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Modern & contemporary art from North Africa

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Salons du Trocadéro - 5 avenue d'Eylau 75116 Paris, France
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Lot 2 - Bakr Ahmad - L'art plastique contemporain au Bahreïn, Government Printing Office under the Ministry of Information, Bahrain, August 1980. An important retrospective of the history of the plastic arts from 1919 to 1980 in Bahrain, including 45 biographies of Bahraini artists and illustrations of their works, in Arabic. Bahrain is a pioneer in pictorial art on the Arabian Peninsula, where art education was introduced as early as 1919, leading the country to organize numerous exhibitions and to become one of the most active countries in the Arab world in the contemporary art sector. Ahmad Bakr (1946-2008): pioneer of the plastic arts in Bahrain, teacher, first exhibition in 1967, founding member of the Bahraini Plastic Arts Association, founder of the Fine Arts Center in Manama, several international exhibitions including at the Grand-Palais in Paris (1977), author of numerous publications and holder of many awards. Italian format. 29.5 x 41 cm A major retrospective of the history of the visual arts from 1919 to 1980 in Bahrain, featuring 45 biographies of Bahraini artists and illustrations of their works, in Arabic. Bahrain was a pioneer in pictorial art on the Arabian Peninsula, and art education was introduced there in 1919, leading the country to organise numerous exhibitions and to become one of the most active countries in the Arab world in the contemporary art sector. Ahmad Bakr (1946-2008): pioneer of the plastic arts in Bahrain, teacher, first exhibition in 1967, founding member of the Bahraini Association of Plastic Arts, founder of the Fine Arts Centre in Manama, several international exhibitions including at the Grand-Palais in Paris (1977), author of numerous publications and holder of many prizes.

Estim. 200 - 300 EUR

Lot 6 - BALLATAH Kamal - Réminiscence des lieux: études sur les beaux-arts palestiniens / Istihdhar al-makan, dirasat fil fan al tachkili al falastini al mouassar, ALECSO, first edition, Tunis, 2000. In- 4, 268 pages, 300 illustrations. A comprehensive, historical and critical study of the plastic arts in Palestine. Publication following the author's thesis presented in 1968 in the United States. His work covers the period from the mid-19th to the late 20th century. Beyond the monographic aspect of the book, it advocates a political message: "in all cultural production, there is a political origin", as the political history of the region is reflected in the movements and trends of the pictorial scene in Palestine, rich in its melting pot. Kamal Ballatah (1942-2019): pioneer of the visual arts in Palestine and Palestinian historian, expatriate living in the USA, France and Morocco, numerous international exhibitions. Publication following the author's thesis presented in 1968 in the United States. His work spans the mid-nineteenth century to the end of the twentieth. In addition to the monographic aspect of the book, it also promotes a political message: "in all cultural production, there is a political origin", as the political history of the region has repercussions on the movements and trends of the Palestinian pictorial scene, which is rich in its melting pot. Kamal Ballatah (1942-2019): pioneer of the plastic arts in Palestine and Palestinian historian, expatriate he lived in the United States, France and Morocco, numerous international exhibitions.

Estim. 200 - 300 EUR

Lot 15 - La peinture en Tunisie des origines à nos jours - Catalog of the exhibition "La peinture en Tunisie des origines à nos jours", Centre d'Art Vivant de la Ville de Tunis, Musée d'art moderne, Le Belvedere, s.d., ca. 1992 In-folio, paperback, 108p, 113 black illustrations. Preface in Arabic and French by Ali Louati. A 90-year retrospective of pictorial art in Tunisia, from its emergence in the late 19th century to the early 1990s. Included are the first easel painters (Khayachi), the "Group of 4" artists of the Tunis School (Boucherle, Lellouche, Corpora, Moses Levy), the Orientalists (Cros, Dabadie, Roubtzoff...), the Tunis School (Yahia, Jella Ben Abdallah, Gorgi, Bellagha, Safia Farhat...), the "Group of 6" (Nejib Belkhodja, Rocchegiani, Gmach, Larnaout...), naive art (Meherzia Ghaddab, Baghdadi Chniter...), brutalist art (Hamadi Ben Saad) and modern and contemporary artists such as Megdiche, Nja Mahdaoui, Rachid Koraichi... 104 artists represented, 104 works reproduced. Biographies for each artist in Arabic. Public and private collections. This catalog foreshadows the book published a few years later by Ali Louati, "L'aventure de l'art moderne en Tunisie". A 90-year retrospective of pictorial art in Tunisia, from its emergence at the end of the 19th century to the early 1990s. It includes the first easel painters (Khayachi), the artists of the "Group of 4" of the Tunis School (Boucherle, Lellouche, Corpora, Moses Levy), the Orientalists (Cros, Dabadie, Roubtzoff...), the Tunis School (Yahia, Jella Ben Abdallah, Gorgi, Bellagha, Safia Farhat.. ), the "Group of 6" (Nejib Belkhodja, Rocchegiani, Gmach, Larnaout...), naive art (Meherzia Ghaddab, Baghdadi Chniter...), brutalist art (Hamadi Ben Saad) and modern and contemporary artists such as Megdiche, Nja Mahdaoui, Rachid Koraichi... 104 artists represented, 104 works reproduced. Biographies for each artist in Arabic. Public and private collections. This catalog foreshadows the book that Ali Louati would publish a few years later, "L'aventure de l'art moderne en Tunisie".

Estim. 200 - 300 EUR

Lot 17.2 - GRIESHABER (H.A.P.) & DAHAK (Brahim). - Num sprechen die kamele. Dusseldorf, Claassen Verlag, 1971. Oblong folio, publisher's color illustrated boards. Text in German and French. Numerous original color linocuts by Hap Grieshaber and Brahim Dahak on full pages and in the text. Numbered copy (2843). Condition: slight wear to cover 32 x 46 cm The meeting between the German engraver Hap Grieshaber and the Tunisian engraver Brahim Dahak in Germany in the late 60s was intended to lead to a joint exhibition on camels in Munich, but the project came to nothing following the hostage-taking at the 1972 Olympic Games. This album is the only record of collaboration between these two renowned engravers. Hap Griesbaher (1909-1981): German pacifist artist renowned for his woodcut work. Brahim Dahak (1931-2004): Tunisian artist, originally from southern Tunisia. After a number of jobs in the food industry and a meeting with the painter Hatem El Mekki, he became familiar with the Tunis School and won a scholarship to study in Italy. From self-taught, he became a master, particularly in engraving. His southern origins brought him an early acquaintance with the camel, to which he dedicated his first series of engravings. The meeting between the German engraver Hap Grieshaber and the Tunisian engraver Brahim Dahak at the end of the 1960s in Germany was supposed to culminate in a joint exhibition on camels in Munich, but the project came to nothing following the hostage-taking at the 1972 Olympic Games. The album is the only record of a collaboration between these two renowned engravers. Hap Griesbaher (1909-1981): German pacifist artist renowned for his woodcut work. Brahim Dahak (1931-2004): Tunisian artist, originally from southern Tunisia. After a number of jobs in the food industry, and following his meeting with the painter Hatem El Mekki, he became familiar with the Tunis School and managed to obtain a scholarship to study in Italy. From self-taught, he became a master, particularly in engraving. His origins in the south meant that he soon became familiar with the camel, to which he devoted his first series of engravings.

