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![DAVID BLACKBURN [b.1939]Hillside with Large Boulders, 1990, pastel, signed, 43 x 38 cmProvenance: Hart Gallery, London; Prof](http://lot-images.atgmedia.com/SR/36760/2916369/32-2014102812135_468x382.jpg)
![DAVID BLACKBURN [b.1939]Pale Moorland Square, 1996, pastel, signed, 36 x 42 cmProvenance: Hart Gallery, London; Professor Jo](http://lot-images.atgmedia.com/SR/36760/2916369/33-2014102812137_468x382.jpg)
Lot 38
Stanley William Hayter (1901-1988) - Flight (B.&M.159) engraving with soft-ground etching and scorper, 1944, signed, titled and dated in pencil, numbered 28/30, printed at Atelier 17, New York, published by George Wittenborn, on Kochi japan paper, with full margins, 378 x 248 mm (14 7/8 x 9 7/8 in) A reproduction of this image was used for the catalogue cover of the seminal Hayter and Studio 17 exhibition at the Museum of Modern Art, New York, 1944. IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 173
After David Shepherd (b.1931) "On Shed- As we remember them in the last days of steam" signed artists proof, also bearing the blind stamp for the Fine Art Trade Guild, and inscribed verso on a label, numbered 481/500, coloured reproduction, 53 x 93.5 cm, together with a quantity of other "Railway and Flying" related pictures, including prints after Terence Cuneo, "Mallard", and another, a modern silkwork picture, "The Rocket, 1830", and five prints depicting a Bristol Beaufighter, Halifax Heroes, Hurricane Patrol, and other titles, various sizes, (9)
Lot 750
A framed Silk Work Stevengraph Picture of famed Jockey Fred Archer, in contemporary frame, 4 ¾" high Condition:Some foxing to image. Frame very modern and has some knocks.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time; cover all aspects of an item(s) condition. No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 2343
A good quality modern Oak Refectory style Dining Table, heavy plank top, raised on balustered and ring turned supports, joined by a heavy ?H? stretcher, 96? long and 42? wide Condition:Appears generally solid, some minor surface scuffs but generally good condition.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions prepared with due care, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time, cover all aspects of an item(s) condition. All clocks, watches and mechanical items are sold on behalf of vendors by Keys Fine Art Auctioneers strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 265
A mixed lot of three items of Moorcroft: a rectangular lidded Box, decorated with the coral Hibiscus design on a green ground (base has inner rim chip), a further oval Vase decorated with the Magnolia design on a dark blue ground and a further modern circular stylised floral Moorcroft small Saucer, typically tube lined on a pale blue ground, circa 1998, (3) Condition: Covered box interior rim chip, remainder generally good condition.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions prepared with due care, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time, cover all aspects of an item(s) condition. All clocks, watches and mechanical items are sold on behalf of vendors by Keys Fine Art Auctioneers strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 493
A pair of bronze metal table lamps decorated in the Art Nouveau manner with face mask handles, bodies decorated with stylised foliage, raised on four hoof feet, 23" high including fittings Condition:Probably not of great age, fittings appear modern, some wear to patination. Fair/good condition.Please note: Keys Fine Art Auctioneers take great care to ensure that any statements as to attribution, age, date, origin, provenance and condition are reliable and accurate but it should be noted that all such statements are skilled opinions, if provenance (written or historical fact) cannot be produced. However, Keys Fine Art Auctioneers do not guarantee that condition reports, whether included in the catalogue, or given at a later time; cover all aspects of an item(s) condition. All clocks, watches and mechanical items are sold on behalf of vendors by Keys Fine Art Auctioneers strictly on an “As Found” basis.No guarantee or warranty is issued or given in anyway, either written or verbal and therefore refunds will not be issued on the basis of the Lot not being “in working order”, “incomplete”, or “not in original condition”.Keys Fine Art Auctioneers would respectfully ask that prospective buyers view Lots in person, wherever issues regarding condition are seen as important to them, satisfying themselves as to the condition, completeness and originality of any Lot on which they intend to bid.
