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3, rue Rossini 75009 Paris, France
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mardi 25 juin - 11:00/12:00, Salle VV
lundi 24 juin - 11:00/18:00, Salle VV
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Lot 2 - Giovanni BOLDINI (Ferrare 1842 - Paris 1931) - Portrait of the wife of Jules Amigues, 1867 Original oil on canvas 37 x 22.5 cm In a wood and gilded stucco frame, front label BOLDINI A certificate from Madame Francesca Dini will be given to the buyer. The portrait is of Marie-Laure-Elina De Muller, married to Jules Amigues (Perpignan 1828-Paris 1883), a Bonapartist writer, jurist and politician. The couple had two sons, Georges (1856-1921), illustrator and caricaturist under the pseudonym "Japhet", and Jacques, contributor to the Bonapartist newspaper "Petit Caporal" and founder of the insurance company "La Préservatrice". Having belonged to Jacques and then to his son Maurice Amigues, the painting has been passed down to the present owners. On the upper part of the frame, an old inscription in pen reads: "Mme Jules Amigues/ by Giovanni Boldini/ Florence 1867". [...] Giovanni Boldini, an Italian painter, was immersed in an artistic environment from an early age. Following his training in his native city (which was nurtured by the example of important old masters such as Cosmé Tura and Dosso Dossi), he settled in Florence for around ten years, where, from 1864 onwards, he took part in the great poetic season of the Macchiaioli. In 1871, seduced by the Parisian lifestyle, he decided to settle in the French capital [...] and became one of the most sought-after artists in the Goupil stable. He achieved success with small paintings of extraordinary beauty and craftsmanship, sometimes depicting gallant scenes in 18th-century costumes, sometimes elegant slices of life, where the liveliness of the rococo brushstroke is applied to the reality of the modern metropolis. In the 1880s, Boldini returned to portraiture, his youthful passion, depicting the characters of his time in the large-format paintings that made him internationally famous. Long before his enduring fame as a "worldly portraitist" and emblematic painter of the Belle Époque, Boldini had spent just under a decade in Florence as part of the Macchiaioli movement, influenced by them on the rare occasions when he tried his hand at landscape painting. But from 1864 onwards, Boldini devoted himself above all to renewing the portrait genre, inventing a typology destined to spread among his fellow Macchiaioli, who followed him in the quest to capture the attitudes of the portrait subjects - most often full-length - and the environments they actually inhabited. In this way, studio interiors, living rooms and bedrooms became little optical boxes full of details that recounted and made visible aspects of the social life and character of his characters. The present painting belongs to this creative moment, depicting Jules Amigues' wife at a time when the famous politician was making his journalistic debut in Italy as a correspondent for "Le Temps", mingling assiduously with the cosmopolitan society that gathered in the Florentine hills of Bellosguardo and in particular in the splendid Villa dell'Ombrellino - inhabited at the time by the eccentric artist Marcellin Desboutin. It was here that Boldini and Amigues became acquainted, involved in various ways with Desboutin and publisher Felice Solar's plan to create a French-language newspaper in Tuscany. What's more, in 1867, the year our painting was created, the Amigues family and Boldini were staying in Castiglioncello - on the coast, south of Livomo - as guests of Diego Martellì, the art critic and friend of the Macchiaioli and later the Impressionists [see Piero Dini - Francesca Dini, "Giovanni Boldini. Catalogo ragionato", Allemandi, Turin 2002, volume II (Epistolario), p. 26]. The present painting depicts the slender silhouette of Madame Amigues against a dark green background, illuminated at the bottom by the red and orange tones of the carpet, evoking the warmth of a bourgeois interior. Madame Amigues wears a rich jet-trimmed black gown, the line of which recalls that of a simplified crinoline fashionable in the late 1860s; refined white lace covers her wrists and neck, beneath which a wide veiled bow unfurls over her bosom in a light, luminous hue. With her brown hair parted on the forehead and divided into headbands, the model's face turns to our right, a restrained movement that Boldini is quick to capture: Madame Amigues thus appears posed, without being motionless, while the Italian master reveals his characteristic style through an elegant and fascinating execution. By Francesca Dini, expert on the works of Giovanni Boldini. Reviewed and translated by Etude Millon