Estim. 200 - 300 EUR

Lot 19 - Jilani ABDULWAHAB, dit Abdul (Salambô, 1890-1961) - Poppies, (19)60 Watercolor 21.5 x 13.5 cm on view. Signed and dated lower right. Dedicated to Madame L. Gardon lower left. *** Watercolour Signed and dated lower right. Dedicated to Madame L. Gardon lower left. Provenance : Private collection, France. Born in Salammbô to a well-to-do Tunisian family in 1889, Jilani Abdelwaheb (1889-1961), known as Abdul, wanted to become a painter. After studying at the prestigious Eton College in Brighton, just outside London, he arrived in Paris in 1911, where he frequented the studio of Jean Paul Laurens. Attracted by Fauvism and the modernity of Cézanne, Abdul Wahab found himself closely involved with the École de Paris movement. In 1912, Abdelwaheb Jilani was the first Tunisian to exhibit at the Salon Tunisien, which had opened in 1894 and welcomed the pioneers of Tunisian painting. In the 1920s, he also exhibited at the Salon d'Automne, the Salon des Tuileries and the Salon Tunisien. He frequented artists as diverse as Picasso and Ortiz de Zarate, Papazoff, Cingria and Pascin, and of course Modigliani, whom he had known since 1912 and of whom he was a faithful friend. The portrait of Abdul Wahab seated in front of a pedestal table was sketched by Modigliani in 1916. His works are extremely rare, the majority having been bequeathed by his wife Beppo to the Villa del Rio estate near Cordoba in Andalusia. *** Born in Salammbô to a well-to-do Tunisian family in 1889, Jilani Abdelwaheb (1889-1961), known as Abdul, wanted to become a painter. After studying at the prestigious Eton College in Brighton, near the outskirts of London, he arrived in Paris in 1911 and frequented the studio of Jean Paul Laurens. Attracted by Fauvism and the modernity of Cézanne, Abdul Wahab found himself closely involved with the École de Paris movement. In 1912, Abdelwaheb Jilani was the first Tunisian to exhibit his work at the Salon Tunisien, which had opened in 1894 and welcomed the pioneers of Tunisian painting. In the 1920s, he also exhibited at the Salon d'Automne, the Salon des Tuileries and the Salon Tunisien. He frequented artists as diverse as Picasso and Ortiz de Zarate, Papazoff, Cingria and Pascin, and of course Modigliani, whom he had known since 1912 and of whom he was a faithful friend. The portrait of Abdul Wahab seated in front of a pedestal table was sketched by Modigliani in 1916. His works are extremely rare, the majority having been bequeathed by his wife Beppo to Villa del Rio, near Cordoba in Andalusia.

Estim. 400 - 500 EUR

Lot 22 - Abdelaziz GORGI (Tunis 1908 - 2008) - Female nude, (19)49 Pen drawing 39.5 x 29 cm à vue Signed and dated in Arabic and French, lower right. This sketch was made in 1949, when he was a student at the Ecole des Beaux Arts in Tunis. *** Ink drawing Signed and dated in Arabic and French, lower right. This sketch was made in 1949, when he was a student at the Ecole des Beaux Arts in Tunis. Provenance : Private collection, France. Born in 1928, in the heart of the Medina of Tunis, Abdelaziz Gorgi studied at the Institut Supérieur des Beaux-Arts in Tunis in 1949, then joined the École de Paris, where he pursued his artistic career with the Plisson and Fernand Léger studios. On his return to Tunis, he became involved and engaged with painters such as Ammar Farhat, Yahia Turki, Jellal b. Abdallah and Pierre Boucherle in the creation of an artistic movement in Tunisian painting, the École de Tunis. This new movement brought together artists who exchanged innovative ideas and asserted their claim to an authentically Tunisian art through committed works highlighting Tunisia's heritage and traditional popular culture. Gorgi's work is highly diverse and prolific, encompassing oil painting, watercolor, tapestry, ceramics, sculpture and drawing. His work reflects a rich and full life, a diversity of techniques that allow him to put forward a plastic language in many forms, and whose main source of inspiration has been the Tunisian population and Sidi Bou Said. "...Abdelaziz Gorgi's life as an artist has produced a complex body of work that has made a major contribution to the in-depth reinvention of traditional Tunisian narrative through the originality of his approach and technique." From 1959 to 1983, he taught drawing, ceramics and painting at the Institut Supérieur des Beaux-Arts in Tunis. In 1973, he set up his own art gallery, Galerie Gorgi, in Tunis. He exhibited both in Tunisia and abroad, and remained one of the most influential figures in Tunisian culture. *** Born in 1928, in the heart of the Medina of Tunis, Abdelaziz Gorgi studied at the Institut Supérieur des Beaux-Arts de Tunis in 1949, then joined the École de Paris where he pursued his artistic career in the Plisson and Fernand Léger studios. As soon as he returned to Tunis, he became involved with a number of painters, including Ammar Farhat, Yahia Turki, Jellal b. Abdallah and Pierre Boucherle in the creation of an artistic movement in Tunisian painting, the Tunis School. This new movement brought together artists who shared their innovative ideas and demanded an authentically Tunisian art through committed works that highlighted Tunisia's heritage and traditional popular culture. Gorgi's work is highly diverse and prolific, encompassing oil painting, watercolour, tapestry, ceramics, sculpture and drawing. His work reflects a rich and full life, a diversity of techniques that allow him to put forward a plastic language in several forms, whose main source of inspiration has been the Tunisian population and Sidi Bou Said. "Over the course of his life as an artist, Abdelaziz Gorgi has produced a complex body of work that has made a major contribution to the reinvention of traditional Tunisian narrative through the originality of his approach and technique. From 1959 to 1983, he taught drawing, ceramics and painting at the Institut Supérieur des Beaux-Arts in Tunis. In 1973, he set up his own art gallery, Galerie Gorgi, in Tunis. He exhibited in Tunisia and abroad and remained one of the most important figures in Tunisian culture.

