Aguttes

327-catalogue-AC.pdf

Post-War & Art Contemporain

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CHU TEH-CHUN (1920-2014) Abstraction, 1991 Oil on canvas, signed and dated lower right 91 x 73 cm - 35 53/64 x 28 47/64 in. Oil on canvas signed and dated lower right A certificate of authenticity from the Chu Teh-Chun Foundation will be given to the buyer. PROVENANCE: Galerie Régis Dorval, Le Touquet, 1991 Private collection, Hauts-de-France

朱德群（1920-2014） 抽象，1991 年 布面油画，右下方有签名和年代 91 x 73 厘米--35 53/64 x 28 47/64 英寸。 布面油画，右下方有签名和年代 买家将获得朱德群基金会出具的鉴定证书。 出处： 雷吉斯-多瓦尔画廊，勒图凯，1991 年 私人收藏，上法兰西省

CHU TEH-CHUN (1920-2014)

CHU TEH-CHUN (1920-2014) Abstraction, 1991 Huile sur toile, signée et datée en bas à droite 91 x 73 cm - 35 53/64 x 28 47/64 in. Un certificat d'authenticité de la Fondation Chu Teh-Chun sera remis à l'acquéreur. PROVENANCE: Galerie Régis Dorval, Le Touquet, 1991 Collection privée, Hauts de France

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WANG YANCHENG (born 1960) Composition, 2007 Oil on canvas, signed and dated lower right 120 x 120 cm - 47 ¼ x 47 ¼ in. Oil on canvas, signed and dated lower right PROVENANCE: Galerie Trigano, Paris Private collection, Paris

王衍成（生于 1960 年） 构图, 2007 布面油画，右下方有签名和年代 120 x 120 厘米 - 47 ¼ x 47 ¼ 英寸。 布面油画，右下方有签名和年代 出处：巴黎特里加诺画廊 特里加诺画廊，巴黎 私人收藏，巴黎

WANG YANCHENG (né en 1960)

WANG YANCHENG (né en 1960) Composition, 2007 Huile sur toile, signée et datée en bas à droite 120 x 120 cm - 47 ¼ x 47 ¼ in. Oil on canvas, signed and dated lower right PROVENANCE Galerie Trigano, Paris Collection privée, Paris

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ZAO WOU-KI (1921 - 2013) Untitled, 1967 Etching and aquatint, signed in Chinese and dated in pencil lower right and annotated 'épreuve d'essai' lower left 51 x 39 cm - 20 5/64 x 15 23/64 in. Etching and aquatint, signed in Chinese and dated in pencil lower right, annotated 'épreuve d'artiste' lower left PROVENANCE: Private collection, Paris BIBLIOGRAPHY Zao Wou-Ki: Bibliothèque nationale de France, Céline Chicha-Castex and Marie Minssieux-Chamonard, Zao Wou-Ki: estampes et livres illustrés , for the exhibition at the Bibliothèque nationale de France, June 3 - August 24, 2008, Édition de la Bibliothèque nationale de France, 2008, reproduction p. 35.

赵无极（1921 - 2013） 无题》，1967 年 蚀刻版画和水印版画，右下方有中文签名和铅笔日期，左下方有 "épreuve d'essai" 注释 51 x 39 cm - 20 5/64 x 15 23/64 in. 蚀刻版画和水印版画，右下方有中文签名和铅笔日期，左下方有 "épreuve d'artiste "批注 出处：巴黎私人收藏 私人收藏，巴黎 参考书目 赵无极：法国国家图书馆》，Céline Chicha-Castex 和 Marie Minssieux-Chamonard，《赵无极：图章与插图书籍》，法国国家图书馆展览，2008 年 6 月 3 日至 8 月 24 日，法国国家图书馆出版社，2008 年，第 35 页。

ZAO WOU-KI (1921 - 2013)

ZAO WOU-KI (1921 - 2013) Sans titre, 1967 Eau-forte et aquatinte, signée en chinois et datée au crayon en bas à droite et annotée 'épreuve d'essai' en bas à gauche 51 x 39 cm - 20 5/64 x 15 23/64 in. Etching and aquatint, signed in Chinese and dated in pencil lower right, annotated 'épreuve d'artiste' lower left PROVENANCE: Collection privée, Paris BIBLIOGRAPHIE Zao Wou-Ki : Bibliothèque nationale de France, Céline Chicha-Castex et Marie Minssieux-Chamonard, Zao Wou-Ki : estampes et livres illustrés , pour l'exposition à la Bibliothèque nationale de France, du 3 juin au 24 août 2008, Édition de la Bibliothèque nationale de France, 2008, reproduction p. 35.

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ZAO WOU-KI (1921 - 2013) The Fish, 1953 Lithograph, signed and dated lower right, justified artist's proof lower left 43 x 59 cm (view) - 16 59/64 x 23 7/32 in. Lithograph, signed and dated lower right, justifiied épreuve d'artiste lower left PROVENANCE: Private collection, Lyon BIBLIOGRAPHY AGERUP Jorgen | Zao Wou-Ki, The Graphic Work, A catalog raisonné 1937 - 1995, Édition Heede et Moestrup, Copenhague, 1994 | work listed under n°79

赵无极（1921 - 2013） 鱼，1953 年 石版画，右下方有签名和年代，左下方有艺术家证明 43 x 59 厘米（观看时）- 16 59/64 x 23 7/32 英寸（观看时）。 石版画，右下方有签名和年代，左下方有艺术家证明 出处：里昂私人收藏 私人收藏，里昂 参考书目 AGERUP Jorgen；赵无极，《平面作品，1937 - 1995 年目录》，Heede and Moestrup 出版社，哥本哈根，1994 年；作品列于编号 79 下。

ZAO WOU-KI (1921 - 2013) Les Poissons, 1953 Lithographie, signée et datée en bas à droite, justifiée épreuve d'artiste en bas à gauche 43 x 59 cm (à vue) - 16 59/64 x 23 7/32 in. Lithograph, signed and dated lower right, justified épreuve d'artiste lower left PROVENANCE Collection privée, Lyon BIBLIOGRAPHIE AGERUP Jorgen | Zao Wou-Ki, The Graphic Work, A catalogue raisonné 1937-1995, Édition Heede et Moestrup, Copenhague, 1994 | oeuvre répertoriée sous le n°79

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LAXMAN PAI (1926 - 2021) Untitled, 1958 Oil on isorel, signed in Devanagari, annotated 'London' and dated 12/58 lower right 50 x 61 cm (unframed) 19 11/16 x 24 1/64 in. Oil on board, signed in Devanagari and signed, inscribed 'London' and dated '12/58' lower right PROVENANCE: Private collection, Paris

拉克斯曼-派（1926 - 2021） 无题，1958 年 等色油画，右下方有梵文签名、"London "注释和 12/58 年日期 50 x 61 厘米（未装框）19 11/16 x 24 1/64 英寸（19 11/16 x 24 1/64 英寸）。 木板油画，右下方有梵文签名、"London "注释和 "12/58 "日期 出处：私人收藏，巴黎 私人收藏，巴黎

LAXMAN PAI (1926 - 2021)

LAXMAN PAI (1926 - 2021) Sans titre, 1958 Huile sur isorel, signée en Devanagari, annotée 'London' et datée 12/58 en bas à droite 50 x 61 cm (non encadrée) 19 11/16 x 24 1/64 in. (unframed) Oil on board, signed in Devanagari and signed, inscribed 'London' and dated '12/58' lower right PROVENANCE: Collection privée, Paris

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LAXMAN PAI (1926 - 2021) Untitled, 1959 Oil on isorel, signed in Devanagari, annotated 'London' and dated 4/59 lower right 61 x 38 cm (unframed) 24 1/64 x 14 61/64 in. (unframed) Oil on board, signed in Devanagari and signed, inscribed 'London' and dated '4/59' lower right PROVENANCE: Private collection, Paris

拉克斯曼-派（1926 - 2021） 无题，1959 年 等色油画，右下方有梵文签名、"London "注释和日期 4/59 61 x 38 厘米（未装裱）24 1/64 x 14 61/64 英寸（1926-2021 年）。 木板油画，右下方有梵文签名、"London "注释和 "4/59 "日期 出处：巴黎私人收藏 私人收藏，巴黎

LAXMAN PAI (1926 - 2021) Sans titre, 1959 Huile sur isorel, signée en Devanagari, annotée 'London' et datée 4/59 en bas à droite 61 x 38 cm (non encadrée) 24 1/64 x 14 61/64 in. (unframed) Oil on board, signed in Devanagari and signed, inscribed 'London' and dated '4/59' lower right PROVENANCE: Collection privée, Paris

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HOM NGUYEN (born 1972) Lines of life Oil pastel and acrylic on canvas, signed lower right 120 x 120 cm - 47 1/4 x 47 1/4 in. Pastel and acrylic on canvas, signed lower right A certificate of authenticity signed by the artist will be given to the buyer.

