Le Corbusier The Drawing Game 14th November 2015 – 24th January 2016 Musée Picasso, Antibes ; ; press kit ; ; coll. Fondation Le Corbusier Le Fondation coll. ; Le Corbusier juin 35 Le : : x 86,4 cm (detail) 51,2 ; ; © Adagp, , 2015 Paris, © Adagp, ; right lower signed and dated 1935, , Trois nus féminins allongés Trois nus féminins Salubra wallpaper on plywood-mounted paper on plywood-mounted wallpaper Salubra Corbusier Le Fondation © coll. photo

Le Corbusier, The Drawing Game 14th november 2015 – 24th january 2016 Musée Picasso, Antibes

The exhibition is organised by the Musée Picasso, Antibes with the support of the Fondation Le Corbusier and in partnership with the Kunstmuseum, Münster..

academic advisor: Danièle Pauly

Extract of the exhibition’s catalog

Le Corbusier was famously fond of his draw-ings, which he kept conserve and make known this vast heritage, whose inventory – meticulously stored in two watch cabinets originally in the family entrusted first to Françoise de Franclieu, then to Danièle Pauly home in La Chaux-de-Fonds. Apart from a few major works like La – has made possible a long and detailed study of the drawings. Cheminée (The Mantelpiece), over the years he exhibited them spa- Many of the contributors to this catalogue – both distinguished ringly and rarely. In comparison, then, with the international public ‘Corbusians’ and young researchers – have been part of this ‘pa- he found as architect, theorist and even painter, the audience for tient research’. his drawings was fairly limited; they remained his ‘secret task’, at The Antibes exhibition, makes it clear that in the arts, too, Le once an intimate per- sonal zone and the key to his explorations. Corbusier played a very real part in the making of twentieth-cen- Among the Le Corbusier retrospectives of recent decades, tury modernity. In this respect the invitation from the directors those devoted exclusively to his graphic work are very much the of the two Picasso museums marks a high point in the 2015 art exception: in their great majority the works on show here have calendar. The welcoming of these drawings in Antibes into this been seldom or never shown. All of them come from the Fonda- setting so dear to Picasso, and then in Münster, is a symbolic ges- tion Le Corbusier, holder of the greater part of the corpus – some ture the foundation greatly appreciates. 6,500 works in all. The foundation’s mission has been to classify, Antoine Picon, président de la Fondation Le Corbusier

« Je rêvais », 1960 ;indian ink on vellum; signed and dated lower left: L_C Chandigarh 28/10/60 ; 68,5 x 102 cm

Pablo Picasso and Le Corbusier visiting the Unité d’Habitation in Marseille, september 1949 The Drawing Game

‘Drawing is a game, too . . . I’ve always drawn. Landscapes, buil- dings, glasses and bottles in bars, bladders I took for lanterns, seashells, rocks, bones from the butcher’s, pebbles, small wo- men, all sorts of animals – these are the phases, the keys.’ Thus, in 1965, the year of his accidental death, did Le Corbu- sier sum up the favourite subjects of his work on paper. And they are all there in the selection of drawings lent by the Fondation Le Corbusier for the exhibition presented at the Picasso museums in Antibes and Münster to mark the fiftieth anniversary of the death of Charles-Édouard Jeanneret. The ‘drawing addiction’ he fell victim to very young would remain with him all his life: ob- viously in his work as an architect, for which, he said, ‘The drawing itself is a witness. An impartial witness and a driving force for the works of the creator’; but also in the more personal explorations linked to his parallel practices of painting and . In this respect, his acquaintance with Picasso’s work certainly played its part: one thinks, for example, of such eminently Picasso the- mes in his visual work as the bull and the Minotaur; the little owl in the lithographs accompanying The Poem of the Right Angle; the generously endowed bodies of his giantesses, harking back to Picasso’s Neo-Classical bathers; and the occasional summo- ning of Eros – Picasso was fond of this too – in those female and male nudes ready to taste ‘the pleasures of love’. Nor should we omit, among the assorted objects Le Corbusier found and kept as sources of inspiration – stones, pebbles, shells, bits of bark or wood or glass – the stove burner that might have been a tribute to Picasso’s La Vénus du gaz [Venus of Gas] of 1945. This interest led the young architect to make contact with Picasso, and between 1920 and 1961 – when he sent birthday wishes to the older man, who had just turned eighty – he got in touch on a number of occasions. In July 1942, after viewing some paintings in the studio on Rue des Grands-Augustins, he wrote to him: ‘Picasso, you are the Nu féminin lisant, 1932 ; pencil, coloured ink and watercolour on paper; happiest of men in your old house. And you have every right to be!’ unsigned, dated lower right: 1932; 74 x 53 cm One of their most significant encounters was surely the guided tour he offered Picasso and his then com- panion Françoise Gilot, in 1949, of the Unité d’Habitation in Marseille. In July 1965, a few weeks before his death, Le Corbusier wrote, This exhibition has been organised in partnership with the Fonda- ‘With the passing of the years I have become a man of everywhere. tion Le Corbusier, which kindly agreed to lend all the works on show. I have travelled the continents. Yet I have only one deep attach- We should like to express our gratitude to the foundation’s president, ment: the Mediterranean. I am a Mediterranean, and very strongly Antoine Picon, its director Michel Richard, and Isabelle Godineau, in so. Mediterra- nean, queen of form and light. Light and space.’ charge of exhibitions. Our warm thanks also go to Danièle Pauly, ar- Today another Mediterranean welcomes him in Anti- bes, on chitecture historian, specialist in the field of Le Corbusier’s drawings, the shore of that ancient sea where he breathed his last, and in and academic adviser for the exhibition and the catalogue. Nor Münster. And may he be happy there, for he too has every right to be! should we forget the authors whose contributions to the cata- Jean-Louis Andral, directeur du musée Picasso, Antibes & Markus logue are crucial to an understanding of the Le Corbusier oeuvre. Müller, directeur du Kunstmuseum , Münster Trois nus féminins allongés, 1935 ; gouache, Salubra wallpaper on plywood-mounted paper; signed and dated lower right: Le Corbusier juin 35 ; 51,2 x 86,4 cm