Lot 46
A French silver dish,signed Jean Serrire, marked for `A Hbrard`, early 20th century, of circular form embossed with scallop shells amidst foliage, 13cm diameter Jean Serrire (1893-1968) was born in Nancy, but moved to Paris in order to study the arts, where he later began specialising in silver and dinanderie. By 1919, his silver was mentioned in an exhibition of modern French art reviewed in The Bulletin of the Metropolitan Museum of Art and, indeed, in 1923, the MET purchased a silver cup of his. Also from 1919, he exhibited his works at The Hbrard Gallery, run by Adrien Aurelian Hbrard who also owned the foundry renowned for producing the works of Rembrandt Bugatti. Jean continued to exhibit his pieces throughout the 1920s at the gallery, being given a solo show in 1925. Later in his career, his focused on enamel work.
Lot 18
Jack Butler Yeats RHA (1871-1957) THE BALLAD SINGER`S CHILDREN watercolour on artist board signed lower right 10 by 14in. (25.40 by 35.56cm) Sketches of Life in the West of Ireland, Wells Central Hall, 1902, catalogue no. 17;Sketches of Life in the West of Ireland, Walker Art Gallery, 1903 Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 403, p. 114 Yeats was an enormous admirer of the ballad singer. This nomadic figure survived by singing new and old popular songs and selling cheaply produced copies of them in towns and villages all over the country. Yeats assembled a large collection of these ballad sheets and even wrote his own versions under the pseudonym Wolfe Tone MacGowan. In the 19th century ballad singers were powerful figures whose songs could cause unrest and spread seditious ideas because they linked a world of literacy with one in which oral traditions continued to be paramount. By the time Yeats was painting, the authority of the ballad singer was rapidly declining. In this early watercolour three figures, the children of a ballad singer, sit in the shelter of a tent-like structure, of the type that was widely used by the poor in the 19th century. It is pitched on a narrow piece of grass between a roadway and a stone wall. The children stare out at the viewer in a wary manner that suggests their vulnerability. In the distance behind them a more elaborate series of structures is just visible. These indicate that a travelling fair is taking place. Such events offered the ballad singers an invaluable opportunity to ply their wares. John Purser has written that `Yeats invests [the ballad singer] with wild nobility`. This painting accords with this observation. It presents the figure`s impoverished but self-possessed family in a sympathetic and dignified manner. The carefully constructed composition and the concentrated use of colour - the faded orange of the tent and the intense purple of the wall - aestheticize the subject, producing a highly wrought image. The work was exhibited in Dublin in 1902 and was bought by the Irish American lawyer, John Quinn, the following year. Quinn was an astute collector of modernist art. In 1904 he arranged for Yeats to visit New York and hold a one-man exhibition in the city. He continued to be an important patron of Jack Yeats`s work recognising its unique contribution to modern art. Jenny McCarthy, `Jack B. Yeats`s A Broadsheet`. Images of Orality`, in N. Cronin, S. Crosson and J. Eastlake (eds), Anáil an Bhéil Bheo: Orality and Modern Irish Culture (Cambridge Scholars Publishing, 2009), pp.87-97. 2 Quoted in McCarthy, p.89. Dr. Róisín KennedyDublin October 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.
