Graphic arts

Jean MESSAGIER (1920-1999) - Snow on November 24, 1988 Watercolor on paper Signed lower right Titled in the middle 73 x 108 cm on view Provenance Private collection, France

Charles de LA FOSSE (Paris 1636-1716) Profile of a woman, hands outstretched Sanguine and white highlights on beige paper Inscribed on verso in pen 4l3 (?). Lower right corner restored. 17.8 x 23.8 cm PROVENANCE: André Bernheim sale, Paris, Hôtel Drouot, January 21, 2023, (Me Giquello), no. 270, reproduced (attributed to Carlo Marrata); Chez Tarentino, Paris, 2023. BIBLIOGRAPHY: C. Gustin-Gomez, Charles de La Fosse, online catalog raisonné, unpublished drawings, 2023, no. D.50, reproduced. Madame Gustin-Gomez dates our drawing to the 1680s, when Charles de la Fosse was working on the Château de Choisy for the Grande Mademoiselle.

Jean COCTEAU(1889-1963) Étude pour décoration de chapelle, 1956 Crayon sur papier Signé et daté en bas: "Jean Cocteau 24 Juin 1956" 27,5 x 21 cm Nous remercions Madame Annie Guédras qui nous a aimablement confirmé l’authenticité de cette oeuvre.

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

by PORET Xavier (1894-1975) Chamois reclining in the snow Charcoal and colored pencil, signed lower right and dated 1964 20 x 28.5cm

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

Alexandre ROUBTZOFF (Saint Petersburg, 1884 - Tunis, 1949) View of Rohia (1943) Watercolor and charcoal on paper, signed, dated and localized lower right "Rohia July 25, 1943. A. Roubtzoff". Framed. H. 29.5 x L. 45 cm (when viewed). Provenance - Gift from the artist to Dr. Éloi Baysse, colonization physician in Tunisia (appointed in 1934), also a friend and physician of the artist. - Then by descent. Expert : Maxime Charron Collection of unpublished works by Alexandre Roubtzoff from Dr. Éloi Baysse, the artist's friend and physician in Tunisia. "I only came to Tunisia for a few days, and I stayed there for the rest of my life", wrote the artist in his memoirs. Alexander Roubtzoff, born in St. Petersburg on January 24, 1884, trained in the painting department of the Imperial Academy of Arts under the tutelage of Yan Frantsevich Tsionglinsky (1858-1912), a key figure in his training since Tsionglinsky was considered one of the first Russian Impressionists and was also a great traveler and lover of exotic countries. Between 1907 and 1912, Roubtzoff travelled extensively on a scholarship, taking him to Austria, Germany, Italy and Morocco, where he was unable to establish himself permanently because of the Moroccan campaign, prompting him to travel to Tunisia and settle there in 1914. The First World War prevented him from returning to Russia, and Roubtzoff took up residence in Tunis in an apartment-studio at 33 rue Al Djazira. The October Revolution of 1917 marked a major turning point in the artist's life; he severed ties with his native country, took French nationality and presented himself as "a Frenchman born in St. Petersburg". This new horizon guided him towards plein-air painting, imbued with the warmth of the Sahara sands and the contrasts of the Atlas mountains. The magic of Tunisian light and its unique nuances, as well as street scenes and depictions of Arab life, inspired Roubtzoff throughout his life, creating over 3,000 works of great diversity. The collection of completely new works presented in this sale is of a truly exclusive nature. Whether portraits or landscapes, these paintings were hitherto unknown to reference books and historians. According to family tradition, all these works originally came from the collection of Éloi Baysse, a doctor from the Cahors region, appointed in 1934 as colonization doctor in Tunisia, which explains why all the works are dated between 1935 and 1948. In his diary, Roubtzoff wrote in 1940: "It's always Dr. Baysse who takes me around the region (...)". This previously unpublished set shows the range of subjects Roubtzoff appreciated, including two portraits of major importance: the portrait of Arbia (1941) and the portrait of Marie Madeleine Leroy (1946). The portrait of Arbia highlights the artist's talent, mainly in the meticulousness of detail, the beauty of the subject and the sincerity of expression. Roubtzoff sublimates the oriental woman, clearly breaking away from the odalisque stereotype. His Bedouin portraits reveal the nobility and beauty of a people. Every detail and every pigment serves to highlight the beauty of Arbia's face, as does the use of intense blues, vibrant pinks and reds in the fabrics that dress her. As for the portrait of Marie Madeleine Leroy, General Mast's wife, it was probably commissioned by the ambassador's wife. Excelling in worldly portraits, the painter depicts her in her official residence, dressed in European style in a verdant, exotic setting. Once again demonstrating great realism, it's possible to recognize her perfectly, as in this period photo of their arrival in Tunis (see illustration). The collection also includes a number of small-format landscapes, also emblematic of Roubtzoff's body of work, the majority of which are painted in oil on canvas mounted on cardboard, a technique unique to the artist that he called "canvas boards", enabling him to transport them easily and in large quantities. The collection of Dr. Éloi Baysse's descendants will be presented to the public for the first time. It has been many years since an ensemble of this importance was auctioned off. Their dispersal will enrich the knowledge and corpus of an artist recognized and acclaimed by his peers as "the Russian Orientalist painter", recently honored by the Ga

