Corneille - 1973 - Le désir sémaphore - Framed, purchased from Corneille's family

For sale is the screen print 'Le désir sémaphore'
The screen print 'Le désir sémaphore' - A/E (Artist proof)

The original framed screen print from 1973 with Atelier Corneille stamp on the back.
Signed, titled and dated at the bottom in graphite by the painter.

Literature:
Patricia Donkersloot-Van den Berghe (1992). Corneille: The complete graphic works, 1948-1975. Amsterdam: Meulenhoff, pp. 261-265. The screen print 'Le désir sémaphore' was published in 1974 and is one of the screen prints included as numbers 346 to 350 in the catalog of Corneille's graphic work. Work listed under number 348 of the catalog raisonné Donkersloot is what is for sale here, namely the screen print 'Le désir sémaphore'.
The last 3 photos are from this book.

Below is more information for the art lover about portfolio H, where this screen print was created.

H 1974
Plaque in cover and wooden case, (347 x 263 mm, spine 20 mm wide, 15 sheets, of which 10 are double) with a text by Cérès Franco and 5 graphic series in color; signed by the author and artist, numbered and dated on the back. Edition: 99 copies. and some artist's tests. Edition and printing: La Ficelle, Epinay-sur-Orge.

La Ficelle
The portfolio (text and loose-leaf screen prints) was published in 1974 by occasional printer and publisher La Ficelle in Epinay-sur-Orge. It is entirely screen printed on handmade Arches and placed in a wooden case. The screen prints are dated 1973 and titled by Corneille: 'La pucelle', 'Danse Africaine', 'Le désir sémaphore', 'Une reine' and 'Les deux amies'.
There seems to be little to no connection between text and images. The plates are drawn in a style that is less known from Corneille.

Corneille's portfolio 'H', a collaboration with the recently deceased gallery owner and art collector Cérès Franco. The latter wrote the rather bizarre texts, dedicated to the letter H ('ache').

Corneille and Cérès Franco: An Artistic Connection

Cérès Franco, born on May 17, 1926 in Bagé (Brazil) and died on November 16, 2021 in Toulouse, was an influential gallerist and art collector of Brazilian descent. She has left an impressive legacy in the world of contemporary art through her work as a gallery owner, art critic and founder of an art foundation that houses a rich collection of paintings and sculpture.

Biography of Cérès Franco

Cérès Borbafarinha was born in Bagé, in the Brazilian state of Rio Grande do Sul. At an early age she developed a passion for the arts, fueled by her extensive reading experiences. She studied art history at Columbia University and the New School in New York, where she further deepened her knowledge and love of art.

In 1951 she moved to Paris, where she had the opportunity to visit the great museums and galleries of Europe. These experiences inspired her to become an art critic. A year later, in 1952, her daughter Dominique Polad-Spadoni was born, who later became a gallery owner herself.

In 1962, Cérès Franco organized her first painting exhibition in Paris. She gathered a diverse range of artists around her, ranging from naive and brutal art to artists from the Cobra movement and popular expressive arts. During the 1960s she developed an intense and unique artistic partnership with the Dutch painter Guillaume Corneille, one of the founders of the Cobra group. Their collaboration took them to Paris, Rio de Janeiro, Ibiza, the Netherlands and New York.

Cérès Franco was the director of the L'Œil de bœuf gallery in Paris. In 1994 she bought two houses in Lagrasse, where she housed her collection and opened it to the public. She eventually donated her collection to the Aude department, which led to the creation of the Coopérative-Musée Cérès-Franco in Montolieu, a public museum exhibiting her collection.

Until her death, Cérès Franco lived in a care facility in the Bourrassol district of Toulouse.

Guillaume Corneille and Cérès Franco

Guillaume Corneille, born Corneille van Beverloo, was a prominent Dutch artist and co-founder of the Cobra movement, an avant-garde art movement founded in Paris in 1948. The name Cobra is an acronym of the cities Copenhagen, Brussels and Amsterdam, where the founders came from. The movement was characterized by spontaneous and experimental art expressions, often with a focus on childlike simplicity and expression.

Corneille's work, which was characterized by a vibrant use of color and an emphasis on abstract shapes and landscapes, suited the eclectic taste of Cérès Franco. Their collaboration in the 1960s resulted in numerous exhibitions and artistic projects that had great resonance in both Europe and America. Together they organized exhibitions and worked on projects that pushed the boundaries of contemporary art.

Influence on Contemporary Art

The influence of Corneille and Cérès Franco on contemporary art is considerable. Cérès Franco's work as a curator and gallery owner brought a wide range of art styles and artists to the attention of a wider audience. Her ability to connect and support artists, combined with her keen eye for quality, made her a crucial figure in the art world.

Corneille's art continues to be appreciated today for his unique style and contribution to the Cobra movement. His work, which often explores themes of joy, freedom and nature, has had a lasting impact on the art world.

