Paintings

Mela MUTER (Varsovie 1876 - Paris 1967) - Small fishing port in Catalonia Circa 1912/1913 Oil on canvas 81 x 65 cm Signed lower left "Mela Muter" and dedicated lower right "A L'ami Jules Rais". Provenance Jules Rais Collection By descent, to the present owner Mela Muter is a Franco-Polish painter and draughtswoman of the École de Paris. Maria Melania Kingsland was born in Warsaw into a well-to-do Polish-Jewish family. She studied at the Warsaw School of Drawing and Painting for Women. In 1901, she arrived in Paris with her husband Michal Muttermilch and enrolled at the Académie Colarossi, then the Académie de la Grande Chaumière. By 1902, she had become an important figure in Montparnasse and Parisian artistic life. She exhibited regularly in Paris. Her first works were Symbolist landscapes and portraits, before she evolved towards a more Expressionist style. Her landscapes of the South are influenced by Cézanne, particularly in the geometrization of forms, but also by the Fauves. Mela Muter also stood out for her talent as a portraitist: she painted portraits of numerous personalities from the artistic, literary and political worlds (François Pompon, Raymond Lefebvre, Léopold Gottlieb, Georges Clémenceau). Between 1911 and 1914, Mela Muter traveled throughout France (Paris, Brittany, South of France), Spain (Ondarroa, Basque Country) and Catalonia (Barcelona, Girona). "Small fishing port in Catalonia" is a masterpiece created around 1913. At this time, Mela Muter was a regular visitor to Catalonia and fell in love with the region. She met the Catalan gallery owner and art dealer Josep Dalmau, who ran the Dalmau Gallery in Barcelona, and forged a friendship. The Dalmau gallery devoted a monographic exhibition to Mela Muter in 1911; she also took part in the "Polish Art" exhibition at the Dalmau gallery in 1912. Mela Muter was one of the most recognized Polish women artists of her lifetime. Her work was also well received by Catalan critics. Here, the artist depicts a small fishing port at the foot of the hills; buildings with colorful facades, topped by red roofs and pierced by galleries, occupy the upper part of the beach, while boats, of which only the front hull is visible, lie on the sand. Mela Muter constructs her painting by juxtaposing short strokes of color on her prepared canvas. The reserves, like shafts of light, give relief to the composition. Point by point, the artist executes the branches on the upper part. The light, reflected on the façade and gallery, is translated by touches of yellow, orange, blue and pink. The play of light and shadow inside the gallery reveals a palette of yellow, blue, green and grey. The gesture is lively and spontaneous. Tight framing, attention to the translation of light and color, the use of compact brushstrokes and the use of reserves are technical characteristics that the artist exhibited in the early 1910s, notably in the painting "Portrait of the merchant Josep Dalmau" (1911) conserved at the National Art Museum of Catalonia (3) and in "Seated Woman" (1912) (4). Works from this period place the artist alongside the Fauves, as a worthy heir to Van Gogh. Jules Rais acquired this painting "Petit port de pêcheurs en Catalogne" directly from the artist. The dedication "a l'ami Jules Rais" expresses the friendly bond between them. Jules Rais, born Jules Salomon Cahen dit Nathan, was a French writer, art critic and translator. He worked alongside Roger Marx as editor of the magazine "L'Image" and the "Gazette des Beaux-arts". He also worked as a parliamentary editor for the Ministry of Foreign Affairs. In August 1921, Jules Rais published the article "L'art Polonais Contemporain" (5) in the magazine "Art et décoration", in connection with the exhibition of Polish art organized at the Salon de la Société Nationale des beaux-arts in 1921. In this article, he pays a vibrant tribute to Polish artists. The critic praised Mela Muter's painting and her many talents, including that of a colorist. We don't know on what occasion the artist and critic met, but we can assume that the literary and artistic circles they both frequented brought them closer together. In particular, Jules Rais kept up a correspondence with a Polish artist whom Mela Muter knew: Olga Boznańska (cf. Jules Rais archives). Mela Muter executed a pencil portrait of Rais, which she dedicated "To the dear friend J. Rais" (6) . They also maintained a

