Graphic arts

In the style of Auguste HERBIN (1882-1960) Composition Charcoal. Signed and dated 1959 lower left 20x22 cm (view)

Léon Spilliaert (1881-1946) Lakescape at dawn from the Marie-Henriette park pond in Ostend. Rare watercolor signed lower right One of a series of compositions on the same subject. Framed under glass This work may be included in the artist's catalog raisonné by Madame Anne Adriaens Pannier. Circa 1930 Sight size: H: 23.5; W: 30 cm

Edgar MAXENCE (Nantes 1871-1954 La Bernerie en Rez) Study for "Jeune femme jouant de la mandole", ca. 1910 Black stone, graphite, white chalk, watercolor 46.5 x 44 cm. Signed lower left: E Maxence Related work : - Jeune femme jouant de la mandore ou "Solitude - Peaceful Seclusion", oil on panel, 110 x 145 cm, Paris, Musée des Beaux-Arts de la Ville de Paris - Petit-Palais, inv. PPP5022 Our drawing, which combines grace and nervousness, is part of the elaboration process for one of the artist's masterpieces: Jeune femme jouant de la mandore (also titled "Solitude - Peaceful Seclusion"), one of the four works Maxence exhibited at the 1910 Salon, recently pre-empted by the State on the Paris art market for the benefit of the Petit-Palais. The final work is rich in Edgar Maxence's personal universe: discreet evocation of Breton folklore (with the characteristic headdress) and medieval times (with the costume), reverie nourished by the sylvan atmosphere. The subtitle "Peaceful Seclusion", in English in the text, chosen by the artist, emphasizes his concern for an interior painting, devoid of drama and anecdote, inviting contemplation and meditation. Expert: Pierre-Antoine Martenet

Hans HARTUNG (1904-1989) L 123, 1964 Lithographie sur papier Signé et numéroté 58/75 au crayon Porte le cachet secErker Presse St. Gallen 56 x 76 cm Mason 201 (marques et piqûres)

JUTEAU, 20th Compostion. Wool tapestry, circa 1970. 170 x 120 cm

ZAO WOU-KI (1921-2013) Composition, 1972 Brush and India ink on Asian paper. Signed in Chinese and dated lower right. Signed "Pour Geneviéve et Michel Gossot" lower left and "très amicalement" upper right. 57.2 x 60 cm Provenance: From the descendants of Geneviéve Gossot, painter and friend of the painter. This work is listed in the archives of the Fondation Zao Wou-Ki, whom we thank for the information provided. Geneviève Gossot was an admirer of Zao Wou-Ki, and studied the ancestral Chinese techniques of brush ink and calligraphy. She exhibited her work regularly between 1993 and 2020. This fascination with Zao Wou-Ki's inks is also reflected in her master's thesis in art history: "Les peintures d'encre de Chine de Zao Wou-ki", 1981.

Prague school circa 1600 Neptune's grotto Various studies of mythological figures Pen, brown ink, indigo wash and white gouache 36.5x50 cm (view) (pasted in full, folds, accidents, missing lower right)