HOM NGUYEN（生于 1972 年） 生命的线条 布面油画棒和丙烯，右下方有签名 120 x 120 cm - 47 1/4 x 47 1/4 in. 油画粉彩和丙烯，画布，右下方有签名 买方将获得由艺术家签名的鉴定证书。

HOM NGUYEN (né en 1972)

HOM NGUYEN (né en 1972) Lignes de vie Pastel gras et acrylique sur toile, signé en bas à droite 120 x 120 cm - 47 1/4 x 47 1/4 in. Pastel and acrylic on canvas, signed lower right Un certificat d'authenticité signé par l'artiste sera remis à l'acquéreur.

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HOM NGUYEN (born 1972) Profile Acrylic on canvas, signed lower right 116 x 81 cm - 45 43/64 x 31 57/64 in. Acrylic on canvas, signed lower right PROVENANCE: Private collection, Paris

HOM NGUYEN（生于 1972 年） 轮廓 布面丙烯，右下方有签名 116 x 81 cm - 45 43/64 x 31 57/64 in. 布面丙烯，右下方有签名 出处：私人收藏，巴黎 私人收藏，巴黎

HOM NGUYEN (né en 1972) Profil Acrylique sur toile, signée en bas à droite 116 x 81 cm - 45 43/64 x 31 57/64 in. Acrylic on canvas, signed lower right PROVENANCE Collection privée, Paris

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ARPAD SZENES (1897 - 1985) Conversation V, 1950 Oil on paper mounted on canvas, signed and dated lower right 50 x 61 cm - 19 11/16 x 24 1/64 in. Oil on paper mounted on canvas, signed and dated lower right PROVENANCE: Gift of the artist in the late 1970s to the current owner EXHIBITION: Lisbon, Fundaçao Calouste Gulbenkian, 1972, n°93 BIBLIOGRAPHY Chiara Calzetta Jaeger, Arpad Szenes, Catalogue raisonné of drawings and paintings, 2006, work listed under n°AS50-028.

阿尔帕德-塞泽斯（1897 - 1985） 对话 V》，1950 年 纸上油画，裱在画布上，右下方有签名和年代 50 x 61 厘米 - 19 11/16 x 24 1/64 英寸。 纸上油画，裱在画布上，右下方有签名和年代 出处： 20 世纪 70 年代末由艺术家赠与现收藏者 展览： 里斯本，卡洛斯特-古尔班基安基金会，1972 年，第 93 期 参考书目 Chiara Calzetta Jaeger，《Arpad Szenes》，《素描和油画目录》，2006 年，作品列于 n°AS50-028。

ARPAD SZENES (1897 - 1985)

ARPAD SZENES (1897 - 1985) Conversation V, 1950 Huile sur papier marouflé sur toile, signée et datée en bas à droite 50 x 61 cm - 19 11/16 x 24 1/64 in. Oil on paper mounted on canvas, signed and dated lower right PROVENANCE: Don de l'artiste à la fin des années 1970 au propriétaire actuel EXPOSITION: Lisbonne, Fundaçao Calouste Gulbenkian, 1972, n°93 BIBLIOGRAPHIE Chiara Calzetta Jaeger, Arpad Szenes, Catalogue raisonné des dessins et des peintures, 2006, oeuvre répertoriée sous le n°AS50-028.

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HORIA DAMIAN (1922 - 2012) Composition rose-gris, 1962 Oil on canvas, signed and dated lower right, titled on the stretcher 179.5 x 120 cm - 70 43/64 x 47 1/4 in. Oil on canvas signed and dated lower right, titled on the stretcher PROVENANCE: Private collection, Paris

奥里亚-达米安（1922 - 2012） 玫瑰-灰色构图》，1962 年 布面油画，右下方有签名和年代，担架上有标题 179.5 x 120 cm - 70 43/64 x 47 1/4 in. 布面油画，右下方有签名和年代，担架上有标题 出处：巴黎私人收藏 私人收藏，巴黎

HORIA DAMIAN (1922 - 2012)

HORIA DAMIAN (1922 - 2012) Composition rose-gris, 1962 Huile sur toile, signée et datée en bas à droite, titrée sur le chassis 179,5 x 120 cm - 70 43/64 x 47 1/4 in. Oil on canvas signed and dated lower right, titled on the stretcher PROVENANCE: Collection particulière, Paris

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PHILIPPE COGNÉE (born 1957) Cairo, 2003 Encaustic on canvas mounted on panel, signed and dated on the back 69 x 73 cm (unframed) 27.2 x 28.7 in. (unframed) Encaustic on canvas mounted on panel, signed and dated on the reverse PROVENANCE: Galerie Alice Pauli, Lausanne Sale, Cornette de Saint Cyr, Paris, June 10, 2016, lot 220 Acquired at this sale by the current owner

菲利普-科涅（生于 1957 年） 开罗，2003 年 画布上的瓷漆，裱在画板上，背面有签名和日期 69 x 73 厘米（无框） 27.2 x 28.7 英寸（无框 帆布胶彩，裱在画板上，背面有签名和日期 出处：爱丽丝-保利画廊，劳斯莱斯 洛桑爱丽丝-保利画廊，巴黎，2016 年 6 月 10 日，拍得编号 220。

PHILIPPE COGNÉE (né en 1957)

PHILIPPE COGNÉE (né en 1957) Le Caire, 2003 Encaustique sur toile marouflée sur panneau, signée et datée au dos 69 x 73 cm (non encadrée) 27.2 x 28.7 in. (unframed) Encaustic on canvas mounted on panel, signed and dated on the reverse PROVENANCE: Galerie Alice Pauli, Lausanne Vente, Cornette de Saint Cyr, Paris, 10 juin 2016, lot 220 Acquise lors de cette vente par le propriétaire actuel

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GÉRARD SCHNEIDER (1896 - 1986) Untitled, 1978 Oil on canvas, signed and dated lower right 72 x 60 cm - 28 11/32 x 23 5/8 in. Oil on canvas, signed and dated lower right PROVENANCE: Private collection, Paris Gérard Schneider, born in Switzerland in 1896, is an emblematic figure of lyrical abstraction, a movement that emerged after the Second World War. the Second World War. He moved to Paris in 1922 to study at the École nationale des Beaux-Arts de Paris, where he was exposed to the major artistic revolutions of his time. In the 1930s, influenced by Surrealism and the work of Picasso and Kandinsky, he gradually abandoned figuration in favor of abstraction. He integrated improvisation as an essential component of his creative process, seeking to translate pure emotions through spontaneous gestures. By the 1940s, Schneider had become one of the pioneers of gestural abstraction in Europe, a movement that paralleled American Abstract Expressionism. His work is characterized by energetic brushstrokes, free forms and a vibrant palette. vibrant palette. The Gérard Schneider painting in this sale is a clear example: the volcanic eruption of colors is more fiery than ever, shifting from red to blue and green. Lines and shapes intertwine to create a sensation of movement, where energy and spontaneity are at the heart of the work. Gérard Schneider, born in Switzerland in 1896, is a prominent figure of lyrical abstraction, a movement that emerged after World War II. Settling in Paris in 1922, he pursued studies at the École Nationale des Beaux-Arts and engaged with the major artistic revolutions of his time. In the 1930s, influenced by Surrealism and the works of Picasso and Kandinsky, he gradually abandoned figuration in favor of abstraction. Improvisation became a core element of his creative process, as he sought to express pure emotions through spontaneous gestures. By the 1940s, Schneider became one of the pioneers of gestural abstraction in Europe, a movement paralleling American abstract expressionism. His work is characterized by energetic brushstrokes, free forms, and a vibrant palette. This present lot exemplifies these qualities: a volcanic eruption of colors, ranging from red to blue and green. Intertwined lines and shapes create a dynamic sense of movement, with energy and spontaneity at the heart of the piece.