Estim. 1 000 - 1 200 EUR

Lot 24 - M'hamed ISSIAKHEM (Taboudoucht 1928 - Alger 1985) - Couple Oil on panel 128 x 41.5 cm Signed lower left Issiakhem Provenance : French private collection, donated by the artist in June 1974. We thank the artist's family for confirming the work's authenticity. This vertical work depicts a hieratic couple in a narrow space where the woman, the backbone of the work, stands back and above the man. A delicate balance of forces is established in this composition of muted tones, where the red of the headdresses - the only touch of color - binds the two figures together, as does the clarity that strikes their faces. Here, the artist paints the powerful, intimate bonds of two united souls, a veritable allegory of father and mother, of the Algerian man and woman, and reveals the ability of a couple / a people to stand together, even in suffering. This work resonates deeply with the artist's personal life. *** Oil on panel Signed lower left Provenance: French private collection, gift from the artist, in June 1974. We would like to thank the artist's family for confirming the authenticity of the work. *** This vertical work depicts a hieratic couple in a narrow space where the woman, the backbone of the work, stands back and above the man. A delicate balance of forces is established in this composition of muted tones, where the red of the headdresses - the only touch of colour - binds the two figures together, as does the clarity of their faces. Anissa Bouayed writes: "The painter M'hamed Issiakhem worked all his life to unearth the soul of his people, to reveal their profound truth through the faces and textures that surround them. He fought relentlessly against snobbery in art, against this "entre soi" busy with long chats about works supposedly too complex to be understood by the people" in M'hamed Issiakhem, Tribute exhibition from 1 December 2010 to 31 January 2011, Fiac 2010. Here, the artist paints the powerful and intimate bonds of two united souls, a veritable allegory of father and mother, of the Algerian man and woman, and reveals the ability of a couple / a people to stand together, even in the midst of suffering. This work resonates deeply with the artist's personal life. "The painter M'hamed Issiakhem worked all his life to unearth the soul of his people, revealing its profound truth through the faces and textures that surround them. He fought relentlessly against snobbery in art, against that "entre soi" occupied with long chatter around works supposedly too complex to be understood by the people." Anissa Bouayed in M'hamed Issiakhem, Exhibition tribute from December 1 2010 to January 31 2011, Fiac 2010. M'hamed Issiakhem was born on June 17, 1928 in Greater Kabylia, into a family of relatively well-off shopkeepers, where he enjoyed a happy, fulfilled childhood, despite an early uprooting from his native land and his mother that marked his work. This serenity was shattered in 1943, when M'hamed Issiakhem seized a grenade from an American depot, undoubtedly encouraged by his fellow scouts, for whom he was the designated volunteer. He took the grenade, supposedly unplugged and harmless, to the family home and handled it, surrounded by his family and friends. The weapon exploded, killing two of his younger sisters and his nephew, and injuring three other family members. M'hamed emerged alive, but seriously wounded and with one phalanx of his left arm amputated from his index finger. This tragic event had a considerable impact on the man and his work, and marked the beginning of the second episode of separation from his mother. Crushed by an ever-increasing sense of guilt as he recovers and realizes the desolation left by the explosion, he must face the gaze of a grieving mother, a father mourning the loss of his ambitions for his eldest son, and the heavy, sympathetic gazes of those around him. He tried to find his place, but failed, and eventually left home to take a train to Algiers in 1947. He was eighteen at the time, and so it was in Algiers and among relatives that his adult life began. Anxious to prove to himself and his family that he was not reducible to his handicap and that he could support himself financially, he decided to exploit his gift for drawing, a gift that a nurse had helped to reveal during his hospitalization by providing him with sheets of paper and pencils. He enrolled in the Fine Arts Society. Quickly noticed for his abilities, he joined the Ecole Nationale des Beaux-Arts in Algiers, where he won first prizes in illumination, ceramics and engraving; second prizes in ronde-bosse, academy, painting (académie dessinée and académie peint), modelling and drawing.

Estim. 25 000 - 30 000 EUR

Lot 25 - Hassan EL GLAOUI (Maroc, 1923 - 2018) - Riders Gouache on paper 49 x 64 cm on view Signed lower right We thank the artist's family for confirming the authenticity of this work. A certificate may be issued at the purchaser's expense. *** Gouache on paper 49 x 64 cm on view Signed lower right We would like to thank the artist's family for confirming the authenticity of the work. A certificate may be issued at the buyer's expense. Provenance : French private collection, before 1975. "This discreet man is an aristocrat of the ellipse; the colors traced by a light hand convey a limpid look, a timeless vision rendered to the subtleties of the line, to the barely sketched space where horses and men move, not necessarily riders but suggestions for the mind to dream of riders perched on winged horses as in mythology. (...) This painting does not narrate, it does not double reality, it is silence and admiration of this silence established between the artist and the world. But this manner already contained the mastery and freedom illustrated today by the work on movement and color in an unspecified, undated space, because it is eternal." Thus paid tribute to the artist, Tahar Ben Jelloun, in Le Point, June 22, 2018. This excerpt says it all about the magnetic elegance of Hassan El Glaoui's work. Over the course of his life, he produced 537 works, mostly inspired by the movement of the horse. Over the course of his life, his treatment of this recurring theme evolved. The present work is distinguished by a specific palette of soft color highlights on horses in contrasting black and white coats. They stand out against a nuanced background, typical of the artist's early works, whereas later he would choose denser backgrounds in bright colors, against which the white line stands out in contrast. *** "This discreet man is an aristocrat of the ellipse; the colours traced by a light hand convey a limpid gaze, a timeless vision rendered in the subtleties of the line, in the barely sketched space where horses and men move, not necessarily riders but suggestions for the mind to dream of riders perched on winged horses as in mythology. (...) This painting does not narrate, it does not double reality, it is silence and admiration of this silence established between the artist and the world. But this style already contained the mastery and freedom that today's work on movement and colour illustrates in an unspecified, undated space, because it is eternal. Thus paid tribute to the artist, Tahar Ben Jelloun, in Le Point, 22 June 2018. This extract says it all about the magnetic elegance of Hassan El Glaoui's work. Over the course of his life, he produced 537 works, mostly inspired by the movement of the horse. Over the course of his life, his treatment of this recurring theme evolved. The present work is distinguished by a specific palette of soft colour highlights on horses in contrasting black and white coats. They stand out against a shaded background, typical of the artist's early works, whereas later he would choose denser backgrounds in bright colours, against which the white line stands out in contrast.