Maurice Utrillo (1883 Paris - 1955 Dax) "Rue Saint-Rustique sous la neige" (Rue Saint-Rustique in the snow). Original title View of Paris painted around 1933/34 with a view of the street in Montmartre and the Basilique du Sacré-Coeur glowing white in the background. From around 1912, Utrillo repeatedly painted the picturesque alley located on the highest point of the Montmartre hill in different versions and techniques from varying angles in landscape and portrait format. The historic, oldest street in Paris, with its cobblestones and small houses leading up to Sacré-Coeur, offered him a fascinating wealth of motifs. Utrillo himself was born in the artists' quarter of Montmartre as the son of Suzanne Valadon, who was only 18 years old, a muse, model and later an important painter in her own right. He experienced psychological crises as a teenager and fell prey to alcohol - an addiction that haunted him throughout his life. Valadon, Edgar Degas and the painter Alphonse Quizet encouraged him to paint himself, and art also became a therapy for him against his own demons and alcohol. In the years 1910 to 1914, he found his own individual, expressive-realistic style beyond all artistic trends. His main subjects were Paris and in particular Montmartre, where he lived and worked. Unlike many of his fellow artists, Utrillo had never completed a classical training in painting. Yet it was precisely this that enabled him, as a self-taught artist, to depict the streets, urban canyons and squares with an originally raw power, often with only a few, but nevertheless virtuosically confident brushstrokes. These form a structuring, formally strict framework, whereby Utrillo's creative phases can be distinguished from one another less by their painting style than by their different coloring. Even before the I. Utrillo was represented in important exhibitions of modern art in Paris and Germany even before the First World War, including at Hans Goltz's "Neue Kunst" gallery in Munich in 1913/14. This triumphal march continued in the 1920s, Utrillo achieved increasing fame and popularity among collectors and critics, which continues to this day, so that in 1926 he finally had "Paris at his feet", as Oskar Schürer wrote in his article on Utrillo in the authoritative magazine "Die Kunst für Alle" (with illustration of a painting "Strasse St. Rustique"). Gouache/cardboard. Signed a. with location Montmartre. 48 cm x 62 cm. Frame. Wvz. Pétridès AG 612. Hélène Bruneau, Association Maurice Utrillo in Pierrefitte sur Seine, confirmed the authenticity of the work in an email on 23.12.2022. Provenance: Auction Grisebach, Berlin, 28.11.1997, lot 55. Gouache on cardboard. Signed with location Montmartre. Mentioned in the catalogue raisonné (Pétrides no. AG 612). The authenticity was confirmed in an email by Hélène Bruneau, Association Maurice Utrillo on the 23rd December 2022.

Léopold SURVAGE (1879-1968) Birds Watercolor and pencil. Monogrammed lower right and studio stamp lower left 15x23 cm (view)

Pierre ALECHINSKY (1927) Peau Neuve, 1973 Lithographie en couleurs Signé, titré, daté et numéroté 5/120 au crayon 64,5 x 49,5 cm

Jean LURÇAT 1892-1966 - THE MAN Aubusson tapestry in basse lisse Lissier Suzanne Goubely Gatien Signed lower left and monogrammed Goubely Bolduc signed on back and matricule no. 1908 195 x 109 cm

Maxime MAUFRA (1861-1918) "Village by the sea, December 1894", Watercolour gouache signed and dated lower right, 23 x 30 cm

Edouard DETAILLE (1848-1912) Horseman of a chasseur regiment wearing a trial helmet. Gouache and watercolor on paper. Signed and dated August 1881 lower right. 35 x 24 cm We would like to thank Axel Louhot for the information he provided.

Jacques ADNET (1900-1984) Projets de décors et de mobilier pour un restaurant, bar et salle des banquets, 1947 Ensemble de sept dessins à la gouache, aquarelle, encre et crayon sur papier calque collés dans des passe-partout Chacun signé, certains datés 1947 Annotations au crayon sur lespasse-partout 33 x 43,6 cm pour les plus grands dessins

[AFFICHE]. LE CORBUSIER (d’après). - "Poème de l'angle mort. Berggruen, Paris1955" Paris, Mourlot imp. 1955. Lithographic poster, 61.4 x 40. Small creases to lower left corner, otherwise very good condition.

OSSIP ZADKINE (1890-1967) - Tapestry depicting a couple. 1950s. Wool. Monogrammed 'O.Z.' Weaver's monogram. Resale right applicable. 172 x 113 cm

Robert COMBAS. - "Mount Sainte-Victoire. 1995" Mixed media (etching, aquatint, photograph), 60 x 91. Signed, dated, justified (76/100) and dedicated below.