Paul SERUSIER (1864-1927) "Ile de la Douane à l'entrée du Trieux", charcoal, red chalk and white chalk on brown paper, monogram stamped in red lower right. On verso, a charcoal sketch and the stamp of the 1984 Boutaric sale, 15 x 23.5 cm PROVENANCE : - Former Henriette Boutaric collection - Ader-Picard-Tajan, Boutaric sale, June 20, 1984, Paris, N°440 - Private collection, France BIBLIOGRAPHY : This work is included in the online catalog raisonné of Paul Sérusier's work (C-157.Pay). A certificate from the Comité Sérusier will be given to the buyer, dated Pont-Aven April 18, 2023.

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.

Bernard BOUTET DE MONVEL, Important set of photographs printed on paper, negatives and dry gelatin silver bromide glass plates, late 19th - early 20th century [Over 150 documents] Set of negatives taken in the studio (vase of flowers, self-portrait in front of a mirror, portrait of the artist with a pair of binoculars and a hat, portrait of the artist with a cape, etc.) or in his home (his grandmother in front of a fireplace, etc.), but also outdoors (park, houses, trees, churches, canal, cemetery, schoolgirls in the street, Parisian booksellers, etc.). We also find a print of the artist's portrait in country dress, an unidentified portrait painted by Bernard Boutet de Monvel, multiple prints of hunting dogs, "coins de Paris" (as mentioned on the envelope containing them). The lot contains two country views, and a print of haleurs having lunch or pulling a barge, also laid out. Two boxes contain rolled-up photographic prints. A set of dry gelatin-silver bromide glass plates of exterior views is included. (Lot sold as is).

Haywen T'ANG (1927-1991) Small abstract watercolour. T'ang Haywen, born on 20 December 1927 in Amoy in Fujian province and died on 9 September 1991 in the 14ᵉ arrondissement of Paris, was a French painter of Chinese origin who lived and worked in Paris. T'ang belonged to the second generation of Chinese artists who left for France after the Second World War, but unlike his contemporaries Chu Teh-Chun and Zao Wou-Ki, who had attended the Hangzhou Academy, T'ang had no formal art education. It was his grandfather's teaching of calligraphy and the principles of Taoism that shaped his intellectual development and outlook. Weight: 830 g Shipping available Area: Chine Sizes: H 290MM X L 290MM AVEC CADRE / H 15MM X L 15MM Condition: At first glance: good condition

Eugène LEROY (1910-2000), attributed to Composition Ink, watercolor and gouache on paper 72 x 108 cm (view), framed Provenance: Private collection in northern France. Acquired directly from the artist

by PORET Xavier (1894-1975) Two hares in the tall grass Charcoal and colored pencil, signed and dated 1958 31.8 x 23.6 cm

17th century Verona school Four studies of cherubs Pen and brown ink on gray paper, white gouache, annotated "annibal caracci" lower left 14.5 x 10 cm

Alexandre ISTRATI (1915-1991) - Vertical composition, 1962 Ink and gouache on paper Signed and dated '62' lower right 67.5 x 52 cm

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

AUBUSSON wool and silk tapestry decorated with a harbor landscape with palaces and factories, figures rolling barrels and boats in the foreground, after a cartoon by Joseph Vernet. Second half of the 18th century. Attached braid, restorations and lining. H. 220 L. 310 cm A tapestry with a similar subject in Dario Boccara, Les belles heures de la tapisserie, Milan, 1971, p. 207.