‘I drew with delight and desire’

In art the theme can be, or can remain, secret, or may be revealed the act of drawing: ‘For the artist drawing is the sole possible only to someone who has sought out, discovered, invented the guiding means of devoting himself without restriction to studying mat- thread, or a guiding thread . . . be it their own or that of the artist. ters of taste and expressions of beauty and emotion. Drawing is . ‘I was so happy, so calm, so at ease. And I drew, with delight . . the means of using what he wants to observe and understand, and desire.’ Thus the future Le Corbusier in of 1917, and then transform and express . . . Drawing is a game, too . . . just after the definitive move to Paris. Since childhood he had al- I’ve always drawn. Landscapes, buildings, glasses and bottles in most never been without pencil and paper, or notebook; drawing bars, bladders I took for lanterns, seashells, rocks, bones from the was a daily activity, a tool for observation, analysis and research butcher’s, pebbles, small women, all sorts of animals – these are that crystallised his creative process. It became, too, as the years the phases, the keys . . . The work of art is a game. You make up the passed, an expression of his inwardness and the pleasure he took rules of your own game. But the rule has to be clear to the others in things. Last but far from least it was, as he never tired of repea- who want to play too. The drawing bears witness to the rules.’ ting, ‘a game’. Shortly before his death he spoke at length about In a talk given in Rome in 1936, Le Corbusier stated a principle for an organisation of architectural space based on a playful notion of perception and appropriation. As the instigator of this spatial game, he urged the user to join in, to discover in it perspectives and entries and to spot variations of proportion or modulations of light: ‘The game being played emerges. You walk, you circulate, endlessly on the move, endlessly turning . . . It’s [one’s] promenade and circulation that count, that trigger architectural events.’ In a book on his visual art published in 1938, he evokes the same concept, comparing the artwork to ‘a game for which the artist has laid down rules . . . made up of suffi- ciently intelligent signs’: signs or objects ‘lending themselves to reco- gnition as a simple diagram’ as do, for example, the ordinary, everyday objects of the first still lifes, composed in the early 1920s. It was as a colourist that the youthful Jeanneret made his first trip to Italy in 1907. The watercolour drawings and architectural views from that period, then from Germany and during the journey eastwar- ds in 1911, are marked by the chromatic daring and anti- academic streak that would earn them a mixed, not to say hostile reception when he showed them in Neuchâtel in the spring of 1912: ‘I painted a Parthenon in emerald green and vermilion. Another one in vermilion and black. And the other day the temple of Jupiter with black, green and boxer-short pink.’ The second exhibition, in Paris in December 1918, signalled both the adventure undertaken with painter Amédée Ozenfant and Le Corbusier’s own beginnings as a painter. In their manifesto the two artists laid down the rules for a rigorous doc- trine stipulating a rational, ‘ordered’ and ‘constructional’ art. Chosen for their visual qualities, the objects making up the still lifes are lin- ked by interplays of shadow that multiply them, augment their volume and so give rise to ‘architectonic’ compositions. By 1921 Corbusier Étude pour « Verres et bouteilles (avec vermillon) », 1928; had shed his strict Purist observance, choosing rather to explore the pencil, watercolour and gouache on card-mounted paper; signed and dated lower left: Le Corbusier 1928 ; 61 x 49 cm transparency effects offered by glass objects, which he accumulated and superposed to ‘recreate’ new forms. The figurative emphasis was now on line and section, which tended to reduce the notion of tings. The 1920s and 1930s brought many opportunities to express volume and organise the whole as a plane surface. Close juxtaposi- his fascination with the female nude in studies of the music-hall dan- tion of forms gave rise to a ‘common contour’ that intimately linked cers he admired and later of Arab women drawn during trips to North the objects in question and triggered subtle, interconnected graphic Africa and from postcards. There were others, too, dating from sum- affinities. Beginning in 1923, these mechanisms became increasingly mer stays around Arcachon, where bathers and fisherwomen inspired complex, inviting the viewer to deconstruct the composition in order masterful compositions. The theme of woman reached its apotheosis to better identify its bottles, glasses, carafes and so on. in studies in which his celebration of lush, naked curves gave rise to In 1927–1928 Le Corbusier set about metamorphosing objects or sculptural and sometimes even monumental forms. slipping strange shapes into a space where identifiable signs were The 1950s saw him working on multiple variations of new still to be found. Here and there incongruities would intervene and themes – Icon, Minotaur, Bull – some of which drew on Picasso catch the viewer’s eye: a glove and a seashell, for example, merge to for their iconography. These pieces served as pretexts for an ex- form a new, singular element. A surprising work dated 1930 takes on a ploration of linear interplay in which curves, counter-curves and Surrealist aspect with what might be the chance encounter between oblique lines form generous geometrical surfaces. Paintings an oyster and a violin near a gnarled tree; the gigantic oyster spills out aside, these compositions prompted sculpture projects, litho- the door, a sawn-off bone floats in the foreground and on the table graphs, wall paintings and tapestries, and played their part in the are a violin standing vertically and a glass; in addition, a heart-shaped artistic synthesis so dear to Le Corbusier. The late period is domi- cartouche is inscribed with the name ‘Léa’. After the years spent with nated by hedonistic themes – the improvised concert, erotic play, the austere Ozenfant, who urged him to give up his ‘licentious sub- indolence – whose ludic character is heightened by the chromatic jects’, Le Corbusier would return to what was his theme par excel- liveliness of their lavish, curved forms. In one of the last series, lence, from the first drawn nude of 1912 to the last sgraffito of 1965: ‘I Je rêvais (I Was Dreaming), inspired by a kind of self-portrait, he have drawn and painted nothing but women, or images, or symbols, or shows himself nude and half-immersed in water, with a woman/ geologies of women.’ His companion Yvonne was the favoured topic in bird sitting opposite him, laughingly spreading her wings. numerous study series that led to the most successful of all his pain- Danièle Pauly Femme debout, mains croisées sous la poitrine; pencil and pastel on paper; unsigned, undated; 31,1 x 21 cm Exhibition book Contents