热拉尔-施奈德（1896 - 1986） 无题，1978 年 布面油画，右下方有签名和年代 72 x 60 cm - 28 11/32 x 23 5/8 in. 布面油画，右下方有签名和年代 出处：巴黎私人收藏 私人收藏，巴黎 热拉尔-施奈德 1896 年出生于瑞士，是第二次世界大战后兴起的抒情抽象派的代表人物。 热拉尔-施奈德是第二次世界大战后兴起的抒情抽象主义运动的代表人物。1922 年，他移居巴黎，在国立美术学院继续深造，并接触到了当时主要的艺术革命。20 世纪 30 年代，受超现实主义以及毕加索和康定斯基作品的影响，他逐渐放弃了具象艺术，转而追求抽象艺术。他将即兴创作作为创作过程的重要组成部分，力求通过自发的姿态来诠释纯粹的情感。 从 20 世纪 40 年代起，施奈德成为欧洲手势抽象主义的先驱之一，这一运动与美国抽象表现主义并驾齐驱。 美国抽象表现主义。他的作品以充满活力的笔触、自由的形式和鲜艳的色调为特征。 鲜艳的色调。 本场拍卖会上杰拉德-施奈德的画作就是一个明显的例子：火山爆发般的色彩比以往任何时候都更加炽热，从红色到蓝色和绿色不断变换。线条和形状交织在一起，营造出一种运动感，能量和自发性是作品的核心。 热拉尔-施奈德 1896 年出生于瑞士，是二战后兴起的抒情抽象派的杰出代表。 1922 年，他定居巴黎，在国立美术学院深造，并参与了当时的主要艺术革命。20 世纪 30 年代，受超现实主义以及毕加索和康定斯基作品的影响，他逐渐放弃了具象而转向抽象。即兴创作成为他创作过程中的核心元素，他试图通过自发的姿态来表达纯粹的情感。 到 20 世纪 40 年代，施奈德成为欧洲手势抽象派的先驱之一，与美国抽象表现主义运动并驾齐驱。他的作品以充满活力的笔触、自由的形式和鲜艳的色调为特征。 这幅作品充分体现了他的这些特质：从红色到蓝色和绿色，色彩如火山爆发。交织的线条和形状营造出一种动态感，能量和自发性是作品的核心。

GÉRARD SCHNEIDER (1896 - 1986)

GÉRARD SCHNEIDER (1896 - 1986) Sans titre, 1978 Huile sur toile, signée et datée en bas à droite 72 x 60 cm - 28 11/32 x 23 5/8 in. Oil on canvas, signed and dated lower right PROVENANCE: Collection privée, Paris Gérard Schneider, né en Suisse en 1896, est une figure emblématique de l’abstraction lyrique, mouvement qui émerge après la Seconde Guerre mondiale. Installé à Paris dès 1922, il y poursuit ses études à l’École nationale des Beaux-Arts de Paris et se confronte aux grandes révolutions artistiques de son époque. Dans les années 1930, influencé par le surréalisme et les travaux de Picasso et Kandinsky, il abandonne progressivement la figuration pour se tourner vers l’abstraction. Il intègre alors l’improvisation comme composante essentielle de son processus créatif, cherchant à traduire des émotions pures par des gestes spontanés. Dès les années 1940, Schneider devient l’un des pionniers de l’abstraction gestuelle en Europe, un mouvement parallèle à l’expressionnisme abstrait américain. Son oeuvre se distingue par des coups de pinceau énergiques, des formes libres et une palette vibrante. La toile de Gérard Schneider présentée dans cette vente en est un exemple manifeste : l’éruption volcanique des couleurs est plus ardente que jamais, passant du rouge au bleu et au vert. Les lignes et formes s’entrelacent pour créer une sensation de mouvement, où l’énergie et la spontanéité sont au coeur de l'oeuvre. Gérard Schneider, born in Switzerland in 1896, is a prominent figure of lyrical abstraction, a movement that emerged after World War II. Settling in Paris in 1922, he pursued studies at the École Nationale des Beaux-Arts and engaged with the major artistic revolutions of his time. In the 1930s, influenced by Surrealism and the works of Picasso and Kandinsky, he gradually abandoned figuration in favor of abstraction. Improvisation became a core element of his creative process, as he sought to express pure emotions through spontaneous gestures. By the 1940s, Schneider became one of the pioneers of gestural abstraction in Europe, a movement paralleling American abstract expressionism. His work is characterized by energetic brushstrokes, free forms, and a vibrant palette. This present lot exemplifies these qualities: a volcanic eruption of colors, ranging from red to blue and green. Intertwined lines and shapes create a dynamic sense of movement, with energy and spontaneity at the heart of the piece.

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GÉRARD SCHNEIDER (1896 - 1986) Untitled, 1977 Gouache on paper, signed twice and dated lower left, authenticated by the artist on the back June 12, 1985 47.5 x 63 cm (at sight) - 18 45/64 x 24 51/64 in. (about) Gouache on paper, signed and dated lower left, authenticated by the artist on June 12, 1985 on the reverse PROVENANCE Private collection, FranceGalerie Ivana de Gavardie, Paris

热拉尔-施奈德（1896 - 1986） 无题，1977 年 纸上水粉画，左下方有两次签名和日期，背面由艺术家于 1985 年 6 月 12 日鉴定 47.5 x 63 厘米（观看时）- 18 45/64 x 24 51/64 英寸（约） 纸上水粉画，左下方有签名和年代，背面有艺术家 1985 年 6 月 12 日的认证 出处 私人收藏，法国伊凡娜-德-加瓦迪画廊，巴黎

GÉRARD SCHNEIDER (1896 - 1986) Sans titre, 1977 Gouache sur papier, signée deux fois et datée en bas à gauche, authentifiée par l'artiste au dos le 12 juin 1985 47,5 x 63 cm (à vue) - 18 45/64 x 24 51/64 in. (about) Gouache on paper, signed and dated lower left, authenticated by the artist on June 12, 1985 on the reverse PROVENANCE Collection particulière, FranceGalerie Ivana de Gavardie, Paris