Count Auguste de FORBIN (1777-1841) View of Jerusalem Pen and black ink, gray wash and watercolor, signed with the back of the brush lower left, located in a cartel lower center in the margin "Vue de Jérusalem prise de la vallée de Joséphat" (insolated, folds and stains) 40 x 53 cm Our drawing was engraved for "Voyage dans le Levant en 1817 et 1818", Paris, Imprimerie Royale, 1819, pl. 17. Forbin reused this same view in 1825 for a painting in the Louvre (inv 4491).

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

Fernand LEGER (d'après) "Composition abstraite" Wool tapestry based on a model by the artist for a mural in 1953. Weight: 30.00 kg Shipping unavailable Area: France Sizes: H 3100MM X L 2050MM Condition: At first glance: good condition

Jean-Claude FARHI (1940-2012) Original rectangular box in black Plexiglas with alternating red, orange and yellow stripes Signed and numbered 23/28 27 x 33 x 10 cm (scratches) Inside a volume "L'Ecole de NIce, Paroles d'artistes", Verlhac Editions, copy no. 23/28 including original works: Marcel ALOCCO collage and stencil, BEN original writing, Louis CHACALLIS stencil, Max CHARVOLEN unfolding, Noël DOLLA "Leurre", Claude GILLI collage, Rotraut KLEIN-MOQUAY enhanced photograph, Sacha SOSNO metalcut, Bernar VENET digigraphy, ARMAN titling after an unpublished drawing, and CESAR original photograph by Jean FERRERO.

[AFFICHE]. Robert COMBAS. - "Yvon Lambert. 1986" Offset, 81 x 60. Signed in felt pen. Slight creases to margins and reinforcement to spine.

Affiche du 31eme Grand-Prix de l’ACF, d’après Savignac, 1937 - Raymond SAVIGNAC (1907-2002) Signed and dated upper right: SAVIGNAC 37 Automobile Club de France 1937" stamp. Edition Alliance Graphique, imprimerie L.Danel, Paris. 158 x 117 cm. Wrapped in cloth. Superb condition despite a slight tear and traces of folding. Very rare poster, never seen for sale, museum piece. History of the ACF Grand Prix: Founded in 1895, the Automobile Club de France (ACF) decided to create the Grand Prix de France in 1906. In fact, this Grand Prix was the successor to the Gordon Bennett Cups held in Europe between 1900 and 1905, and already partly organized by the ACF. This first Grand-Prix de l'Automobile Club de France took place for the first time on a circuit of just over 100 kilometers, near Le Mans, on June 26 and 27, 1906. Invited to cover 1240 kilometers in two days, this first edition saw Ferenc Szisz crowned on a Renault AK after more than 12 hours of racing. For the 1936 and 1937 editions, the ACF decided to impose the Formula Sport, with a maximum displacement of 4.5 liters and prohibiting the use of a compressor. Here are the broad outlines of the rules imposed by the organizing committee for the XXXI ACF Grand Prix - Voitures de Sport: The GP de l'ACF will be run on July 4, 1937, on the Linas-Montlhéry road circuit, each lap of which measures 12 kilometers, 504 meters and 35 centimeters. -The GP de l'ACF will be run over a distance of approximately 500 kilometers, or 40 laps of the Linas-Montlhéry road circuit. - The winner will be awarded the sum of 100,000 francs (in cash, please!). Let's go to Montlhéry to the starting grid of the XXXIst ACF Grand-Prix: Bugatti, Talbot and Delahaye are all on the starting line at 2pm. The chequered flag waved and the cars took off with a bang. Sommer leads the race for the first 20 laps, before Louis Chiron overtakes him and guides the race to the finish. The old fox - an affectionate nickname given to Chiron for his racing intelligence - became the first driver in history to win the French Grand Prix three times! In the end, four Talbots finished in the top five places, making up a 100% Talbot podium; the 1937 ACF GP marked a triple victory for Talbot automobiles. As the ACF GP saw Sommer's Bugatti Type 57G win in 1936, the 1937 poster seems to honor the Molsheim thoroughbreds. Savignac depicts a stylized Bugatti, reduced to its basic components - the horseshoe grille, the Bugatti axle and the car's wheel - all in a formidable spirit of speed. The three letters "ACF" associated with the date of the event make the message very clear. All these elements make this poster a classic in the master's body of work, and in Art Deco posters in general. A celebrated 20th-century poster artist, Savignac's graphic works are now part of our common imagination. His style is effective and impactful, yet simple. Although Savignac's work was particularly influential in the second half of the 20th century - illustrating the exponential growth of advertising during the "Trente Glorieuses" - he was self-taught from the 1920s onwards, before meeting the Art-deco poster master Cassandre in 1933. From then on, the young Savignac's work was inspired by the Cassandre style. Also assisted by illustrator Charles Loupot, the artist joined Alliance graphique in 1935. He continued to assert his own style, becoming a master of the poster as well, by asserting his signature - by now recognizable to all - combined with an ever-delicate sense of humor. The artist signs a brilliant poster from the beginning of his career, before his talent was yet recognized by all, only his peers having - at that time - already given him the thumbs-up. A work that fits perfectly with Savignac's own definition of the poster: "popular and aristocratic". Bibliography : Arts et Métiers Graphiques - Issue 58 - July 1937 Anne-Claude LELIEUR Conservatrice Général de la Bibliothèque Forney, Raymonde BACHOLLET, Savignac Affichiste, Editions Bibliothèque Forney, Paris 2001, referenced under n° 7 reproduced p. 95 Maître Hervé POULAIN, Aleth HOURDAN, Ann HINDRY, On the road - L'automobile dans l'art, Étude et communication éditions, 2007, referenced under no. 88 reproduced on p. 74 Exhibition : Musée Bibliothèque Pierre André Benoit / Espace de Rochebelle / Musée du Colombier Alès, June 30 - September 23, 2007 Musée National du Sport, "A toute vitesse" Paris, April 6 - September 21, 2009