Le Corbusier, le jeu du dessin Preface Antoine Picon bound book – French / German / English The Drawing Game Jean-Louis Andral 170 x 225 mm ‘I drew, with delight and desire’ Danièle Pauly 135 illustrations ; 160 pages graphic design : atelier Perluette, Lyon The Langage des pierres exhibition Giuliano Gresleri

Jérôme Séjourné & Marion Greco The Potsdam watercolour Mary Patricia May Sekler 27 € TTC Sails ont he Bosphorus Didier Laroche © éditions Hazan, Ville d’Antibes / musée Picasso The Parthenon watercolours Arthur Rüegg

The catalog, like a kind of guide, contains the comments Book and Pipe Danièle Pauly of the most representative drawings of the exhibition, The Mantlepiece Danièle Pauly and follows the course of the exhibition. The White Bowl Gauthier Bolle

A Danièle Pauly

‘Architectured composition’ Danièle Pauly

‘Abbé Grégoire’ Study for ‘Nature Arthur Rüegg morte du pavillon de l’Esprit Nouveau’

Two Bottles Bruno Reichlin

Still Life with Siphon Genevieve Hendricks

‘It was Léa!’ Bruno Reichlin

Yvonne, muse and model Danièle Pauly

The Giantesses Nadine Lehni

The murals for Villa E 1027 Tim Benton

The murals for the cabin at Jean-Lucien Bonillo Roquebrune-Cap-Martin

Icon Guillemette Morel Journel

Guitarist Genevieve Hendricks

Cortège Ève Roy

Birth of the Minotaure Genevieve Hendricks

Aphrodite, Helen, Paris, Le Corbusier Yannis Tsiomis

The Je rêvais (I was dreaming) series, Jean-Louis Cohen 1953-1960

Le Corbusier, The Drawing Game

The works

The authors Authors Translation

Tim Benton is Emeritus Professor the last ten years she has been in charge of the Nicola Denis, German translation of all of Art History at the Open University collection at the Musée National Picasso, then texts, except Arthur Rüegg’s texts. in the UK and Visiting Professor at of the drawings and paintings collection at the John Tittenso, English translation of all a number of other universities. Musée Rodin. the texts, except Mary Patricia May Sekler’s His exhibitions and publications have related to the text and Genevieve Hendricks’s texts. history of modern architecture and Le Corbusier. Guillemette Morel Journel Claire Mulkai, translation of the english His most recent book is LC FOTO: is an architect, the holder of a doctorate from texts of Mary Patricia May Sekler and Le Corbusier Secret Photographer (2013). EHESS in Paris, and a researcher at the Paris- Genevieve Hendricks and translation Malaquais National School of Architecture. Her of Bruno Reichlin’s italian texts. Gauthier Bolle is an architect with a PhD in research bears mainly on Le Corbusier’s writings. Yves Kobry, translation in French the history of architecture. He teaches at the In 2015 she published the monograph Le Corbusier: of Arthur Rüegg’s german texts. National School of Architecture and Landscape Construire la vie moderne (Editions du Patrimoine) in Bordeaux and is a member of the Arts and and a book on his correspondence (Éditions European Civilization and History research team Textuel). at the University of Strasbourg. His research focuses on architectural form and theory in France Danièle Pauly, PhD, is an art historian and in the twentieth century. He is collaboring on the honorary professor at the Paris-VDS National catalogue raisonné of Le Corbusier’s drawings. School of Architecture. She has written about and curated exhibitions devoted to Le Corbusier, the Jean-Lucien Bonillo is an architect, historian and theatre space and twentieth-century Mexican research supervisor. He teaches at the National architecture. She is the academic director of the School of Architecture in Marseille and directs the Catalogue raisonné des dessins de Le Corbusier INAMA research laboratory there. (volumes 1 and 2 of which will be appearing in late He is also an associate member of the TELEMME 2015). Her most recent publication is Le Corbusier. mixed research unit (attached to the University of Albums d’Afrique Aix-en-Provence) and a member of the Académie du Nord (2013). d’Architecture. Bruno Reichlin is an architect and honorary Jean-Louis Cohen, architect and historian, professor at the University of Geneva. He has been teaches at the Institute of Fine Arts at New York academic adviser for a number of major exhibitions University. He has published more than thirty in Europe – , Le Corbusier, Perret, Prouvé, books, the most recent of which (in English) are Moretti – and has published widely on twentieth- Architecture in Uniform (2011), Le Corbusier: An century architecture, modern heritage restoration Atlas of Modern Landscapes (2013) and France: and Le Corbusier. Modern Architectures in History (2015). Ève Roy holds a PhD in art history. She teaches Giuliano Gresleri is an architect and architecture at the National School of Architecture in historian. He was a professor at the University Marseille and is a researcher at the INAMA/ of Bologna until 2011. His publications include ENSAM laboratory. Her research bears on the L’Esprit Nouveau: Construction and Reconstruction history of contemporary architecture, questions (1976), Carnets du Voyage d’Orient (1987), Le of representation – she has written about Le Corbusier: The ‘Language of Stones’ (1988) and Corbusier in this respect – and architectural Carnets d’Allemagne (2004), as