TUESDAY, OCTOBER 27, 2026 
From Jean Dubuffet to Alexander Calder : The Simone Jaoul and René Drouin Collection at Auction
T he auction at Hôtel Drouot, conducted by Ader, of the Simone Jaoul and René Drouin collection offers a fascinating insight into art history, shedding light on the intellectual and artistic world of one of the most distinctive figures in the French art market of the twentieth century.
The collection tells the story of two individuals brought together by a shared passion for art. Its origins lie in Simone Jaoul’s own collecting interests. Long before meeting René Drouin, she had begun acquiring works by contemporary artists alongside her husband, Bernard Jaoul.
From the years immediately following the Second World War, Simone and Bernard Jaoul were regular visitors to Parisian galleries. Together, they assembled the first group of works that would form the basis of the collection. Bernard Jaoul’s untimely death did not bring this pursuit to an end. Simone continued collecting on her own, with the same dedication and a strong sense of independence in her choices. It was during her visits to Parisian galleries that she met René Drouin.
Their relationship marked a new chapter in the development of the collection. René Drouin brought with him an intimate knowledge of the art market, close ties with artists and the insight he had gained over many years of working alongside them. Simone, however, remained firmly in charge of selecting and acquiring the works.
From the years immediately following the Second World War, Simone and Bernard Jaoul were regular visitors to Parisian galleries. Together, they assembled the first group of works that would form the basis of the collection. Bernard Jaoul’s untimely death did not bring this pursuit to an end. Simone continued collecting on her own, with the same dedication and a strong sense of independence in her choices. It was during her visits to Parisian galleries that she met René Drouin.
Their relationship marked a new chapter in the development of the collection. René Drouin brought with him an intimate knowledge of the art market, close ties with artists and the insight he had gained over many years of working alongside them. Simone, however, remained firmly in charge of selecting and acquiring the works.
Drouin’s career nevertheless provides an important context for many of the works that entered the collection during this period. From his gallery at 17 Place Vendôme, he exhibited artists who are now recognised as major figures in twentieth-century art. Jean Dubuffet, Jean Fautrier, Wols, Max Ernst and Henri Michaux were among those he championed and introduced to the public. The gallery also attracted writers and intellectuals, including Jean Paulhan, André Malraux and Jean-Paul Sartre. Several of the artists Drouin supported at the time have since become central to the history of post-war art.
The works brought together over the years reflect this shared history. Some are associated with artists whom Drouin knew personally or actively championed; others offer a more direct expression of Simone Jaoul’s own tastes. The collection grew organically, without any attempt to follow a rigid programme, taking shape around the rhythms and intimacies of everyday life.
It also reveals a less familiar aspect of René Drouin’s work: his activities as a furniture designer. The pieces he designed reflect his interest in the decorative arts and interior design, and embody an approach in which paintings, sculptures, furniture and decorative objects could coexist naturally.
Through this collection, a distinctive picture emerges of Parisian artistic life in the post-war years, shaped by galleries, encounters with artists and lasting relationships between dealers and collectors. Yet, above all, this remains the story of Simone Jaoul: a woman who began collecting at an early age and pursued her passion throughout her life. In René Drouin, she found a companion with an exceptional knowledge of the art world, while never relinquishing her own judgement or independence of taste.
The works brought together over the years reflect this shared history. Some are associated with artists whom Drouin knew personally or actively championed; others offer a more direct expression of Simone Jaoul’s own tastes. The collection grew organically, without any attempt to follow a rigid programme, taking shape around the rhythms and intimacies of everyday life.
It also reveals a less familiar aspect of René Drouin’s work: his activities as a furniture designer. The pieces he designed reflect his interest in the decorative arts and interior design, and embody an approach in which paintings, sculptures, furniture and decorative objects could coexist naturally.
Through this collection, a distinctive picture emerges of Parisian artistic life in the post-war years, shaped by galleries, encounters with artists and lasting relationships between dealers and collectors. Yet, above all, this remains the story of Simone Jaoul: a woman who began collecting at an early age and pursued her passion throughout her life. In René Drouin, she found a companion with an exceptional knowledge of the art world, while never relinquishing her own judgement or independence of taste.