PORTELLI Linda - "Les rives du loup" Alpes maritimes "Plein air 2024" collection Gloss varnish oil painting 41 x 33 cm signed. Free shipping to metropolitan France. The lot is and will be sent from the following country: France. The artist is listed in the 23rd edition of the "Dictionnaire des Artistes Cotés du XVe siècle à nos jours" - Guid'Arts 2024. https://portelli-linda.dictionnairedesartistescotes.com

Francis BACON (1909-1992) Self-portrait, 1991 Lithographic triptych in color, countersigned lower right and numbered HC VII/X lower left, gallery label on back stating "HC. from an edition of 60". 52 x 94 cm (Slight stains and foxing) Provenance: JSC Modern Art Gallery, Paris

PIERRE ALECHINSKY (°1927) - Untitled. Years 1990-2000. Acryl on canvas. Signed 'Alechinsky', repeated on stretcher of the reverse. Provenance: Private collection, Belgium Ariel Gallery, France Boon Gallery, 2016 Private collection, Brasschaat Certificate of authenticity: Boon Gallery, Knokke, 17.10.2016 Resale rights applicable. 65 x 52 cm (80 x 67 cm) Condition: Dit schilderij bevindt zich naar onze mening in uitstekende staat. De zijkant van het doek is afgewerkt met zwarte tape. Op de randen van het canvas komt deze tape minimaal los.

Jean HÉLION (1904-1987) Cooked Spiders, 1976 Gouache on paper, signed and dated lower right Height 75.5 cm; Width: 110 cm Provenance : - Galerie Éditions Karl Flinker, February 1985