Estim. 8 000 - 12 000 EUR

Lot 26 - Hassan EL GLAOUI (Maroc, 1923 - 2018) - Fantasia Gouache on paper. 23 x 30 cm on view Signed lower right. We would like to thank the artist's heirs for confirming the registration of this work in their archives. A certificate may be issued at the purchaser's expense. *** Gouache on paper. Signed lower right. We would like to thank the artist's heirs for confirming the registration of this work in their archives. A certificate may be issued at the purchaser's expens. H: 23 x L: 30 cm Provenance : Private collection, acquired in Morocco in the 90s. Born into a large family of Berber warriors from the Atlas Mountains, Hassan El Glaoui was the eldest son of the last pasha of Morocco, Thami, and of Lalla Zineb El Mokri, daughter of the grand vizier El Mokri. A pioneer of modern painting in his country, he was immersed from an early age in a world of ancestral traditions, from which he escaped through drawing and painting. He cultivated his taste for the arts in secret, for fear of family judgment, until the British Prime Minister, Winston Churchill, and the founder of New York's Museum of Modern Art, General Goodyear, discovered his work and encouraged him to pursue it. Hassan El Glaoui was sent to France at the end of the 1940s, where he remained for some fifteen years. He attended Jean Souverbie's classes at the Ecole des Beaux-Arts de Paris, as well as the studio of painter Emilie Charmy. His first solo exhibition took place in Paris in 1950, followed by one in New York in 1952. In 1957, he took part in the 2nd Alexandria Biennial and in 1963 in the exhibition "Deux mille ans d'art au Maroc", at the Galerie Charpentier in Paris. In 1964, after a meeting with Prince Moulay Abdallah, he settled permanently in Morocco. His most emblematic works depict horses and riders in full cavalcade, notably at fantasias. For El Glaoui, horses were a passion, and he mastered their anatomy and movement. Moreover, his father's role and function made him a privileged witness to the public life of the court, and in particular of the King, whose public outings he portrayed. *** Hassan El Glaoui was born into a large family of Berber warriors from the Atlas mountains, the eldest son of the last pasha of Morocco, Thami, and of Lalla Zineb El Mokri, daughter of the grand vizier El Mokri. A pioneer of modern painting in his country, he was immersed from an early age in a world of ancestral traditions, from which he escaped through drawing and painting. He cultivated his taste for the arts in secret, for fear of family judgement, until the British Prime Minister, Winston Churchill, and the founder of the Museum of Modern Art in New York, General Goodyear, discovered his work and encouraged him to pursue it. Hassan El Glaoui was sent to France at the end of the 1940s, where he stayed for some fifteen years. He attended Jean Souverbie's classes at the Ecole des Beaux-Arts in Paris, as well as the studio of the painter Emilie Charmy. His first solo exhibition was in Paris in 1950, followed by one in New York in 1952. In 1957, he took part in the 2nd Alexandria Biennial and in 1963 in the exhibition "Two thousand years of art in Morocco" at the Charpentier gallery in Paris. In 1964, after a meeting with Prince Moulay Abdallah, he settled permanently in Morocco. His most emblematic works depict horses and riders in full cavalcade, particularly at fantasias. Horses were a passion for El Glaoui, and he mastered their anatomy and movement. In addition, his father's role and function made him a privileged witness to the public life of the court, and in particular the King, whose public outings he depicted. MAIN SOLO EXHIBITIONS 2010 "Retrospective 60 years of painting", Attijariwafa Bank, Casablanca 2009 "Pacha de l'art", rempart Galerie, Marrakech 2005 Matisse art Gallery, Marrakech 1993 Exhibition in the Press House, London, G.B. 76-04 Hammer Galleries, New York, USA 1976 Galerie Venise cadre, Casablanca 1975 Galerie V, Paris, France 1973 Vernissage at the Tour Hassan Hotel, Rabat 70-73 Le savouroux, Casablanca 1969 Galerie Isy Brachot, Brussels, Belgium Tryon Galleries, London, UK Opening at the Tour Hassan Hotel, Rabat Center Culturel International, Hammamet, Tunisia 1968 Upper Grosvenor Galleries, London, UK 1967 Hammer Galleries, New York, USA 1965 Galerie Pierre Carrez, Paris, France 1964 Galerie Jean Berthier, Marseille, France Opening at the Hotel El Mansour, Casablanca 1963 Galerie Jeanne castel, Paris, France 59-63 Galerie Petrides, Paris, France 1951 Wildenstein Gallery, New York, USA 1950 André Weil Gallery, Paris, France

Estim. 2 000 - 3 000 EUR

Lot 27 - Abdelkader GUERMAZ (Algérie, 1919-1996) - Vows of astrality, (79) Oil on canvas 98 x 130 cm Signed and dated The work is referenced in the artist's catalog raisonné, under number 0841. *** Oil on canvas Signed, titled and dated. The work is referenced in the artist's catalog raisonné, under number 0841. Recognized as one of the major non-figurative painters of Algerian art in the second half of the 20th century, Guermaz belongs to the generation of founders of modern Algerian painting, along with Khadda (1930-1991), Benanteur (1931) and Aksouh (1934). His abstract paintings express the artist's sensations and emotions, using tangled lines and colored patches. Abdelkader Guermaz was a student at the Oran School of Fine Arts. Between 1940 and 1955, he became interested in the figurative concept of the Peintres de la Réalité poétique. Noticed for his precocious talent by Robert Martin, his paintings rubbed shoulders at the Colline gallery in Oran with those of Algerian and European artists from Algeria, as well as those of Picasso and Bernard Buffet. Around 1955, like other painters of his generation attentive to the example set by the Parisian avant-garde, he gradually moved towards abstraction. He settled in Paris in the autumn of 1961. Guermaz's encounters with Benanteur and Khadda enabled them to develop a common search for a new style. Guermaz took part in the Peintres algériens exhibition in Algiers on November 1, 1963, followed by the exhibition of the same name in 1964 at the Musée des Arts Décoratifs in Paris, and then at the UNAP Salons in 1964 and 1974. At the end of the 60s, Guermaz embarked on a two-pronged pictorial and spiritual quest for the light he would reflect in his work. Soon, signs would emerge from the white canvas, punctuated patches of color, layered planes, reliefs, "landscapes" that would gradually take on a "symbolic" character. These "landscapes" would take on a different relationship to the world. In them, he celebrates his Unity, within which two worlds are indissolubly linked, the spiritual and the sensible, according to the Sufi conception he shares. In his increasingly refined works, spirit will gradually prevail over matter. He was supported by the Entremonde gallery for almost ten years, until 1981, and was invited to take part in international Salons, in Tokyo in 1972, Teheran in 1974, Tunis in 1980, London in 1981, and created tapestry cartoons for Riyadh airport in Saudi Arabia. Bringing his work into the limelight, Abdelkader Guermaz won public and critical acclaim and died in Paris in 1996. As testimony to his fame, Guermaz's work found its way into numerous public collections, including the Museums of Fine Arts in Algiers and Oran, the Fonds National and Fonds Municipal d'Art Contemporain in Paris, the Algerian Cultural Center and the Institut du Monde Arabe, then the Centre Pompidou, as well as a large number of private collections in Europe, Canada, the United States, Iran, Japan and the Middle East. Today, his paintings are very rare on the art market and rarely appear in auction rooms.