Charles KVAPIL (1884-1958). Three bathers. Watercolor signed lower left. Height : 39 cm - Width : 43 cm

Gustave SINGIER (1909-1984) Composition Ink and watercolor on paper. Signed lower right and dated 55 26x34 cm (view)

Verdure with two herons and a swan Aubusson tapestry. Late 18th century. Woven in wool and silk. H. 1.78 x W. 2.48 m This charming verdure features a wooded landscape with a river, two herons and a swan in the foreground, set against a mountainous landscape with a village and a castle. The border is decorated with a garland of acanthus leaves and fleur-de-lys set in cut-leather cartouches. The tapestry has preserved some of its beautiful colors and original border, and is in good overall condition, with some wear and old restorations. It is reduced in height and probably in width.

Pierre ALECHINSKY (1927) Dotremont, peintre de l'écriture, 1982 Lithographie en couleurs Signé et numéroté68/90 au crayon 80,5 x 53 cm.

Albert MARQUET (1875-1947) "Paysage d'Alger", Pencil monogrammed lower left, 16.5 x 25 cm

FRENCH SCHOOL circa 1800 The Oath of the Jeu de Paume Pen and brown ink, brown wash and white highlights. 17 x 22.5 cm

Eugène GALIEN-LALOUE 1854-1941 - PLACE PIGALLE AT DUSK Watercolor signed lower left Sight: 18.5 x 30.5 cm

Charles LAPICQUE (1898-1988) "Paysage de Castille", Watercolour signed upper left, 35 x 47.5 cm

Léon HAMONET (1877-1953) "La pointe des grottes Cap Fréhel", Watercolour signed lower left, 39 x 56 cm

JAGUAR MK V SALOON After the war, the SS Swallow brand became Jaguar. In order to bring in foreign currency, the company had to expand beyond its borders, particularly in the USA. To do this, it had to modernize its range, offering models of a higher class than the pre-war models. A brand-new engine, with double overhead camshafts, was launched, the famous XK. It was to power a car of more modern design and larger dimensions. Unfortunately, the new bodywork was much more complicated to develop and manufacture. It was therefore decided to keep customers waiting by modernizing the existing model. Called MK V, its plastic was rejuvenated by smaller-diameter headlamps, partially encased in the front fenders, and the addition of "spats" on the rear wheels. The 2.5 l and 3.5 l 6-cylinder engines are retained unchanged. A major innovation, however, is the use of independent suspension on the front axle. Presented at the London Motor Show in October 1948, around 9,500 units, including convertibles, were produced until mid-1951. As a result, it served perfectly as a transitional model until its descendant, the MK VII (VI being Bentley's prerogative). The model presented here is a rare 2.5-litre version. Both bodywork and interior are virtually flawless. It has 17,500 km on the clock. It drives very well and perfectly represents the idea of luxury à l'anglaise.

Armand RASSENFOSSE (1862-1934) Nu assis, 1932 Lithographie sur papier Signé et daté dans la planche: "Rassenfosse 1932" 24,5 x 18 cm

Henri LEBASQUE (1865-1937). Beachfront. Drawing and watercolor signed lower right. Sight: Height 23 cm - Width 30.5 cm

Sophie CALLE. - "Les tombes. 1990. Gallery plates" Seven A4 photographic plates from the catalog of Sophie Calle's "Les tombes" series.

Pol BURY. - "Plumb bob" Color lithograph, 55 x 50. Signed and justified (5/125) below in pencil. Solarized paper, wetness in lower margin.