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OLIVIER DEBRÉ (1920-1999) Light Autumn Yellow, 1977 Oil on canvas, signed, titled and dated on the back 100 x 100 cm - 39 23/64 x 39 23/64 in. Oil on canvas, signed, titled and dated on the reverse A certificate of authenticity will be issued at the seller's expense. PROVENANCE: Private collection, France Galerie Daniel Gervis, Paris Acquired from Galerie Daniel Gervis in the 1980s, then passed down through the family. One of the leading exponents of lyrical abstraction, Olivier Debré is a major French painter. Grandson of the painter Edouard Debat-Ponsan, he received a real artistic shock in 1937 when he saw Picasso's Guernica. This influence was to prove decisive for the artist, who abandoned figurative painting to devote himself to abstract expression of the sign as a vector of emotion and thought. After graduating from the École des Beaux-Arts in Paris in 1938, he seemed destined for a career in architecture. Yet it was in painting that he would express his plastic genius. His artistic culture led him to explore the field of Impressionism, while his style evolved into the elaboration of larger colored surfaces, making him the first representative of gestural abstraction. The poetry of his work lies in an immersion lulled by the colors of his peregrinations. A skilful blend of space and light, Olivier Debré's style is the expression of a feeling, an emotion, that he associates with a particular moment. In this way, the horizon of his works extends beyond the chromatic range he embodies in each of his paintings. Here, the two works presented reveal the virtually monochromatic nuances chosen by the artist to explore the space of the canvas. Through the cool nuances of Olivier Debré's palette, the viewer is plunged into contemplation of the immense detail before him. The painter's style is a synthesis of his mastery of color, supported by the oscillation of the thicknesses laid down on the canvas, multiplied tenfold by the format of his works. As a "European Rothko", Olivier Debré cannot leave the discerning eye unmoved, arousing emotion through gesture. Representative of lyrical abstraction, Olivier Debré is a major French painter. Grandson of the painter Edouard Debat-Ponsan, he received in 1937, a real artistic shock in front of the Guernica of Picasso's Guernica. This influence will be decisive for the artist, who will abandon figuration, to devote himself to the abstract expression of the sign, vector of emotions and thought. Graduated from the École des Beaux-Arts de Paris in 1938, he seemed to be promised to a career as architect. However, it is in painting that he will express his plastic genius. His artistic culture makes him explore the field of impressionism while his style evolves in the elaboration of the elaboration of larger colored surfaces, making him the first representative of the gestural abstraction gestural. The poetry of his work resides in an immersion rocked by the colors of his peregrinations. A clever mixture of space and light, Olivier Debré's style is the expression of a feeling, an emotion an emotion, which he associates with a particular moment. Thus, the horizon of his works beyond the chromatic range that he embodies in each of his paintings. Here, the two works presented reveal the practically monochromatic shades chosen by the artist to explore the the artist to explore the space of the canvas. Through the cold shades of Olivier Debré's palette, the viewer is the viewer is immersed in the contemplation of the immense detail before him. The style of the style is a synthesis of his mastery of colors, supported by the oscillation of the thicknesses on the canvas, which increases tenfold the format of his works. As a "European Rothko Olivier Debré would not leave an informed eye unmoved, arousing emotion through gesture.

奥利维尔-德布雷（1920-1999） 浅秋黄》，1977 年 布面油画，背面有签名、标题和日期 100 x 100 cm - 39 23/64 x 39 23/64 in. 布面油画，背面有签名、标题和日期 将出具鉴定证书，费用由卖家承担。 出处：私人收藏，法国 私人收藏，法国 巴黎丹尼尔-热尔维斯画廊 20 世纪 80 年代购自丹尼尔-热尔维斯画廊，后由家族传承。 奥利维耶-德布雷是法国抒情抽象派的主要代表人物之一。作为画家爱德华-德巴特-庞桑（Edouard Debat-Ponsan）的孙子，他在 1937 年看到毕加索的《格尔尼卡》时受到了真正的艺术震撼。他放弃了具象艺术，投身于符号的抽象表达，将其作为情感和思想的载体。1938 年从巴黎高等美术学院毕业后，他似乎注定要从事建筑工作。然而，在绘画领域，他却表现出了自己的造型天才。他的艺术修养使他开始探索印象派的领域，而他的风格则逐渐发展为大面积的彩色表面，使他成为手势抽象派的第一位代表人物。他的作品充满诗意，让人沉浸在他漫游的色彩之中。 奥利维耶-德布雷的画风巧妙地融合了空间和光线，表达了他对某一特定时刻的感受和情感。这样，他作品的视野就超越了他在每幅画中所体现的色度范围。在这里，展出的两幅作品揭示了艺术家为探索画布空间而选择的实际上是单色的细微差别。通过奥利维耶-德布雷冷色调的细微差别，观众会陷入对眼前巨大细节的沉思。奥利维耶-德布雷的绘画风格是他对色彩掌握的综合体，以画布上颜料层的摆动为基础，并通过作品的形式成十倍地放大。作为 "欧洲的罗斯科"，奥利维耶-德布雷不会让挑剔的眼睛无动于衷，而是通过姿态唤起人们的情感。 作为抒情抽象派的代表人物，奥利维耶-德布雷是法国的一位重要画家。他是画家爱德华-德巴特-庞桑（Edouard Debat-Ponsan）的孙子、 1937 年，他在毕加索的《格尔尼卡》前受到了真正的艺术震撼。这种影响对这位艺术家具有决定性的意义，他放弃了具象，投身于符号的抽象表达、情感和思想的载体。1938 年从巴黎高等美术学院毕业后，他似乎有望成为一名建筑师。然而，他将在绘画中展现自己的造型天才。他的艺术修养使他在印象派的领域中不断探索，而他的风格则在更大的彩色表面的阐述中不断发展，使他成为手势抽象派的第一位代表人物。 他的作品充满诗意，让人沉浸在他漫游的色彩之中。奥利维耶-德布雷巧妙地将空间和光线融合在一起，他的风格是一种感觉、一种情绪、一种情感的表达，他将这种感觉、情绪和特定的时刻联系在一起。因此，他作品的视野超越了他在每幅画作中所体现的色度范围。在这里，展出的两幅作品揭示了艺术家为探索画布空间而选择的实际上是单色的色调。通过奥利维耶-德布雷调色板的冷色调，观众沉浸在对眼前巨大细节的沉思之中。这种风格综合了他对色彩的掌握，并辅以 画布厚度的摆动使其作品的形式感增加了十倍。作为 "欧洲的罗斯科 奥利维耶-德布雷不会让有见识的人无动于衷，他通过姿态唤起人们的情感。

OLIVIER DEBRÉ (1920-1999)

OLIVIER DEBRÉ (1920-1999) Jaune léger d'Automne, 1977 Huile sur toile, signée, titrée et datée au dos 100 x 100 cm - 39 23/64 x 39 23/64 in. Oil on canvas, signed, titled and dated on the reverse Un certificat d'authenticité sera fait aux frais du vendeur. PROVENANCE: Collection privée, France Galerie Daniel Gervis, Paris Acquise auprès de celle-ci dans les années 1980 puis transmise familialement Parmi les représentants de l’abstraction lyrique, Olivier Debré est un peintre français majeur. Petit-fils du peintre Edouard Debat-Ponsan, il reçoit en 1937, un véritable choc artistique face au Guernica de Picasso. Cette influence sera décisive pour l’artiste, qui abandonnera la figuration, pour se consacrer à l’expression abstraite du signe, vecteur d’émotions et de pensée. Diplômé de l’École des Beaux-Arts de Paris en 1938, il semblait promis à une carrière d’architecte. Pourtant, c’est dans la peinture qu’il exprimera son génie plastique. Sa culture artistique lui fait explorer le champ de l’impressionnisme tandis que son style évolue dans l’élaboration de plus larges surfaces colorées, faisant de lui, le premier représentant de l’abstraction gestuelle. La poésie de son oeuvre réside en une immersion bercée par les couleurs de ses pérégrinations. Savant mélange d’espace et de lumière, le style d’Olivier Debré est l’expression d’un sentiment, d’une émotion, qu’il associe à un moment particulier. Ainsi, l’horizon de ses oeuvres se développe au-delà de la gamme chromatique qu’il incarne dans chacune de ses peintures. Ici, les deux oeuvres présentées révèlent les nuances pratiquement monochromatiques choisies par l’artiste pour explorer l’espace de la toile. À travers les nuances froides de la palette d’Olivier Debré, le spectateur est plongé dans la contemplation du détail immense devant lequel il se trouve. Le style du peintre est une synthèse de sa maîtrise des couleurs, appuyée par l’oscillation des épaisseurs couchées sur la toile, que décuple le format de ses oeuvres. En « Rothko européen », Olivier Debré ne saurait laisser insensible un oeil averti, suscitant l’émotion par le geste. Representative of lyrical abstraction, Olivier Debré is a major French painter. Grandson of the painter Edouard Debat-Ponsan, he receives in 1937, a real artistic shock in front of the Guernica of Picasso's Guernica. This influence will be decisive for the artist, who will abandon the figuration, to devote himself to the abstract expression of the sign, vector of emotions and thought. Graduated from the École des Beaux-Arts de Paris in 1938, he seemed to be promised to a career of architect. However, it is in painting that he will express his plastic genius. His artistic culture makes him explore the field of impressionism while his style evolves in the elaboration of the elaboration of larger colored surfaces, making him the first representative of the gestural abstraction gestural. The poetry of his work resides in an immersion rocked by the colors of his peregrinations. A clever mixture of space and light, Olivier Debré's style is the expression of a feeling, an emotion an emotion, which he associates with a particular moment. Thus, the horizon of his works beyond the chromatic range that he embodies in each of his paintings. Here, the two works presented reveal the practically monochromatic shades chosen by the artist to explore the the artist to explore the space of the canvas. Through the cold shades of Olivier Debré's palette, the viewer is the viewer is immersed in the contemplation of the immense detail before him. The style of the style is a synthesis of his mastery of colors, supported by the oscillation of the thicknesses on the canvas, which increases tenfold the format of his works. As a “European Rothko” Olivier Debré would not leave an informed eye unmoved, arousing emotion through gesture.