Estim. 5 000 - 8 000 EUR

Lot 28 - Nja MAHDAOUI (Tunis, 1937) - Calligraphic composition Ink and gold on parchment 29 x 23.5 on view *** Ink & gold on vellum H: 51 x W: 41 cm Provenance : Spanish collection. Letters but no words. Signs but no meaning. Nja Mahdaoui "uses Arabic signs for their aesthetic beauty", not for what they represent. "I've freed the letter from its meaning," explains the Tunisian artist. On linen canvases, skins and silkscreens, Nja Mahdaoui, an artist passionate about all sign disciplines, has carefully avoided words - an approach that has been criticized by some calligraphy purists. But Mahdaoui is a visual artist. He did not attend one of the famous schools of classical calligraphy which, from Istanbul to Tunis, maintain this graphic tradition born in the 7th century with the birth of Islam. Calligraphy was the art of writing the Koran in a stylized manner, before invading administrative documents and other non-religious fields of language. Since the 1980s, classical calligraphy has enjoyed a revival, while contemporary artists have also taken it up. Alongside the traditional calame - a reed quill - writing tools are multiplying, and color is exploding, as in Nja Mahdaoui's work, where it is rarely used in classical calligraphy. Other contemporary artists, such as the Iranian Charles Hossein Zenderoudi, use Arabic letters in their work without actually composing words or sentences. Constance Desloire, "Des signes et des lettres, Tunisian artist Nja Mahdaoui reinvents calligraphy by stripping letters of their meaning. An art enjoying renewed interest", December 22, 2010. Letters but no words. Signs but no meaning. Nja Mahdaoui "uses Arabic signs for their aesthetic beauty", not for what they represent. "I've freed the letter from its meaning," explains the Tunisian artist. On linen canvases, skins and silkscreens, Nja Mahdaoui, an artist with a passion for all the disciplines of the sign, has carefully avoided words - an approach that has been criticised by some calligraphy purists. But Mahdaoui is a visual artist. He did not attend one of the famous schools of classical calligraphy which, from Istanbul to Tunis, maintain this graphic tradition born in the seventh century with the birth of Islam. Calligraphy was the art of writing the Koran in a stylised manner, before invading administrative documents and other non-religious areas of language. Since the 1980s, there has been a revival of interest in classical calligraphy, and contemporary artists have also taken it up. More and more writing tools are being used alongside the traditional calame - a reed quill - and colour is exploding, as in the work of Nja Mahdaoui, which is rarely used in classical calligraphy. Other contemporary artists, such as the Iranian Charles Hossein Zenderoudi, use Arabic letters in their work without actually composing words or sentences. Constance Desloire, "Des signes et des lettres, The Tunisian visual artist Nja Mahdaoui reinvents calligraphy by stripping letters of their meaning. An art that is enjoying a revival", December 22 2010.

Estim. 3 000 - 5 000 EUR

Lot 29 - BAYA (Fatma Haddad Mahiedinne) (Algérie, 1931-1998) - The Bird and the Date Palm, (19)89 Gouache on paper 29.5 x 20.5 cm Signed and dated in Latin letters lower left, and ideogrammed middle left in Arabic. This drawing was produced as a dedication from the artist to the current owner, on the title page of the Signes et Désert exhibition catalog, 1989, cf. next lot. In 1989, Baya took part in a group show in London (Contemporary Art from the Islamic World, Barbican Course Gallery) and Brussels (Signes et Désert, Galerie Ipso). This was also the year in which her adoptive mother, Marguerite Caminat, died. *** Gouache on paper 29.5 x 20.5 cm Signed in Latin letters lower left, and center left in Arabic, dated 89. This drawing was produced as a dedication by the artist to the current owner, on the flyleaf of the 1989 exhibition catalog, see next lot. In 1989, Baya took part in a group exhibition in London (Contemporary Art from the Islamic World, Barbican Course Gallery) and Brussels (Signes et Désert, Galerie Ipso). It was also the year in which her adoptive mother, Marguerite Caminat, died. Born in 1931 in Bordj el Kiffan and died in 1998 in Blida, Algeria, Baya, whose real name was Fatma Haddad, was an Algerian painter belonging to the "1930 generation" of painters who founded modern Algerian pictorial art. Her first exhibition took place at the Galerie Maeght in Paris in 1947, when she was just 16. Her gouache paintings were a rapid success, and she worked alongside Pablo Picasso, André Breton and George Braque. Her pictorial register is inspired by maternal figures, mythical animals and lush flowers. She interpreted this theme endlessly, evolving her palette from 1945 to 1998. Rejecting the labels of surrealism, but especially those of 'naïve' and 'art brut', Baya belongs to no group or current. Her work has enjoyed considerable success, and has been exhibited in Algeria, France, Switzerland, Belgium and the United States. In recent years, retrospectives in New York (Woman of Algiers, Grey Art Gallery, 2018), the United Arab Emirates (Impressions durables, Museum Sharjah Authority, 2021), and France (Femmes en leur Jardin in 2022-2023, at the Institut du monde arabe de Paris and Centre de la vieille charité, Marseilles) have highlighted the breadth of her creation. *** Born in 1931 in Bordj el Kiffan and died in 1998 in Blida, Algeria, Baya, whose real name was Fatma Haddad, was an Algerian painter who belonged to the "1930 generation" of painters who founded modern Algerian pictorial art. She had her first exhibition at the Galerie Maeght in Paris in 1947, when she was just 16. Her gouache paintings were a rapid success, and she worked alongside the likes of Pablo Picasso, André Breton and George Braque. Her pictorial style was inspired by maternal figures, mythical animals and lush flowers. She interpreted this theme endlessly, developing her palette from 1945 to 1998. Rejecting the label of surrealism, but above all that of 'naïve' art and 'art brut', Baya did not belong to any group or movement. Her work has enjoyed considerable success, and has been exhibited in Algeria, France, Switzerland, Belgium and the United States. In recent years, retrospectives in New York (Woman of Algiers, Grey Art Gallery, 2018), the United Arab Emirates (Impressions durables, Museum Sharjah Authority, 2021), and France (Femmes en leur Jardin in 2022-2023, at the Institut du monde arabe in Paris and Centre de la vieille charité, Marseilles) have highlighted the breadth of her creative output.