Lot 20
Jack Butler Yeats RHA (1871-1957) A BOREEN watercolour on artist board signed lower left 10 by 14in. (25.40 by 35.56cm) American Art Galleries, New York, 9 February, 1927, lot 39B;Private collection Sketches of Life in the West of Ireland, Central Hall, 1903, catalogue no. 19 Pyle, Hilary , Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 441, p. 120 A Boreen was exhibited at Jack Yeats`s Sketches of Life in the West of Ireland exhibition in Dublin in 1902 and is mentioned in contemporary reviews of the show. It depicts a young boy on a donkey riding along a narrow boreen between dry stone walls towards a group of thatched cottages. A view of the sea is visible in the distance beyond. This is a classic Yeats composition, of the type that he was to develop in his later oil paintings. The boy looks back towards the viewer, his face silhouetted against the distinctive landscape of the West of Ireland to which he belongs. His dark steady gaze and set features counteract negative stereotypical images of the Irish peasant that permeated visual representations of the Irish throughout the later 19th century. Yeats subtly brings in his knowledge of contemporary design in the carefully delineated structure of the walls and in the narrow undulating form of the tree that severs the composition. Both are indebted to Art Nouveau and to Japanese prints. Still perceptible are the strong purples and greens that characterised Yeats`s watercolours of this period. Such modern and stylised imagery of rural Ireland enthralled contemporary commentators especially those concerned with the creation of a new image of Irish life. The painting was acquired soon after it was painted by John Quinn, the New York attorney, who was a close friend of the Yeats family and a key patron of modernist art and literature. Dr. Róisín KennedyOctober 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.
Lot 42
Gerard Dillon (1916-1971) LITTLE BOY PLAYING AT GOD, 1945-46 oil on canvas signed and dated lower left; titled on Waddington Galleries [London] label on reverse 20 by 30in. (50.80 by 76.20cm) Waddington Galleries, London;Private collection;Bonhams, 12 August 2014, lot 236;Private collection This early work by Gerard Dillon shows children playing in the West of Ireland. One boy prays while another older one stands as if he has just been brought back to life. A wooden cross in the currach behind him adds to the religious theme. Two girls embrace each other in mock fear as they look on. Another figure, possibly a fisherman, strides off, making a gesture that suggests he does not take their game very seriously. The barren yellow setting adds to the incongruousness of the subject. A puddle of water reflects the praying child, while a large black mass behind the children adds solidity to the composition. Dillon was captivated by the West of Ireland which he first visited on a cycling holiday in 1939 and to which he returned many times in subsequent years. It became a central theme in his work and featured in the first paintings that he exhibited in Dublin and Belfast during World War II when he was embarking on his career as an artist. In many of his paintings of the West, as in this one, Dillon combines his fascination with the region with an astute knowledge of modern art, often making humorous references to the work of other and more famous artists. The latter he knew from visiting museums in London where he lived before being marooned in Ireland during the war. He also gained much knowledge of modern French art through colour reproductions in illustrated art books, then becoming more widely available. Little Boy Playing at God appears to make reference to Puvis de Chavannes`s 1881 painting, The Poor Fisherman. It plays on the simplicity of life in the West of Ireland and on the inherent spirituality of its inhabitants. The children are able to re-enact a powerful religious story through the power of their imagination. But typically of Dillon it also brings in a note of levity that is absent from more established representations of the West as seen in the work of Paul Henry or Sean Keating, two older and more senior artists than he. This novel way of approaching the subject delighted a new generation of Irish art lovers who sought a less reverential way of portraying the West, one that related to their experience of it. Dr. Róisín KennedyOctober 2014
Lot 6334
(lot of 7) Georges Meunier (French, 1869-1942), Normandie and Bretanie, Jules Chéret (French, 1836-1932), ""La Terre,"" M. Louise Stowell (American, 20th c.), ""Geo P. Humphrey at the Sign of The Old Book Man,"" Léo Gausson (French, 1860-1944), ""Lessive Figaro,"" Arthur Wesley Dow (American, 1857-1922), ""Modern Art,"" Charles Herbert Woodbury (American, 1864-1940), ""The July Century,"" and Giovanni Mataloni (Italian, 1869-1944), ""Societa Anonima per la Incandescenza a gass Brevetto Aver Economia,"" all from Les Maitres de l`Affiche, 1897, all lithographs in colors, each signed within stone, overall (sheets/each): 15.755""h x 11.5""w
