Important original colour lithograph conceived as a narrative triptych, a major subject in the artist’s œuvre.
The composition is arranged around a pared-down central panel featuring an elongated, hieratic figure (evoking the world of Don Quixote or the Preacher), flanked by two expressionist scenes in powerful tones of ochres, dark earths and deep blacks.
The work bears witness to Garouste’s fascination with sacred texts and the Hebrew language, incorporating two handwritten philosophical passages drawn from the biblical book of Ecclesiastes (signed with its Hebrew name, Gohélet / Qohélet):
On the left (Gohélet I, 17): “And I have seen life, on a day evil for me, is the work that has been done under the sun, for all is vanity and a chasing after the wind.”
On the right: “For who remembers the wise man with the fool for ever, since in the days to come all is already forgotten. And how shall the wise man die with the fool.”
Institutional reference: A similar impression from this same edition is held in the national collections of the Centre Pompidou / Musée National d’Art Moderne (inventory no.: AM 2022-64).
Original colour lithograph on heavy wove paper.
Numbered 35 / 50 in pencil (a very confidential edition of just 50 impressions).
Signed with the official “MG” monogram in pencil by the artist in the lower right.
Excellent state of preservation, with a very fine freshness of pigments.
Museum framing: Exceptional bespoke presentation carried out by a leading Parisian atelier.
Float mount in a box frame: The work is fixed in a reversible manner, revealing the entirety of the deckled edges of the paper. Cherrywood box-profile moulding, neutral conservation backing and museum-quality glass (anti-reflective and UV-protective).
A central figure of Surrealism, André Masson was one of the inventors of automatic painting — a freedom of gesture that would directly influence Pollock and American Abstract Expressionism. His graphic œuvre, poised between myth, metamorphosis and vital energy, is today held in the world’s foremost collections.
“Rencontre” is a striking illustration of this: against a grainy violet-grey ground, fluid white lines conjure animal silhouettes, fragmented faces and archaic symbols in a swirling dance. Automatism in its purest state.
Original colour print, signed in pencil, numbered 4/50. Laid paper with deckle edges.
Image: 29.5 × 20.5 cm — Sheet: 47.8 × 35 cm.
Framed under glass by a leading Parisian atelier.
Walnut frame: 52 × 39 × 3 cm
A very fine beach scene by Yves Wacheux, a 20th-century painter, depicting a group of figures on the sand facing the sea, in a soft and slightly veiled atmosphere. The artist captures a simple, silent moment of life, in which adults and children share the space between the sea and the dunes. The composition is built up through broad areas of colour, dominated by blues, beiges and whites, creating a diffuse, almost misty light that evokes an off-season beach or a late afternoon. The figures are rendered with softened contours, lending the scene great poetry and an impression of absolute calm. The particularly subtle handling of colour and light conveys the artist’s sensibility. Work signed lower right. Presented in a wooden frame with geometric decoration.
Oil on panel depicting the bust-length portrait of an elegant lady, wearing a low-cut blue dress and adorned with a necklace. Her powdered coiffure, embellished with green ribbons, illustrates the refined fashion of the second half of the 18th century. The painting, executed on a dark ground, and the treatment of the flesh tones evoke a Germanic work. This treatment enhances the brilliance of the jewellery and the delicacy of the face. Presented in an antique giltwood frame with pearl and moulded decoration, the work retains all its cabinet charm. Age craquelure, retouches. Good overall condition.
Large contemporary portrait by the Thai artist Silawit Poolsawat, renowned for his powerful and sensitive works. Asian Beauty captures the delicacy and depth of an Asian female face, in a composition blending realism, subtle transparencies and dreamlike atmospheres. Silawit Poolsawat’s paintings are inspired by women and children he has encountered during his travels, whose expressions have left a profound impression upon him. Signed lower right. Framing: mounted on an aluminium stretcher, ready to hang.
An imposing oil on canvas, Spanish school, dating from the 19th century. This still life painting depicts an abundance of fruit. A very fine frame alternating engraved giltwood and waxed stained wood.
FRANCK INNOCENT (1912-1983). Oil on canvas, signed and dated lower right, countersigned, titled and dated on the reverse. Dedication on the reverse. A member of the École de Rouen, this talented artist offers a unique vision through this canvas imbued with maritime poetry.
A very fine oil on canvas by the painter Franck Innocent, École de Rouen, depicting the Normandy countryside in spring. Signed and dated lower right, countersigned, titled and dated on the reverse. With dedication on the reverse: "à mon épouse, avec mes sentiments les plus respectueux et les plus reconnaissants. 31.12.78. Jean" and "A ma mère, à Vally, avec toute mon affection. Pierrot". Well framed.
A superb oil on panel of a still life with flowers, fruit, a butterfly and a peeled lemon. Black and gilt lacquered wood frame.
A large bronze group after Clodion dating from the 19th century, depicting a faun-woman with her two children, one on her knees, the other lying down, on the Bacchic theme. The mother offers a cup of wine to the child, the wine flowing from a barrel.
Green marble plinth.
Signed Clodion on the base of the bronze group. Plinth: 35 cm x 26.5 cm
A large patinated plaster bust — Bacchante with bunches of grapes — Signed (Frans...) — Flanders or Belgium — Early 20th century. Striking and expressive, this large patinated plaster bust depicts a Bacchante, a figure associated with the cult of Dionysus/Bacchus, the head tilted and adorned with bunches of grapes. The sculpture captivates with its scale, its movement, the charm of its dreamy face and the rich treatment of volumes typical of late Art Nouveau productions. Acquired in Belgium, this piece bears a barely legible incised signature in which the first name Frans is however clearly identifiable, pointing to a Belgian or Flemish sculptor active around the early 20th century. Fine patina. Circa 1920.
An original intaglio print by Leonor Fini, hand-signed in pencil by the artist, lower right. A sensual and theatrical scene depicting two nude women in an intimate composition, characteristic of Leonor Fini's dreamlike universe. Impression on fine-quality Japon paper, with a delicate moiré aspect. Well-marked platemark, clean impression, revealing a careful printing. Presented in a black and silvered wood frame, between two glass plates. Very good condition.