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OLIVIER DEBRÉ (1920-1999) Blanche de Loire au trait bleu sombre, Touraine, 1984 Oil on canvas, signed, dated and titled on back 100 x 100 cm - 39 23/64 x 39 23/64 in. Oil on canvas, signed, dated and titled on reverse A certificate of authenticity from the Comité Olivier Debré will be given to the buyer. PROVENANCE: Galerie Convergence, Nantes, 1999 Private collection, Nantes

奥利维尔-德布雷（1920-1999） 卢瓦尔河畔的布兰奇，图兰，1984 年 布面油画，背面有签名、年代和标题 100 x 100 cm - 39 23/64 x 39 23/64 in. 布面油画，背面有签名、年代和标题 买方将获得由奥利维耶-德布雷委员会出具的鉴定证书。 出处：Galerie Convergence，南特，1999 年 汇聚画廊，南特，1999 年 私人收藏，南特

OLIVIER DEBRÉ (1920-1999) Blanche de Loire au trait bleu sombre, Touraine, 1984 Huile sur toile, signée, datée et titrée au dos 100 x 100 cm - 39 23/64 x 39 23/64 in. Oil on canvas, signed, dated and titled on reverse Un certificat d'authenticité du Comité Olivier Debré sera remis à l'acquéreur. PROVENANCE Galerie Convergence, Nantes, 1999 Collection privée, Nantes Parmi les représentants de l’abstraction lyrique, Olivier Debré est un peintre français majeur. Petit-fils du peintre Edouard Debat-Ponsan, il reçoit en 1937, un véritable choc artistique face au Guernica de Picasso. Cette influence sera décisive pour l’artiste, qui abandonnera la figuration, pour se consacrer à l’expression abstraite du signe, vecteur d’émotions et de pensée. Diplômé de l’École des Beaux-Arts de Paris en 1938, il semblait promis à une carrière d’architecte. Pourtant, c’est dans la peinture qu’il exprimera son génie plastique. Sa culture artistique lui fait explorer le champ de l’impressionnisme tandis que son style évolue dans l’élaboration de plus larges surfaces colorées, faisant de lui, le premier représentant de l’abstraction gestuelle. La poésie de son oeuvre réside en une immersion bercée par les couleurs de ses pérégrinations. Savant mélange d’espace et de lumière, le style d’Olivier Debré est l’expression d’un sentiment, d’une émotion, qu’il associe à un moment particulier. Ainsi, l’horizon de ses oeuvres se développe au-delà de la gamme chromatique qu’il incarne dans chacune de ses peintures. Ici, les deux oeuvres présentées révèlent les nuances pratiquement monochromatiques choisies par l’artiste pour explorer l’espace de la toile. À travers les nuances froides de la palette d’Olivier Debré, le spectateur est plongé dans la contemplation du détail immense devant lequel il se trouve. Le style du peintre est une synthèse de sa maîtrise des couleurs, appuyée par l’oscillation des épaisseurs couchées sur la toile, que décuple le format de ses oeuvres. En « Rothko européen », Olivier Debré ne saurait laisser insensible un oeil averti, suscitant l’émotion par le geste. Representative of lyrical abstraction, Olivier Debré is a major French painter. Grandson of the painter Edouard Debat-Ponsan, he receives in 1937, a real artistic shock in front of the Guernica of Picasso's Guernica. This influence will be decisive for the artist, who will abandon the figuration, to devote himself to the abstract expression of the sign, vector of emotions and thought. Graduated from the École des Beaux-Arts de Paris in 1938, he seemed to be promised to a career of architect. However, it is in painting that he will express his plastic genius. His artistic culture makes him explore the field of impressionism while his style evolves in the elaboration of the elaboration of larger colored surfaces, making him the first representative of the gestural abstraction gestural. The poetry of his work resides in an immersion rocked by the colors of his peregrinations. A clever mixture of space and light, Olivier Debré's style is the expression of a feeling, an emotion an emotion, which he associates with a particular moment. Thus, the horizon of his works beyond the chromatic range that he embodies in each of his paintings. Here, the two works presented reveal the practically monochromatic shades chosen by the artist to explore the the artist to explore the space of the canvas. Through the cold shades of Olivier Debré's palette, the viewer is the viewer is immersed in the contemplation of the immense detail before him. The style of the style is a synthesis of his mastery of colors, supported by the oscillation of the thicknesses on the canvas, which increases tenfold the format of his works. As a “European Rothko” Olivier Debré would not leave an informed eye unmoved, arousing emotion through gesture.

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SERGE POLIAKOFF (1900-1969) Black and white, 1961 Gouache on paper, signed lower right 61 x 46 cm - 24 1/64 x 18 7/64 in. Gouache on paper, signed lower right This work is listed in the Archives Serge Poliakoff under number 861012. A certificate of authenticity issued by the Archives Serge Poliakoff will be given to the purchaser. PROVENANCE: Private collection, Belgium BIBLIOGRAPHY A. Poliakoff, Serge Poliakoff, Catalogue Raisonné, 1959-1962, vol. III, Paris, 2011, nos. 61-120 (illustrated, p. 274). Serge Poliakoff, a French painter of Russian origin, is renowned for his abstract compositions and is one of the greatest colorists of the post-war period. Poliakoff explores the interplay between line and surface, background and form, color and light. The work Noir et Blanc (Black and White), dated 1961, is distinguished by the absence of vivid color, adopting a more sober, elegant aesthetic of non-color. Here, the material takes on a fundamental dimension: the artist succeeds in infusing paper with a vibrant texture, animating the painting with an almost living breath. For Poliakoff, gouache is not a secondary medium or a sketch, but a creation in its own right, complete and autonomous. This medium offers him a field of experimentation in which he plays with the effects of matter and opposition, even more freely than in his oils. than in his oils. By applying large areas of color and working with free-form geometries, he intensifies the contrasts of complementary colors. Using pure pigments, which he prefers to tube paints, he can create unique hues, amplifying the brilliance and density of color. His approach aims to achieve a perfect balance between forms, which respond to each other and come to life, reinforced by effects of transparency or depth, for a result of striking luminosity. Serge Poliakoff, a French painter of Russian origin, is renowned for his abstract compositions and is considered one of the greatest colorists of the post-war period. Poliakoff favored a refined pictorial language, where color, contrast, and form are the essential elements of his expression. Poliakoff's work explores the interactions between line and surface, background and shape, color and light. His piece Noir et Blanc (1961) is remarkable for its absence of - colors, embracing a more sober and elegant non-color aesthetic. The texture of the paper becomes fundamental, as Poliakoff infuses it with a vibrant quality, giving the painting an almost living breath. For Poliakoff, gouache was not merely a secondary medium or a preparatory sketch but a complete and autonomous creation. This medium allowed him to experiment freely with material effects and contrasts. By applying blocks of colour and crafting forms with free geometries, he intensified complementary color contrasts. His preference for pure pigments over tube paints enabled him to create unique hues, enhancing the radiance and density of the color. Poliakoff sought to achieve a perfect balance between forms. Reinforced by effects of transparency and depth, the result is a striking luminosity.