Legacy

Cérès Franco and Guillaume Corneille have both left an indelible mark on contemporary art. Franco's contributions as a gallery owner and collector have not only helped many artists showcase their work, but also enriched the art world with her extensive collection and passion for art. Corneille's vibrant and expressive paintings continue to inspire and resonate with art lovers around the world.

Their collaboration and individual contributions remain a source of inspiration for future generations of artists and art lovers, and their legacy lives on in the collections and artworks they left behind.

French texts by the gallery owner and art collector Cérès Franco in Corneille's portfolio 'H':

1974 H

Ça sent le H.

Un franc cinquante le gramme.

1.50 francs le gramme!

Le plaisir se prend à haute voix.

La bête approche en tirant les coussins de son côté. Elle se carese les orteils. C'est l'heure de rire. The grands eclats. Les narines s'écartent laissant passer la fraîcheur dans les muqueuses. Le personnage se couche au breed du concrete. Qui va le travailler. Dieu enculé le personnage. Three quarters of humanity survive months of trente ans. A fille entourée de requins doit se nourrir.

Je crois qu'il faut les tuer.
GILDA, GILDA, amada mia. ALPHABETIZATION.
La cucaracha, la cucaracha... Que hijo de puta este señor.
Et le H te donne ce que tu as.

My voice lasts a long time with the alligator. Project cette fois-ci vers le nord. Me voici assise. Jambes croisées. OH! D'où cette bouche amère… ce profil invisible OH! Et ma bouche crache les
OHSS S.

Et cette odeur de roussi.
Unbleu d'herbes quemadas.
Eau fraîche, vite, and cascades!

Comment moi, charbon récalcitrant des rotissades. ASSADOS, the sont of the meilleurs morceaux où la graisse rouge brille au feu de bois que les fazendeiros gardent pour eux. Je respire les restes.

La bête prend son repas au soir. La bête est une plante qui pousse toute droite. Elle is le singe et le mord le cou. La bête boit l'eau de source. Les autres boivent PRIMIOR-MONOPOLE.
Cléopâtre fait goûter le H à Jules,
Marc Antoine fait la pipe, moi je pisse.

Avoir quarante degrés dans la peau
Parcourir les îles. Take care of the beauty and the care you take with the finer details.

La bête fait pipi sur l'herbe à chat. Le chat mange la banane.
Moi je danse la samba.
Yes, now temos bananas...
Carmen Miranda yaya...
'Attention, attention, c'est divin et merveilleux!' If you are not attentive enough, you will not be able to wait until the time of death.

La nuit tombe sur le tapis de fleurs sans se faire du mal. La canna biflorine fait plaisir sans bruit.
After all, you will continue to use the mousse tape while you wash it
bouch hhh e...

Prix Goncourt. Pour ces prix, la personne ne vous offre autant. Prix de la Paix à donner à tous les H-omanes. Ceci dit le H te donne ce que tu as.

Oh Arte
Les plâtriers j'adore, O Arte mon ami. Ils murmurent des hymnes sans fin. Non, non, non, ça n'existe pas. L'argile colle aux doigts comme la peau au sud. O Arte, nous n'avons pas peur. La la la... C'est la pénombre indécente.

Le H, cette fete…

Pourquoi? ne verrais-je pas le cornet en forme de brioche. La lampe. Les éponges. Les poumons. La cohort. Les poumons du H respirent avec les assemblages des tubes. Les autres, le coq ne verra rien. Les poumons de la lampe sont ainsi à l'ombre.

If the arcades are sourced from the Monsieur and the Lady C. it is only a matter of time before they choose the celles of the crocodile, so they are ready to tell the manifold. The next step is laterally and freshly. Vers le haut ils voient sans cesse la luminière de la pupille. Lateral c'est que les champs verts sans bleu sur lesquels des grands yeux se roulent et clignotent, reposent double et posent des brins à ne pas pousser jusqu'au sourcils. Les yeux.

La bête avance sur les walls peints à la chaux. Elle fait les cents pas vers le haut et puis elle s'en va courant latéralement dans toute la longueur de la pièce. Elle court de la paroi droite du personnage où il est assis à la droite du H. Filtre au bout de la page. This is the moment when you think about it, the first thing you need to know is that the light is not the first point of contact with the telephone 03.38400 and the interior design of the carnivores can be full and habitual of the light. Une voix au bout de la rue appelle. Le charme du personnage au lointain de la place.

Il faut du papier d'argent.
Il faut du papier d'argent.

Je prends de l'argent à la quatrième, je verrai est. Je me verrai de l'ombre. Je m'entoure de l'ombre.

The Dutch, translated from French, text:

1974 H

It smells like H.

One franc fifty per gram.

1.50 francs per gram!

The pleasure is taken noisily.