Estim. 3 000 - 4 000 EUR

Lot 31 - BAYA (Fatma Haddad Mahiedinne) (Algérie, 1931-1998) - Blue bird / Pink bird Gouache and pencil on the back cover of the exhibition catalog. Signed lower left in Latin letters, upper right in Arabic. 29.5 x 20.5 cm In-4°, 20 pp. color illustrated cover, 18 color reproductions of works and 5 B&W portraits of artists; with biographies of the six modern Algerian artists featured in the exhibition, including Denis Martinez and Choukri Mesli, founders of the "Aouchem" group, and other artists grouped under the term "sign painters" defined by Jean Senac. Provenance : Gift from the artist to the current owner. *** Gouache and pencil on the back cover of the exhibition catalog of "Signes et désert", Ipso Gallery, Brussels, 1989. Signed lower left in Latin letters, and upper right in Arabic. 29.5 x 20.5 cm In-4° of 20 pp. with illustrated colour cover, 18 reproductions of works in colour and 5 portraits of artists in B&W; with biographies of the six modern Algerian artists in the exhibition, including Denis Martinez and Choukri Mesli, founders of the "Aouchem" group, and other artists grouped together under the expression "painters of the sign" defined by Jean Senac. Provenance: Given by the artist to the current owner. Ali Silem wrote the introductory text for Baya, the only artist in the catalog without a photograph. He writes Baya's painting is an offering, a sacred painting where all is silence and serenity, total harmony... It is through dreams and by drawing inspiration from the traditional collective imagination that Baya, as a consummate artist, gives birth to her supernatural beings. " *** Ali Silem wrote the introductory text for Baya, the only artist in the catalog without a photograph. He writes Baya's painting is an offering, a sacred painting where all is silence and serenity, a total harmony... It is through dreams and by drawing inspiration from the traditional collective imagination that Baya, as a consummate artist, gives birth to her supernatural beings."

Estim. 3 000 - 4 000 EUR

Lot 32 - BAYA (Fatma Haddad Mahiedinne) (Algérie, 1931-1998) - Woman with bird, (19)89 Gouache 64.8 x 50 cm Signed and dated lower left. Countersigned on the back in Latin letters. We thank the artist's family for confirming the work's authenticity. *** Opaque pigments Signed and dated lower left. Countersigned on the back. We would like to thank the artist's family for confirming the authenticity of the work. Provenance : Private collection. The early 1980s were a period of intense activity for Baya. In 1982, a major retrospective was organized at the Musée Cantini in Marseille, on the initiative of Edmonde Charles-Roux, who had already covered Baya at her 1st solo exhibition at the Galerie Maeght, and painted her portrait in Vogue in February 1948. Baya took the opportunity to stay with Marguerite Caminat (1903-1989), her adoptive mother, near the home of Mireille and Jean de Maisonseul, her lifelong supporters. 1989 was marked by the death of Marguerite Caminat, her adoptive mother. During this decade, Baya exhibited in 1983 at the Galerie de l'Union nationale des Arts plastiques in Algiers; in 1984 at the Centre culturel français in Algiers and at the Centre culturel algérien in Paris; in 1985 at the Centre culturel français in Oran and at the Galerie de l'Aurassi in Algiers; in 1987 at the Musée National des Arts d'Afrique et d'Océanie in Paris, then at La Vieille Charité in Marseille with Issiakhem and Khadda; in 1989 at several group exhibitions in Europe, "Contemporary Art from the Islamic World" in London, "Signes et désert" in Brussels with Arezki Larbi, Denis Martinez and Choukri Mesli (cf. previous lots). *** The early 1980s were a period of intense activity for Baya. In 1982, a major retrospective was organised at the Musée Cantini in Marseille, on the initiative of Edmonde Charles-Roux, who had already covered Baya at her 1st solo exhibition at the Galerie Maeght, and painted her portrait in Vogue in February 1948. Baya took the opportunity to stay with Marguerite Caminat (1903-1989), her adoptive mother, near the home of Mireille and Jean de Maisonseul, her lifelong supporters. In 1983, Baya took part in a group exhibition at the Galerie de l'Union Nationale des Arts Plastiques in Algiers. 1989 was marked by the death of Marguerite Caminat, her adoptive mother. During this decade, Baya exhibited in 1983 at the Galerie de l'Union Nationale des Arts Plastiques in Algiers; in 1984 at the Centre Culturel Français in Algiers and at the Centre Culturel Algérien in Paris; in 1985 at the Centre Culturel Français in Oran and at the Galerie de l'Aurassi in Algiers; in 1987 at the Musée National des Arts d'Afrique et d'Océanie in Paris, then at the Vieille Charité in Marseille with Issiakhem and Khadda; in 1989 at several group exhibitions in Europe, "Contemporary Art from the Islamic World" in London, "Signes et désert" in Brussels with Arezki Larbi, Denis Martinez and Choukri Mesli (cf. previous lots).

Estim. 8 000 - 10 000 EUR

Lot 34 - Edgard NACCACHE (Tunis, 1917 - Paris, 2006) - Red door Oil on canvas 46 x 55 cm Signed lower right, countersigned on the stretcher. *** Oil on canvas Signed lower right, countersigned on the chassis. Provenance : Private collection, France. Born in Tunisia in 1917, self-taught artist Edgard Naccache began painting in 1934 while working as a proofreader for a Tunisian newspaper. In 1949, he took part in the creation of the Ecole de Tunis art movement. In 1962, he was invited to the founding exhibition "La Figuration narrative dans l'art contemporain" in Paris. His art initially moved towards abstraction, before settling into the Nouvelle Figuration movement. Naccache's work has been exhibited at the Centre Georges Pompidou, Musée Art Moderne de Paris, and his work "La Marelle des métamorphoses" is currently on show at the exhibition "Présences arabes - Art moderne et décolonisation. Paris 1908-1988" at the Musée d'Art Moderne in Paris. *** Born in Tunisia in 1917, Edgard Naccache was a self-taught artist who began painting in 1934 while working as a proofreader for a Tunisian newspaper. In 1949, he took part in the creation of the Ecole de Tunis artistic movement. In 1962, he was invited to the founding exhibition "La Figuration narrative dans l'art contemporain" in Paris. His art initially moved towards abstraction, before settling into the New Figuration movement. Naccache's work is exhibited at the Centre Georges Pompidou, Musée d'Art Moderne in Paris, and his work "La Marelle des métamorphoses" is currently on show at the exhibition "Présences arabes - Art moderne et décolonisation. Paris 1908-1988", Musée d'Art Moderne in Paris.