塞尔日-波利亚科夫（1900-1969） 黑与白，1961 年 纸上水粉画，右下方有签名 61 x 46 cm - 24 1/64 x 18 7/64 in. 纸上水粉，右下方有签名 该作品收藏于塞尔日-波利亚科夫档案馆，编号为 861012。 谢尔盖-波利亚科夫档案馆将向买家出具鉴定证书。 出处：比利时私人收藏 私人收藏，比利时 参考书目 A.Poliakoff, Serge Poliakoff, Catalogue Raisonné, 1959-1962, vol. III, Paris, 2011, no.III，巴黎，2011 年，编号 61-120（插图，第 274 页）。 塞尔日-波利亚科夫是俄罗斯裔法国画家，以其抽象派作品闻名于世，是战后最伟大的色彩画家之一。 波利亚科夫探索线条与表面、背景与形式、色彩与光线之间的相互作用。作品《黑与白》（1961 年）的特点是没有鲜艳的色彩，采用了一种更加素雅的非色彩美学。在这幅作品中，材料被赋予了根本性的意义：艺术家成功地为纸张注入了鲜活的质感，使画作焕发出近乎生命的活力。 对波利亚科夫来说，水粉画不是一种辅助媒介或素描，而是一种独立、完整和自主的创作。 这种媒介为他提供了一个实验领域，他可以在其中自由发挥物质和对立的效果，甚至比在油画中更加自由。 与油画相比，水彩画更自由。通过大面积涂色和自由几何图形，他强化了互补色的对比。他喜欢使用纯颜料，而不是管状颜料，这样可以创造出独特的色调，放大色彩的亮度和密度。 他的创作方法旨在实现形状之间的完美平衡，这些形状相互呼应，栩栩如生，并通过透明度或深度效果得到加强，从而产生引人注目的光亮效果。 塞尔日-波利亚科夫是俄罗斯裔法国画家，以其抽象构成而闻名，被认为是战后最伟大的色彩画家之一。 波利亚科夫偏爱精致的绘画语言，色彩、对比和形式是他表达的基本要素。 波利亚科夫的作品探索线条与表面、背景与形状、色彩与光线之间的相互作用。他的作品《Noir et Blanc》（1961 年）的显著特点是不使用任何色彩，而是采用一种更加素雅的非彩色美学。纸张的质地成为其基本要素，因为波利克夫为其注入了活力，赋予了画作近乎生命的气息。 对波利亚科夫来说，水粉画不仅仅是一种辅助媒介或预备性素描，而是一种完整而自主的创作。这种媒介让他能够自由地尝试材料效果和对比。通过涂抹色块和制作具有自由几何形状的造型，他强化了互补色的对比。他偏爱纯颜料而非管状颜料，这使他能够创造出独特的色调，增强色彩的光芒和密度。 波利克夫力求在形式之间达到完美的平衡。在透明度和深度效果的衬托下，作品呈现出惊人的亮度。 令人惊叹的亮度。

SERGE POLIAKOFF (1900-1969)

SERGE POLIAKOFF (1900-1969) Noir et blanc, 1961 Gouache sur papier, signée en bas à droite 61 x 46 cm - 24 1/64 x 18 7/64 in. Gouache on paper, signed lower right Cette oeuvre figure dans les Archives Serge Poliakoff au numéro 861012. Un certificat d'authenticité délivré par les Archives Serge Poliakoff sera remis à l'acquéreur. PROVENANCE: Collection privée, Belgique BIBLIOGRAPHIE A. Poliakoff, Serge Poliakoff, Catalogue Raisonné, 1959-1962, vol. III, Paris, 2011, no. 61-120 (illustré, p. 274). Serge Poliakoff, peintre français d'origine russe, est reconnu pour ses compositions abstraites et figure parmi les plus grands coloristes de l'après-guerre. Poliakoff s’attache à explorer les interactions entre la ligne et la surface, le fond et la forme, la couleur et la lumière. L'oeuvre Noir et Blanc datée 1961 se distingue par l'absence de couleur vive, adoptant une esthétique de non-couleur plus sobre et élégante. Ici, la matière prend une dimension fondamentale : l'artiste réussit à insuffler au papier une texture vibrante, animant la peinture d’un souffle presque vivant. Pour Poliakoff, la gouache n’est pas un support secondaire ou une esquisse, mais une création à part entière, complète et autonome. Ce medium lui offre un champ d’expérimentation où il joue avec les effets de matière et d’opposition, encore plus librement que dans ses huiles. En appliquant de larges aplats de couleur et en travaillant des formes aux géométries libres, il intensifie les contrastes de couleurs complémentaires. Grâce aux pigments purs, qu’il préfère aux peintures en tube, il peut créer des teintes uniques, amplifiant ainsi l’éclat et la densité de la couleur. Sa démarche vise à atteindre un équilibre parfait entre les formes, qui se répondent et s’animent, renforcées par des effets de transparence ou de profondeur, pour un résultat d’une luminosité saisissante. Serge Poliakoff, a French painter of Russian origin, is renowned for his abstract compositions and is considered one of the greatest colorists of the post-war period. Poliakoff favored a refined pictorial language, where color, contrast, and form are the essential elements of his expression. Poliakoff’s work explores the interactions between line and surface, background and shape, color and light. His piece Noir et Blanc (1961) is remarkable for its absence of - colors, embracing a more sober and elegant non-color aesthetic. The texture of the paper becomes fundamental, as Poliakoff infuses it with a vibrant quality, giving the painting an almost living breath. For Poliakoff, gouache was not merely a secondary medium or a preparatory sketch but a complete and autonomous creation. This medium allowed him to experiment freely with material effects and contrasts. By applying blocks of colour and crafting forms with free geometries, he intensified complementary color contrasts. His preference for pure pigments over tube paints enabled him to create unique hues, enhancing the radiance and density of the color. Poliakoff sought to achieve a perfect balance between forms. Reinforced by effects of transparency and depth, the result is a striking luminosity.

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GEORGES MATHIEU (1921 - 2012) Untitled, 1966 Mixed media (Indian ink and collage) on Arches paper, signed and dated lower right 75 x 53 cm - 29 17/32 x 20 55/64 in. Mixed media drawing (India ink and collage) on Arches paper, signed and dated lower right PROVENANCE: Private collection, Belgium

乔治-马修（1921 - 2012） 无题》，1966 年 混合媒介（印度墨水和拼贴画），印在 Arches 纸上，右下方有签名和年代 75 x 53 cm - 29 17/32 x 20 55/64 in. 拱形纸上的混合媒介绘画（印度墨水和拼贴画），右下方有签名和日期 出处：比利时私人收藏 私人收藏，比利时

GEORGES MATHIEU (1921 - 2012)

GEORGES MATHIEU (1921 - 2012) Sans titre, 1966 Technique mixte (encre de Chine et collage) sur papier Arches, signée et datée en bas à droite 75 x 53 cm - 29 17/32 x 20 55/64 in. Mixed media drawing (India ink and collage) on Arches paper, signed and dated lower right PROVENANCE: Collection privée, Belgique

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EMILIO SCANAVINO (1922 - 1986) Morfolgia 2, 1970 Acrylic on panel, signed lower right, countersigned, dated and titled on back 30 x 30 cm - 11 13/16 x 11 13/16 in. Acrylic on panel, signed lower right, signed, dated and titled on the reverse PROVENANCE: Private collection, Belgium Galleria Nuova Smith, Bruxelles BIBLIOGRAPHY Emilio Scanavino: Giorgina Graglia and Carlo Pirovano, Scanavino. Catalogo Generale Volume primo, Edition Electa, Milan, 2000, illustrated in black and white p. 386.

