Classic January sale.

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Joan MIRO (1893-1983). For the 1966 May Salon. Lithograph. 50 x 65 cm. PHOTO PUB

Engraving by Pierre-Joseph Redouté, 18th century Dimensions: 24 x 32 (as seen) Hollyhock

Utagawa Yoshitsuya (1822-1866) , Oguri Hangan playing the flute to charm the spirit of the great serpent of Lake Mizoro, who appeared to him in the guise of a marvellous young girl. Rare print signed lower left, titled upper right, 36.3x25 cm + frame 46x34.5 cm. Oguri is a character from medieval Japanese literature. He was a Japanese artist, engraver, painter and draughtsman. He was one of the last great masters of Japanese woodblock printing, known for his warlike drawings and scenes from Japanese history and legend.

Francesco Brini, or del Brina , active in Florence in 1540 - 1586 (attributed to), Virgin with cherries, the Child and Saint John the Baptist, oil on poplar panel, small paint losses, repainting, old inscription on the back of the panel: Frsco Brina, Dimensions: 78,5x60,5 cm + frame: 100x83 cm . Rare religious representation with cherries, symbolising the sweetness of Paradise and the blood of Christ's passion. Along with his older brother Giovanni, who studied in Michele Tosini's studio, Francesco Brina was a talented interpreter who played a key role in the revival of Florentine painting in the second half of the 16th century. Alongside the creation of large altarpieces and frescoes for Tuscan churches, he also produced small and medium-sized panels, such as the one in question, mainly depicting the Holy Families or Madonnas with Child, strongly characterised by compositional and stylistic homogeneity (Bibliographical reference: Alessandro Nesi, 'Ombre e luci su Francesco Brina', Arte Cristiana, 2006). Provenance: estate, Geneva.

Camille Hilaire (1916 - 2004). Weighing at Deauville. Oil on canvas. Signed. 54 x 65 cm.

Pierre Ambrogiani (1907 - 1985). Worker in the field. Oil on canvas. Signed. 56 x 38 cm.

Pierre Ambrogiani (1907 - 1985). 3 figures. Oil on canvas. Signed. Delf frame. 54 x 73 cm.

Emilio Grau-sala (1911 - 1975). The Window. Oil on canvas. Signed. 54 x 65 cm.

Hugo Baptista born 1935. Precipitadas. Composition. HSToile. 100 x 80 cm (without stretcher) MANDAT ?

Hiroshi YASUKAWA (born 1931) Monochrome composition, 1979. Acrylic on canvas Signed on the back and dated 96 x 190 cm Provenance: Audap-Mirabaud studio sale, Drouot, 08/04/2015 Provenance: private collection Luxembourg Steeped in Japanese and Chinese culture, and deeply imbued with 8th-century Chinese philosophy and poetry, Yasukawa creates untitled works that he wants to be meditation aids, in a never-ending quest for the most extreme simplicity. Yasukawa's works are supports for meditation, the product of lengthy work on composition and colour, and they demand to be looked at for a long time because every detail counts. Her geometric abstraction is the result of a long process of composition, in which the artist seeks to create a meditative support for the viewer. Her compositions are flat and strictly geometric, but the many layers of colour that the artist applies make it easy to immerse oneself in her work. He seeks only to express the essential and ruthlessly eliminate the superfluous. The works of Hiroshi YASUKAWA represent the manifestation in the artistic gesture of man's ability to reach the essence of nature, beyond its visible appearance, inspired by the lessons of Piet Mondrian or Theo Van Doesburg, restored by YASUKAWA with, perhaps, through the simplicity of the lines and the purity of the strokes, a greater achievement in the process of abstraction. They also undoubtedly have an initial symbolic function, which was not foreign to the artists of the De Stijl movement, since each geometric figure can take on a universal meaning, the sphere representing the perfect centre, the circle, the enclosed space, the square or right angle symbolising man's work on matter or the rule of behaviour. Beyond serenity, the viewer of Hiroshi YASUKAWA's work is always rewarded with a sense of aesthetic achievement, in keeping with the Taoist principles of art, according to which the artist's creative force "is the manifestation of the creative force of the universe", the artist's task being "to create forms of a more perfect and purer world, which must be the models of a higher humanity or existence" (1). His works have received numerous distinctions and can be found in many American, European and Asian museums and private collections.

