the 1950s, the clear organization of shapes disappeared in favor of chromatic preoccupations, with brighter colors and more agitated, sometimes even lyrical brushstrokes. Houses and mountains fade into the background, replaced by a profusion of vegetation. Pinchus Kremegne is represented in the public collections of numerous museums in the UK, France, Switzerland and the USA. Israel, Russia, Lithuania, Australia, etc.

Estim. 1 500 - 2 000 EUR

Lot 36 - John-Franklin KOENIG (1924-2008) Heian haï, 1986 Mixed media on canvas, signed, dated and titled on back. 122.5 x 81 cm Bibliography: - "John Franklin Koenig, works from the 1980s" Persin, Présence de l'art contemporain, Angers, 1980, reproduced and described on pages 30-31. - "John-Franklin Koenig his life his work". Provenance: private collection Luxembourg John-Franklin Koenig, born on October 24, 1924 in Seattle, U.S.A., moved to Paris in 1948 and, in the early '50s, took a very active part in the adventure of abstract art, contributing to the creation of Galerie Arnaud and the animation of the magazine Cimaise. Alongside his Nantes-based friends Martin Barré and James Guitet, he was considered a representative of abstract landscape painting. Pierre Restany, who assiduously followed his development, counted him among the rare designers of imaginary spaces whose cause he championed. At the heart of the questions and debates that animated artistic life in the second half of the 20th century, John Franklin Koenig remained rigorously faithful to the practice of non-figurative painting, while at the same time, from 1960 onwards, devoting himself to the regular practice of photography. In his search for light, space and rhythm, John-Franklin Koenig used a variety of formats and techniques: collages, oils and acrylics on canvas, prints (linos and lithographs), inks, drawings and gouaches on paper, shikishis, monotypes and tapestries. In the 1950s, this American artist became involved in a Parisian art scene that had yet to experience the domination of the American market. When John-Franklin Koenig evoked those youthful years, when the tensions within abstraction generated a number of conflicts between the proponents of "cold" abstraction ("those who make kitchen tiles" said the detractors) and "hot" abstraction ("those whose paint drips" retorted the others), he laughed out loud. His work has been shown in over 220 solo exhibitions and more than 400 group shows.

Estim. 1 500 - 3 000 EUR

Lot 37 - Gianni BERTINI (1922-2010) Hydrogen Venus, Act 2 Mixed media on canvas Signed lower right Countersigned, titled and dated 1977 on the back 116 x 81 cm Provenance: private collection Luxembourg This work is a fine example of the artist's research into his favorite theme, and follows on from Venus à Hydrogène, acte 1 prodiuot in 1964, an acrylic on photographic transfer on canvas, of similar dimensions, which was exhibited at Galerie Thorigny, Seine 51 (Prince Murat collection). In 1950, Gianni Bertini moved to Milan, where he began to express himself through the widespread use of stains. These works were presented in October 1951 at the Galleria Numero in Florence. They constituted the first manifestation of informal art in Italy. They became known as "nuclear art. " He travels extensively throughout Europe, holding solo exhibitions in Brussels, Copenhagen, Schiedam and Amsterdam. He moves to the United States, where he works with the Gres Gallery in Chicago. From 1954 onwards, he participated in the Salon de Mai, and in 1957 was part of the "Espaces Imaginaires" group proposed by Pierre Restany at the Hélène and Henri Kamer gallery. From the "appropriation" of emblems, photos, etc., he moved on to photographic transfer onto emulsion-coated canvas, and in 1965 signed the first Mec'art manifesto. His work subsequently continued in this vein. He took part in "Mythologies quotidiennes", "Figuration narrative" and "Le monde en question", events organized by Gérald Gassiot-Talabot.

Estim. 3 000 - 6 000 EUR

Lot 39 - Jean Legros (1917-1981) Composition, 1978 Acrylic on canvas, signed and dated lower right. 91 x 65 cm Provenance: private collection Luxembourg Jean Legros is a geometric abstract painter, sculptor and creator of stained-glass cartoons. The artist made his mark on the art scene, moving between pure abstraction, minimalism and concrete art. Interested in abstraction, he became a pupil of Jean Dewasne (1921-1999) in 1949. The strong colors and geometric lines of his master's canvases led him to create similar works, but with colors applied unevenly. Around 1957, Jean Legros became aware that his work was tending more and more towards the absolute, with a highly spiritual dimension. In 1958, he moved to the Beauce region and the vastness of its fields, where he set up his studio. In the 1960s, he achieved a purer, more minimal abstraction that he would never abandon, with flat, homogeneous colors. In 1973, Jean Legros entered a period of purely geometric colored abstraction. "Colors, sometimes static, sometimes dynamic, which combine or, on the contrary, slide and collide, "come to light", to use his own expression. From 1973 to 1981, he produced the Toiles à bandes, Espaces biais, Oiseaux-nuages, Ronds musicaux, Carrés tensifs and Circuits colorés series. Cultivating true intellectual friendships (Aurelie Nemours, Jean Leppien...), his quest for the absolute gave rise to a highly spiritual, abstract painting style, with a highly personal vision in which the artist unleashes what he himself calls the energetic power of color. After a lifetime of rigorous research devoted to a demanding body of work, he is now recognized as the Barnett Newman of the United States" (Roger Leloup).

Estim. 2 000 - 4 000 EUR

Lot 41 - Jean LE MOAL (1909-2007) Composition, 1983, reworked in 1988 Oil on canvas, signed lower right, countersigned and dated on the back 33 x 34 cm - 13 x 13 ¼ in. This work is in the archives of Monsieur Michel-Georges Berna Provenance: private collection Luxembourg Jean Le Moal is considered one of the leading exponents of French non-figuration in the second half of the 20th century, in a body of work that transcends aesthetic divisions. Alongside Bertholle, Bissière and Manessier, Jean Le Moal exhibited with the "Témoignage" group, led by Marcel Michaud, which brought together painters, sculptors, musicians and writers, at its first show in 1936 at the Salon d'Automne in Lyon, then in Paris in 1938 and 1939. The emergence of this new style enabled Le Moal to approach the marine element differently, like the metamorphoses of light throughout the cycle of the seasons. The last punctuation marks that used to run through his canvases as lines of force soon fade and disappear, as the strokes pass into one another in vibrant bangs that finally dissolve all linear structure. "More and more, I feel the need to draw through the brushstroke and from within the form", he confides at the time. In the élan of unstable masses of color traversed by the ravines of a now dynamic graphic style, his canvases seem to show, beyond the spectacles of "naturified" nature, the mobile interplay of the elemental energies of a continually "naturating" nature. Building on the impetus of his 1974 exhibition at the Galerie de France, Jean Le Moal continued his research into familiar themes, marine and terrestrial spaces. During these years, in parallel with his constant work in stained glass, he multiplied what he familiarly called his "Small Formats", on which he worked until the early 2000s. "Le Moal's art is an example of the contribution of the language of abstraction to French painting, or conversely of the contribution of French painting to abstract art. He submits neither to the pure expression of form, nor to a purely subjective message: a human and communicative art, his beauty and inner quality broaden our perception of life. "Hans-Friedrich Geist (1961)

Estim. 3 000 - 5 000 EUR