Estim. 8 000 - 10 000 EUR

Lot 20 - Pierre BONNARD (Fontenay aux Roses 1867 - Le Cannet 1947) - The Château de Virieu near Le Grand-Lemps, ca. 1886 Oil on canvas mounted on parquet panel 38 x 40 cm Provenance: Terrasse-Floury Collection Terrasse-Floury Collection Still in the family through inheritance Bibliography : Guy-Patrice and Floriane Dauberville, Bonnard 2e Supplément Catalogue raisonné de l'Œuvre peint, Paris, Editions Bernheim-Jeune, 2021 page 71, number 02190, reproduced These are the intimate works that Pierre Bonnard offers us to contemplate from his family home in Le Grand-Lemps, and which we are honored to present for sale. Boasting some ten hectares of wooded land and a vast garden, "Le Clos" nestles at the foot of the Alps in the ancient Dauphiné region. It was here that, as a child, Pierre Bonnard spent his vacations, in the home that had belonged to his paternal grandfather, a farmer and seed grower. The painter stayed here regularly in the spring, from the beginning of his career until the property was sold in 1928. Timothy Hyman describes it as one of the "constants of his existence, from his earliest childhood to the eve of his sixtieth birthday" (Bonnard, London, 1998, p. 70), and over the years it has become a major recurring motif in Pierre Bonnard's work. It was in the summer of 1895, moreover, that Pierre Bonnard, then at Le Grand Lemps, finally felt complete in his identity as a painter, declaring: "One fine day, all the phrases and theories on which our conversations had been based - color, harmony, the relationship between line and tone, balance - seemed to have lost their abstract charge and become concrete. Suddenly, I understood what I was looking for and how I was going to get there" (Timothy Hyman, Bonnard, London, 1998, p.35). In the years following this revelation, Bonnard painted several of his most remarkable canvases at Le Clos, gradually turning his attention to the surrounding Dauphiné countryside. What these canvases have in common, however, is that they reveal landscapes where nature is king, sublimated, and where happy memories of Le Clos pervade every element of the compositions. For Bonnard, these paintings represent a haven of peace, a timeless place untouched by the constant mutations of modernity. These particularly intimate works invite us, the viewer, into the story of the man and artist Pierre Bonnard, and are being offered for the first time at auction. Always family heirlooms, these three paintings of Grand Lemps and the Dauphiné are part of the Terrasse-Floury estate, since Andrée Théodorine, Pierre Bonnard's sister, was married to Claude Terrasse, great-grandfather of the current owners.