well as numerous utopias. articles about Le Corbusier. Arthur Rüegg is a practising architect in Zurich, Genevieve Hendricks is a Visiting Assistant where he also taught at the École Polytechnique Professor of Art at Hollins University. She earned Fédérale between 1991 and 2007. He has organised her PhD from the Institute of Fine Arts, New York exhibitions and written about architecture, University, and has published several articles building, polychromy, photography and twentieth- on Le Corbusier’s paintings. In 2011–2012, she century design. collaborated on the catalogue raisonné of Le Corbusier’s drawings. Mary Patricia May Sekler, trained as an art historian at Goucher College and Harvard Didier Laroche, an architect and historian, University, has published on the work of Charles- teaches at the National School of Architecture Édouard Jeanneret (Le Corbusier), with particular in Strasbourg (ENSAS) and several universities focus on his early drawings, as well as on Piranesi’s in Turkey. He curated the exhibition ‘Le Corbusier Carceri series and urban form. in Turkey’ at Aubette in Strasbourg in 2009; the catalogue was published by ENSAS. Yannis Tsiomis is an architect and Director of Studies at EHESS in Paris. His focus is on urban Nadine Lehni, honorary Chief Heritage Curator, history in the nineteenth and twentieth centuries, was Curator of the Museum of Modern and and contemporary urban projects. Contemporary Art in Strasbourg before joining He has contributed to various publications and the Musées de France inspection division. Over exhibition catalogues relating to Le Corbusier. Practical informations Cultural activities Press iconography around the exhibition & captions and www.antibes-juanlespins.com legal notices Château Grimaldi, 06600 Antibes T. +33 (0)4 92 90 54 26/20 Guided tours Images’s download postal adress : 2015 : November, Friday 20; December 11 Direction des musées, Musée Picasso and December Wednesday 30 4, rue des Cordiers, 06600 Antibes www.antibes-juanlespins.com/ 2016 : January Friday 8, T. +33 (0)4 92 90 54 20 – F. +33 (0)4 92 90 54 21 les-musees/acces-presse January Wednesday 20 at 14.30. closed on mondays for password contact : closed 25 december and january 1st T. + 33 (0)4 92 90 54 25/24 All talks are free once the entrance fees paid. full price : 6 € A minimum of three people is required. Permission is given for the reproduction of two reduced price : 3 € (on presentation of a works (1/4 page), without royalties, only for press document in proof) total exemption from articles concerning the exhibition of the Picasso payment of access to the museum and the Workshops: parents-childs Museum. For more reproduction or cover, please temporary exhibitions for any public 2015 : November, Sunday 22 at 10.30 − object contact Adagp. Each reproduction must bear Le December, Sunday 6 at 10.30 − face Corbusier, the caption and legal notice: © Adagp, Paris, 2015. Picasso Museum Association 2016: January, Sunday 17 at 10.30 − landscape

It offers activities, including tours, visits and Visits and workshops are organized around Press visuals meetings to tie in with the museum’s programme. the permanent collection and exhibition. permanence 1st and the 3rd Tuesday of each Étude pour « Verres et bouteilles month from 14.30 to 16.00 buildings of the workshops of the Picasso (avec vermillon) », 1928 9 rue des Arceaux, 06600 Antibes museum : place Mariejol, in front of the museum Pencil, watercolour and gouache on card- T. + 33 (0)4 93 34 72 75 – P. + 33 (0)6 16 12 50 59 T. +33 (0)4 92 90 54 28 mounted paper; signed and dated lower left : www.assoamismuseepicasso.monsite-orange.fr F. +33 (0)4 92 90 53 62 Le Corbusier 1928 [email protected] 61 x 49 cm ; FLC 2356 postal adress : Shop, bookshop Direction des musées, service des publics, Nu féminin lisant, 1932 4, rue des Cordiers, 06600 Antibes Pencil, coloured ink and watercolour on paper; It offers to the visitor a selection of guides and unsigned, dated lower right : 1932 books on the museum’s on the museum’s collections For informations, download documents: 74 x 53 cm ; FLC 3399 and a large choice of exhibition’s catalogues, books www.antibes-juanlespins.com/les-musees/ on modern and contemporary art. les-activites-culturelles Femme debout, mains croisées sous la poitrine Differents items are also available: postcards, For informations and reservations: Pencil and pastel on paper; unsigned, undated posters, DVD, gifts as well as a selection of T. 04 92 90 54 28 31,1 x 21 cm ; FLC 1039 stationary created for the museum. [email protected] Trois nus féminins allongés, 1935 T. + 33 (0)4 92 90 54 33 – F. + 33 (0)4 92 90 54 15 Gouache, Salubra wallpaper on plywood- mounted paper; signed and dated lower right: Le Corbusier juin 35 51,2 x 86,4 cm ; PC_0105

« Je rêvais », 1960 Indian ink on vellum; signed and dated lower left: L-C Chandigarh 28/10/60; 68,5 x 102 cm ; FLC 3606

Publication department − Communication manager: Nathalie Radeuil avec Caroline Sormay T. + 33 (0)4 92 90 54 25 ou 24 [email protected] [email protected]

for Le Corbusier’s works reproduced here: © Adagp, Paris, 2015 photos © Fondation Le Corbusier

graphic design: Perluette, Lyon The works

All the works are part of the Fondation Le Corbusier collection.