Jean Legros(1917-1981) Untitled 1977 Acrylic on canvas Signed, dated lower right Studio stamp 116 x 72 cm Interested in abstraction, he became a pupil of Jean Dewasne (1921-1999) in 1949. The strength of the colours and the geometric lines of his master's canvases led him to produce works of this type, but in which the colours are not applied in a uniform manner. Around 1957, Jean Legros became aware that his work was tending more and more towards the absolute, with a very spiritual dimension. In 1958 he fell in love with the Beauce region and the vastness of its fields, and set up his studio there. During the 1960s, he achieved a purer, minimal abstraction that he would never abandon, with flat, homogeneous colours. In 1973, Jean Legros entered a period of purely geometric coloured abstraction. "The colours, sometimes static and sometimes dynamic, which combine or, on the contrary, slide and collide, "come to light", to use his own expression. From 1973 to 1981, these were the series of Toiles à bandes, Espaces biais, Oiseaux-nuages, Ronds musicaux, Carrés tensifs and Circuits colorés. Cultivating true intellectual friendships (Aurelie Nemours, Jean Leppien...), his quest for the absolute gave birth to a highly spiritual and abstract painting, with a very personal vision in which the artist unleashes what he himself calls the energetic power of colour. After a lifetime of rigorous research and a demanding body of work, he is now recognised as the Barnett Newman of the United States" (Roger Leloup).

Henry VALENSI 1883 - 1960 Illuminated Nocturne - 1959 Signed, dated and titled lower left "Henry Valensi, Nocturne Illuminé, 1959". 81 x 116cm Provenance: Orsay sale, 4 December 1977 Private collection, Paris Provenance: private collection Luxembourg The authenticity of this work has been confirmed by Mr Didier Vallens, the artist's nephew and President of the Henry Valensi Association. The certificate of authenticity dated 16.04.2021 will be given to the buyer. Henry Valensi was a French painter, film-maker, animator and art theorist who was born on 17 September 1883 in Algiers and died on 21 April 1960 in Bailly. He was the founder of the musicalism movement and the author of a single abstract "cinépeinture" animated film, La Symponie printanière1. In 1912, he managed and organised the Salon de la Section d'Or alongside Jacques Villon, Pierre Dumont, Jean Metzinger, Albert Gleizes, Raymond Duchamp-Villon, Marcel Duchamp and Francis Picabia. Next to Marcel Duchamp's "Nu descendant l'escalier", Valensi hung "L'air autour que des sciieurs de long", which can be seen at the Musée des Beaux Arts in Lyon. In 1932, Henry Valensi and three other painters - Charles Blanc-Gatti, Gustave Bourgogne and Vito Stracquadaini - founded the Association des artistes musicalistes and organised the first of 23 Salons musicalistes at the Galerie Renaissance in Paris. According to their manifesto, painting "must follow the general laws of music, between rhythm, dynamics and simultaneity". They realised the importance of forming a nucleus that could attract other creators, and were soon joined by the painters Robert and Sonia Delaunay, the sculptor Zadkine, and the composers Maurice Ravel and Darius Milhaud. For Valensi, art has played a key role in the evolution of self-awareness across civilisations. Because it is science, rhythm and dynamism, in the 20th century music became the art form best able to express the nuances and subtleties of the human soul. Sound, like colour, is the vibration of matter, and the musicalist painter is the one who uses his art material (colour, line, shapes) to subjectively create a 'music' of colour on his canvas. The artist has never ceased to seek to inscribe temporality and movement in the space of the canvas. It's a quest that draws on both his travels and his love of science, particularly mathematics. A renowned theorist, Henry Valensi has published numerous works on the evolution of the arts and their relationship with materiality. He spoke of the materials of art: sound is the material of the composer, colour that of the painter, words that of the writer, stone or marble, etc. that of the sculptor. The five arts that Valensi lists are architecture, sculpture, painting, literature - including poetry - and music - including dance. Throughout history, these respective arts have been governed by the principles of a dominant art, which loses its materiality as time progresses: the artist defines this phenomenon as "the Law of Predominance "7.

Jean-François DUBREUIL (1946) Quantitative reading of an information medium "LE MONDE N°15634 - SERIE QKR1", 1995 Diptych 3/5/75 Acrylics on canvas and cut-out. Signed on the back with labels describing the work by the artist. Label Galerie Lahumière, Paris. H : 47 cm; W : 64 H : 47 cm; W : 24 Label on the back of the painting with the following indications: Analysis of the UNE 'cross-references Each element corresponds to a section: - 1st section: 32 pages - 2nd section: 'initiatives section': 12 pages Born in 1946, Jean-François Dubreuil has been constructing his paintings since the 1970s on the basis of printed news media, weeklies and especially dailies (regional, national and foreign). Each painting is a plastic translation, not of the content of these newspapers, but of the surfaces occupied by the content. The starting point for this work is, if not figurative, at least highly referential. In this case, we're talking about printed news media, weeklies and especially dailies (regional, national, foreign). Each painting is the result of a plastic translation, not of the content of these newspapers, but of the surfaces occupied by their sections, either the front page or the entire publication. Colour responds to the same types of constraints. Basically, an unchanging grid: black for photos, grey or white for everything that is not highlighted by the other colours. The recurring element in his compositions since the beginning of his artistic activity is red, the same pure cadmium red that marks the location of advertisements, the signposting colour par excellence, and which runs like a thread through all Jean-François Dubreuil's work. Other colours may be superimposed on this chromatic minimum, their function determined by the series in progress and their order determined by drawing lots. Faithful to the agreed protocol and to the scale of the different spaces that compartmentalise the surface, he juggles between system and chance, between accepted constraints and the surprise of the visual results, savouring the freedom offered by the process worked out once and for all. For Jean-François Dubreuil's work is rooted in duration and the passage of time. His work has been the subject of numerous exhibitions and can be found in museums such as the Musée Matisse, the Espace de l'Art Concret in Mouans-Sartoux, the Museum im Kulturspeicher in Wurzburg and the Arithmeum in Bonn, the Stadtgalerie Klagenfurt in Austria, the Fonds National d'Art Contemporain in Paris and several Fonds Régionaux d'Art Contemporain, as well as in private collections.