CÉLINE, Louis-Ferdinand Letter aut. s. to "Mon cher vieux" [Jean-Gabriel Daragnès]. [Korsør] "Le 22" [c. 1950] 8 pp. on 4 ff., 34 x 21 cm, num. 244d-247d in pencil by another hand, blue ink on laid paper, s. "LF Céline", countersigned "Lucette" (slight creases due to mailing). Exceptional letter from Céline in exile with his wife Lucette in Denmark after his trial for treason in 1945. He spent the first three years in Copenhagen, where he was interned. In 1948, the couple moved to a farm owned by Céline's lawyer, Thorvald Mikkelsen. The letter begins gently, thanking his correspondent and friend, probably the Montmartre painter and engraver J.-G. Daragnès, for his and his wife's support "after so many years! Enough to weary the angels!", then he adds "Oh don't worry about the little cold with Mik[kelsen]! My God, he's a big, spoiled 67-year-old baby! Never suffered a second in his long life, and it's already quite extraordinary that he tolerates us in his home! From the 2nd page onwards, the tone changes abruptly, and the author lets his misanthropy burst forth without restraint: "Psychology and morality are [...] sports for arch-rich, arch-fuckers, trifles for cocainomaniac socialites. The animal, my dog [Bessy], my cat [Bébert], don't give a damn about my psychology [...]"; "Oh là là mais alors tu penses si j'ai l'horreur des pamphlets même de vague allure politique! Bisque! Triple bisque! That's for others to do! I couldn't care less. Long live the Jews! Long live Capital! Long live the Commune! Long live the Moon! Long live Quinquin! Long live the one who will leave me in peace! I no longer have any opinion on what men fornicate, none at all [...]". He angrily evokes his ex-friend Oscar Rosembly, who robbed his apartment "as a team" (along with other members of the F.F.I.) during the Liberation of Paris: "None of these valiant men would think of going up to [Yvon] Morandat's apartment to ask him if he might have a pair of sheets left! which I really need! Morandat, a leading French Resistance fighter, occupied Céline's requisitioned apartment after his escape. Céline accused him - falsely - of having "stolen" his manuscripts. "I'd say to myself: this is my personal hysteria, if I didn't know that if 100,000 and 100,000 in my case feel exactly kif! Oh what dangerous potential! If you only knew! This hatred stronger than death and life! May the dam burst oh the bourgeois don't know what they'll see [...]. I like you, you know. I esteem you, the only one. I tell you: the frightful danger is there, the devil, that nihilist! [...] "I kiss you well, Lucette kisses you, all our gratitude and a thousand gratitudes to your wife". With export certificate for cultural property.

The engagement of Gombault and Macée. Part of the Tenture des Amours de Gombault et Macée Flemish tapestry Bruges Late 16th - early 17th century. Woven in wool and silk. H. 0.98 x W. 0.87 m The bride and groom, adorned with their respective attributes, hold hands in the presence of a shepherd. The engagement scene precedes that of the bridal procession. This is a moralistic tapestry aimed at a wealthy Flemish clientele. One example is in the Musée d'art et d'histoire de Saint-Lô (Bruges, 4th quarter 16th - 1st third 17th century). It has preserved its bright colors and the borders are missing. It is in good condition, with some wear.

Fernand LÉGER (1881-1955) Throne under a red canopy. Set design for the Opéra Bolivar, 1949 Watercolor and India ink on paper. On the back inscribed 36, Bolivar, Fernand Léger. 27 x 20.3 cm This work will be included in the Répertoire des œuvres sur papier de Fernand Léger being prepared by Mrs. Irus Hansma. A certificate from Mrs. Irus Hansma, dated June 1, 2022, will be given to the buyer. A certificate may be requested from the Light Committee at the purchaser's expense. The opera Bolivar, written in the USA around 1943 by Darius Milhaud, is based on the legendary hero legendary hero Simon Bolivar, nicknamed El Libertador, who emancipated the of Latin America from the yoke of Spanish colonization. Milhaud immediately thought of Léger to illustrate the libretto by Jules Supervielle and design the models and and sets, in a popular and lyrical style. The sets were created by Maurice Moulène, who kept the unnumbered sketches unnumbered sketches not used in the final staging. The gouaches presented in this sale come from the set kept by Moulène. by Moulène. Some of them are preliminary drafts of the larger gouaches in the Musée de l'Opéra de Paris.

X. BATHIS, Greek photographer, Athens. Original albumen print photograph (9.2 x 5.8 cm), mounted on cardboard (10.5 x 6.5 cm). Photographer's name, in Greek, on mount (stamp). Horrifying rosary of 7 severed human heads. On the back, in pencil: "Têtes de brigands aux mains desquels Eloi Béral avait manquer tomber". Another copy of this photo (slightly different) is attached, without the photographer's mark, but with the ink caption "Arvanatis" on the plate. Provenance: Eloi Béral collection.