Derrière Le Miroir. Head of the collection of the first 24 issues of the magazine in a publisher's wallet, in green cloth with laces, boards illustrated with color lithographs by MIRO, made by Editions Maeght to contain the issues of their magazine in 1956. Contains the following 24 issues, small in-folio in ff. : - n°1 "Le noir est une couleur", published in 1946 for the Galerie Maeght exhibition of works by Bonnard, Matisse, Braque, Rouault, Marchand, Manessier, Thompson, Geer van Velde, Chastel, Villeri, Atlan, Rigaud, Dany and Pallut. Text by Jacques Kober, testimonials by Henri Matisse, Georges Rouault and André Marchand. Freckles. - n°2 "Sur 4 murs", published in February 1947. Text by Michel Seuphor "Le chevalet et le mur", René Guilly "Il est permis de trouer le mur" and a tribute to Bonnard by Jacques Kober. Exhibition of murals and monumental works. 6 original color lithographs by André MARCHAND. - n°3, published in 1947 for the RIGAUD exhibition at Galerie Maeght. Texts by Jean Leymarie, Edouard Jaguer and Jacques Kober. 8 original lithographs. - n°4, published in 1947 for the 1st BRAQUE exhibition at Galerie Maeght. Poem by René Char. Text by Jacques Kober. [8] pages including cover. 1 lithographic reproduction in color and 3 unpublished drawings. 2 black reproductions. - n°5, "Les Mains éblouies", published in 1947 for the exhibition of young artists such as Dmitrienko, Rezvani, Signovert, Thompson and Mason at Galerie Maeght. Text by Jacques Kober "Une année de peinture". [8] pp. including cover. 6 original lithographs by Jean Signovert + Supplement for the David HARE exhibition at the Galerie Maeght with Jean-Paul Sartre's text "Sculptures à n dimensions", [4] pp. - n°6, published for the BAYA exhibition at Galerie Maeght in November 1947. Texts by André Breton, Emile Dermenghem and Jean Peyrissac. Poems by Jacques Kober. [8] pp. including color cover. 6 lithographic reproductions in color. - n°7, published in 1948 for the VILLERI exhibition at the Galerie Maeght. Texts by René Char, Yves Battistini, Lucien Coutaud, Gilbert Lely and Roger Chastel. [8] pp. including color cover. 4 color lithographic reproductions. - n°8, published for the exhibition of 20 sculptures by PEYRISSAC at the Galerie Maeght in March 1948. Texts by René Guilly, André Marchand and Jacques Charpier. [8] pp. including color cover. 2 lithographic reproductions in color and 3 reproductions in black. - n°9, published in 1948 for the exhibition of 20 paintings by PALLUT at the Galerie Maeght. Texts by Jacques Kober, Franck Elgar and Raymond Mason. [8] pp. including color cover. 3 original color lithographs and 3 unpublished drawings reproduced in facsimile. - n°10, published in 1948 for the BEOTHY exhibition at the Galerie Maeght. Texts by Léon Degand, Béothy, Luc Benoist and Luc Decaunes. [8] pp. including color cover. 3 original color lithographs, 1 double-page + 4-page supplement "Un livre de Jean Signovert". - n°11-12, published for the exhibition of works by Bram and Geer VAN VELDE at the Galerie Maeght in 1948. Texts by Samuel Beckett "Peintures de l'empêchement" and Jacques Kober. 16 pp. including 2 original lithographs by Geer van Velde and 8 black reproductions. - n°13, published for the Germaine RICHIER exhibition at Galerie Maeght in October 1948. Texts by Francis Ponge, Georges Limbourd and René de Sorlier. [8] pp. 1 original color lithograph and 5 black reproductions. Studio photograph by Brassaï. Numbered copy 31. - n°14-15, published in November 1948 for the exhibition of MIRO's paintings and ceramics at the Galerie Maeght. Text by Tristan Tzara, Jean Cassou, Raymond Queneau, Paul Eluard, Ernest Hemingway, ... [12] pp. 7 original color lithographs and 8 black reproductions + supplement for "Ma Civilisation" by Gilbert Lély, 4 pp. - n°16, published in 1949 for the HOFMANN exhibition at the Galerie Maeght. Texts by Charles Estienne, Peter Neagoe and Tennessee Willimas. Poem by Weldon Kees. [8] pp. 2 original color lithographs. - n°17, published in 1949 for the presentation of "Le Bestiaire" illustrated by Roger CHASTEL at Galerie Maeght. Texts by Paul Eluard, Pierre Bérès, Paul Bonet, Georges Blaizot and Charles Peignot. [8] pp. 2 original color lithographs. - n°18, published in 1949 for the CHAUVIN exhibition at Galerie Maeght. Texts by Robert Rey, Georges Hugnet and Stanislas Fumet. [8] pp. 2 facsimile drawings. 3 black reproductions. - n°19, published in 1949 for the exhibition of 26 paintings by SELIGMANN at the Galerie Maeght. Texts by Pierre Mabille, Georges Duthuit Pierre Courthion and Charles Duits. [8] pp. 5 lithographed reproductions, including 3 on the front cover.

Charles KVAPIL (1884-1957) Reclining Nude with Hat Oil on panel, signed lower left Inscribed "Certifié par Kvapil" on the back 32 x 40.5cm

Arpad SZENES (1897-1985) Calm, 1977 Oil on paper mounted on canvas, signed lower right Height : 28 cm ; Width : 38 cm Provenance : - Galerie Jeanne Bucher, November 1979 A certificate from the Arpad Szenes - Vieira da Silva committee will be given to the buyer.

Rozwadowski, Zygmunt - 1870 Lviv/Ukraine - 1950 Zakopane/Poland. Studied at the Krakow Academy of Art and at a private painting school in Munich, co-founder of the Association of Polish Artists. Oil on canvas. In front of splendid farmsteads, farmer with his dog on his loaded two-horse cart. (O.r. min. rest.). Signed lower right a. 1923 dat. 64 x 97 cm. (79 x 109 cm). R. Lit.: 1.14.