埃米利奥-斯坎达维诺（1922 - 1986） Morfolgia 2，1970 年 丙烯酸画板，右下方有签名，背面有会签、年代和标题 30 x 30 cm - 11 13/16 x 11 13/16 in. 丙烯酸画板，右下方有签名，背面有签名、年代和标题 出处：比利时私人收藏 私人收藏，比利时 新史密斯画廊，布鲁塞尔 参考书目 Emilio Scanavino：Giorgina Graglia 和 Carlo Pirovano，Scanavino。Catalogo Generale Volume primo，Edition Electa，米兰，2000 年，黑白插图，第 386 页。

EMILIO SCANAVINO (1922 - 1986)

EMILIO SCANAVINO (1922 - 1986) Morfolgia 2, 1970 Acrylique sur panneau, signée en bas à droite, contresignée, datée et titrée au dos 30 x 30 cm - 11 13/16 x 11 13/16 in. Acrylic on panel, signed lower right, signed, dated and titled on the reverse PROVENANCE: Collection privée, Belgique Galleria Nuova Smith, Bruxelles BIBLIOGRAPHIE Emilio Scanavino : Giorgina Graglia et Carlo Pirovano, Scanavino. Catalogo Generale Volume primo, Edition Electa, Milan, 2000, illustré en noir et blanc p. 386.

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YVARAL (1934 - 2002) Horizon Structuré G, 1977 Oil on canvas, signed lower center, countersigned, titled, dated and numbered 'N°1751' on back 65 x 65 cm - 25 19/32 x 25 19x32 in. Oil on canvas, signed lower center, signed twice, titled, dated and numbered 'N°1751' on the reverse PROVENANCE: Private collection, Belgium

伊瓦拉尔（1934 - 2002） 结构地平线 G，1977 年 布面油画，中央下方有签名，背面有会签、标题、年代和编号 "N°1751 65 x 65 厘米 - 25 19/32 x 25 19x32 英寸。 布面油画，中央下方有签名，两次签名，背面有标题、年代和编号 "N°1751 出处：比利时私人收藏 私人收藏，比利时

YVARAL (1934 - 2002)

YVARAL (1934 - 2002) Horizon Structuré G, 1977 Huile sur toile, signée en bas au centre, contresignée, titrée, datée et numérotée 'N°1751' au dos 65 x 65 cm - 25 19/32 x 25 19x32 in. Oil on canvas, signed lower center, signed twice, titled, dated and numbered 'N°1751' on the reverse PROVENANCE: Collection privée, Belgique

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PIERRE SOULAGES (1919 - 2022) Etching XXV, 1974 Etching on paper, signed in pencil lower right, numbered 15/100 lower left 49 x 71 cm (at sight) - 19 19/64 x 27 61/64 in. (about) Etching, signed with pencil lower right, numbered 15/100 lower left PROVENANCE: Private collection, Belgium BIBLIOGRAPHY Pierre Encrevé, Soulages l'oeuvre imprimé, Bibliothèque Nationale de France - BNF, Paris, 2022, proof no. 27

皮埃尔-苏拉热（1919 - 2022） 蚀刻版画 XXV, 1974 纸上蚀刻版画，右下方有铅笔签名，左下方有编号 15/100 49 x 71 厘米（视图）- 19 19/64 x 27 61/64 英寸（约） 蚀刻版画，右下方用铅笔签名，左下方编号 15/100 出处：比利时私人收藏 私人收藏，比利时 参考书目 Pierre Encrevé，《Soulages l'oeuvre imprimé》，法国国家图书馆 - BNF，巴黎，2022 年，第 27 号样张

PIERRE SOULAGES (1919 - 2022)

PIERRE SOULAGES (1919 - 2022) Eau-forte XXV, 1974 Eau-forte sur papier, signée au crayon en bas à droite, numérotée 15/100 en bas à gauche 49 x 71 cm (à vue) - 19 19/64 x 27 61/64 in. (about) Etching, signed with pencil lower right, numbered 15/100 lower left PROVENANCE: Collection privée, Belgique BIBLIOGRAPHIE Pierre Encrevé, Soulages l'oeuvre imprimé, Bibliothèque Nationale de France - BNF, Paris, 2022, épreuve répertoriée sous le n°27

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DAVID HOCKNEY (b. 1937) Lillies, 1971 Original lithograph on Japan paper, numbered in Roman numerals IX/XXXV, signed and dated 71 lower right in pencil 75.5 x 52.8 cm - 29.7 x 20.7 in Original lithograph on Japan paper, numbered in roman numbers in pencil IX/XXXV, signed by the artist and dated 71 in the lower right margin A certificate of authenticity from Gilden's Arts will be given to the buyer. BIBLIOGRAPHY David Hockney, DAVID HOCKNEY PRINTS 1954 - 77, The Midland Group and the Scottish Arts Council in Association with Petersburg Press, 1979 PROVENANCE: Gilden's Arts Gallery, London Private collection, London David Hockney is a renowned British artist, famous for his contributions to the Pop Art movement and his colorful depictions of Californian landscapes, swimming pools and portraits. A versatile artist, he explores various media including painting, drawing, photography and digital art. This lithograph is the third plate in the portfolio "Europäische Graphik VII - Englische Künstler" (European Graphic- English Artists) published by Galerie Wolfgang Ketterer in collaboration with publisher Felix H. Man, Munich, 1971. It was printed by Stanley Jones at Curwen Studios, London, in a limited edition of 35 copies on Japon paper and 65 copies on Arches paper. There were artist's proofs, respectively 12 for the edition on Japon paper and 18 for the edition on Arches paper. David Hockney is a renowned British artist celebrated for his contributions to the Pop Art movement and his vivid depictions of Californian landscapes, swimming pools, and portraits. Known for his versatility, he works across mediums such as painting, drawing, photography, and digital art. This lithograph was the third plate in the portfolio "Europäische Graphik VII - Englische Künstler"(European Graphic-English Artists) published by Edition Galerie Wolfgang Ketterer with co-operation of the editor Felix H. Man, Munich, 1971. It was printed by Stanley Jones at the Curwen Studios, London, in a limited edition of 35 impressions on Japan paper and 65 on Arches paper. There were a further artists' proofs of respectively 12 for the edition on Japan paper and 18 for the edition on Arches.

戴维-霍克尼（生于 1937 年） 百合花，1971 年 原版石版画，日本纸，罗马数字编号 IX/XXXV，右下方有铅笔签名和日期 71 75.5 x 52.8 厘米 - 29.7 x 20.7 英寸 原版石版画，日本纸，用铅笔以罗马数字编号 IX/XXXV，右下空白处有艺术家签名和 71 年的日期 买方将获得由 Gilden's Arts 颁发的鉴定证书。 参考书目 大卫-霍克尼，《大卫-霍克尼作品 1954 - 77》，米德兰集团和苏格兰艺术委员会与彼得斯堡出版社联合出版，1979 年 收藏： 伦敦吉尔登艺术画廊 私人收藏，伦敦 大卫-霍克尼（David Hockney）是英国著名艺术家，因其对波普艺术运动的贡献以及对加利福尼亚风景、游泳池和肖像的多彩描绘而闻名。作为一位多才多艺的艺术家，他探索了一系列媒介，包括绘画、素描、摄影和数字艺术。 这幅石版画是 "Europäische Graphik VII - Englische Künstler"（《欧洲平面设计--英国艺术家》）作品集的第三幅版画，由 Wolfgang Ketterer 画廊与出版商 Felix H. Man 于 1971 年在慕尼黑合作出版。 该书由斯坦利-琼斯（Stanley Jones）在伦敦柯文工作室（Curwen Studios）印刷，Japon 纸限量发行 35 册，Arches 纸限量发行 65 册。有艺术家的样张，其中 12 张为 Japon 纸版，18 张为 Arches 纸版。 大卫-霍克尼是英国著名艺术家，因其对波普艺术运动的贡献以及对加利福尼亚风景、游泳池和肖像的生动描绘而闻名于世。他以多才多艺著称，作品涉及绘画、素描、摄影和数字艺术等多种媒介。 这幅石版画是 "Europäische Graphik VII - Englische Künstler"（欧洲平面-英国艺术家）作品集的第三幅版画，由 Edition Galerie Wolfgang Ketterer 与编辑 Felix H. Man 合作出版，慕尼黑，1971 年。 该书由斯坦利-琼斯（Stanley Jones）在伦敦柯文工作室印刷，日本纸限量发行 35 版，阿切斯纸限量发行 65 版。日本纸版和 Arches 纸版分别有 12 份和 18 份艺术家样张。

