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Return to innocence: The painter Robert Combas and the troubador Georges Brassens have much more in common then their hometown Sete on the Mediterranean. The apparent frequent wickedness of the oeuvres of both men ultimately reveals itself as owing more to Eden than bawdy barrooms. It was thus no surprise when the contemporary artist devoted a whole series of large-scale paintings to the late anarchist singer and poet. But there’s no homerism or even regionalism in Combas’s 1992, 76 3/4 x 111 3/4 inch acrylic “Dans l’Eau de la Claire Fontaine,” on sale Monday in Paris for Artcurial’s Post-War & Contemporary auction. Signed, dated, and titled upper left. Artcurial pre-sale estimate: 50,000 – 70,000 Euros. Image courtesy and copyright Artcurial.
Fernand Léger (1881-1955), “Project for Paul Eluard’s ‘Liberty, I write your name'” (Detail), 1953. Gouache, ink, and collage on paper, 13 x 51 1/8 inches. Artcurial pre-sale estimate: 80,000 – 120,000 Euros. Image courtesy and copyright Artcurial.
By Paul Ben-Itzak
Copyright 2017 Paul Ben-Itzak
It’s a pity that Paul Lombard was too busy becoming a lion of the law — among other celebrated cases, working on the Chagall, Picasso, Balthus, and Bonnard successions and valiantly defending one of the last men to be executed in France before it banned the death penalty in 1981, Christian Ranucci, in the belief that his client was innocent — to take up a third career (he also wrote books) as a curator. Judging by the breadth and intrepidness of the late Marseille-born advocate’s collection, which goes on sale Tuesday evening at Artcurial in Paris, Lombard was not only an expert in various domains of the law (notably authoring a book on divorce), but could have given seminars to the major museum curators, whose ethos in recent years (with the exception of the Pompidou) seems to be driven by marketing concerns at the expense of curiosity, archeology, and preservation (of art history, I mean), most exhibitions repeatedly trotting out the same artists in new conceptual configurations or combinations.
A perusal of the Artcurial catalog for the Lombard auction confirms that in building a collection which documents several through-lines of art history between them spanning more than 200 years, Lombard, who died in January at the age of 89, was guided by two principles (both familiar to defense lawyers): Explaining (in this case, the sources of artistic movements and individual artists’ inspirations), and shedding light (here, on previously obscure aspects of artists we thought we already knew everything about).
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