Editions auction: Thursday March 12, 2020 with the auction house Piasa

Huang Yan (born 1966) Temple of Heaven - 2008

As part of its first vacation of the year, the Publishing department of the auction house PIASA presents on Thursday March 12, 2020 a selection of artists among the most significant of the second half of the XNUMXth century.

Centered on France and the United States, this sale offers a daring focus on the Asian scene, here embodied by the Japanese Yayoi Kusama, the Chinese Yue Minjun or the young Malaysian Red Hong Yi. This contemporary creative dynamism accompanies a booming market. Their works demonstrate the continuous dialogue that the Far Eastern culture maintains with the West as well as the tasty iconographic exchanges.

After the success of the department's last vacation, during which a screen print after Jean-Michel Basquiat sold for 91 euros, the selection gives pride of place to American artists, including two works by Basquiat, a carpet after Mark Rothko, as well as Alex Katz.

The richness and diversity of this selection illustrates, once again, the solidity of the network of collectors both French and international that the Parisian auction house has developed.

Beyond the essential figures of modern art, including Pablo Picasso, Marcel Duchamp or Niki de Saint Phalle and Pierre Soulages, the new generation is highlighted with notably works by the French plastic artist François Pétrovitch.

Mark Rothko /

A visible outgrowth of mysticism which will influence the artist throughout his life, the work of Mark Rothko constitutes a remarkable alternative to gestural painting which was very popular in New York in the immediate post-war period. Long before he gave birth to his real surname "Marcus Rothkowitz" when the Second World War broke out, the artist, born in 1903 on the western borders of a Russian Empire on the verge of disappearing into the turmoil of History.

It was not until the early 1950s, notably thanks to the purchases of the American collector Duncan Phillips, that his career saw its first successes. Relieved of the mimetic concern, the color used by Rothko is called to propagate in space by integrating, in fact, the spectator.

The wool tapestry from a work by the artist in 1968 was produced in only eight copies. Its very imposing dimensions coincide with the artist's concern to offer visual experiences on a monumental scale.

Pablo Picasso /

In the aftermath of the Second World War Pablo Picasso is approaching 70 years of age. Of a density and a diversity undoubtedly unequaled during the XXth century, his Work already occupies the rails of the most emblematic museums and has been the subject of very numerous exhibitions. He is at the height of his glory.

The atrocities that mourn the mid-twentieth century deeply mark the artist and constitute a turning point in the function he assigns to his work. Picasso's peaceful engagement became central from the outbreak of the Spanish War in 1936.

This dove is probably inspired by the white pigeons he kept in a cage in his workshop. But the animal did not wait for the factious virtuosity of the Andalusian master to become a symbol. Image of the Holy Spirit in medieval painting then reborn, he is the one through whom hope arrives after the fatal episode of the Flood. The bird is added to the already very important bestiary that populates Picasso's paintings.

after a work by the artist in 1968, only eight copies were published. Its very imposing dimensions coincide with the artist's concern to offer visual experiences on a monumental scale.

Marcel Duchamp /

The artist follows courses for a year at the Julian Academy. After some publications and exhibitions of his drawings and caricatures, the young man presented his first paintings at the Salon d'Automne in 1908 and then at the Salon des Indépendants the following year.

The Bride exposed by her bachelors, even, a work produced in New York between 1912 and 1923 is composed of two assembled glass panels, partly painted in oil, and including, among others, lead inserts and dust. Exhibited at the Brooklyn Museum in 1926, the work is wrapped in a wooden case to be delivered to the person who bought it. When he opened it ten years later, he noticed that the glass panels had broken. The artist decides to keep the broken pieces and to assemble the fragments in thicker glass plates. If the work is today preserved in the Philadelphia Museum of Art, the 93 explanatory documents (notes, diagrams, drawings) are published in 1934 under the title of Green box. They are an integral part of the work.

Published in 300 copies, the work is an integral reproduction of his notes written on scraps of paper, respecting the format, the colored inks, the erasures and the corrections.

The man André Breton called "the most intelligent man of the century", thus laid the foundations of conceptual art by raising the idea to the same level as their plastic manifestation.

Marcel Duchamp (1887-1968)

The bride even laid bare by her bachelors - Green box

Paris, Editions Rrose Selavy, 1934

In4. Box-box, covered with green suede, the first dish titled white dotted

Complete copy of its 94 facsimile reproductions and collotype on various papers, from the years 1911 to 1915, numbered “257/300” in red pen, 33,3 x 28,5 cm

Estimate: 20 / 000 euros

Françoise Petrovich /

If for a long time Françoise Petrovitch mainly expressed herself through painting and drawing, her plastic itinerary led her to explore other techniques such as, from the beginning of the 2000s, ceramics, engraving and even the video.

