Pierre Coquet

Nature morte au torchon blanc/Still life with white cloth

Pierre Coquet - The Apples Reference number F319 Framed with a natural oak floated frame 45 x 54 cm frame included (40 x 48,5 cm without frame) This work is painted with oil on a paper that is mounted on a board and placed in a made to measure wood strectcher. It is signed in the bottom left. Still lives are one of Pierre favourite subjects. Always in a very quiet atmosphere, with simple objects or alive nature. Provenance : Workshop of the artist (stamped and numbered on the back) Pierre Coquet (1926-2021) is a French painter who was born in Limas near Lyon, France. He entered the Ecole des Beaux Arts in Lyon in 1942 and followed the teaching of Antoine Chartres, Henri Vielly and René Chancrin. He won a prize in 1945 and joined a movement that wanted to be outside of any school whose name ends with “ism”, (like impressionism, cubism…) between figuration and the renaissance of Abstract Art, bringing together young generations under thirty and eager not to submit to any technique. The “Sanzism” (literally without « ism ») will bring together, among others, painters: James Bansac, Roger Bravard, André Chaix, Jean Mélinand, Paul Clair, André Cottavoz, Pierre Doye, Jean Fusaro, Jacques Truphémus...

Pierre Coquet - Still life with peaches Reference number F357 Framed with an ebony color wood floated frame. 41 x 58 cm frame included (21 x 38 cm without frame) This work is painted...

Reference number F358 Framed with a natural oak floated frame 38 x 46 cm frame included (33 x 41 cm without frame) This work is painted with oil on a canvas. IStamp of the signature ...

Reference number F372 Framed with an ebony color wood floated frame. 49 x 74 cm frame included (29 x 54 cm without frame) This work is painted with oil on a paper that is mounted on ...

Pierre Coquet - Still life with cherries Reference number F373 The painting is not framed but it could be with a painted black oak floater frame (see how it would look like on the si...

Reference number F374 The painting is not framed but it could be with a natural oak floated frame (see how it would look like on the simulation photo. Price for the frame : 200 euros...

French school circa 1770 Pair of still lifes Oil on canvas H. 65 cm; L. 81 cm each These two works produced during the second half of the 18th c...

Oil on canvas by Pierre TROFIMOFF (1925-1996), France, 1992. "STILL LIFE WITH BASKET". Another version of this still life, very close to this one and entitled "Still life with the blue wall", is found in the book "Trofimoff" by Jacqueline de Grandmaison, Editions Vision sur les Arts, Béziers, 1978, page 29, full-page color illustration. This last work will have been used as cover page for the invitation 4 pages-card to the exhibition which took place from October 18 to November 10, 1978 at La Cadrerie - Galerie Edouard Chaix-Bryan, 23 rue du Docteur Fiolle in Marseille. With frame: 82x71 cm - 32.3x28 inches ; without frame: 65x54cm - 25.6x21.3 inches. 5F format. Signed "Trofimoff" and dated "92". Titled on the back (see photos). Pierre Trofimoff was born October 20, 1925 in Marseille in a very traditional bourgeois family, distant Polish origin. Very early, he declares a desire to become a painter. At 10, he entered the Melizan Institute in Marseille. His teenage vacation, he spent them in the house of his grandmother in Revest-les-Eaux near Toulon. In the countryside, he observes many artists drawing or painting on the motif, like the painter Eugène Baboulène and the sculptor Dionisi. Later, he will meet on the same place the engraver Decaris. Little encouraged by his family in his vocation, he was denied entry to the Ecole des Beaux-Arts in Marseille. However, he will go there as a free listener every Thursday It's the war. He is an inveterate museum-goer and deprives himself of cinema to buy books of Art. He likes Puget, Loubon, Delacroix, Courbet. Later Van Gogh, Soutine, Modigliani, Leprin, Pascin, Marquet, Dufu, Braque and Verdilhan by which he will be influenced. At the end of the war, Trofimoff works as a leather and hides broker. But simultaneously, he works his painting. He paints a lot in the company of Pierre Gontard and often goes to Meiffren's studio, cours Estienne d'Orves. There, the poet Boissin, the painters Jammes, Helene Martin and the actors of the troupe of the Galion d'Or meet. Trofimoff also meets Louis Pons...

Jeanne Marie Elisabeth CAGNIN (Lyon, before 1889 – Lyon, before 1907) Azaleas Oil on terracotta Signed and dated lower right 26.5cm in diameter 1887 Marie Cagnin, a native of Lyon...

Édouard GELHAY (Braine, 1856 - Paris, 1939) Game lost Oil on panel enlarged by two centimeters on the right side Signed lower left. Dedicated top right to Princess Maria JABLONOWSK...