Vue de Fiesole, 1907 Deux études sur le thème du « Port avec théière, verres et pipe Pencil and watercolour on paper mounted de La Rochelle », 1919 Pencil and pastel on tracing paper; on card; signed and dated: Ch. E. Jt Oct. 1907 Pencil, ink and watercolour on vellum; unsigned, undated Annotation: Done in Fiesole Oct. 1907 signed and dated lower right: L-C 1919 26 x 34,5 cm ; FLC 1635 16,5 x 26,5 cm ; FLC 2856 21 x 27,3 cm ; FLC 5892 Nature morte avec violon, lanterne, théière, Sienne. La place du Palio. Études pour « de La Rochelle » verres et bouteilles Après l’orage, 1907 Pencil, ink and watercolour on vellum; Pencil, coloured pencil and pastel on paper; Pencil and watercolour on card-mounted paper; unsigned, undated unsigned, undated signed and dated: Ch. E. Jt SienneThe Palio Square 21 x 27,3 cm ; FLC 4309 18,8 x 34 cm ; FLC 2485 1289-1305 Oct. 1907 18,5 x 15,8 cm ; FLC 2852 Étude pour « Le Port de La Rochelle », 1920 Nature morte avec bouteilles, Charcoal and white chalk on tracing paper; verres et livre, 1921 Potsdam, le Sans-Souci, 1910 unsigned, dated lower right: February 1920 Pencil and watercolour on lithography paper; Pencil and watercolour on card-mounted paper; 110 x 74 cm ; FLC 5723 signed and dated lower right: Jeanneret 1921 signed and dated: Ch. E. Jt Potsdam Nov. 1910 63,5 x 52,5 cm ; FLC 4697 29 x 22 cm ; FLC 2857 Nature morte avec bol et rouleau de papier Pencil on Ingres paper; unsigned, undated Étude pour « Deux bouteilles sur fond rose » Vue de Francfort, 1911 64 x 48 cm ; FLC 4063 Pencil and watercolour on card-mounted paper; Pencil and watercolour on card-mounted paper; signed lower middle: Jeanneret, undated signed and dated: Ch. E. Jt Frankfurt 1911 Étude sur le thème « Le Bol blanc » 60 x 68,7 cm ; FLC 2357 40,5 x 40,5 cm ; FLC 2855 Pencil on card-mounted paper; signed lower right: Jeanneret, undated Nature morte en rose Église monastère à Gabrovo, 1911 68 x 55,8 cm ; FLC 3601 Pencil and pastel on tracing paper; unsigned, undated Watercolour on card-mounted paper; signed 63,3 x 35,5 cm ; FLC 5714 and dated: Ch. E. Jt Done in Gabrovo, Bulgaria 1911 Nature morte avec violon, compotier 30,7 x 39,5 cm ; FLC 2853 et livre ouvert Nature morte au siphon Charcoal and pastel on tracing paper; Pencil on vellum; unsigned, undated Barques sur le Bosphore, 1911 unsigned, undated 27,2 x 21,1 cm ; FLC 0206 Pencil, ink and watercolour on paper 87 x 110 cm ; FLC 5721 mounted on card; signed and dated: Siphon, bouteille, gants et pile d’assiettes Ch. E. Jt Stambul 1911 Nature morte « Violon et boîte à violon », 1920 Pencil on onionskin paper; unsigned, undated Annotation lower right: Done in Pera 1 [911] Ink and graphite on tracing paper; 27 x 21 cm ; FLC 1663 25 x 32 cm ; FLC 2858 unsigned, dated lower right: March 1920 21,8 x 26 cm ; FLC 1589 Étude nature morte au siphon et au gant Eyoub, cimetière, 1911 Pencil on onionskin paper; unsigned, undated Pencil and watercolour on paper mounted on card; Étude pour « Violon et boîte à violon », 1920 27 x 21 cm ; FLC 2922 signed and dated: Ch. E. Jt Eyüp 1911 Pencil on card-mounted paper; Annotation lower right: There lies the isle of tombs/ signed and dated lower right: Le Corbusier 20 Siphon et gant, 1928 the silent isle/There too are the tombs/of our youth/ 18,2 x 21,5 cm ; FLC 3347 Pencil and watercolour on onionskin paper; there I shall wear an/immortal crown of life/M. signed and dated lower right: L-C 1928 29 x 31,5 cm ; FLC 2854 Étude pour « Violon et boîte à violon », 1920 26,8 x 21 cm ; FLC 5935 Pencil and pastel on card-mounted paper; Acropole d’Athènes, les Propylées, 1911 signed and dated lower left: Le Corbusier 20 Nature morte avec cafetière, boîte Watercolour on card-mounted paper; 18,2 x 24,8 cm ; FLC 2884 d’allumettes, pipe signed and dated: Ch. E. Jt Athens 1911 Pencil, coloured pencil and pastel on vellum; 45,5 x 45,5 cm ; FLC 2849 « Feuillantines ». Étude pour unsigned, undated « Violon, verre et bouteilles » 27,2 x 21 cm ; FLC 0226 Acropole d’Athènes, le Parthénon, 1911 Pencil on tracing paper; signed lower left: Watercolour on card-mounted paper; Jeanneret, undated Étude sur le thème des signed and dated: Ch. E. Jt Athens – 1911 109,5 x 85 cm ; FLC 2365 « Cafetières », 1927-1947 38,5 x 38,5 cm ; FLC 2850 Pastel and water on paper; signed upper left: Étude