Alfred RETH (Budapest 1884- Paris 1966) - Man with hat Made in 1925 Oil on canvas 35 x 27 cm Signed and dated lower right "A Reth 25". Provenance: Besch Cannes auction, lot n° 356 sale on 15.8.2010

Jean Metzinger (1883-1956) – Circle - Jean Metzinger (1883-1956) – Circle, cubistic still life, oil on cardboard, 40 x 27 cm

Henri HAYDEN (Varsovie 1883 - Paris 1970) - Still life with bottle and fruit bowl Circa 1913 Oil on canvas 61 x 50 cm Signed lower left "Hayden". On the back, on the stretcher, a label with the n° "104" and the collection label of Léopold Zorowski "Coll. L. Zborowksi 3, rue Joseph Barra Paris N° " A certificate of authenticity from the Société Civile de Défense de l'œuvre de Henri Hayden will be given to the buyer. Henri Hayden is a French painter and draughtsman of Polish origin from the École de Paris. He was born in Warsaw in 1883 into a family of shopkeepers. From 1902, he studied at the Warsaw Technical University and the Ecole des Beaux-Arts. Henri Hayden moved to Paris in 1907, settling in a studio on Boulevard Saint Michel and studying at the "La Palette" academy. From 1909, the painter made regular trips to Brittany, to Pont-Aven and Le Pouldu, where he met his elder brother Wladyslaw Slewinski. From 1914, Hayden frequented cubists such as Pablo Picasso, Juan Gris and Jean Metzinger. During the Second World War, he took refuge in Mougins with Robert Delaunay; he returned to Paris in 1944 to find his studio looted. In 1964, he moved with his wife to Seine-et-Marne, where he continued to paint numerous landscapes. The painter died at the age of 86. The painter's early works were influenced by the synthesizing research of the Pont-Aven painters and Gauguin, and by the legacy of Wladyslaw Slewinski. The period from 1912 to 1914 is known as "Cézanne". He then turned to the Cubist experiment, with contrasting textures and collage. Between 1922 and 1953, the painter produced more realistic landscapes and portraits. Towards the end of his life, he produced mainly decorative compositions, returning to his Cubist research and concentrating on the values of line and stain. Henri Hayden painted "Still life with bottle and fruit bowl" around 1913. This work dates from the Cézanne period, before he began to associate with the Cubists. Nevertheless, it reveals the artist's first Cubist temptations. The painting probably came from the collection of art dealer Léopold Zborowski. Lack of archival information does not allow us to confirm this. Léopold Zborowski became Henri Hayden's dealer in 1923, and exhibited his work in his gallery at 26 rue de Seine. E.V

Eduardo CHILLIDA (1924-2002) Casa de Goya, 1983 Silkscreen print. Signed and numbered on 100. 78.5 x 59.5 cm Bibliography: Martin van der Koelen, Eduardo Chillida, Catalogue Raisonné de l'artiste, Opus P.II, 1973 - 1985, Mainz, Chorus-Verlag, no. 83021, reproduced on p. 249.

