Newsletter N°27

Wednesday 4 October 2023

Each week discover the exhibitors of FAB PARIS 2023.

This week, discover a white mask chosen by Galerie Schoffel de Fabry, a sculpture by Germaine Richier exhibited by Galerie de la Béraudière and a sculpture by Ossip Zadkine proposed by Galerie Michel Giraud.

Galerie Schoffel de Fabry

For more than thirty years, Galerie Schoffel de Fabry has represented the renewal of a internationally thriving family of tribal art merchants involved since the 1960s. The expertise of two generations has contributed to the making of important public and private collections. These include the Dapper Foundation, the Louvre Museum, the Barbier-Muller Museum, and more recently the Quai Branly Museum, the Louvre Abu Dhabi, and the Gandur Foundation.

The gallery has been constantly extending its premises: art from Oceania, Africa, North America, and South East Asia, as well as investigations into transversal exhibits. Judith Schoffel de Fabry and Christophe de Fabry’s new approach has increased the dynamism of the gallery through exhibits and historical publications. Their book on the Ivory Coast was awarded best tribal art book in December 2013. Galerie Schoffel de Fabry has organised and participated in many innovative art exhibits, including “Jackson Pollock and shamanism” at the Pinacothèque de Paris in 2008, and the “Return of expedition” at the Museum of Hunting and Nature in 2012.

The gallery has been a regular at the BRAFA art fair since 2010, and at the Parcours des Mondes art fair since its very beginning in September 2002. It has been prolific in its exhibits and thematic publications such as “Clair Obscur” (September 2008), “Guerre et Paix” (September 2009), “Asie du Sud-Est” (June 2010), “Victor Brauner et les arts primitifs” (October 2010), “Instruments de musiaue” (January 2012), “Côte d’Ivoire, premiers regards sur la sculpture” (December 2012), “Art et Science, la vie dévoilée d’une œuvre d’art de Bornéo” (September 2013), “Au-delà du masque” (September 2016), “Objets témoins d’expéditions au temps de la marine à voile” (2016), and “Tropéa & Yoruba. Résonnances de perles, d’hier et d’aujourd’hui” (September 2017). Judith Schoffel de Fabry was appointed President of the Compagnie Nationale des Experts en art (National Company of Art Experts) in 2021.

Tsangui white mask called Duma or Mvudi Tsangui - Punu/Lumbu, southern Gabon and Congo. Cheese wood, hair, natural pigments.

Tsangui white mask
Called Duma or Mvudi
Tsangui – Punu/Lumbu, southern Gabon and Congo.
Cheese tree wood, hair, natural pigments.
Hauteur : 26,5 cm.

Provenance :
– Philippe and Hélène Leloup. Paris.
– Published and rePublished :
statues des Peuples de l’ogooué. Galerie Leloup, figure 7, 1988.
– VISIONS D’AFRIQUE, Musée national d’Histoire, taipei. page 220, 2003.

Galerie de la Béraudière

Specialized in 20th century painting and sculpture, Jacques de la Béraudière has been living his passion for modern art, and more particularly Surrealism, for over 30 years.

Through a meticulous selection process, Galerie de la Béraudière aims to provide museum-level artworks for discerning collectors and institutions around the world. The surrealist movement is the focus of attention with masters such as Pablo Picasso, Alexander Calder, Salvador Dali, Giorgio de Chirico, Max Ernst, René Magritte, Joan Miro, or Yves Tanguy.

In addition to organizing exhibitions in the gallery space in Brussels, Galerie de la Béraudière regularly participates in prestigious art fairs such as BRAFA in Brussels, Biennale des Antiquaires in Paris, TEFAF Maastricht and TEFAF New York.

Germaine Richier (1902 - 1959) The Ogre 1949.

Germaine Richier
(1902 – 1959)
The Ogre
Bronze with dark patina
Valsuani Foundry, Paris, Lost wax casting
Signed, stamped and numbered on the terrace:
G Richier, C. Valsuani cire perdue, 7/8
Edition 7/8 out of 12 (1/8 – 8/8 + HC1-HC2-HC3 + EA)
Posthumous casting: 1962 81 x 45 x 41 cm – 32 x 17 3/4 x 15 7/8 in

Galerie Michel Giraud

Since March 2001, Galerie Michel Giraud has been based on the Left Bank, in the heart of one of Paris’s most renowned art districts. It is one of the most prestigious galleries showcasing Art Deco. Michel Giraud aims to make his gallery a favourite spot for collectors: he has recreated the atmosphere of a 1930s art lover’s home, sharing his discoveries and passions on a daily basis or during an exhibition. Although furniture has pride of place, with a selection of works by Ruhlmann, Printz and Sornay, no artistic discipline has been overlooked: in addition to the arts of fire, with ceramics and glassware, the gallery also exhibits sculpture and modern painting. They wanted to enrich our approach with an ever deeper knowledge of the period they are presenting, by devoting their space and resources to artists who have been unfairly overlooked.

With this in mind, Michel Giraud has chosen to work as an independent publisher, producing books that trace the work of artists close to his heart, through rich texts and unique iconographic documentation. In addition to major retrospectives, Michel Giraud has co-written and edited two books on the celebrated Art Deco sculptor Alfred Janniot, and the first monograph on the eminent ceramist Emile Decœur. This in-depth work has enabled them to win the esteem and trust of the most demanding collectors, as well as the interest of museums. The gallery’s stock of twentieth-century art and our knowledge of the period are now regularly sought after by institutions.

About the Artwork

Granulite sculpture, made using the direct carving technique, representing a man’s head, cubist style. The features of the face are communicated with simple lines that come together in a geometric composition. This face seems closed; it conveys a sensation of serenity and power, a feeling that the artist strengthened by using cubist principles, a movement that inspired him at that time. The sculpture is presented on a Belgian black marble base (Dinant) that recalls those used by the artist in 1923. Unique piece.
From 1921 to 1924, Zadkine’s sculpture style underwent significant changes: the different planes of his pieces became more clearly distinct planes, the edges were sharpened, lines were made more angular and the feel of the pieces became more dynamic. He arrived at a point where he seemed more attentive to the shape, which he sought to dominate.

Ossip Zadkine (1890-1967) Head of a man Circa: 1923.

Ossip Zadkine
Man’s head
Circa : 1923
Signed: Zadkine at the back of the neck
Total Height: 17 in., Sculpture without base: 11 in., Base: 5 ⅞ x 7 ½ x 6 ¾ in.

Provenance :
 Private collection.


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