BRAM VAN VELDE (1895-1981) - Untitled. Colour lithograph on imperial Japan paper. Signed in pencil and annotated 'E.A'. 460 x 365 mm

EAU FORTE "LA GRAND BATAILLE" by Erik DESMAZIERES (1948) Etching numbered 88/90, signed and dated 1978 in graphite lower right. Size: 47 x 65 cm Good condition

Serge VANDERCAM (1924-2005) &Joseph NOIRET (1927-2012) Les yeux fermés l'écriture se fait homme Technique mixte et collage sur papier Signé en bas: "serge . v." et en bas à droite: "Jnoiret" 54 x 72 cm

BRAM BOGART (1921-2012) - Untitled, 1980. Colour screenprint. Signed, dated and numbered in pencil 33/90. 735 x 880 mm

Mathurin MEHEUT (1882-1958), "Camaret, chantier naval", Gouache signed lower right, 30 x 43 cm

Eugène GALIEN-LALOUE 1854-1941 - THE FLOWER MARKET, PLACE DE LA MADELEINE IN THE SNOW Gouache signed lower left 10.8 x 17.2 cm

JOB: Plate 202 des Maitres de l'Affiche. Chromolithograph after Mucha with the publication's dry stamp in the lower right-hand corner. Slightly yellowed, some wavy folds, diagonal fold and break in the corners of the right edge. Sheet size: 40 x 29cm. Expert : Sylvie Collignon

Auguste RODIN - Auguste RODIN (1840-1917) - Woman and Child - Pencil and watercolor drawing - 29.7 x 21 cm - Copy of a certificate by Madame Paule CAILAC, dated July 10, 1982 on a headed paper from Galerie Marwan Hoss. will be given to the purchaser.

Henry MORET (1856-1913) "L'attelage" and "chaumière", suite of two unsigned pencil drawings, one double-sided, 25 x 38 cm and 26 x 38 cm PROVENANCE : Artist's family, then by descent

Jean COCTEAU (1889-1963) Gondolas in Venice. 1937 Pencil Signed and dated lower right 12 x 19 cm

Y. MEYER "Bouquet of dahlias" Watercolor. 40 x 30 cm Gilded wooden frame. 44 x 33 cm

NON VENU

EAU FORTE "MACHINE VOLLANTE II" by Erik DESMAZIERES (1948) Etching numbered 14/60, signed and dated 1973 in graphite lower right. Size: 47 x 65 cm

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.