Paul STRECKER (Mayence 1900 – Berlin 1950) - The naked couple Oil on canvas 81 x 100 cm Signed lower left "Strecker". On the back, on the stretcher, the label of Chantal Editions. We would like to thank Mr. Gregor Wedekind for the information he kindly provided. This work is listed under number WV-No.76 in the catalog raisonné prepared by Mr. Udo Braun in 1989. This work will be included in the catalog raisonné currently being prepared by the Paul Strecker Foundation. This work formerly belonged to Jeanne Philibert (Limoux 1898 - Rueil-la-Gadelière 1986), a French writer and editor. In her youth, she corresponded extensively with the poet Frédéric Mistral, who affectionately called her "Magali". Under this pseudonym, she met with success in 1927 with her book "Le Jardin enchanté", awarded the 1st Prix Max du Veuzit. . During the Occupation, she took refuge in Toulouse and her publishing house (Editions Chantal) helped print documents for the Resistance. In 1947, she moved to Rueil-la-Gadelière, near the painter Maurice de Vlaminck, with whom she became close friends. In 1954, she was awarded the French Resistance medal. Provenance : Former collection of the novelist Jeanne Philibert dite Magali (Édition Chantal) Paul Strecker (born Hermann Strecker) was born in Mainz on August 13, 1898. He was the youngest of five children born to Elisabeth and Ludwig Strecker. From the age of 12, he took drawing and painting lessons. He was also interested in literature, music and theater. In 1915, he graduated from the Grand Ducal Gymnasium (now Rabanus-Maurus-Gymnasium) in Mainz. In 1918, he announced to his family that he did not want to join his father's company, the music publisher B. Schott's Söhne, but wanted to become a painter. At the end of 1918, he moved to Munich, where he attended the private painting school of Moritz Heymann and Heinrich Knirr for a year. In August 1920, he obtained a place at the Academy of Fine Arts. At the instigation of Alfred Flechtheim, he moved to Berlin in April 1922. The gallery owner assured him of his support, and Strecker's works were soon exhibited by Cassirer and Flechtheim. Between 1923 and September 1924, Strecker made two study trips, the first to Italy and the second to Sanary-sur-Mer in France. In September 1924, Paul Strecker settled in Paris, the center of his life for twenty years. He took part in the Salon des Indépendants, the Salon des Tuileries and the Salon d'Automne. His travels took him to Italy, Spain, Switzerland, Holland and regularly to Germany. In 1929, the Flechtheim gallery in Berlin and Düsseldorf presented for the first time a large collection of 24 of his works. During a stay in Mainz in 1932, Strecker exhibited 18 works at the Kurfürstliches Schloss castle. In Paris, Strecker frequented Christian Bérard's circle, and met Jean Cocteau, Eugène Berman, Pavel Tchelitchev, Julien Green, Céline, Suzanne Valadon, Maurice Utrillo, Kees van Dongen, Jules Pascin and Pablo Picasso. In 1933, Strecker had his first solo exhibition in Paris, at Jean Bonjean's gallery, where Dior was his initial commercial partner. In 1934, art critic Waldemar George classified Strecker as a neo-romantic or neo-humanist. In 1937, this classification earned him an exhibition of his work at Julien Levy's gallery in New York. In April 1939, seventeen of his paintings were exhibited at the Petit Palais (1). The work presented here is a masterpiece from his Paris period, very close to the pictorial universe of his friend Pavel Tchelitchew. It depicts a nude couple on a plank floor. In www.paul-strecker.org (1) Translation from www.paul-strecker.org

*KIM En Joong ( Né en 1940) - Untitled, 1991 Acrylic on canvas panel, signed and dated lower right 61 x 50 cm Provenance : Private collection, Switzerland This work is presented for sale under temporary importation

Orientalist school of the XIX century. After STEFANO USSI (Florence, 1822-1901). "The return of the sheikh". Oil on panel. Measurements: 58 x 41 cm; 82 x 66 cm (frame). Stefano Ussi was first known for his historical paintings and then for depicting orientalist subjects, mainly Arabic and Moroccan. He is considered one of the Orientalist painters of the Ottocento. He visited Egypt in 1869 on the occasion of the opening of the Suez Canal and returned in 1872 at the invitation of the Khedive. Together with his friend the painter Cesare Biseo and Edmondo De Amicis, he accompanied an Italian diplomatic delegation to Morocco in 1875. His painting of the Arab woman at the well (1880) is exhibited in the Borgogna Museum in Vercelli. Orientalism was born in the 19th century as a consequence of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Along with the change of vision comes a technical and formal change; since it is no longer a question of recreating an imagined world in all its details, the brushstroke acquires impressionistic fluency, and the artists focus not so much on the depiction of the types and customs as on the faithful reflection of the atmosphere of the place, of the very identity of the North African populations.

