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UNE COLLECTION INEDITE - Fifth Sale - Modern and Contemporary Paintings

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Lot 9 - Alexandre IACOVLEFF (1887-1938) Ouled-Gopo (Fort-Lamy) Arab woman Pastel on paper pasted on cardboard. Signed in Latin, localized and titled lower right AIacovleff/ Fort Lamy/ Femme arabe/ Ouled Gopo. On verso, handwritten label in black ink Mr Raynaud/ 52 av de Saxe/ 125 bis. 65.8 x 49.7 cm During the Croisière Noire, the shores of Lake Chad became impassable due to heavy flooding. The explorers circumnavigated the great lake to the capital Fort-Lamy, where the expedition stopped for a few days to overhaul the autochenilles and celebrate Christmas. During this stopover, Alexandre Iacovleff devotes no fewer than twelve portraits to the inhabitants of Fort-Lamy. The women have a particular grace, "with their high waists, long muscles, languid gait and almond-shaped eyes" (G.M. Haardt, L. Audouin-Dubreuil, La Croisière Noire, Editions Plon, 1927). Here, the large blue loincloth, skilfully tied over the shoulder, emphasizes the elegance and allure of this beautiful Ouled-Gopo woman with her fine face. This magnificent portrait was presented as number 125 (as evidenced by the number on the reverse of the work) under the name Femme arabe Ouled-Gopo (Fort-Lamy) in the catalog for the exhibition Alexandre Iacovleff, Peintre attaché à l'expédition Citroën Centre Afrique, Dessins et Peintures from May 7 to 23, 1926, at Jean Charpentier's hotel. A certificate of authenticity from Mme Caroline Haardt de La Baume, expert in the work of Alexandre Iacovleff, will be given to the buyer. This lot will be included in the Alexandre Iacovleff catalog raisonné currently in preparation.

Estim. 8 000 - 10 000 EUR

Lot 76 - Émile COHL (1857-1938) Brothers, we have to laugh! Jules Lévy le père des incohérérents drawn incoherently by Emile Cohl India ink on paper lined with cardboard, signed lower left, titled center. 36.5 x 25 cm Bibliography: Juan Gris, dessinateur de presse à Montmartre, Pierre Bacholet, Editions Louise Leiris, reproduced and described on page 495 with the following text: Drawing by Emile Cohl, André Gil's friend and one of the creators of animation, published in Le Courrier français n°39, March 12, 1885. Reproduced in Le Courrier français, March 12, 1885, which "became, at the beginning of its publication, the organ of the Incohérents, a group of artists who wanted to push certain graphic audacities to the point of absurdity, not without announcing cubism... The magazine had its offices in the press district at 25, rue de Richelieu, in the building next door to Le Cri de Paris. A whole host of artists worked for the Courrier français, including Willette, Forain, Félicien Rops, Louis Legrand, Hermann-Paul, Emile Cohl, Uzès, Toulouse-Lautrec, Henri Pille, Ferdinand Lunel, Steinlen, Félix Vallotton, Jacques Villon, Marcel Duchamp and Juan Gris." Pierre Bacholet, op. cit. Brothers, we have to laugh! This is the dogma of the Incohérents art movement. If it's a bit of a misnomer to speak of an artistic movement as such, this moment in art history can be considered "the avant-garde of the avant-garde". Still little-known, little-documented, but promoted in recent years by art historians and notably by the philosopher Michel Onfray*, incoherent art originated at the end of the 19th century thanks to Jules Lévy and other personalities whose aim was to mock official, if not serious, art, by adopting its codes and hijacking them. It was in this atmosphere that the first exhibition for people who couldn't draw took place in Paris in 1882. One of the canvases exhibited was Combat de nègres dans une cave pendant la nuit. It was the first monochrome in art history, before Malevitch or Klein. It was also the first time that everyday objects were shown simply for what they were. A simple pair of suspenders, for example, found its place among paintings and other objects presented as art. This was also the first Readymade, more than twenty years before Marcel Duchamp and his famous Urinoir. Driven by a pre-Dada, pre-Surrealist spirit, the Incohérents chose laughter and puns to mock official art. This is the atmosphere reflected in our drawing: Emile Cohl portrays Jules Lévy, the father of the Incohérents, with mischievous eyes and a toothy grin, topped by a harlequin with bells, seemingly inviting us to join in his inspiration for jubilant buffoonery. *Michel Onfray, Les Anartistes. Le trésor retrouvé des Arts incohérents, Paris, Albin Michel, April 2022

Estim. 200 - 300 EUR

Lot 78 - Alberto SAVINIO (1891-1952) Machine for fertilizing trees, 1929 Oil on canvas signed and dated lower left. Small chips and missing parts, restoration. 81 x 65 cm Provenance: Jeanne Castel collection, Paris; private collection, Paris Bibliography: Fagiolo, 1980, p. 221; Vivarelli, catalogo Verona, 1990-1991, p.154?; Pia Vivarelli, Alberto Savinio, catalogo generale, Electa, Milano, 1996 reproduced and described p. 65, no. 1929 7. We would like to thank the Archivio Alberto Savinio for confirming the authenticity of this work. A certificate from the Archivio Alberto Savinio will be given to the purchaser. "The Parisian sojourn: at Savinio's first exhibition, inaugurated on October 20, 1927, at the Galerie Jacques Bernheim in Paris, no less than twenty-six paintings and an unknown number of drawings were presented... The first Savinio exhibition was well received. However, it was not until 1929 - a year of intense work, with no less than sixty-six paintings, almost all dated by the artist - that Savinio's works were exhibited in Paul Guillaume's personal collection, in group exhibitions of artists around Léonce Rosenberg, at the L'Effort Moderne gallery, and in exhibitions of Italian painters, at the Zak and Bonaparte galleries... Finally, there is no documentary evidence of a solo exhibition, also in 1929, at Galerie Jeanne Castel, which is indicated by several sources: an information sheet, dated December 15, 1932, written by Savinio himself and sent to the Venice Biennale (Venice A.S.A.C.) and in the biographical note included in Costantini's 1934 essay. Although it is highly probable that the gallery owner with whom the artist had an exclusive contract organized a solo exhibition of his paintings, no trace of it has been found in the art magazines of the time, either at the date of 1929 or later ....?" in Alberto Savinio, catalogo generale, Pia Vivarelli, Electa, Milano, 1996. "From 1928 onwards, Savinio's narrative tension for a complex, primordial world and, in accordance with the Heraclitean principle, a world in continuous becoming, became clearer. In the rich iconography of his Parisian production, characterized by polymorphous imagery and shifting, fantastical apparitions, the theme of toys appears in 1927-1928. The cycle is variously treated in the 1930s and beyond as an accumulation of objects abandoned in the forest or on the beach, a pyramidal monument of dubious stability assembled on rocks and platforms, a funerary monument, precious pirate booty abandoned at sea, a universal machine or a tree-fertilizing machine" in Nicoletta Cardano, Alberto Savinio, la Comedia dell'Arte, Milano Palazzo Reale, 2011, cat. "Jeanne Castel, secretary to gallery director Paul Guillaume and herself an art dealer, was one of the first art dealers in Paris to take an interest in Savinio's paintings. She and Savinio concluded a contract at the end of 1927, which is documented in a letter Savinio wrote to Lionello Fiumi on November 5 of the same year (published in Realtà, November-December 1954)" in Alberto Savinio, paintings and drawings, 1925-1952, Accademia Italiana delle Arti e dellle Arti Applicate, London, 1992, cat.

Estim. 150 000 - 200 000 EUR
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