Estim. 18 000 - 22 000 EUR

Lot 25 - Maurice DENIS (Granville 1870 - Paris 1943) - Perros-Guirec, Jesus with Martha and Mary, 1917 Original oil on canvas 102 x 157 cm Signed and dated lower left Maurice Denis 1917 Old label on stretcher: Première Exposition de collectionneurs au profit de la Société des amis du Luxembourg ..... Provenance Charles Pacquement, acquired at the expensive Druet exhibition in 1918 (Carnet des Dons et Ventes de l'artiste (CDV) n°983) By descent, remained in the Pacquement family Sale Palais Galliera, December 7, 1976, Paris, lot 16 of the sale catalog Private collection Sale by Maître Paul Renaud, Hôtel Drouot, March 17, 2000 Private collection, Paris Sale Beaussant Lefevre, June 10, 2015, lot 118 Acquired at this sale by the current owner Exhibition : Galerie Druet, "Maurice Denis", Paris, 1918, no. 2 Twelfth Exhibition of the Salon d'Automne, Paris, November 1 - December 10, 1919, n°480 Première Exposition des Collectionneurs au profit de la Société des amis du Luxembourg, Paris, March-April 1924, n°185 (collection Ch. Pacquement) Musée des Arts Décoratifs, "Maurice Denis 1888-1924", Paris, April 11-May 11, 1924, no. 259 (with date 1918) Musée d'Art Moderne, "Maurice Denis", Paris, 1945, no. 122 Bibliography: Suzanne Barazzetti, Maurice Denis, Paris, Grasset éditeur, 1945, page 289 (with the erroneous mention of an exhibition at Druet in 1927) Will appear in the catalog raisonné of Maurice Denis' work, currently being prepared by Claire Denis and Fabienne Stahl In 1890, Maurice Denis published a note in the magazine "Art et critique", in which he defined the term "neo-traditionism". It was a new ism, the marker of an artistic and aesthetic trend that was taking shape between the end of the 19th and the beginning of the 20th centuries. The artist sought to define Symbolism, then associated with the Nabis, as a movement rejecting academic art and Impressionism. The artist writes: "I've known young people who engaged in tiring gymnastics of the optic nerves to see trompe-l'œil [...]: and they succeeded, I know. Mr. Signac will prove to you through impeccable science that his chromatic perceptions are of the utmost necessity. And M. Bouguereau, if his studio corrections are sincere, is intimately convinced that he is copying "nature". [...] The irrational admiration of old paintings (in which, since they must be admired, conscientious renderings of "nature" are sought) has certainly deformed the eye of the School's masters. [...] Has anyone noticed that this indefinable "nature" is perpetually changing, that it is not the same at the '90 Salon as it was at the salons of thirty years ago, and that there is a "nature" à la mode - a changing fantasy like dresses and hats? " On the one hand, Maurice Denis criticizes the quest for antique mimesis. On the other, he wished to "commit himself to reacting against the excesses of analysis and the dangerous prestiges born of the superstition of atmospheric phenomena" (Paul Jamot, Maurice Denis, Plon, Paris, 1945, p. 5.). In this, the artist distanced himself from the artistic contributions of Impressionism. His work is thus marked by classical subjects, such as religious and secular themes, family scenes, landscapes, the occurrence of Italy and Brittany. His paintings are not dictated by the imitation of nature, but blend a subjective reality imbued with a certain melancholy. During the inter-war years, Maurice Denis was a recognized artist and decorator, illustrating on several occasions the statements he had made years earlier. The work we present, painted in 1917, is no exception to this order, making it representative of Maurice Denis' style. "When he discovered his vocation as an artist at the age of fifteen, Maurice Denis wrote in his diary on May 15, 1885: "I must become a Christian painter so that I can celebrate all the miracles of Christianity, I feel that this is what I must do". In his mind, there was a powerful link between Christianity and painting. What he wanted above all was to reinvent a Christian art for his time, combining his artistic development with his spiritual journey as a believer. In this work, Maurice Denis tackles a subject he was particularly fond of: Jesus' encounter with Martha and Mary, as recorded in St. Luke (10: 38-42). He chose not to depict a conversation, but a scene of a sacred meal, very similar to another depicted in one of his paintings, Les Pèlerins d'Emmaüs (circa 1896, private collection). The frame corresponds to the balcony of the "Silencio", a house in Brittany overlooking the beach at Perros-Guirec that the artist had bought in 1908. In his usual manner, Den

Estim. 60 000 - 80 000 EUR

Lot 35 - Robert William VONNOH (Hartford 1858 - Nice 1933) - Portrait of Bessie Potter Vonnoh Original oil on canvas 41x 31 cm Marked on the back with the stencil of the canvas dealer C. Friedrichs Art Material New -York Born in 1858 to an American family from Hartford, Robert William Vonnoh began his artistic education at the Massachusetts Normal Art School in 1875, then in Paris, where he attended the Académie Julian from 1881. In 1886, Vonnoh married Grace D. Farrelll. Farrelll, and they celebrated their union at the Hôtel Chevillon in Grez-sur-Loing. The landscapes of this village had a profound effect on the artist, who now aspired to paint outside his studio, with nature as his only model. His entire pictorial oeuvre celebrates what some critics would call the "Grez School", even though the artist made several trips to Paris, the South of France and the United States. Each canvas depicts an atmosphere where light is captured in the moment, where time seems suspended. Vonnoh manages to combine a chromatic palette characterized by its freshness and delicacy, with a clean, precise touch. Thus, the almost pastel hues of his oils, particularly his pinks, greens and blues, stand side by side with a touch composed of several small brushstrokes, giving a cottony appearance to his blossoming trees and a vaporous atmosphere to his landscapes. It's not without reason, then, that the artist is often associated with the Post-Impressionist movement, or with artists such as Armand Guillaumin, Camille Pissarro and others. Vonnoh's passion for this part of Ile-de-France led him, from 1870-1880, to settle permanently in Grez-sur-Loing, in one of Marie Simard's houses, accompanied by his second wife, American sculptor Bessie Potter. The ensemble we are presenting for sale is a testament to their love and artistic practice, since both took Bessie Potter as their subject, one to create her portrait and the other her self-portrait. This collection is also a moving tribute by this American painter, fascinated by the beauty of nature and its nuances, to landscapes from the Seine-et-Marne to the shores of the Mediterranean Sea.