Dans le gout de l'école italienne du XVe siècle. - In the style of the 15th century Italian school Virgin and Child on throne, surrounded by two angels; Saint John the Baptist and Saint Helen on the shutters Triptych panel Old restorations and lifting Overall, open: 94 x 126 cm

Youla CHAPOVAL (Kiev 1919 - Paris 1951) - Boat in port Realized in 1946 Oil on canvas 27.5 x 46.5 cm Signed and dated lower right "Chapoval IX 1946". Provenance : M. Henri Bénézit Private collection Bibliography: E. et M-L. Moisset, Chapoval, Catalogue Raisonné de L'œuvre Peint, Les Éditions de l'Amateur, 2015, Paris, n°159, p 156.

17th century Dutch school Bathsheba at the Bath Oil on oak panel Height: 23.5 cm. Length: 18 cm.

Bernard PIFFARETTI (b. 1955) Untitled, 1993 Acrylic on canvas Height 50 cm; Width: 40 cm Provenance : - Galerie Jean Fournier, March 1994

Hyacinthe Rigaud, Nachfolge - Hyacinthe Rigaud, Succession Frederick Augustus III of Saxony in armor and accompanied by a page Oil on canvas. 79 x 62.5 cm. Framed in a gilt wooden frame (92 x 77 cm). Provenance South German private collection. Literature Cf. Thieme/Donath, August's Africa - Africa in Saxony. Saxony in Africa in the 18th century. Exhibition catalog Moritzburg Castle 2022/23. The painter of this portrait of Frederick Augustus III of Saxony as crown prince, the later great art collector to whom the Dresden Picture Gallery owes its most important works, was inspired by the monumental portrait of him painted by Hyacinthe Rigaud in 1714. The painter of our smaller version copied every detail of the famous model, which is now in the Dresden painting collection. His brushstroke is confident and powerful. Frederick Augustus III of Saxony was the only legitimate son of Augustus the Strong. After his death in 1733, he became Elector and Duke of Saxony, King of Poland and Grand Duke of Lithuania. It can be assumed that the present portrait, which shows him still as crown prince, was probably painted before 1733.

Ramiro ARRUE (1892-1971) Fronton in the valleys of the Basque Country Oil on panel signed lower right 37 x 45 cm

Ramiro ARRUE (1892-1971) Farm in the Basque Country Oil on panel signed lower right 22.5 x 24.5 cm

René PRINET (1861-1946) Les arcades Oil on panel. 12.8 x 22 cm

Pinchus KREMEGNE (Zaloudock 1890 - Ceret 1981) - The hills of Céret Circa 1930 Oil on cardboard 35 x 37 cm Signed lower left "Kremegne".

Paul KALLOS (1928-2001) Composition, 1954 Oil on canvas. Unsigned. 89 x 116 cm Provenance : Galerie Le Minotaure, Paris (label on frame).

René PRINET (1861-1946) Town in Morocco by the sea, circa 1932 Oil on panel. 30 x 38 cm Prinet visited Rabat, Meknes and Marrakech in 1932.