Gottfried HONEGGER (1917-2016) RELIEF Acrylic and medium Signed and dated 1998 on the back and epoxy on steel, signed and dated 2000 H. 90 cm W. 60 cm D. 6 cm Provenance: private collection Luxembourg

Georges Frédéric RÖTIG (1873-1961). Wild boar by the river. Oil on canvas. 73 x 54 cm.

School of Nice. Jean-Claude FAHRI, born in 1940 in Paris, died in Monaco in 2012 Composition - Relief 3L3, 1965 Paint and mixed technique in relief Signed, titled and dated on the back 122 x 203 (small accidents) Provenance: Estate of a major southern collector Jean-Claude FAHRI's paintings and compositions are rare on the market, particularly such a relief from 1965, produced quite early in the career of this major 20th-century artist. In 1957, he moved to Nice, where he took drawing classes at the Arts Décoratifs de Nice. There he met the leading artists of the École de Nice: Ben, Gilli Alocco, Malaval and the New Realists Arman and Raysse, who introduced him to the critic Pierre Restany. In 1965/1966, he worked on the "Motorcolors", followed by sculptures in Plexiglas and metal. For a time he worked with César. From 1968 (exhibition at the Iris Clert gallery), he devoted himself mainly to Plexiglas sculptures (with the support of the Polivar factories): columns and discs, pyramids, and then so-called "variable geometry" sculptures. It was in this direction that he developed his work with monumental works. Claude Fournet, former director of the Museums of Nice, says: "His mastery of the plastic material, which was the primary element of his research, is combined with a functionality of form that he borrows from the world of Futurism and the Bauhaus. It is this deviation that underpins every artist today, an act of playful appropriation that places Jean-Claude Farhi masterfully in the line of the Nouveaux-Réalistes when, playing with shapes in his highly coloured material, he offers us sculptures that are so many outlines, drawn in the light of pure colour. The artist is represented in numerous museums and private collections in Europe, America and Asia, and has been commissioned by the French government on several occasions.

Beautiful yellow gold bracelet (probably 22K) with applied filigree decoration, embellished with a micromosaic depicting 3 doves in a floral design and two swans in cartouches. Late 19th century. (accidents to the micromosaic). PB. 20.8g. In the 19th century, the "Grand Tour" took travellers to Rome. As a souvenir, a piece of jewellery in the style of Antiquity, brought up to date by Castellani, was often brought back from the Eternal City.

White gold ring set with a large oval ruby weighing approx. 11 carats and set with 14 modern-cut white diamonds. TDD: 54. PB. 6.7g.

Aubusson tapestry 18th century, Louis XV period Pastoral scene, after François Boucher Shepherd and two shepherdesses Dimensions : 188 x 138 cm Accidents (to be restored)

Bechstein. Piano in black lacquered wood. Length: 203 cm. Width: 150 cm. Height: 100 cm. Recently restored with high gloss black lacquer. From a prestige concert range. (Damage to the lacquer).

CHANEL Black patent leather handbag. L. 34 cm. D. 15 cm.

HERMES Paris. Herbag backpack in khaki canvas and chocolate leather. Two handles and strap or shoulder strap. Complete with padlock and keys. The canvas is in near new condition, with minor traces of leather around the button and padlock. 32 x 28 x 10 cm.

Chanel. Timeless classic single flap leather model. Serial number 3293418.

Chanel. Camera model in beige leather. serial number 0534433. With authenticity card.

Chanel. Camera model in red leather. Serial number 1315777. With its authenticity card.

Kirby-Beard & Cie. Silver platter Minerve 1st title. Weight. 1210g approx.

Edouard Ernie. 36-piece Rocaille-style silver dinner service. 12 forks. 12 spoons. 12 small spoons. 19th century. Weight. 2220g. Separate pieces of silver cutlery. Total silver weight. 2750genv.

Romanée-Conti 1970. Very damaged but identifiable label. Production 9626 bottles. Capsule damaged at the top. Stopper marked 1970. Level - 6cm.