Over the years, the theme of intimacy stood out from the others and appeared at the center of his works. The characters who populate these spaces are often beings located on the border between childhood and adulthood. A polysemic symbol of fragility and innocence, childhood allows the artist to evoke the probed human faults, relentlessly, in an eminently moving way.

As evidenced by this screenprint published in 12 copies by Bernard Chauveau and measuring 2 meters by 4, the artist favors very imposing formats. Thus, the experience it offers to spectators is intended to be immersive. Initially performed atwatercolor, this work was printed on Canson paper. Subsequently, all of the animals were added in screen printing, varying the colors and locations.

Since the late 1990s, Françoise Petrovitch's work has been the subject of several major exhibitions, such as in 2008 at the Musée d'Art Moderne in Saint-Étienne or in 2011 at the Musée de la Chasse et de la Nature in Paris. .

Dionyssopoulos Pavlos /

Born in 1930 in Filiatra, a small Greek fishing port wedged between fields and the Adriatic, Dionyssopoulos Pavlos turns his back onarchitecture and joined, in the immediate post-war period, the School of Fine Arts in Athens. A scholarship from the French Embassy allows him to continue his studies in Paris. The city was at the time the theater of Vide by Yves Klein, from Full d'Arman, the consecration of Jean Tinguely and the emergence of the New Realists. At the counters of German-style cafes, he meets the sculptors Giacometti, César and Calder.

Participating in the New Realities fair in 1963, Pavlos was spotted by the critic Pierre Restany, who offered him to exhibit, the following year, on the sidelines of the Venice Biennale. This meeting, the most important of his career to believe the artist, opens up new horizons for him.

At the border of Pop Art, Pavlos' work met with some success during its first American presentation, at the Fischbach Gallery in New York in 1967. The early 1970s were marked by a series of paper installations, including a set of 26 trees (The forest), presented as part of the artist's first retrospective in Hanover.

A free electron, Pavlos was an artisan in bringing together art and life, the work and its audience. Contemptor of a culture mummifying art, he aims to inflect the gaze of the spectator in order to bring to his consciousness a new world.

Miquel Barceló /

The artist spent the first years of his existence in the small town of Felanitx on the south coast of one of the Balearic islands. Sensitized to art by his mother, landscape painter, the young man, just graduated from the School of Decorative Arts in Palma de Mallorca, went to Paris in 1973. He discovered Art Brut and Art Informal as well as personalities such as Jean Dubuffet, Antoni Tàpies, or even Jean Fautrier whose influence will deeply mark his paintings. The end of the 1970s was for him synonymous with social, artistic and political commitment against the regime of General Franco.

Constantly in movement, it is in New York that the artist settles his bags for a time to meet Andy Warhol through Jean-Michel Basquiat. He made his first solo exhibition in the gallery of Leo Castelli, the epicenter of the art market across the Atlantic. Close to the aesthetics of Anselm Kiefer, Miquel Barceló by experimenting with techniques such as drawing, watercolor, painting but also pottery, sculpture and the production of sets and stage costumes, managed to world a protean Work.

Miquel Barcelo (Born in 1957)

Still life - 1987

Carborundum, etching and aquatint in colors, signed and numbered 1/16

Printed by Atelier Pasnic, Paris

(F): 56 x 76 cm

Estimate: 3 / 000 euros

Yayoi Kusama /

The rigidity of the shackles that his school decides the artist to turn to Western art. Despite the success of several exhibitions in the early 1950s, first in Matsumoto and then in Tokyo, Yayoi Kusama left for the United States in 1957 and moved to New York a year later. The presentation of his "Infinity Nets" series at the Brata gallery in 1959 was an important step. Converting his neuroses into a source of inspiration, his approach can easily be compared to art therapy. These abstract works covered with innumerable brushstrokes are strongly influenced by the hallucinatory visions that she had known as a child. Like so many psychedelic patterns, spots and dots are omnipresent.

In contact with the New York art scene (Jasper Johns, Yves Klein, Piero Manzoni, Claes Oldenburg or Andy Warhol), she became friends with Donald Judd who, from 1961, became his studio neighbor. During this period she produced a large number of sculptures and accumulations.

Revolving around the concept of self-representation, Yayoi Kusama quite naturally experiences the Happening and the performance as in 1966 with "14th Street Happening" during which the artist lay on a mattress covered with protruding phallic forms, also adorned with polka dots.

Holder in 2014 of the record for the most expensive work of a living artist (7,1 million dollars), Yayoi Kusama has gradually risen to the rank of an essential figure in the Japanese scene.