Lot 6334
(lot of 7) Georges Meunier (French, 1869-1942), Normandie and Bretanie, Jules Chéret (French, 1836-1932), ""La Terre,"" M. Louise Stowell (American, 20th c.), ""Geo P. Humphrey at the Sign of The Old Book Man,"" Léo Gausson (French, 1860-1944), ""Lessive Figaro,"" Arthur Wesley Dow (American, 1857-1922), ""Modern Art,"" Charles Herbert Woodbury (American, 1864-1940), ""The July Century,"" and Giovanni Mataloni (Italian, 1869-1944), ""Societa Anonima per la Incandescenza a gass Brevetto Aver Economia,"" all from Les Maitres de l`Affiche, 1897, all lithographs in colors, each signed within stone, overall (sheets/each): 15.755""h x 11.5""w
Lot 257
Vladimir Cora (modern): Abstract pastel and gouache of a reclining nude lady, signed and dated 84, entitled "De La Serie, Las Senoritas de Tecuala II" (58 x 88cm) Provenance: Vendor bought this picture from the Lewin Gallery in Palm Springs, California, in 1993. When Lewin senior died their residual collection was left to the Orange County Museum of Modern Art
Lot 2056
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), BOATBUILDING - PORT SETON (1964) oil on board, signed 53cm x 76cm Framed Note: It is well established that John Bellany painted on hardboard or wood until 1969 and never thereafter. The transition to using canvas was ``a struggle`` for several months and his style of painting evolved into a more modern and overtly expressionist style. More precisely, the completion of his second triptych ``Homage To John Knox`` (1969) was the last time he used board. This very specific point in Bellany`s career is hugely significant as it defines his early body of work which is noted for meticulous handling of paint and glazes. His use of cool colours reflects the harsh and cold conditions of the fishing villages he grew up in. His early work often combines an element of realism with a sense of mystery and even hauntedness and his characteristic bland backgrounds from this period contrast strongly with his later work. The commercial and academic appreciation of Bellany`s pre 1969 ``on board`` work, whilst always strong, has increased since his sad death in 2013 and recent auction results reflect this with figures of £24.000 (hammer), £49,250 (premium) and £57,500 (premium) all being achieved in 2014 for pre 1969 examples of varying sizes. The respected art establishment figure Charles Booth-Clibborn of Paragon Press who knew John Bellany and commissioned work from him sold ``Boatbuilding, Port Seton`` to the current owner with a handwritten letter dating the work to 1964 (copy of letter accompanies this lot). This painting is one of two of the same fundamental scene. The other painting, a slightly larger 90cm x 120cm oil on board is in The Scottish Government Art Collection. There are a considerable number of differences between the two pictures but perhaps the most interesting being the small dark figure of a man wearing a hat and walking with a stick to the left of the bows of the two boats. We don`t know who this figure is but it`s possible that it`s John`s grandfather (who owned a boatbuilding yard). In the version belonging to The Scottish Government Art Collection, this same figure is now almost obscured by the bow of the rear boat. This may have strong symbolic meaning relating to the passing of time or indeed, the passing of whoever the figure might be. However, nothing was ``without significance`` with Bellany and the ``progression`` of this figure between the two paintings enables us to be very confident that the SGAC picture is a later version of the painting offered here.
Lot 2133
* WILL MACLEAN MBE RSA RSE Hon D.Litt (SCOTTISH b.1941 - ), 2ND PORPOISE PAINTING oil on canvas, signed and dated `72, titled and dated in the artist`s hand verso 95.5cm x 70.5cm Framed Note: Maclean has exhibited widely since 1967. Solo exhibitions have included The Ring-Net, Third Eye Centre, Glasgow and tour (1978); Runkel-Hue-Williams, London (1990); Retrospective Exhibition, Talbot Rice Gallery, Edinburgh and tour (1992) with accompanying monograph Symbols of Survival; a major solo show, Driftworks at Dundee Contemporary Arts, 2001, and exhibitions with Art First, London, since 1994. His work is in public collections including Arts Council of Great Britain; The British Museum; Dundee, Edinburgh, and Glasgow City Art Galleries; Fitzwilliam Museum, Cambridge; Scottish Arts Council; Scottish National Gallery of Modern Art; McMaster Museum, Canada; Yale Centre for British Art, New Haven, Connecticut, USA.