DAVID HOCKNEY (né en 1937)

DAVID HOCKNEY (né en 1937) Lillies, 1971 Lithographie originale sur papier Japon, numérotée en chiffres romains IX/XXXV, signée et datée 71 en bas à droite au crayon 75,5 x 52,8 cm - 29.7 x 20.7 in Original lithograph on Japan paper, numbered in roman numbers in pencil IX/XXXV, signed by the artist and dated 71 in the lower right margin Un certificat d'authenticité de la galerie Gilden's Arts sera remis à l'acquéreur. BIBLIOGRAPHIE David Hockney, DAVID HOCKNEY PRINTS 1954 - 77, The Midland Group and the Scottish Arts Council in Association with Petersburg Press, 1979 PROVENANCE: Gilden's Arts Gallery, Londres Collection privée, Londres David Hockney est un artiste britannique de renom, célèbre pour ses contributions au mouvement Pop Art et ses représentations colorées de paysages californiens, piscines et portraits. Polyva­lent, il explore divers médiums comme la peinture, le dessin, la photographie et l'art numérique. Cette lithographie est la troisième planche du portfolio «Euro­päische Graphik VII - Englische Künstler» (European Graphic- English Artists) publié par les éditions Galerie Wolfgang Ketterer avec la collaboration de l'éditeur Felix H. Man, Munich, 1971. Elle a été imprimée par Stanley Jones aux Curwen Studios de Londres, en édition limitée de 35 exemplaires sur papier Japon et 65 exemplaires sur papier Arches. Il y eut des épreuves d'artiste, respectivement 12 pour l'édition sur papier Japon et 18 pour l'édi­tion sur papier Arches. David Hockney is a renowned British artist celebrated for his contributions to the Pop Art movement and his vivid depictions of Californian landscapes, swimming pools, and portraits. Known for his versatility, he works across mediums such as painting, drawing, photography, and digital art. This lithograph was the third plate in the portfolio “Europäische Graphik VII - Englische Künstler”(European Graphic-English Artists) published by Edition Galerie Wolfgang Ketterer with co-operation of the editor Felix H. Man, Munich, 1971. It was printed by Stanley Jones at the Curwen Studios, London, in a limited edition of 35 impressions on Japan paper and 65 on Arches paper. There were a further artists proofs of respectively 12 for the edition on Japan paper and 18 for the edition on Arches.

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CLAUDE VIALLAT (b. 1936) 1978/045, 1978 Acrylic on pant leg 55 x 53 cm - 21 21/32 x 20 55/64 in. Acrylic on trouser bottoms A certificate of authenticity from the gallery will be given to the buyer. PROVENANCE: Galerie Ceysson &amp| Bénétière, New-York Acquired from the latter in 2020 by the current owner.

克劳德-瓦拉特（生于 1936 年），1978/045，1978 年 裤底丙烯 55 x 53 厘米 - 21/32 x 20 55/64 英寸 裤底丙烯 买方将获得画廊出具的鉴定证书。 出处： Galerie Ceysson &amp| Bénétière，纽约 2020 年由现任主人从后者处购得。

CLAUDE VIALLAT (né en 1936) 1978/045, 1978

CLAUDE VIALLAT (né en 1936) 1978/045, 1978 Acrylique sur bas de pantalon 55 x 53 cm - 21 21/32 x 20 55/64 in. Acrylic on trouser bottoms Un certificat d'authenticité de la galerie sera remis à l'acquéreur. PROVENANCE: Galerie Ceysson & Bénétière, New-York Acquise auprès de cette dernière en 2020 par le propriétaire actuel

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CLAUDE VIALLAT (born 1936) Composition Monotype in color, unsigned proof From the "Art pour la paix" portfolio, ArtsToArts edition 50 x 40 cm (unframed) 19 11/16 x 15 3/4 in. Monotype in colours, unsigned From the group portfolio "Art pour la paix" published by ArtsToArts PROVENANCE: Private collection, France

克劳德-维亚拉特（生于 1936 年） 创作 彩色单版画，未署名样稿 选自 "和平艺术 "作品集，由 ArtsToArts 出版社出版 50 x 40 厘米（无框） 19 11/16 x 15 3/4 英寸 彩色单色纸版画，未署名 选自 ArtsToArts 出版的 "Art pour la paix "系列作品集 出处： 私人收藏，法国 私人收藏，法国

CLAUDE VIALLAT (né en 1936)

CLAUDE VIALLAT (né en 1936) Composition Monotype en couleurs, épreuve non signée Issue du portfolio «Art pour la paix», édition ArtsToArts 50 x 40 cm (non encadrée) 19 11/16 x 15 3/4 in. (unframed) Monotype in colours, unsigned From the group portfolio “Art pour la paix” published by ArtsToArts PROVENANCE: Collection particulière, France

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ARMAN (1928 - 2005) Cubist violin number 2 Bronze signed lower right and numbered 86/100 on edge left 72 x 20 x 16 cm- 28 11/32 x 7 7/8 x 6 19/64 in. Bronze signed lower right and numbered 86/100 on the left edge This work is in the Arman Archives in New York under APA #8401.02.006. PROVENANCE: Private collection, Paris region

阿曼（1928 - 2005） 立体派小提琴 2 号 青铜，右下方有签名，左边缘有编号 86/100 72 x 20 x 16 厘米- 28 11/32 x 7 7/8 x 6 19/64 英寸。 青铜器，右下方有签名，左边缘有编号 86/100 这件作品收藏在纽约的阿曼档案馆，编号为 APA #8401.02.006。 出处：私人收藏，巴黎地区 私人收藏，巴黎地区

ARMAN (1928 - 2005)

ARMAN (1928 - 2005) Violon cubiste numéro 2 Bronze signé en bas à droite et numéroté 86/100 sur la tranche à gauche 72 x 20 x 16 cm - 28 11/32 x 7 7/8 x 6 19/64 in. Bronze signed lower right and numbered 86/100 on the left edge Cette oeuvre figure dans les Archives Arman à New York sous le n° APA #8401.02.006. PROVENANCE Collection privée, région parisienne

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IGOR MITORAJ (1944 - 2014) Perseus Bronze with green patina, signed lower right and numbered A471/1000 HC on the back, on a travertine base. H : 38 cm - 14 61/64 in. Green patinated bronze, signed lower right and numbered A471/1000 HC on reverse, the travertine base A certificate of authenticity signed by the artist will be given to the purchaser. PROVENANCE: Private collection, Paris region

伊戈尔-米托拉伊（1944 - 2014） 珀尔修斯 青铜，带绿色铜锈，右下方有签名，背面有编号 A471/1000 HC，石灰华底座 高：38 厘米 - 14 61/64 英寸。 绿色青铜，右下方有签名，背面有编号 A471/1000 HC，石灰华底座 买方将获得由艺术家签名的鉴定证书。 出处：私人收藏，巴黎地区 私人收藏，巴黎地区

IGOR MITORAJ (1944 - 2014)

IGOR MITORAJ (1944 - 2014) Persée Bronze à patine verte signé en bas à droite et numéroté A424/1000 HC au dos, le socle en travertin 38 x 25 cm - 14 61/64 x 9 27/32 in. Green patina bronze, signed lower right and numbered A424/10000 HC on reverse, the travertine base PROVENANCE Collection privée, région parisienne Un certificat d’authenticité signé par l’artiste sera remis à l’acquéreur.

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