Estim. 500 - 800 EUR

Lot 35 - Mahjoub Ben Bella (Algérie,1946-Lille, 2020) - San Gimignano, 2015 Acrylic on canvas 130 x 97 cm Signed and dated lower right. Titled and dated on the back. Stamp of the artist's estate on the back of the canvas. *** Acrylic on convas Signed and dated lower right. Titled and dated on the chassis. Stamped from the family estate. A Franco-Algerian painter, Mahjoub Ben Bella first studied at the École des Beaux-Arts d'Oran, which he left at the age of 19 for Tourcoing, under the sponsorship of the director of his Ecole des Beaux Arts, Claude Vicente (1929-2017). After graduating in 1969, he continued his training at the École Nationale Supérieure des Arts Décoratifs and the École des Beaux-Arts de Paris. From 1969 to 1976, he began his career with the Atelier de la Monnaie. In 1975, he moved to Tourcoing, where he played an active role in the regional art scene, and set up his studio in the former stables of the Joire bank. In 1983, he devoted himself to the creation of a 380 m2 mural in the heart of Lille's city center, contributing to the beginnings of a movement that would come to be known as "street art", a foretaste of his monumental work in 1986: 12km of cobblestones painted as part of the Paris-Roubaix race. At the same time, he was exhibiting with Keith Haring in New York at Jeffrey Deitch and Leila Heller's now legendary "Calligraffitti" show. He went on to exhibit at some of Europe's greatest museums, including the Institut du Monde Arabe and the Musée d'Art Moderne de la Ville de Paris, as well as the British Museum in London and the Jordan National Gallery in Amman. Ben Bella is a visual artist whose prolific body of work explores monumental frescoes, ceramics, sculptures, paintings on canvas, paper and wood, as well as happenings. He belongs to what is known as Abstract Expressionism or Lyrical Abstraction, a movement that emerged in the 2nd half́ of the 20th century. His production is characterized by the use of line and bright colors. Questioning the relationship between signs and abstraction, he explores the graphic resources of Eastern and Far Eastern cultures and scripts. Always painting to music, Mahjoub Ben Bella, whose work is based on gesture and the proliferation of rhythm-generating signs, plays with minimal and abstract graphic contrasts. *** A Franco-Algerian painter, Mahjoub Ben Bella first studied at the École des Beaux-Arts d'Oran, which he left at the age of 19 for Tourcoing, under the sponsorship of the director of its Ecole des Beaux Arts, Claude Vicente (1929-2017). After graduating in 1969, he continued his training at the École nationale supérieure des arts décoratifs and the École des beaux-arts de Paris. He began his career working at the Atelier de la Monnaie from 1969 to 1976. In 1975, he moved to Tourcoing, where he played an active role in the regional art scene, and set up his studio in the former stables of the Joire bank. In 1983, he devoted himself to painting a 380 m2 wall in the center of Lille, bringing his colours to the city center and contributing to the beginnings of a movement that would come to be known as "street art", a foretaste of his monumental work in 1986: 12km of cobblestones painted as part of the Paris-Roubaix race. At the same time, he was exhibiting with Keith Haring in New York with Jeffrey Deitch and Leila Heller in the now legendary "Calligraffitti" exhibition. He went on to exhibit in some of Europe's greatest museums, including the Institut du Monde Arabe and the Musée d'Art Moderne de la Ville de Paris, as well as the British Museum in London and the Jordan National Gallery in Amman. Ben Bella is a visual artist; his abundant work explores monumental frescoes, ceramics, sculptures, paintings on canvas, paper and wood, as well as happenings. He belongs to what is known as abstract expressionism or lyrical abstraction, a movement that emerged in the 2nd half́ of the 20th century. His work is characterized by the use of line and bright colours. Questioning the relationship between signs and abstraction, he explores the graphic resources of Eastern and Far Eastern cultures and scripts. Always painting to music, Mahjoub Ben Bella, whose work is based on gestures and the proliferation of signs that generate rhythm, plays with minimal and abstract graphic contrasts.

Estim. 12 000 - 18 000 EUR

Lot 40 - Jeronimo Muniz ( Maroc, 1938) - Que disfrutes de M lugar "casi" preferido de Marruecos Oil on isorel 26 x 40 cm on view Signed lower right Annotated on the back in Spanish *** Oil on isorel Signed lower right and annoted on the back in Spanish. Jeronimo Muniz moved to Morocco in the 1960s. His pictorial beginnings in this country show broad landscapes overlooked by tumultuous skies, in visible contrast to the cliché blue and almost folkloric colors in vogue. The beings evolving in these spaces were barely begun forms. Gaining in artistic maturity, the artist's eye "zooms in" on objects and beings. The result is figurative art imbued with a special light, and Jeromimo's signature is now recognizable. Lines close in, colors are confirmed and shapes take shape. Frozen dolls, coppery pots, wide open spaces, engaging faces, Moorish architecture, puppets... the artist's work is a full-color reproduction of Moroccan reality. *** Jeronimo Muniz moved to Morocco in the 1960s. His early paintings in this country show broad landscapes overhung by tumultuous skies, in visible contrast to the cliché blue and almost folkloric colours in vogue. The beings evolving in these spaces were barely begun forms. Gaining in artistic maturity, the artist's eye zoomed in on the objects and beings. The result was figurative art imbued with a special light, and Jeromimo's signature was now recognizable. The lines close in, the colours confirm themselves and the shapes take shape. Frozen dolls, coppery pots, wide open spaces, engaging faces, Moorish architecture, puppets... the artist's work is a colourful reproduction of Moroccan reality.

Estim. 200 - 300 EUR

Lot 49 - Lazhar HAKKAR (Alger 1945 - 2013) - Evening in Sidi Bou Mixed media on paper 32 x 23.5 cm on view Signed lower right L. Hakkar *** Mixed media on paper 32 x 23.5 cm on view Signed lower right L. Hakkar Provenance : Private collection, acquired from Galerie Cherif fine Art, Tunisia. "Painting reminds me at every moment that I am a human being". Born on December 13, 1945 in Kenchela, Lazhar Hakkar studied at the Ecole Nationale des Beaux Arts in Algiers from 1963 to 1968. He didn't devote his life to art until 1975, when he began drawing and painting in all media, with paper and canvas remaining his preferred mediums. His works are inspired by vernacular traditions, while giving a place to identity and memory. They become supports for memories in which the viewer is an accomplice. Since 1972, Lazhar Hakkar has exhibited extensively, with solo and group shows in Algeria and abroad. The Musée national des beaux arts d'Alger, Galerie Isma, Galerie Mohammed Racim, Moscow, Bordeaux, Paris, Sofia, Bari and Tunis all presented his work to their audiences with great success. *** Painting reminds me at every moment that I am a human being". Born on 13 December 1945 in Kenchela, Lazhar Hakkar studied at the Ecole Nationale des Beaux Arts in Algiers from 1963 to 1968. He did not devote his life to art until 1975, when he began drawing and painting on all media, with paper and canvas remaining his preferred mediums. His works are inspired by vernacular traditions, while at the same time giving a place to identity and memory. They become supports for memories in which the viewer is an accomplice. Since 1972, Lazhar Hakkar has exhibited extensively, with solo and/or group shows in Algeria and abroad. The National Museum of Fine Arts in Algiers, the Isma Gallery, the Mohammed Racim Gallery, Moscow, Bordeaux, Paris, Sofia, Bari and Tunis have all presented his work to their audiences with great success.