pour « Violon, verre et bouteilles », 1926 Le Corbusier and dated upper right: New York, 1927–1947 Le Parthénon à Athènes, 1911 Pencil and watercolour on card-mounted paper; 61 x 47,8 cm ; FLC 6345 Pencil, watercolour and gouache on paper mounted signed and dated lower left: L-C 26 on laid paper; signed and dated upper right: 27 x 21 cm ; FLC 2888 Nature morte avec verres, Ch. E. Jt Athens 1911 bouteilles et gants, 1929 21 x 13,7 cm ; FLC 2851 « Abbé Grégoire ». Étude pour « Nature morte Silverpoint and graphite on card-mounted paper; du pavillon de l’Esprit Nouveau », 1925 signed and dated lower right: Le Corbusier 1929 Le Forum à Pompéi, 1911 Pencil, watercolour and ink on card-mounted paper; 21,3 x 26,8 cm ; FLC 1197 Watercolour on paper with card mount; signed and dated lower right: Jeanneret 25 signed and dated: Ch. E. Jt Pompeii 1911 94 x 112,5 cm ; FLC 2364 Nature morte avec carafes 23,5 x 30,5 cm ; FLC 2859 et verre à côtes, 1930 Étude pour « Verres et bouteilles Silverpoint and graphite on card-mounted paper; Nature morte avec livre ouvert, pipe, (avec vermillon) », 1928 signed and dated lower middle: L-C 30 verre et boîte d’allumettes Pencil, watercolour and gouache on card-mounted and lower right: Le Corbusier 1932 Pencil and gouache on paper; paper; signed and dated lower left: Le Corbusier 1928 26,8 x 21,3 cm ; FLC 1201 unsigned, undated 61 x 49 cm ; FLC 2356 37,5 x 53,5 cm ; FLC 5705 La Table mise, 1927 Carton pour tapisserie Silverpoint on card-mounted paper; Nature morte avec tasse et théière « Deux bouteilles et Cie », 1951 signed and dated lower left: LC 27 Pencil on paper; unsigned, undated Ballpoint pen, ink, transparent sticker paper (Zipatone); 26,8 x 21,3 cm ; FLC 1208 35,5 x 51,8 cm ; FLC 5718 signed and dated lower middle: L-C 51 27,1 x 21,3 cm ; PC_0103 Étude de deux os, 1954 Étude pour « La Cheminée », 1918 Pencil, soft sketching pencil and white pastel on paper; Pencil on card-mounted paper; Nature morte avec théière, verres et dés signed lower left: Le Corbusier; signed and dated lower signed and dated lower right: Jeanneret 1918 Pencil, black ink and pastel on paper; unsigned, undated right: L-C 54 Cap Martin 57,7 x 71,3 cm ; FLC 2304 27 x 21 cm ; FLC 1611 34,2 x 43 cm ; FLC 3554 Racine et cordage, 1931 Deux femmes dont une vue de dos, 1933 Pencil, ink, watercolour, coloured ink on paper; Pencil and pastel on card-mounted paper; signed Silverpoint and graphite on card-mounted paper; signed and dated lower right: Le Corbusier 1932 and dated lower right: Le Corbusier 1931 signed and dated lower right: Le Corbusier 33 74 x 52 cm ; FLC 4550 21,4 x 27 cm ; FLC 4684 21,3 x 26,8 cm ; FLC 1199 Nu féminin allongé aux trois barques, 1932 Étude pour « Léa », 1930 Groupe de trois nus féminins debout, 1933 Pencil, ink, watercolour, coloured ink on paper; Pencil and pastel on card-mounted paper; Pencil and silverpoint on card-mounted paper; unsigned, dated lower right: 1932 signed and dated lower right: Le Corbusier 1930 signed and dated lower left: Le Corbusier 33 53 x 73,8 cm ; FLC 4551 31 x 21 cm (48 x 36 cm) ; FLC 3349 27 x 21,3 cm ; FLC 4663 féminins inversés Étude sur le thème « Léa », 1932 Deux nus féminins enlacés, 1930 Ink on vellum; unsigned, undated Pencil, coloured ink, watercolour on paper; Pencil and silverpoint on card-mounted paper; 30,5 x 31 cm ; FLC 3751 signed and dated lower left: Le Corbusier 32 signed and dated lower left: Le Corbusier 30 49,5 x 38 cm ; FLC 3602 26,8 x 21,4 cm ; FLC 4671 Deux femmes, 1936 Pencil, black ink, pastel, water on card-mounted Femme avec fichu et chat Deux femmes, 1935 paper; signed and dated lower middle: Pencil on onionskin paper; unsigned, undated Pencil on card-mounted paper; signed and dated Le Corbusier Ecuador 1936 21 x 27 cm ; FLC 0984 lower right: Le Corbusier 35 20,7 x 30,7 cm ; FLC 2938 21,4 x 26,8 cm ; FLC 4672 Femme au chat et à la théière Deux femmes, l’une est couchée Pencil on onionskin paper; unsigned, undated Deux femmes passant une porte, 1933 Black ink on vellum; unsigned, undated 27 x 21 cm ; FLC 1172 Silverpoint on card-mounted paper; 10,2 x 16 cm ; FLC 1236 signed and dated lower right: Le Corbusier 33 Études avec femme à la bouteille 26,8 x 21,3 cm ; FLC 1202 Étude sur le thème « Deux femmes et mannequin au repos » ou « Deux femmes en gris » Pencil on vellum; unsigned, undated Femme à la balustrade Black ink and pastel on vellum; unsigned, undated. 