FRANK-WILL (1900-1951) Caravelles at sea Watercolor and gouache over pencil lines. Signed lower right. Restoration at upper right. 45 x 60 cm (view)

Paul BRANDT (1883-1952). Advertising project for "PAUL BRANDT" Paris 1931 featuring a stylized Art Deco drawing of a female bust figure presenting four of the jeweler's iconic 1930s creations: ring, chain, pendant and bracelet, gouache drawing in black, white and gray on grained paper, lower right in ink "PAUL BRANDT PARIS 1931". Dim. 32.5 x 25 cm. Working annotations and description on the back in pencil This drawing was the basis for the Paul Brandt advertising promotion published in Les Modes magazine in July 1931, reproduced on p.155 in the book Paul Brandt by Bleue-Marine MASSARD published by Edition NORMA.

Kim Tiền, Bảo Đại era, diploma of the bilingual imperial model engraved with dragon decoration, topped with a Tiền in the type of the Flying Dragon, awarding a 3rd class sapèque d'Honneur to M. Nguyen-Tu, Secretary of Public Works in Quinhon, dated 6th year, 8th month, 3rd day of the Bảo Đại era (September 14, 1931), imperial seal in red ink. Folds and stains, tears repaired. 39.5 x 50.5 cm

Antoniucci VOLTI (1915-1989) Reclining model Sanguine on paper Signed lower left 46x60 cm (view)

Auguste CHABAUD (1882-1955) Woman at the Toilet. Circa 1905. Fauve period Pencil and watercolor. Stamped lower right 25x16 cm

Manufacture de Joseph DUFOUR à Mâcon (1757-1824) Les Sauvages de la mer du Pacifique ou les voyages du Capitaine Cook. Polychrome panoramic wallpaper designed by Jean-Gabriel Charvet (1750-1829) original edition 1804 Manufacture de Josef DUFOUR et Cie ( 1797-1807). Fragment of sheet no. V depicting dancers from the island of Tahiti. Paper mounted on canvas and stretcher. 199 cm x 114 cm ( Restored, peeling and small missing parts)

Shepard FAIREY, dit OBEY (1970) - Liberty Equality Fraternity Offset lithograph Signed in pencil and dated 2021 lower right 91.5 x 61 cm ATTENTION : Lot to be picked up at our warehouse in Saint-Ouen, on April 30th.

Gérard FROMANGER. - "The painter and the model. Rouge de chine vermillonée. 1973" Color lithograph, 52 x 70. Signed, dated and justified (46/150) below in pencil. Under glass and passe-partout.

Yves BRAYER (1907-1990) Camargue horses Watercolor Signed lower right 40 x 52 cm

Henri-Théodore FANTIN-LATOUR (1836-1904) "Study of female nudes". Pencil drawing on tracing paper. Studio stamp lower left. H. 25 cm - L. 14 cm Small stains.

YVES BRAYER (1907-1990). "Beaucaire. Watercolor signed lower left and titled lower right. Sight: Height : 21 cm - Width : 30 cm

Auguste MAMBOUR. - "Les éditions à la lampe d'Aladdin publish 4 erotica by Mambour" Liège, A la Lampe d'Aladdin, 1929. Four color lithographs in publisher's dust jacket. Unnumbered edition on vellum. Jacket browned.

Alexandre NOZAL (1852-1920) "Le Port de Saint Servan", Pastel signed lower left, dated 1908. 31 x 49 cm

Maurice MILLIERE (1871-1946) La parisienne Gouache et crayon sur papier Probablement un projet de couverture pour le magazine français "La Vie Parisienne" Signé et dédicacé en bas à droite: "A mon excellente et vieille amie Gaby - Maurice Millière" 51 x 41 cm pour la feuille

Maximilien LUCE (1858-1941) Landscape Pencil and ink wash Signed lower right 14 x 22 cm