Estim. 800 - 1 000 EUR

Lot 51 - Hocine ZIANI (Algérie, Sidi-Daoud,1953) - Bridal escort Oil on canvas 92 x 73 cm Signed lower right, titled and countersigned on the back. *** Oil on canvas Signed lower right. Titled and countersigned on the back. Provenance : Private collection, France. "Ziani's painting unfolds in diverse genres and subjects [...] However, this plurality cannot mask the constant quest that drives the artist's work: the celebration of light. "Luc Chatel. Hocine Ziani spent his childhood in great cultural isolation, and it wasn't until 1964, two years after his country's independence, that he enrolled himself in school at the age of 11 and took up drawing on his own. In 1979, he organized his first solo exhibition in an Algerian gallery. He joined other artists to found the Group of 35, which included Issiakhem, Temam, Khadda, Denis Martinez, Samsom, Kerbouche, Mesli, Ali-Khodja, Louail, Silem, Zoubir, Bourdine and Ouamane. Ziani contributes to his country's artistic development by painting historical scenes characterized by blurred open spaces. His most recent works allow him to explore new artistic avenues, notably lithography. Since 1979, the artist has continued to exhibit internationally. Numerous museums preserve his works in Algeria, Morocco, France, Germany and Saudi Arabia. In 2013, the town of Chaumont devoted a retrospective to his work. *** "Ziani's painting unfolds in a variety of genres and subjects [...] However, this plurality cannot mask the constant quest that drives the artist's work: the celebration of light. "Luc Chatel. Hocine Ziani spent his childhood in great cultural isolation, and it wasn't until 1964, two years after his country's independence, that he enrolled school himself at the age of 11 and took up drawing on his own. In 1979, he held his first solo exhibition in an Algerian gallery. He joined other artists to found the Group of 35, which included Issiakhem, Temam, Khadda, Denis Martinez, Samsom, Kerbouche, Mesli, Ali-Khodja, Louail, Silem, Zoubir, Bourdine and Ouamane. Ziani contributes to the artistic development of his country by painting historical scenes characterized by open spaces treated in a blurred manner. His latest works have enabled him to explore new artistic avenues, particularly lithography. The artist has been exhibiting internationally since 1979. Numerous museums preserve his works in Algeria, Morocco, France, Germany and Saudi Arabia. In 2013, the town of Chaumont devoted a retrospective to his work.

Estim. 3 500 - 4 000 EUR

Lot 52 - Aïcha HADDAD (Bordj-Bou-Arreridj 1937 - Alger 2005) - Bouquet of roses Oil on canvas 61 x 50 cm Signed lower right *** Oil on canvas Signed lower right Provenance : Private collection, France. Aïcha Haddad, nicknamed the "Moudjahida", is an Algerian painter and visual artist. Her artistic path is part of the Algerian miniaturist tradition, which was given a new lease of life by Mohammed Racim, founder of the Algiers School of Illumination in 1939, and to whom Aïcha Haddad owes a deep admiration. Her travels introduced her to Western painting (cubism, symbolism and new realism). In 1962, she began studying art with Camille Leroy at the Société des Beaux Arts d'Alger. From 1966 to 1988, Aïcha Haddad pursued a long career teaching art at the Lycée Omar-Racim in Algiers. In 1972, she exhibited her work for the first time at the former Galerie des Quatre-Colonnes in Algiers and won a prize in the Concours de la Ville d'Alger, which opened the doors to her reputation. It was also the start of a long friendship with painters Baya and Souhila Bel Bahar. Between 1974 and 2002, he held a succession of solo and group exhibitions in Algeria and abroad. During her travels and visits to museums, galleries and international art fairs, she discovered multiple modes of expression and artists who played a decisive role in the development of her art: Gaudi, Tinguely, Niki de Saint Phalle, César, Arman, Peï. Her works are held in private collections, as well as in Algiers, at the Musée National des Beaux-Arts d'Alger and the Musée National du Bardo, the FAO headquarters in Rome, the UNICEF headquarters in Paris and the Japan Foundation headquarters in Tokyo. *** Aïcha Haddad, nicknamed the "Moudjahida", is an Algerian painter and visual artist. Her artistic development is part of the Algerian miniaturist tradition, which was given a new lease of life by Mohammed Racim, founder of the Algiers School of Illumination in 1939, and to whom Aïcha Haddad has a deep admiration. Her travels introduced her to Western painting (cubism, symbolism and new realism). In 1962, she began studying art with Camille Leroy at the Société des Beaux Arts in Algiers. From 1966 until 1988, Aïcha Haddad pursued a long career teaching art at the Lycée Omar-Racim in Algiers. In 1972, she exhibited for the first time at the former Galerie des Quatre-Colonnes in Algiers and won a prize in the Concours de la Ville d'Alger, which opened the doors to her fame. It was also the start of a long friendship with the painters Baya and Souhila Bel Bahar. Between 1974 and 2002, he held a succession of solo and group exhibitions, both in Algeria and abroad. In the course of her travels and visits to museums, galleries and international art fairs, she discovered multiple modes of expression and artists who played a decisive role in the development of her art: Gaudi, Tinguely, Niki de Saint Phalle, César, Arman and Peï. Her works are held in private collections, as well as in Algiers, at the Musée National des Beaux-Arts and the Musée National du Bardo, the FAO headquarters in Rome, the UNICEF headquarters in Paris and the Japan Foundation headquarters in Tokyo.

Estim. 1 500 - 2 000 EUR

Lot 53 - Kaouther Bahri DARGOUTH (Tunisie, née en 1951) - The game Oil on canvas 33 x 41 cm Signed lower right, titled on back. *** Oil on canvas Signed lower right, titled on the back. "I try to bring out the light by working with successive layers of material". Born in 1951 in Tunisia, Kaouther turned to painting in the 1990s. After graduating in modern French in 1975, she moved to the island of Djerba, where she discovered her vocation as a painter and trained in the workshops of Sylvain Monteleone and Abdelaziz Gorgi. Today, she is a member of the Union des artistes plasticiens and the Taylor Foundation. She now lives and works in her native Tunis. Her paintings are part of numerous private and public collections. Matter is omnipresent in her painting. She exhibited for the first time in Sidi Bou Saïd in 1997, and has exhibited constantly between France and Tunisia ever since. *** Born in 1951 in Tunisia, Kaouther turned her attention to painting in the 1990s. After completing a degree in modern French in 1975, she moved to the island of Djerba, where she discovered her vocation as a painter and trained in the studios of Sylvain Monteleone and Abdelaziz Gorgi. Today, she is a member of the Union des artistes plasticiens and the Taylor Foundation. She now lives and works in her native Tunis. Her paintings are part of numerous private and public collections. Matter is omnipresent in her paintings. She exhibited for the first time in Sidi Bou Saïd in 1997, and has exhibited constantly between France and Tunisia ever since.

Estim. 400 - 600 EUR
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