TOUT AFFICHER / DISPLAY ALL / VEDI TUTTI
22. FERNAND LEGER (1881-1955)
La Fleur Jaune, maquette n° 3, circa 1936
Gouache sur papier signé en bas à droite. Au dos, authentification par Nadia Léger avec le n° G.173-2
Expertise, authentification :
L’oeuvre sera incluse dans les archives du Comité Léger en vue du Catalogue Raisonné en préparation sous le numéro FL 2022-05-000358 par Nicolas Thénier, président du Comité et Jean du Chatenet, conseiller scientifique.
Dimension : 57 x 36,5 cm
————–
La Fleur Jaune, model n° 3, circa 1936. Gouache on paper 57 x 36.5 cm, signed lower right. On the back, authentification by Nadia Léger with the number G.173-2.
Expertise, authentication:
The work will be included in the archives of the Léger Committee for the Catalog Raisonné in preparation under the number FL 2022-05-000358
by Nicolas Thénier, Chairman of the Committee and Jean du Chatenet, Scientific Advisor.
French painter born in Argentan in the Orne, creator of tapestries and stained glass cartoons, also decorator, ceramist, sculptor and illustrator, Fernand Léger will be one of the first to publicly exhibit Cubist-oriented works, even if his style has sometimes been described as “tubist”.
The Yellow Flower which was painted around 1936, dates from the period from which Léger is recognized internationally. He exhibits both in Europe and in the United States where he goes several times. At that time, his pictorial research moved away from mechanical aesthetics to fall within the great pictorial tradition. His works then testify to a return to the figure and to the development of decorative research, in dialogue with architecture.
180 000 – 240000 EUR
23. ALESSANDRO ALLORI (1535-1607), attribué
Madone à l’Enfant
Huile sur panneau
Anciennes étiquettes et cachet de collection au dos. Dans un encadrement ancien en bois sculpté et doré.
Dimensions : 86 x 63,5 cm
La Vierge est représentée assise, couverte d’une petite coiffe et portant sur les genoux l’Enfant Jésus couvert d’un linge et tenant une pomme de la main gauche. Les yeux de la Vierge sont tournés vers l’Enfant.
Condition report :
Usures, manques et anciennes restaurations.
Provenance :
Fischer, Luzern 1966, catalogue de la vente d’été.
Facture d’achat datée du 25 juin 1966
Depuis, Collection privée Suisse et Monte-Carlo
Documentation :
Avis du Professeur Roberto Longhi, Florence, 22 septembre 1965 contestant la première attribution à Franciabigio et attribuant le tableau à Alessandro Allori en raison des similitudes avec son Maître Bronzino.
————–
Oil on panel 86 x 63,5 cm, with collection stamp on reverse. In an old frame in carved and gilded wood.
The Virgin is represented seated, covered with a small headdress and carrying on her knees the Child Jesus covered with a cloth and holding an apple in her left hand. The eyes of the Virgin are turned towards the Child.
Condition report:
Wear, losses and old restorations.
Provenance:
– Fischer, Luzern 1966, catalog of the summer sale. Purchase invoice dated June 25, 1966
– Since, Private collection Switzerland and Monte-Carlo
Note:
Opinion of Professor Roberto Longhi, Florence, September 22, 1965 contesting the first attribution to Franciabigio and attributing the painting to Alessandro Allori because of the similarities with his Master Bronzino.
Florentine mannerist painter, he is the father of Cristofano Allori. He was mastered by a family friend Angelo di Cosimo di Mariano known as Il Bronzino and then Michelangelo. In some respects, Allori is the last in a line of eminent Florentine painters: Andrea del Sarto collaborated with Fra Bartolomeo (as well as Leonardo da Vinci), Pontormo was briefly a pupil of Andrea and trained Bronzino who himself even trained Allori.
The following generations were strongly influenced by the Baroque wave which dominated in other parts of Italy. It was Alessandro Allori who finished Bronzino’s last fresco in the Church of San Lorenzo. Influenced by the sense of relief, the coldness of the enamel in the colors and the unnatural tone of the light, he works in the style of his master. Also influenced by Michelangelo for whom he will be in charge of the decorative trappings of his funeral, Allori painted around 1560 a « Last Judgment » for the altarpiece of the Church of Santissima Annunziata in Florence.
10 000 – 20000 EUR
24. KAREL APPEL (1921-2006)
Two girls, 1983
Importante huile sur toile signée en bas au milieu.
