347

Sam Szafran (French, b. 1934), "Atelier aux Feuillages", 1969, pastel on paper, pencil signed lower center and dated on "Galerie Claude Bernard" label on frame backing, 40-5/8" x 29-1/4". Glazed, matted and framed. Provenance: Galerie Claude Bernard, Paris, France; The Flatt Collection. Sam Szafran was born in the Marais "the Jewish ghetto" of Paris in 1934 to Polish Jewish working class immigrants. After the Germans invaded France in 1940, Szafran survived the occupation in exile, fleeing from towns and countries, enduring unspeakable acts of anti-Semitism. In 1944, he was arrested and imprisoned in the Drancy internment camp before American troops liberated it. Following the war, in which most of his family died, Szafran sought refuge in Switzerland and then Australia, not returning to France until 1951. It was during this period that he found solace in art, experimenting first with drawing and then oils. From 1951-1960, Szafran immersed himself in the Parisian art scene, studying abstraction under Henri Goetz at the Atelier de la Grande Chaumiere, and taking up an itinerant residence in Montparnasse, learning from some of the most established artists of the time like Jean Arp, Yves Klein, Jean-Paul Riopelle, Joan Mitchell and Alberto Giacometti. In the artist's words, the cosmopolitan bazaar of Montparnasse was his "Eldorado"; a state of being he only fully achieved by working in the malleable medium of pastels. A biography of some artists is simply that; for Szafran it is the visual manifestation of his artwork as the war-stricken existential wanderer, which he described in an interview with Alain Veinstein as "kind of intellectual ghetto translated into images." The artist's studio/and conservatory, which for the artist, occupy the same place, are tightly contained interiors that on one hand express a claustrophobic foreboding, consistent with the winding streets and staircases of tenement places. On the other hand, Szafran's horror-vacui obsession - the need to fill an entire artwork or space with detail, whether it be staircases that go nowhere or copious foliage that spills outward - liberates his compositions, turning them into dazzling kaleidoscope-like still lifes. Nowhere is this better illustrated than in the two pastels offered here as lots 347 and 348. Both are studio/conservatory drawings, a recurrent subject in the artist's work that featured prominently in the debut exhibit of his pastels at the Parisian Galerie Claude Bernard (GCB) in 1972. In this lot, which closely resembles three pastels exhibited at GCB as part of the July-December 1971 series, the all engulfing foliage, trapped beneath the iron beams of the glass ceiling, burst forward in an abstract bouquet of blue. In lot 348, the negative space surrounding the densely packed diagonal composition thrusts the solitary figure outward from the slumber of his confines.


  • Condition: In generally very good condition. Creasing to lower left corner, along with minor abrading to surface and a darker vertical line. Another small spot of abrading to paper mid left, close to the edge. Exposed lower right corner and part of the right edge of paper with minor abrading. Faint yellowing. Colors are still vibrant. Faint, dot-like foxing to upper left area, close to mat border. No visible punctures, water damage or past restoration. NOT examined out of the frame.

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December 5, 2015 10:00 AM CST
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Bid Increments
From: To: Increments:
$0 $49 $5
$50 $99 $10
$100 $499 $25
$500 $999 $50
$1,000 $1,999 $100
$2,000 $4,999 $200
$5,000 $9,999 $250
$10,000 $14,999 $500
$15,000 $19,999 $1,000
$20,000 $49,999 $2,000
$50,000 + $5,000