Joan MITCHELL (1925-1992). Untitled. Pastel on paper. Signed lower right, dedicated and located "This drawing for my dear Paule Bidot, Saint Cyr". Circa 1980. Dim. 70.5x58 cm; view: 55x43 cm. Some marks. Attached is a pastel study for the reverse of a poster for the Salon Art Vivant held at the Château de la Roche-Guyon from April 25 to May 9, 1982. Dim. 60x40 cm. Provenance: Île de France private collection.

Félix BRACQUEMOND (Paris, 1833 - Sèvres, 1914) Study of hands, also known as Fantin's hands Charcoal, estompe and pastel frameless Study of hands also known as Fantin's hands, charcoal, stumping and pastel, by Félix Bracquemond 11.61 × 26.18 in. H : 29.5 cm, W : 66.5 cm Félix BRACQUEMOND (Paris, 1833 - Sèvres, 1914) H : 29.5 cm, W : 66.5 cm

Jacques SOISSON (1928-2012) - Forbidden to speak, 1978 Gouache on paper Signed and dated lower right Titled on back 76.5 x 56.5 cm

Pierre ALECHINSKY (1927) Sans titre, 1953 Lithographie en couleurs Signé, daté, numéroté 17/50 et dédicacé au crayon: "cette rose des sables à Robert" 28,5 x 41,5 cm pour le sujet (marges insolées)

Spectacular edict from the 2nd year of EmperorKhải Định (1917), in the form of a poetic text posthumously praising a member of an illustrious family, dated 5th month, 16th day, i.e. July 4, 1917. Entirely calligraphed on damask yellow silk, framed with dragons in clouds and flowers in colored silk enhanced with gold thread and sequins, imperial seal in red ink. Stains, wear and small tears, fragile. 51 x 147 cm

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

Silvin BRONKART(1915-1967) Sans titre, 1951 Fusain, crayon, aquarelle et gouache sur papier Signé et daté en bas à droite: "Silvin 51" 42 x 33 cm à vue

Paul GAUGUIN (1848-1903) "Visage de face, visage de profil", Tahitian period, Double-sided black pencil, studio stamp lower right, 27.3 x 17.8 cm. Institut Wildenstein certificate dated 24/06/2016.

Jules Emile ZINGG (1882-1942) "Sur la plage", Watercolour signed lower left, 29.5 x 46 cm

Jean Cocteau (1889 Maisons-Laffitte near Paris - 1963 Milly-la-Forêt near Paris) Portrait of the writer André Gide Outlined drawing of the multi-talented universal artist - painter, poet, film director and actor, who shaped the avant-garde artistic and intellectual life of his time - with a few confidently placed strokes. A friend of Picasso, Marcel Proust, Charlie Chaplin and Jean Marais, among others, Cocteau also had a diverse network and was always artistically in tune with the times. Watercolored ink/paper. Signed a. with star and titled. 21 cm x 15.9 cm. Frame. Indian ink and watercolour on paper. Signed with star and inscribed with title.

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.

Félix BRACQUEMOND (Paris, 1833 - Sèvres, 1914) Woman with cat Wash over pencil lines Unframed Woman with a cat, wash over pencil lines, by Félix Bracquemond 2.55 × 3.15 in. H : 6.5 cm, W : 8.0 cm Félix BRACQUEMOND (Paris, 1833 - Sèvres, 1914) H : 6.5 cm, W : 8.0 cm

Félix BRACQUEMOND (Paris, 1833 - Sèvres, 1914) Study, nude of a woman holding a bouquet of flowers on a man's skull, frontispiece project for Charles Baudelaire's 'Les Fleurs du mal'. Watercolor, brown and black wash over pencil and charcoal lines Unframed Study, nude of a woman holding a bouquet of flowers on a man's skull, draft frontispiece for 'Les Fleurs du mal' by Charles Baudelaire, watercolour, brown and black wash over pencil and charcoal lines, by Félix Bracquemond 13.18 × 4.72 in. H : 33.5 cm, W : 12.0 cm Félix BRACQUEMOND (Paris, 1833 - Sèvres, 1914) H : 33.5 cm, W : 12.0 cm