Lot 2056
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), BOATBUILDING - PORT SETON (1964) oil on board, signed 53cm x 76cm Framed Note: It is well established that John Bellany painted on hardboard or wood until 1969 and never thereafter. The transition to using canvas was ``a struggle`` for several months and his style of painting evolved into a more modern and overtly expressionist style. More precisely, the completion of his second triptych ``Homage To John Knox`` (1969) was the last time he used board. This very specific point in Bellany`s career is hugely significant as it defines his early body of work which is noted for meticulous handling of paint and glazes. His use of cool colours reflects the harsh and cold conditions of the fishing villages he grew up in. His early work often combines an element of realism with a sense of mystery and even hauntedness and his characteristic bland backgrounds from this period contrast strongly with his later work. The commercial and academic appreciation of Bellany`s pre 1969 ``on board`` work, whilst always strong, has increased since his sad death in 2013 and recent auction results reflect this with figures of £24.000 (hammer), £49,250 (premium) and £57,500 (premium) all being achieved in 2014 for pre 1969 examples of varying sizes. The respected art establishment figure Charles Booth-Clibborn of Paragon Press who knew John Bellany and commissioned work from him sold ``Boatbuilding, Port Seton`` to the current owner with a handwritten letter dating the work to 1964 (copy of letter accompanies this lot). This painting is one of two of the same fundamental scene. The other painting, a slightly larger 90cm x 120cm oil on board is in The Scottish Government Art Collection. There are a considerable number of differences between the two pictures but perhaps the most interesting being the small dark figure of a man wearing a hat and walking with a stick to the left of the bows of the two boats. We don`t know who this figure is but it`s possible that it`s John`s grandfather (who owned a boatbuilding yard). In the version belonging to The Scottish Government Art Collection, this same figure is now almost obscured by the bow of the rear boat. This may have strong symbolic meaning relating to the passing of time or indeed, the passing of whoever the figure might be. However, nothing was ``without significance`` with Bellany and the ``progression`` of this figure between the two paintings enables us to be very confident that the SGAC picture is a later version of the painting offered here.
Lot 2133
* WILL MACLEAN MBE RSA RSE Hon D.Litt (SCOTTISH b.1941 - ), 2ND PORPOISE PAINTING oil on canvas, signed and dated `72, titled and dated in the artist`s hand verso 95.5cm x 70.5cm Framed Note: Maclean has exhibited widely since 1967. Solo exhibitions have included The Ring-Net, Third Eye Centre, Glasgow and tour (1978); Runkel-Hue-Williams, London (1990); Retrospective Exhibition, Talbot Rice Gallery, Edinburgh and tour (1992) with accompanying monograph Symbols of Survival; a major solo show, Driftworks at Dundee Contemporary Arts, 2001, and exhibitions with Art First, London, since 1994. His work is in public collections including Arts Council of Great Britain; The British Museum; Dundee, Edinburgh, and Glasgow City Art Galleries; Fitzwilliam Museum, Cambridge; Scottish Arts Council; Scottish National Gallery of Modern Art; McMaster Museum, Canada; Yale Centre for British Art, New Haven, Connecticut, USA.