27,4 x 21 cm ; FLC 1037 Pencil on paper; unsigned, undated 10,2 x 16 cm ; FLC 6159 27 x 21 cm ; FLC 0073 Femme au mannequin, 1927 Trois nus féminins assis Pencil, ink, watercolour on card-mounted paper; Femme à la balustrade Ink, pastel, grease pencil on laid paper; signed and dated lower right: Le Corbusier 27 Pencil, Indian ink, watercolour on paper; unsigned, undated 26,8 x 21 cm ; FLC 2892 unsigned, undated 27 x 41,5 cm ; FLC 3915 31,1 x 20,8 cm ; FLC 0245 Étude pour « Joueuse d’accordéon », 1932 Trois nus féminins assis Pencil and pastel on card-mounted paper; Trois femmes dansant, 1932 Ink, pastel, coloured pencil on laid paper; signed and dated lower right: Le Corbusier 1932 Pencil, black ink, watercolour, pastel, water on unsigned, undated 31,2 x 27 cm ; FLC 6052 card-mounted paper; signed and dated lower right: 27 x 42 cm ; FLC 3618 Le Corbusier 1932 Femme avec accordéon, 21 x 31 cm ; FLC 2986 Personnages assis, 1937 nature morte et coureur Gouache and collage on card-mounted paper; Soft sketching pencil, watercolour, collage Deux nus féminins entre deux géantes signed and dated lower left:Le Corbusier 37 on onionskin paper; unsigned, undated Pencil, violet ink, pastel, water on card-mounted 21 x 31 cm ; FLC 1196 20,8 x 26,9 cm ; FLC 1171 paper; unsigned, undated 21 x 31 cm ; FLC 4520 Femme debout, mains croisées Femme couchée avec livre, sous la poitrine verres et pile d’assiettes Deux femmes debout, Pencil and pastel on paper; unsigned, undated Ink, watercolour, gouache on onionskin paper; mains au-dessus de la tête, 1935 31,1 x 21 cm ; FLC 1039 unsigned, undated Violet ink, pastel and water on card-mounted paper; 20,9 x 27 cm ; FLC 0200 signed and dated lower left: Le Corbusier 1935 Femme devant un balcon en fer forgé 30,8 x 21 cm ; FLC 1183 Pencil and pastel on paper; unsigned, undated Étude pour « Le Masque et la pigne de pin » 31,1 x 21 cm ; FLC 1463 Pencil on onionskin paper; Femme au livre signed lower right: L-C, undated Pencil and black ink on paper; unsigned, undated Composition avec nu féminin et accordéon 21,3 x 27 cm ; FLC 5956 26,5 x 21 cm ; FLC 2915 Pencil, ink and watercolour on paper; unsigned, undated Étude de masques Femme au livre 31 x 42 cm ; FLC 4476 Soft sketching pencil on vellum; unsigned, undated Pencil, gouache, ink, pastel, water on paper; 27 x 21 cm ; FLC 1112 unsigned, undated Étude sur le thème de « Femme rouge 31 x 21 cm ; FLC 2785 et pelote verte » Le Masque et la pigne de pin,1931-1952 Pastel and water on paper; unsigned, undated Black ink, collage on card-mounted paper; Femme au livre 61 x 47,8 cm ; FLC 6346 signed and dated lower left: L-C 31/52 Pencil, ink, pastel, water on paper; 34,5 x 21,5 cm ; PC_0090 signed lower right: L-C, undated « L’ Allégresse », maquette pour gravure 31 x 21 cm ; FLC 6000 au burin « Cinq femmes » Trois nus de music-hall, à une table Pencil on paper; unsigned, undated de maquillage Nu féminin lisant, 1932 49 x 32 cm ; FLC 4043 Pencil and pastel on paper; unsigned, undated Pencil, coloured ink and watercolour on paper; 21 x 31 cm ; FLC 0349 unsigned, dated lower right: 1932 Nu féminin, les mains croisées 74 x 53 cm ; FLC 3399 Black ink and cut-out paper on onionskin paper; Quatre femmes dont deux se coiffant unsigned, undated Pencil, black ink and watercolour on paper; Nu à la chevelure blonde, 1932 33,1 x 20,5 cm ; FLC 4477 unsigned, undated Pencil, ink and watercolour on paper; 21 x 31 cm ; FLC 0509 signed and dated lower right: Le Corbusier 32 Trois nus féminins 73,8 x 52,2 cm ; FLC 3381 allongés, 1935 Groupe de quatre nus féminins Gouache, Salubra wallpaper on plywood-mounted paper; Pencil on card-mounted paper; unsigned, undated et barque, signed and dated lower right: Le Corbusier June 35 21,4 x 26,8 cm ; FLC 4653 au bord de la mer, 1932 51,2 x 86,4 cm ; PC_0105 Étude Taureau, 1954 Trois verres d’apéritif, 1960 Pencil, grease pencil, pastel, water on vellum; Black ink and coloured ink on paper; Ink and grease pencil on vellum; signed and dated signed and dated lower right: Le Corbusier unsigned, dated middle right: 31 August 54 lower right: L-C, Chandigarh 21/11/1960 Bogotá/Sept 50 27,2 x 21 cm ; FLC 2748 68,8 x 102 cm ; FLC 3610 22,8 x 32,8 m ; FLC 1135