19th century French school Carnations Oil on panel 35 x 24cm

Oil on cardboard by Pierre GIRIEUD (1876-1948), France, 1941. "VASE OF FLOWERS - MARIGOLDS". With frame: 56x48 cm - 22x18.9 inches ; without frame: 46x38cm - 18.1x15 inches. 8F format. Signed "Girieud" and dated "1941" (see photos). Excellent condition ! Gild wood and faux-lizard frame (old but not period). Pierre Girieud was born in 1876 at no 14 rue de Marseille in Paris, to Jeanne Rosalie Bernard and Joseph Gustave Girieud, civil engineer. He spent his early youth in the Alpes de Haute-Provence, a region where his family was born, before settling in Montmartre in 1900 where he practiced painting as an autodidact while attending Picasso, Villon, Marquet, Puy, Manguin and Camoin . A great admirer of Gauguin whom he discovered in 1901 through his friend Durrio, a ceramist and silversmith who worked alongside the artist, Girieud painted according to the Nabis precepts: he refused the traditional perspective in favor of large flat areas; he surrounds the stylized shapes in black to bring out their quintessence; he uses unnatural colors to increase the decorative effect. He completes the extreme stripping of his works with an exacerbated symbolism. A personal interpretation appears despite everything because it translates the sensations thanks to the play of color and composition. He introduces his own primitivism through naive images, stained glass windows and hieratic figures. Throughout its development, it will keep a rule dear to Gauguin: solidly structure the painting by drawing. Girieud cannot realize his dream of joining Gauguin in the islands and must be satisfied with a pilgrimage to Brittany. On the occasion of the Gauguin retrospective in 1906, he painted the Master in a composition inspired by the Last Supper in which Gauguin shared a meal with his disciples: Homage to Gauguin. After exhibiting with Maillol in 1901, he began the following year at the Salon des Indépendants in Paris and very early on played an important role among artists in revolt against official art and Impressionism, perceived as a dead end. He thus adhered to Fauvism and participated in the historic Salon d'Automne in 1905, where he exhibited five paintings in room No. VII of qualified Fauve artists. He also shows his works at the Berthe Weil gallery along with Metzinger, Fornerod and Friesz. In Russia, he participates in the Salon de la Toison d'Or. Friend of Kandinsky from 1904, Girieud was the first French to adhere to the expressionist principles of the NKV when it was founded in 1909. He then served as a link between Parisian and German artists and contributed to catalogs and exhibitions until 1911. Adept of Primitives and Fauves, nourished by the vigorous oppositions inherent in his native Provence, invests himself in this painting with excessive contrasts, unusual color relationships dominated by the abundance of black, simplifications of ever more acute forms. He therefore found himself in this movement of artistic revolt which was then developing in Germany and which would be called Expressionism. Munich with the NKVM and the Blaue Reiter, Dusseldorf with the Sonderbund, Berlin with Die Brücke and the Neue Secession, are the centers of dissemination of their theories. He is the Frenchman who exhibited the most paintings with this movement, which earned him the presence of eight works during the retrospective organized by the Lembachhaus in 1999. The artists of the NKV will recognize in him the purity of the line close to the naivety associated with a pure emotion characteristic of the expressionism. Girieud is also associated with the wind of freedom that accompanies the creation of the Blaue Reiter's Almanac, which features one of his works destroyed during the last world war. He will not exhibit with this group because his contribution will arrive too late but will be by their side most of the time including at the Der Sturm gallery where Walden, after having exhibited the French Expressionists (including Girieud), will claim for the Germans the term expressionist . The German artistic world holds him in high esteem as shown by the number of his paintings purchased by Koehler, Erbslöh, Kanolt, and Kandinsky as well as the exchange proposed by Marc. He owes his first solo exhibition in 1907 to Daniel Kahnweiler and in 1910-1911, Franz Marc had him exhibited at the Tannhauser gallery in Munich. Girieud settled in Marseille in 1911 and, returning to classicism during the First World War, he devoted himself to decorative works, especially frescoes, opera sets and illustrations. He died in 1948. Louis Vauxcelles reports in the Excelsior newspaper of May 29, 1919: “While Flandrin, Marquet, Dufrénoy, Puy, Laprade, Manguin, Friesz were becoming famous, Matisse illustrious, Pierre Girieud, their comrade, their equal, remained isolated. We were not fair to Girieud, and here I am doing my mea culpa of criticism. Except Gasquet and Charles Morice, who understood this artist, no one went to look for him in his retirement. We were too seduced by Bonnard's delights, and the Fauves' fireworks surprised us. Close to them, but in silence, a cultivated, meditative being, enamored of Sienese and Gauguin, aimed not at the effect, but at the cadence, preferred the orderly composition to the piece of bravery. It was Girieud. " Exhibitions . the Salon des refusés whose statutes Girieud drafted in 1901 under the name of "Bilange" with the help of Fabien Launay and which became the Salon d'Automne . the College of modern aesthetics, a collective of creators - via La Revue naturiste -, created in the fall of 1900, with among others the artists Émile Dezaunay, Durio, Girieud, Henri Delepouve (1869-1956), Charles Huard, Manolo Hugué, Frantz Jourdain, Fabien Launay, Alphée E. Iker, Maillol, Raoul de Mathan, Charles Milcendeau, Tony Minartz, Ricardo Florès . the New Trends Group with Girieud joined in 1903 and where he met Vassili Kandinsky in 1904 . the “free Medici villa...