Estim. 3 000 - 4 000 EUR

Lot 40 - Robert VONNOH (Hartford 1858 - Nice 1933) - The cherry tree in blossom Original oil on canvas 61.5 x 76 cm Signed lower Robert Vonnoh In Grez, the Simard sisters lived in a courtyard adjoining the Hôtel Chevillon (home to the international colony of Impressionist painters), and facing the corner of Place du Sauvage and mas-grandparents' bakery. This enclosure, preceded by a porch, still includes several cottages, one of which was rented by Marie Simard, since the 1880s, to the American painter Robert Vonnoh. Marie had remained unmarried, taking in her "big boy" like a mother during his stays in France and managing his estate when he returned to America. Her sister Aline was married to Désiré Moreau, a former carriage driver in Paris and first cousin of my grandfather, the baker. The two neighboring families were very close, and both sisters were familiar with the artistic tastes of their neighbor and cousin by marriage. In 1914, the outbreak of war prompted Vonnoh to leave her studio and its contents in the care of the two sisters. At the end of hostilities, Vonnoh returned to France with his second wife, Betty Potter, but settled in Nice. He spent some time in Grez, probably after Marie's death. With Aline's help, he made an inventory of his paintings, leaving her the part of his furniture and works that no longer interested her. Aline "religiously" preserved her "hero's" legacy and, on her death in 1938, passed it on to her cousin Marthe - my grandmother - whom she deemed worthy of ensuring that this memory would live on. Marie Simard la logeuse (died February 8, 1920) bequeathed to her sister Alix Simard (deceased November 27, 1938), who passed on the paintings to Marthe Floreau Crepin (deceased December 30, 1950), the current owner's grandmother.

Estim. 15 000 - 20 000 EUR

Lot 43 - Raymond THIBESART (Bar sur Aube 1874 - 1968) - The millstones, 1912 Pastel 22.5 x 30.5 cm Signed, localized and dated lower left Thibesart Vaux 12 Raymond Thibesart is a French painter associated with the Post-Impressionist movement, whose style is often described as gentle and delicate. Born into a wealthy family, he showed an aptitude for drawing from an early age, and began studying with Venezuelan Impressionist painter Emile Boggio at the age of eleven. He entered the Ecole des Beaux-Arts in 1894, then the Académie Julian, where he was inspired by Impressionist and Pointillist paintings and from which several founding artists of the Nabis movement emerged. In 1897, Raymond Thibesart was awarded a medal by the Société des Artistes Français, and went on to exhibit regularly at the Salon d'Automne and the Salon des Indépendants. It was at the turn of the 20th century, and in particular following his trip to Italy with Emile Boggio, that Raymond Thibesart turned increasingly to Post-Impressionism. The latter captured the landscapes he traveled through with all the spontaneity of working on motif and color, as in Switzerland, Belgium, Corsica and elsewhere. Raymond Thibesart developed a very personal pictorial language, from which we shall retain a masterful use of light and color, capturing the changing effects of the sun on landscapes, trees, flowers, haystacks and so on. His works reflect a meticulous observation of the atmosphere that emanates from each element of nature. Thus, Thibesart finely depicts the cold light of winter or the vitality of springtime green. Endowed with great sensitivity, he manages to capture the ephemeral beauty that stands before him and transcribes it onto his canvas with poetry and serenity. In short, his landscape paintings are true odes to nature and light, inviting the viewer to contemplate and even reverie.

Estim. 500 - 800 EUR

Lot 58 - Charles CAMOIN (Marseille 1879 - Paris 1965) - View of the Bay of Saint Tropez Oil on cardboard 17 x 26.5 cm à vue Signed lower left Ch. Camoin "Camoin painted more than three hundred pictures of Saint-Tropez and its surroundings. The port, Place des Lices, Plage des Canoubiers, Petite Afrique, La Ponche, etc., are all prominent sites in Saint-Tropez. Bucolic scenes of the hinterland illustrating olive or almond picking, the grape harvest, or depictions of his happy family (picnics, rest) provided him with the bulk of his subjects. The mature works gain in spontaneity, associated with a rich material, sometimes fluid but always colorful and luminous. They contain the influence of Renoir, from which the painter's Parisian output would not escape. Camoin asserted his taste for sensual, voluptuous and spontaneous painting, qualities that he lacked and that Renoir had criticized him for. Shortly after his meeting with the old Impressionist, he wrote to his friend Audibert: "I understand very well what Renoir said about me. (My studies) have a freshness of impression and a spontaneity that one always loses in more advanced works, but which must be replaced by a fullness, a greater solidity of construction. (...) Renoir is right, you have to dare. (...) Working without respite, he writes to Matisse: "I've just spent a period of very regular work, but rather tiring, climbing morning and evening with my backpack across the fields, and I had the impression that I was just beginning to take an interest in the landscape, where I was discovering things I hadn't seen for years that I've been here". Véronique Serrano, Camoin Revival. Les jours heureux, in Camoin dans sa lumière, Musée Granet Aix en Provence, 2016