Lot 548
Books Art Related Catalogues & Publications 20th-21st century AD. A mixed group of exhibition catalogues and magazines on artistic themes including Imagines Imperatorum, Sotheby`s African, Oceanic and Pre-Columbian Art catalogue (1), Christie`s Watercolours, Drawings and Prints catalogue (1), Sotheby`s Martin Bell catalogue (1), Sotheby`s Preview (1), Sun Asian Stamps and Philatelic History catalogue (1), Bloomsbury Erotica catalogue (1), Bloomsbury Coins, Medals, Banknotes and Tribal Art (1), Bloomsbury Bibliophile (1), Numisart Antike Kunstobjekte (1), Bonhams Chines Art (1), Bonhams Medals, Banknotes and Coins (1), Spink Derek Clifford Lacquer collection catalogue (1), Spink Insider magazine (1), Sotheby`s Irish Art catalogue (1), Financial History Magazine (1), Royal Academy of Arts magazine (2), Tate magazine (1), Anthony Frost catalogue (1), Art Quarterly magazine (1), Alain Bertrand catalogue (1), Apollo magazine (3), Celator magazine (2), Millner Manolatos catalogue (2), Alan Davie catalogue (1), E&R Cyzer Modern Masters catalogue (1), Danish Journal Hans Christian Anderson catalogue signed by the actor Tommy Steel, 1993 (1"). 11.9 kgEx Steinberg collection; acquired London art market, 1960s-1970s. TimeLine Auctions Ltd arranges printed catalogue rostrum Auctions, eAuctions and Timed Auctions where we offer antiquities, ancient artefacts / artifacts, antiques, collectibles, coins, medals and books for public sale. [32, No Reserve] Mainly fine condition.
Lot 557
Middle Eastern Style Gilded and Facetted Fluorite Bead Necklace . A designer necklace of irregular facetted fluorite beads, with gilt metal melon beads between, modern clasp. 187 grams, 32 cm (12 1/2"). Acquired on the London art market in the early 1990s. TimeLine Auctions Ltd arranges printed catalogue rostrum Auctions, eAuctions and Timed Auctions where we offer antiquities, ancient artefacts / artifacts, antiques, collectibles, coins, medals and books for public sale. Fine condition.
Lot 811
A cream and blue painted Triang Ultra Modern Dolls House Model No. 3139. Metal window frames. Front opening. Four rooms with original art deco chimney pieces and light shades. Staircase to side. Furnishings, including Dol-Toi bookcase and books, bureau, dining suite, Pit a Pat cream bedroom furniture, T & B cooker, plants for sunroom etc. Height 19in including sunroom, 28 1/2in W x 11 1/2in D
Lot 56
MAHIEDDINE BAYA DITE BAYA (1931-1998) JEUNE FEMME AUX PAONS YOUNG GIRL WITH PEACOCKS Gouache sur papier, signé et daté (19) 76 en bas à droite. À VUE : 77 x 86 cm (30 5/16 x 3 7/8 IN.) Provenance : Collection particulière, France. "Baya dont la mission est de recharger de sens ces beaux mots nostalgiques : l’Arabie heureuse’. Baya, qui tient et ranime le rameau d’or". André Breton, "Baya, Derrière le Miroir", Galerie Maeght, Paris, novembre 1947. Cette orpheline travailla comme aide ménagère dès son plus jeune âge à Alger. Elle y découvrit une demeure pleine de fleurs et d’oiseaux, et commença à peindre des gouaches. En 1943, Aimé Maeght de passage à Alger vit ses œuvres. Il lui organisa une exposition à Paris en 1947, et André Breton préfaça le catalogue. elle découvrit Paris et rencontra Braque et Picasso. Elle est considérée comme l’une des fondatrices de l’art algérien moderne. Baya aima les couleurs, les roses vifs, les bleus éclatants qu’elle ourla d’un puissant trait noir. Peintre de femmes, elle les enferme en noir, mais les libère par la couleur. This orphan worked very young as a housekeeper in Algiers in a house full of flowers and birds. This is where she began to paint watercolors. In 1943, Aimé Maeght came to Algiers and saw her works. He organized an exhibition in Paris in 1947, and André Breton prefaced the catalogue. She discovered Paris and met Braque and Picasso. She is considered as one of the founders of modern Algerian art. Baya loved colors, bright pink, bright blue surrounded by a strong black line. Painter of women, she locks them in black, but frees them by color.
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