Paul KALLOS (1928-2001) Modules, 1979 Acrylic on canvas. Signed and dated lower right. 55 x 46 cm

Léopold SURVAGE (Moscou 1879 - Paris 1968) - The city Realized in 1920 Oil on canvas 69 x 30 cm Signed lower right "Survage". On the back, on the canvas, French customs stamp On the back, on the stretcher, several old labels We would like to thank Madame Anne-Marie Divieto for confirming the authenticity of this work. Provenance Sale, Artcurial Briest - Le Fur - Poulain - F.Tajan, Paris, April 2, 2007, lot 20. Private collection, Switzerland. Private collection, Paris. Exhibition: Paris, Galerie Zlotowski, 'Léopold Survage 1879-1968', October-November 2003, p.33, no. 28

Francois Clouet (1510-1572) – Circle - Francois Clouet (1510-1572) – Circle, portrait of an elegant man, oil on wooden panel, damages, in gilded and carved later wooden frame, 24 x 17 cm

Jean COCTEAU (1889-1963) Orpheus in profile, January 13, 1960 Black felt pen on cloth napkin. Signed, dated and located "Véfour". 52.5 x 50 cm Provenance : Le Grand Véfour, Paris (monogram embroidered in center).

Pierre-Yves TRÉMOIS (1921-2020) Male nude lying down Lithograph signed and numbered on 75. 50 x 62 cm

Ecole Française, fin de XVIIe, début du XVIIIe siècle. - Presumed portrait of Ninon de l'Enclos in a red dress. Oil on panel. Dimensions : 73.5 x 60 cm.

Philippe HOSIASSON (1898-1978) Untitled, 1957 Gouache on paper, signed and dated lower right Height 45 cm; Width: 38 cm (dimensions when viewed) Provenance : - Galerie Regards, Paris, November 1984

Late 18th century school The Old Fisherman and Lively Coast Two oils on canvas 75 x 85 cm. Restorations

JULES CHÉRET (Paris, 1836 - 1932). Untitled, 1895. Lithograph poster advertising Cigarettes Job Hors. Signed and dated. Work catalogued in "La Belle Époque de Jules Chéret, l'affiche au décor", n. 1366, pp. 332-333. With damp stains on the back. Measures: 115 x 82 cm. Jules Cheret was a French painter and lithographer who was to become a master of the art of the poster. Self-taught, he studied the techniques of various artists, both ancient and modern, by visiting the museums of Paris. Although some of his paintings enjoyed recognition, it was his work as a poster artist that would bring him the greatest fame and for which he would be remembered. Influenced by the frivolous scenes depicted in the works of Jean-Honoré Fragonard and other rococo artists such as Antoine Watteau, Chéret recreated vivid posters for cabarets, variety theatres and theatres such as the Eldorado, the Paris Olympia, the Folies Bergère, the Opera House, the Alcazar d'Ete and the Moulin Rouge. Due to high demand, he expanded his business to provide advertisements for touring company performances, municipal festivals and then for beverages and spirits, perfumes, soaps, cosmetics and pharmaceuticals. Eventually he became a major advertising force, adding railway companies and a number of manufacturing businesses to his client list. In 1895, Chéret created the Maîtres de l'Affiche collection, a significant publication of smaller classified art reproductions featuring the best works of nineteen Parisian artists. Its success inspired an industry that saw the emergence of a new generation of designers and poster painters such as Charles Gesmar and Henri de Toulouse-Lautrec. One of his pupils was Georges de Feure (1868-1943). In his old age, Jules Chéret retired to the balmy climate of the Côte d'Azur in Nice. He died in 1932 at the age of 96 and was buried in the Saint-Vincent cemetery in the Montmartre district of Paris. In 1933 he was honoured with a posthumous exhibition of his works at the prestigious Salon d'Automne in Paris. Over the years, Chéret's posters have become highly sought after by collectors around the world. The Jules Chéret Museum of Fine Arts was opened in Nice.

Paul KALLOS (1928-2001) Composition, 1953 Ink, ink wash and watercolor. Signed and dated lower right. 18.5 x 23.5 cm Exhibition: Paul Kallos, Galerie Antoine Laurentin, Brussels, 2014.