Contresigné au dos, numéroté #141, titré et daté.
Provenance :
– Galerie Guy Pieters, Knokke-Le-Zoute Belgique, de 1988 à 2006
– Collection privée Nice de 2006 à 2013
– Collection privée Monte-Carlo depuis 2013
Dimensions : 203 x 163 cm
————–
Two girls, 193, Important oil on canvas 203 x 163 cm, signed lower middle. Countersigned on reverse, numbered #141, titled and dated.
Provenance:
– Galerie Guy Pieters, Knokke-Le-Zoute Belgium, from 1988 to 2006
– Nice private collection from 2006 to 2013
– Monte-Carlo private collection since 2013
Christiaan Karel Appel was a Dutch painter, sculptor, and poet. He started painting at the age of fourteen and studied at the Rijksakademie in Amsterdam in the 1940s. He was one of the founders of the avant-garde movement CoBrA in 1948. Appel was also an avid sculptor and has had works featured in MoMA and other museums worldwide.
100 000 – 200000 EUR
25. ARISTIDE JOSEPH MAILLOL (1861-1944)
Torse sur un dauphin
Sculpture en bronze à patine brun sombre, signée au monogramme, numérotée et estampillée avec cachet de fonderie n°4 C. Valsuani cire perdue »
Conçu en 1910, ce bronze dont l’authenticité a été confirmée par Olivier Lorquin et daté avant 1944.
Dimensions : h. 17,3 cm
————–
Torse sur un dauphin (torso on a dolphin), dark brown patina bronze sculpture, signed with monogram and stamped with foundry mark n°4 C. Valsuani cire perdue.
Conceived in 1910, this bronze version was cast before 1944. Olivier Lorquin has confirmed the authenticity and the date of this cast.
Dimensions : h. 17,3 cm (6 7/8 in.)
French painter and sculptor from Banyuls-sur-Mer, he was trained at the National School of Fine Arts by Jean-Léon Gérôme and Alexandre Cabanel. Although he began his career with painting, ceramics and tapestry, he decided to devote himself to sculpture at the age of forty. His silent work, based on full and simplified forms to the point of purity anticipating abstraction, made him one of the most famous sculptors of his time, inspiring Henry Moore, Picasso, Brancusi and Matisse in particular.
30 000 – 40000 EUR
26. PHILIPPE PASQUA (1965)
Buste de Femme
Importante technique mixte à l’huile, encre de Chine et gouache, signée et datée en bas à droite .
Dimensions : 102 x 73 cm
————–
Important mixed media with oil, gouache and Indian ink, signed and dated lower right.
Dimensions: 102 x 73 cm
Self-taught French artist, painter and sculptor, nephew of the Minister of the Interior Charles Pasqua, he began at the age of 18 with materials that he recovered such as building paint. Influenced by artists such as Lucian Freud and Francis Bacon, he painted naked bodies and monumental faces. In 2010, he designed « The Storage », a space dedicated to personal and collective artistic experimentation, comparable to a laboratory / museum.
12 000 – 16000 EUR
27. PHILIPPE PASQUA (1965)
« Vanité aux papillons »
Crâne en résine à patine argentée et rouge au décor de papillons naturalisés. Pièce à tirage unique. Sous plexiglas translucide posé sur une importante colonne.
Provenance : Collection privée, Monte-Carlo.
Dimensions totales avec socle : 196 x 50 x 40 cm
————–
« Vanity with butterflies »
Resin skull with silver and red patina decorated with stuffed butterflies. One-off piece. Under translucent plexiglass placed on a large column.
Provenance: Private collection, Monte-Carlo.
Total dimensions with base: 196 x 50 x 40 cm
As a sculptor, Philippe Pasqua works as much on human skulls as those of hippos. Inspired by Damien Hirst with whom he exhibits, the theme of vanities, which he has been creating since 1987, so superficial in itself, then becomes a deep exploration. The final step he operates is the deployment of a cloud of stuffed butterflies. Wings spread, vibrant colors on the surface of its skulls, the light of the ephemeral magnifies the shadow of hollowed-out orbits.
4 000 – 8000 EUR
28. DAVID LACHAPELLE (1963)
Amanda as Andy Warhol’s, Liz in Red, 2007
C-print on diasec with 2 x 4 mm plexiglas
Edition 2/7. Etiquette au dos.
Provenance :
– Maruani & Noirhomme, Knokke Belgique
– Collection privée Paris
– Accademia Fine Art, 2011
– Collection privée Monaco.