ƒ Yayoi Kusama (born in 1929)

Pumpkins, (set of 5) - 2002

Set of 5 colored glazed Limoges ceramics

Each sculpture signed with the stamp under the base and numbered / 130

Also carries the Limoges, France stamp under the base

Posted by FMR Trading, Hirakata, Japan

Each pumpkin presented in its original box

(D) of each sculpture: 8,9 x 7,6 x 7,6 cm

Estimate: 35 / 000 euros

Zao Wou-Ki /

Elder of seven children, Zao Wou-ki is part of a very old family whose origin dates back to the Song dynasty (XNUMXth-XNUMXth century). A very gifted student, passionate about literature, Wou-Ki draws and paints from the age of ten. His family encourages the boy on this path.

In 1935, Zao Wou-Ki entered, at the age of fourteen, the School of Fine Arts in Hangzhou after having passed the entrance examination which consisted in drawing a Greek statue after molding. He studied for six years drawing from plasters and then models, oil painting, traditional Chinese painting by copies, perspective in the Western way and calligraphy.

Zao Wou-Ki settles in the Montparnasse district, in a small workshop on rue du Moulin-Vert close to that of Alberto Giacometti. He learned French at the Alliance Française and attended the Académie de la Grande Chaumière where he studied with Émile Othon Friesz. He will say a few years later that it was in Paris that he found his true personality. He obtained his French naturalization in 1964.

Contrary to his abstract work which made him famous from the end of the 1950s, the first paintings by Zao Wou-ki are realistic paintings in which appear portraits, still lifes or landscapes. But quickly, inspired by the work of Paul Klee, he broke away from the mimetic relationship to reality and produced abstract compositions. The lyrical power of a painting that becomes gestural is then essential. Halfway between the modernity of American abstract painting and the tradition of Chinese inks and calligraphy, Zao Wou-ki embodies a bridge launched between East and West.

Zao Wou-Ki (1920-2013)

Tribute to Nobutaka Shikanai - 1991, (Agerup 354)

Color lithograph on watermarked BFK Rives paper, all margins

Signed and titled in the plate

loaf pan of 11 x 26 cm (9x5inches)

Estimate: 2 / 000 euros

Niki de Saint Phalle /

A major figure on the art scene from the early 1960s, the artist, whose real name was Catherine Marie-Agnès Fal de Saint-Phalle, began her public career, as a model, on the front page of the main fashion magazines. among which Vogue, Life or Elle. It was in New York that she spent her childhood.

A violent nervous breakdown leads her to a mental hospital. Like a number of artists close to art brut, it was in this context that she took up paintbrushes for the first time.

During the 1960s, Niki de Saint Phalle explored the age-old iconography of women by making monumental dolls entitled "Nanas". Stigmata of the feminist dimension of her work, these sculptures are widely commented by the press. Inspired by the formal vocabulary inherited from prehistoric times, the anatomy of the women represented by the artist highlights the curvature of the breasts and that of the hips, as on this piece produced in 2000 and produced in only 150 copies.

Niki de Saint Phalle (1930-2002)

The Bird in Love, Bird in Love, (vase) - 2000

Vase in colored polyester resin

Signed and numbered intaglio on a metal plate “Niki de Saint Phalle 99/150” on the back

Stamp of the publisher R.Haligon aus dos

(D): 61 x 47 x 20 cm

Estimate: 20 / 000 euros

Niki de Saint Phalle (1930-2002)

Lady with a handbag (vase) - 2000

Vase in colored polyester resin

Signed and numbered intaglio on a metal plate “Niki de Saint Phalle 99/150” on the back

Stamp of the publisher R.Haligon aus dos

(D): 61 x 31,50 x 15 cm

Estimate: 20 / 000 euros

Jean-Michel Basquiat /

Of Puerto Rican and Haitian origin, born in 1960 in Brooklyn and died in New York in 1988 following an overdose at the age of twenty-seven, Basquiat belongs to a generation of graffiti artists who suddenly emerged in New York in the late 1970s.

Author of a work of more than 2 drawings and paintings, Jean-Michel Basquiat crossed the New York scene at the pace of a dislocated meteor. Product of an urban American culture strongly impacted by social and ethnic violence, the artist is one of the actors who allowed the Street Art to enter the halls of museums. Immediately identifiable, his painting is the place of the emergence of a new iconographic repertoire and a style that has inspired many artists until today.

In 1976, barely 16 years old, the young man intrigued the artistic milieu of the East Village by graffiti the walls of the streets near the galleries of Manhattan under the pseudonym SAMO (Same Old Shit). After several projects and collaborations (music, cinema…), his painting was the subject of a first exhibition in the gallery of Annina Nosei in Soho then in 1980 in the gallery Larry Gagosian in Los Angeles.

The emblematic character of Basquiat's work affects the public but also collectors from around the world. In the auction room, the record for this artist was reached in New York in May 2017 with an auction approaching 100 million euros.

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