Vera PAGAVA (1907 Tbilissi - 1988 Ivry-sur-Seine) - Women in the bath / Reclining nude Made in 1942 Oil on canvas recto/verso 45.5 x 65 cm Signed and dated lower right "V. Pagava 1942". On the back, provenance "Mr Dana". "Among the most coherent contemporary works, the most revealing of a new world, we must now count those by women artists who have found in greater isolation and in the very excess of the difficulties to be overcome the courage of a more total commitment, of a fidelity to self that leads them to the end of their path. Vera Pagava's work is one of the most assertive in terms of style and absolute determination. She is in full accomplishment. In Première exposition Alex Maguy Vera Pagava, 23 novembre-décembre 1956, galerie de l'Élysée, 1974, preface Jacques Lassaigne. Provenance: Private collection

Emmanuel VIERIN (1869-1954) - Street in Sint Martens Latem or Knokke, oil on canvas, signed and dated 1899, lower left. 91 x 118 cm

Rally" remote-controlled toy by Ventura Création featuring an ALFA ROMEO 1900, with original cardboard box, instruction manual, original road signs and tokens. Car dimensions: 39 x 16 cm. Rally" remote-controlled toy by Ventura Création featuring an ALFA ROMEO 1900, with original cardboard box, instruction manual, original road signs and tokens. Car dimensions: 39 x 16 cm.

LES MESSAGERIES MARITIMES "Marseille - Djibouti - East Africa - Madagascar - Reunion Island - Mauritius". COLOR POSTER after Jean des Gachons (1871-1951), 1958. 92 x 55 cm (Wrapped)

Jean-Pierre PINCEMIN (1944-2005) Untitled, 1998 Paint on cardboard, signed and dated lower right Height 32.5 cm; W 31.5 cm (dimensions when viewed) Provenance : - Galerie Montenay-Giroux, September 1999 CAUTION: STORAGE AND REMOVAL AS OUR OFFICE IS CURRENTLY UNDERGOING RENOVATIONS, ALL LOTS MUST BE COLLECTED FROM OUR FURNITURE REPOSITORY IN SAINT-OUEN, WITH YOUR PAID SLIP AND PROOF OF IDENTITY. Address: LTSE - 50, rue Ardoin 93400 Saint-Ouen - Bâtiment 556C. Open 8.30am-12.30pm - 2pm-5pm (Monday to Friday). GPS location: 48.9116440170972, 2.322533212510162. STORAGE FEES : - Free storage for all withdrawals during the first week, up to and including April 29. - 5 euros/day per lot from April 30 inclusive. SHIPPING : SHIPPING WILL NOT BE INSURED BY AUDAP & Associés. Please contact the service provider of your choice: - The Packengers: hello@thepackengers.com - Mehdi Mentouri: mentouri.mehdi@gmail.com - LTSE : contact@ltse.fr

Shirley GOLDFARB (1925-1980) Untitled, 1962 Oil on paper Height 12.5 cm; Width: 19.5 cm Provenance : - Galerie Zabriskie, November 1991

Paul KALLOS (1928-2001) Strata, 1983 Acrylic on canvas. Signed and dated lower right. 130 x 97 cm

18th century FRENCH SCHOOL. "Portrait of Louis XV as a child in armor. Oil on canvas in a gilded and carved wood frame (restorations). H.39 L.30.

Albert BRENET (1903-2005) Arrival of an airplane race on the Champs-Elysées Gouache on paper, signed lower left. 32.5 x 42.5cm on view

André DAUCHEZ (1870-1948) "Chapelle Notre-Dame des Croix à l'entrée de Loctudy", oil on panel, signed lower left, 33 x 24 cm

Henri EPSTEIN (Lodz 1892 - Auschwitz 1944) - Sailors in port Oil on canvas 54 x 65 cm Signed lower left "H. Epstein

18th century French school Venus and Cupid Oil on oval panel in a fine period gilded wood frame. 22 x 17cm

Colette BRUNSCHWIG (born 1927) Untitled, 1997 Oil on canvas Height 22 cm; Width: 33 cm Provenance : - Galerie Bernard Bouche, September 1997