Dimensions : 80 x 75,5 cm
————–
C-print on diasec with 2 x 4 mm plexiglass
Edition 2/7. Label on the back.
Provenance:
– Maruani & Noirhomme, Knokke Belgium
– Private collection Paris
– Accademia Fine Art, 2011
– Monaco private collection.
Dimensions: 80 x 75.5cm
American photographer and director born in Fairfield, David Lachapelle is renowned in the fields of fashion, advertising and fine art photography. His work, imbued with surrealism and humour, remains strongly influenced by eroticism and makes reference to the works of James Bidgood. The liveliness of the colors that characterizes his style is obtained in printing, by the use of color negatives.
8 000 – 12000 EUR
29. NICCOLO BERRETTONI (1637-1682)
La Visitation de la Vierge
Importante huile sur toile
Dimensions : 105 x 89 cm
La visitation de la Vierge est un épisode de l’Evangile selon Saint-Luc dans lequel la Vierge Marie visite sa cousine Elisabeth qui malgré son grand âge était enceinte de Jean-Baptiste, dernier prophète. De son côté, Marie venait de recevoir la visite de l’archange Gabriel, qui lui annonçait qu’elle mettrait au monde Jésus.
Dans le tableau que nous vous présentons, la Vierge Marie, les cheveux tombant à sa gauche et vêtue d’une longue toge au bleu puissant ainsi que sa cousine Elisabeth occupent le plein centre d’une composition parfaitement équilibrée. A droite, nous retrouvons en haut Zacharie, le mari d’Elisabeth, travaillant dans la maison et Saint-Joseph en bas avec son âne. A gauche, une servante portant le linge parlant à une femme tenant son enfant. Apparaissent deux anges dans le haut, un chien dans le bas et un paysage montagneux en arrière-plan au travers d’un travail architectural.
Provenance :
Galerie Jürg Stuker, Bern Suisse, Novembre 1966
Depuis, Collection privée Aarau Suisse et Monte-Carlo
————–
The Visitation of the Virgin, oil on canvas 105 x 89 cm
Provenance :
– Jürg Stuker Gallery, Bern Suisse, Novembre 1966
– Private collection Aarau and Monte-Carlo
In the painting that we present to you, the Virgin Mary, her hair falling to her left and dressed in a long powerful blue toga, as well as her cousin Elisabeth occupy the full center of a perfectly balanced composition. On the right, we find above Zacharie, Elisabeth’s husband, working in the house and Saint-Joseph below with his donkey. On the left, a servant carrying linen talking to a woman holding her child. Two angels appear at the top, a dog at the bottom and a mountainous landscape in the background through an architectural work.
10 000 – 20000 EUR
30. NOLWENN SAMSON (Née en 1979)
Jonah, 2016
Très grande peinture, technique mixte sur toile signée et datée à gauche.
Inscription au dos » Oeuvre unique et originale certifiée par l’artiste peintre « , signé Samson Nolwen, daté 12 mars 2016.
Provenance : Collection privée, Beaulieu-sur-Mer.
Dimensions : 200 x 250 cm
————–
Rugby 2016, large mix media on canvas 200 x 250 cm, signed and dated on the left.
Inscription on the back « Unique and original work certified by the painter », signed Samson Nolwen, dated March 12, 2016.
Provenance : Private collection, Beaulieu-sur-Mer, South of France.
Self-taught, Nolwenn Samson works with different materials, acrylic, ink, resin and marker. Naive, trashy, angry and above all very feminine, her artistic impulses are revealed and tested on large formats. It evokes Basquiat, Keith Haring, Warhol but also the best projections from street art or the cinematographic rhythms of Tarantino and Kitano, direct influences of the painter.
For a decade, she has been deploying her worlds on canvas: “I have long thought that painting came naturally to me, almost innately. Strange to be able to think that my subjects, my compositions and their plastic arrangements may not be directly influenced by an experience” confides the artist Nolwenn Samson.
7 000 – 9000 EUR
31. CLAUDIO BOCCELLA (1975)
Composition abstraite
Sculpture en acier laqué de teinte orangée. Pièce unique signée et numérotée 1/1 sur la base.
Provenance : Collection privée Nice, acquis directement de l’artiste.
Dimensions : 100 x 25 x 25 cm
————–
Orange lacquered steel sculpture. Single piece signed and numbered 1/1 on the base.
Provenance: Nice private collection, acquired directly from the artist.
Dimensions: 100 x 25 x 25 cm
