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Treasures 2024

Emmanuel Layan & Associés - +33557993976 - Email CVV

Hôtel des Ventes Tourny - 38 rue Lafaurie de Monbadon 33000 BORDEAUX, France
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232 results

Lot 37 - CHINA, 19th century - The Tiger. Important ink painting on silk depicting a seated tiger in profile, its head facing the front, its coat depicted in great detail. An inscription to the left reads: Suici bingyin heyue Yuchang Sushen Guan Ning xie yu Luwengxuan "In the sixth month of the bingyin year, Guan Ning, whose pseudonym is Yuchuang, from Jilin province, painted this in Luwengxuan". In this inscription, Sushen is an archaic term for the province of Jilin; Heyue (month of the lotus) is a rare term for the 6th month; Luwengxuan can literally be translated as "the pavilion of the old man Lu"; finally, the cyclic date Bingyin refers to the dates 1806 or 1866 for the 19th century. In addition, there are three stamps: two read Jin Jianjie and Guang Huo respectively, and appear to be collectors' or appreciation stamps. The third, Haoshanshi, could be an artist's pseudonym. (Restored in 1990-1991 by the British Museum; framed under glass) Dimensions at sight: Height: 100 cm, Width: 97 cm. Dimensions with frame: Height: 123 cm, Width: 118 cm. Note: This painting was brought back from China in the early 20th century by the current owner's great-uncle, Georges Johnston, son of Nathaniel Johnston, owner of Château Beaucaillou in St Julien en Médoc. In 1973, Rigby Lee, the current owner's father, inherited the painting and decided to have it restored. We have correspondence with Professor William WATSON, then Director of the Percival David Foundation in London, whom he knew and approached. In letters dated November 1973, the latter first informed the painting's owner that the only restorers he knew of were at the British Museum, but he wasn't sure whether the British Museum would agree to a private restoration. In a second letter, he enclosed a letter sent to him by Prof. Roderick WHITFIELD, Curator of Oriental Antiquities at the British Museum, in response to his request. In it, Prof. WHITFIELD writes that it is not possible to have the painting restored by the British Museum. by the British Museum and gave the contact details of a restorer in Hong Kong. It was not until 18 years later that the painting was finally restored and reassembled by the British Museum. This is attested by two letters from Andrew THOMPSON, then Curator of Oriental Paintings, dated October 1, 1990 and May 13, 1991 respectively. In the second, he mentions the cyclical date Bingyin, and suggests, as a translation of the inscription, that it was "carefully painted by Guan Ying on a rainy day in the studio of the old sage Lu". The cost of the restoration cost £630. Expert: Cabinet ANSAS PAPILLON et de LERY

Estim. 3 000 - 5 000 EUR

Lot 66 - [COMBAS (Robert), DI ROSA (Hervé), CRUZ-DIEZ (Carlos), VILLEGLE (Jacques)]. L'Angélus a 150 ans, 150 artistes pour l'Angélus. Barbizon, Espace culturel Marc Jacquet, 2010. In-folio with spiral binding and illustrated boards, 33 x 25 cm. Catalog of the exhibition curated by Jean-Michel Gout-Wermer and Jacques Simonin in which 150 contemporary artists reinterpreted Millet's famous painting. Signed autographs from 69 exhibiting artists, including Robert Combas (French contemporary artist Figuration Libre), Hervé Di Rosa (contemporary French artist, co-founder of the Figuration Libre movement), Carlos Cruz-Diez (Venezuelan artist, known for his kinetic and optical art), Jacques Villeglé (French artist, known for his urban art and and collages of torn posters). When signing this copy, some artists have not hesitated to alter the reproduction of their work to modify the reproduction of their work or add a previously unpublished drawing. The catalog contains autographs and original drawings by Serge Abril, Philippe Ainsi, Jean Pierre Alaux, Carmelo Arden Quin (the artist was dying, so his wife signed), Claire Bastanti, Michel Battle, Ben (who signed signed on two occasions), Gaudin Bolivar, Mane Bossion, Gael Bourmaud, Herman Braun-Vega, Pierre Marie Brisson, Jérôme Btesh, Axel Cassel, Christophe Chassol, Charlelie Couture, Piero Cipolat, Robert Combas, Mauro Corda, Carlos Cruz-Diez, Jean Daviot, Renaud Delorme, Marco Del Corso, Philippe Desloubières, Hervé Di Rosa, Joel Ducorroy, Michel Dufresne, Anne Sophie Emard, Gérard Fromanger, Claude Gilli, Horacio Garcia-Rossi, Claude Guenard, Patrick and Anne Guallino, Jean Michel Guinebault, Philippe Huart, Jean Pierre Huser, Christian Jaccard, Jin Bo, Jean Pierre Jourdan, Tomek Kawiak, Joel Kermarrec, Ladislas Kijno, Peter Klasen, Bodgan Korczowski, Kriki, Patrick Marques, Véronique Mercier-Millet, Pierre Merliet, Jérôme Mesnager, Jacques Monory, Martine Orsoni, Biagio Pancino, Malgorzata Paszko, Francesca Piqueras, Joan Rabascall, Yehiel Rabinowitz, Jean-Pierre Raynaud, Johnny Razzia, Laurent Redoules, François Riou, Gérard Schlosser, Antonio Segui, Yvon Taillandier, Toko Tokunaga, Toxic, Miki Toshiharu, Andréas Vanpoucke, Jacques Villegle, Placide Zephir... Experts: Ms Loup AXMANN and Mr Jean-Luc BOISSEAU

Estim. 400 - 700 EUR

Lot 70 - FOUJITA (Léonard 1886-1968, ill.), COCTEAU (Jean 1889-1963). La Mésangère. [Bièvres, Pierre du Tartas, 1963]. In-folio, 36.5 x 28 cm, [8] p., iii p., [1] p., 9-85, [7] p., illustrated cover. In sheets, illustrated filled cover, publisher's red cloth slipcase. One of the rare copies on Japon with suite. Total edition of 261 copies signed by the artist at the justification. One of the 41 first copies, on Japon, including a complete suite on vélin de Rives of the 20 lithographs contained in the work, including 1 double-page spread, as well as two plates printed on silk in color and hand-signed by Foujita, entitled L'Académie française and Parfum. The plate L'Académie française does not appear among the text illustrations in the Japon copies, as it was never printed on this paper. Thus, a peculiarity of this work, the Vellum copies contain 21 illustrations and the Japon copies only 20. In addition to these lithographs, vignettes illustrate the filled cover and title page. These short, cynical vignettes depict a somewhat gloomy, bohemian Paris, and the artist's approach is unvarnished. His approach sometimes verges on the fantastic. Foujita's brushwork is certainly figurative, but in a strange, disquieting way. A fine copy, complete with text (despite a fanciful pagination at the beginning that might suggest otherwise), illustrations, suite and 2 plates printed on silk, for a total of 42 plates. (Monod, 2917). Experts: Madame Loup AXMANN and Monsieur Jean Luc BOISSEAU

Estim. 5 000 - 7 000 EUR