Estim. 4 000 - 6 000 EUR

Lot 77 - Francis PICABIA (Paris 1879-1953) - The fisherman, ca. 1937-1938 Gouache on cardboard 48.5 x 60 cm on view Signed lower right Francis Picabia Provenance: Birth gift to the current owner's mother from Olga Picabia, in 1958, to Madame Hélène Marie Paule Saint Maurice (Henri Saint Maurice, her grandfather, a close friend of Francis and Olga Picabia). Still in the family A certificate from the Picabia Committee will be given to the buyer. This gouache by Francis Picabia, Le Pêcheur, which we have the honor of presenting at our sale, was a birth gift from Olga Picabia to the current owner's mother, Madame Hélène Marie Paule Saint Maurice, in 1958. Never taken out of the family, this work has never before been presented on the art market. This gouache is thus a totally unique piece that embodies the bond of friendship that united these two families. Henri Saint-Maurice, born in 1901 in Martinique and husband of Hélène Marie Paule Saint Maurice, was Managing Director of the Compagnie minière de Conakry and a fervent collector of Picabia's works. A scholar of his time, he completed his secondary education at Louis-le-Grand and Saint-Louis. He was accepted at the Ecole Centrale des Arts et Manufactures, from which he graduated as an engineer in 1923. He subsequently obtained a law degree specializing in international public law and political economy. In 1937, he graduated from the Ecole Libre des Sciences Politiques. He began his professional career with Thomson-Houston, before moving to Mexico and Laos to work in metal mining. He then returned to France and obtained a position at Citroën in 1937, then at Société Industrielle des Téléphone in 1944, and at Dunlop between 1949 and 1955. At the same time, he wrote a thesis and obtained a doctorate in law from the Faculty of Paris in 1955, when he was appointed by the International Labor Office to head a mission to train senior executives in Yugoslavia until 1958. This experience enabled him to devote himself to writing a book on the problems of development. In 1960, Henri Saint-Maurice finally took over the management of the Compagnie minière de Conakry and continued to publish works on remuneration and staff training, such as L'Homme sans la misère. His professional activities led him to travel extensively around the world and to rub shoulders with learned and artistic circles, with whom he forged links, exchanged ideas and shared passions. One of these precious encounters was with Francis Picabia, a painter and member of the Spanish aristocracy and French bourgeoisie of his day. Attracted to drawing and painting from an early age, Francis Picabia began his apprenticeship in 1895 at the Ecole des Arts Décoratifs. In 1899, he made his debut at the Salon des Artistes Français, where he gradually established himself on the art scene. From 1902 onwards, Picabia began to look more and more closely at the work of Pissarro and Sisley, which prompted him to evolve his vision of art. It was at this point that Picabia's Impressionist period began. He exhibited at the Salon d'Automne, then the Salon des Indépendants, and signed a contract with the Galerie Haussmann. In 1909, when his reputation was well established, Picabia embarked on the adventure of modern art, becoming increasingly independent in his artistic practice. He sought his own visual language, a pictorial renewal aimed at breaking with a traditional reading of art. He drew closer to the avant-garde, particularly abstraction. In 1909, he married Gabrielle Buffet, a French musician and later a key figure in the Dada movement. Their union lasted until 1930, when the two couples, Francis Picabia and Gabrielle Buffet-Picabia on the one hand, and Henri Saint-Maurice and Hélène Marie Paule Saint-Maurice on the other, became close friends. The first evidence of this closeness is a letter from Gabrielle Buffet-Picabia, found at the home of the current owners of Le Pêcheur, mentioning Henri Saint-Maurice. As the years went by, Picabia sensed the growing monotony of much modern Parisian art at the turn of the 20s. "My current aesthetic stems from the boredom caused by the spectacle of paintings that appear to me frozen in a motionless surface, far removed from human things. This third dimension, which is not a product of chiaroscuro, these transparencies with their corner of oblivion, allow me to express myself, in the likeness of my inner wills, with a certain verisimilitude. When I lay the first stone, it's there

Estim. 50 000 - 60 000 EUR
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