Étude sur le thème du taureau, 1964 « Abraça », 1960 « L’ennui régnait au dehors », 1950 Ink and felt pen on stiff paper; Indian ink on vellum; signed and dated Collage, black ink and graphite unsigned, dated: Cap Martin 7 August 64 lower right: L-C Chandigarh 29/10/60 on plywood-backed paper 21 x 28 cm ; FLC 5438 68,5 x 102 cm ; FLC 3607 21 x 27 cm

Taureau, 1956 « 1939 – Chute de Barcelone », 1960 « L’ennui régnait au dehors », 1964 Sgraffito and gouache on glossy paper; Indian ink on vellum; signed and dated Pencil, gouache, paper collaged on paper; signed and dated lower right: L-C 56 / NA lower right: L-C Chandigarh 2/11/1960 signed and dated lower right: L-C 3/2/64 29,8 x 19,7 cm ; FLC 4004 68,8 x 102 cm ; FLC 3608 43,5 x 68,8 cm ; PC_0109

Le taureau trivalent « Chez moi », 1960 « Dans ma baignoire », 1953 (projet pour tapisserie), 1958 Pencil, Indian ink and collage on Canson paper; Coloured pencil on paper; unsigned, dated at the Pencil, black ink, gouache, collaged Zipatone; signed and dated lower right: L-C Chandigarh 8/11/60 bottom: London March 53 Hotel Berkeley signed and dated lower middle: L-C 58 and dated 68,9 x 101,9 cm ; FLC 3609 16 x 19,7 cm ; FLC 1331 lower right: Cap Martin August 58 43,4 x 64,5 cm ; PC_0111 Femme et cheval, 1952-1963 « Portrait de l’auteur ! » Ink on vellum; signed and dated lower right: L-C, 52/63 Pencil and black ink on paper; unsigned, undated Femme et bougie, 1947 68,7 x 102 cm ; FLC 3612 21 x 31,1 cm ; FLC 1383 Grease pencil and silverpoint on vellum; signed and dated lower right: L-C N-Y 47 « Naissance du Minotaure », 1964 Étude sur le thème « Je rêvais » : 28 x 21,6 cm ; FLC 2585 Ballpoint pen and grease pencil on paper; signed projet pour tapisserie, 1956 and dated lower right: L-C Cap Martin 28/8/64 Pencil, coloured pencil on paper; Guitariste, 1953 21 x 27 cm ; FLC 2657 unsigned, dated lower right: 7/8/56 Cap Martin Pencil and grease pencil on vellum; 21,6 x 34,5 cm ; FLC 3474 unsigned, dated lower right: 23 August 53 Femme et tête de taureau 21,5 x 34,5 cm ; FLC 0249 Pencil on paper; unsigned, undated Étude sur le thème « Je rêvais » 34,5 x 43,2 cm ; FLC 4155 Pencil, ink, gouache, pastel and water on paper; Guitariste, 1953 unsigned, undated Pencil, pastel, water, ink on paper; Étude pour L’Iliade, « Allons ! Couchons-nous 21,5 x 34,3 cm ; FLC 3488 unsigned, dated lower left: 24 August 53 et goûtons le plaisir d’amour », 1955 21,5 x 34,3 cm ; FLC 0253 Black ink and coloured pencil on vellum; « Je rêvais » unsigned, dated lower left: April 55 Indian ink, gouache, pastel, water on vellum; Femme en buste jouant de la guitare, 1953 34,5 x 43,3 cm ; FLC 3453 unsigned, dated lower right: August 53 Grease pencil on paper; unsigned, 32 x 42 cm ; FLC 3579 dated lower left: Chandigarh May 53 « Allons ! Couchons-nous et goûtons 22 x 34,3 cm ; FLC 1474 le plaisir d’amour », 1964 « Je rêvais » (projet pour rideau Felt pen on photograph; signed and dated lower left: de théâtre), 1956 Femme en buste penchée, L-C and Le Corbusier 26/7/64 Pencil, white pencil, paper collaged on tracing paper; jouant de la guitare, 1953 47,5 x 83 cm ; FLC 3971 signed and dated lower right: L-C 26/8/56 and signed Grease pencil on paper; unsigned, lower right: Cap Martin August 56 dated lower left: Chandigarh May 53 Quatre musiciennes, 1950 19,4 x 50,5 cm ; FLC 0004 21,7 x 34,3 cm ; FLC 1475 Ballpoint pen and grease pencil on onionskin paper; signed and dated lower right: L-C Bogotá Sept 50 « Je rêvais », 1960 Guitariste, 1960 21,5 x 28 cm ; FLC 3069 Indian ink on vellum; Pencil, gouache, pastel and water on card; signed and datedlower left: signed and dated lower middle: L-C 30/8/60 Quatre musiciennes dont une jouant L-C Chandigarh 28/10/60 21 x 27 cm ; FLC 2648 de l’accordéon, l’autre du violon, 1950 68,5 x 102 cm FLC 3606