The beast approaches and pulls the pillows towards itself. She caresses her toes. It's time to laugh. Big laughs. The nostrils open and let the freshness flow into the mucous membranes. The character lies flat on the concrete. Who's going to edit it? God damn the character. Three-quarters of humanity lives less than thirty years. A girl surrounded by sharks has to eat too.

I think we should kill them.
GILDA, GILDA, beloved of mine. LITERACY.
The cockroach, the cockroach... What an asshole this man.
And H gives you what you have.

Here I am stretched out like an alligator. This time projected to the north. Here I am. Crossed legs. OH! Where did that bitter mouth come from... that invisible profile OH! And my mouth spits the
OHSS S.

And that scorched smell.
A blue of burnt spices.
Fresh water, fast, in waterfalls!

What do you mean, recalcitrant charcoal from roasting? ASSADOS, those are the best pieces where the red fat shines by the fire that the fazendeiros keep for themselves. I inhale the remains.

The beast eats its supper. The beast is a plant that grows upright. It's the monkey and bites his neck. The beast drinks spring water. The others drink PRIMIOR-MONOPOLE.
Cleopatra lets Julius taste H,
Marc Antony does the blowjob, I piss.

Having forty degrees in the skin
Crossing the islands. Caressing each other in the water and letting themselves be penetrated by the fine breeze of the touches.

The animal pees on the catnip. The cat eats the banana.
I dance the samba.
Yes, we have bananas...
Carmen Miranda yaya...
'Pay attention, pay attention, it is divine and beautiful!' We must be attentive and strong, we have no time to be afraid of death.

Night falls on the flower carpet without hurting. The canna biflorine gives pleasure without sound.
While, lying on the moss bed, I offer you my mouth
mouth hhh e...

Prix Goncourt. At these prices the person isn't offering you much. Peace Prize to be given to all H-omans. That said, the H gives you what you've got.

Oh Arte
I love plastering, O Arte, my friend. They whisper endless hymns. No, no, no, it doesn't exist. The clay sticks to the fingers like skin in the south. Oh Arte, we are not afraid. La la la... It's the indecent twilight.

The H, this party...

Why? I wouldn't see the brioche-shaped horn. The lamp. The sponges. The lungs. The cohort. The lungs of the H breathe with the assemblies of the tubes. The others, the rooster will see nothing. The lungs of the lamp are therefore in the shade.

If the brow ridges of Mr. and Mrs. C. are not as pronounced as those of the real crocodile, it is because its eyes are positioned in such a way that they look mainly sideways and upwards. They constantly see the light from the pupil upwards. Laterally they are the green fields without blue on which big eyes roll and blink, lie double and place blades that are not allowed to grow to the eyebrows. The eyes.

The beast moves on the lime-painted walls. She takes a hundred steps upstairs and then runs sideways across the length of the room. She runs from the right wall of the character where he is sitting to the right side of the H. Filter at the end of the page. This is the moment to paint, the beast stops at the circle around the line that does not go to the telephone 03.38400, within which the gossiping meat eaters fly in light clothing. A voice calls from the end of the street. The charm of the character in the distance of the square.

You need silver paper.
You need silver paper.

I'll take silver from the fourth, I'll see east. I will see myself in the shadows. I surround myself with shadow.

The original text in French:

1974 H
Ça sent le H.
Un franc cinquante le gramme.
1,50 francs le gramme!
Le plaisir se prend à haute voix.
La bête approche en tirant les coussins de son côté. Elle se caresse les orteils. C’est l’heure de rire. De grands éclats. Les narines s’écartent laissant passer la fraîcheur dans les muqueuses. Le personnage se couche au ras du béton. Qui va le travailler. Dieu enculé le personnage. Trois quarts de l’humanité vivent moins de trente ans. Une fille entourée de requins doit aussi se nourrir.
Je crois qu'il faut les tuer.GILDA, GILDA, amada mia. ALPHABÉTISATION.La cucaracha, la cucaracha... Que hijo de puta este señor.Et le H te donne ce que tu as.
Me voici étendue de toute ma longueur d’alligator. Projetée cette fois-ci vers le nord. Me voici assise. Jambes croisées. OH! D’où cette bouche amère… ce profil invisible OH! Et ma bouche crache lesO H S S S.
Et cette odeur de roussi.Un bleu d’herbes quemadas.Eau fraîche, vite, en cascades!
Comment moi, charbon récalcitrant des rôtissades. ASSADOS, ce sont les meilleurs morceaux où la graisse rouge brille au feu de bois que les fazendeiros gardent pour eux. Je respire les restes.
La bête prend son repas au soir. La bête est une plante qui pousse toute droite. Elle est le singe et le mord le cou. La bête boit l’eau de source. Les autres boivent PRIMIOR-MONOPOLE.Cléopâtre fait goûter le H à Jules,Marc Antoine fait la pipe, moi je pisse.
Avoir quarante degrés dans la peauParcourir les îles. Se caresser dans l’eau et se laisser pénétrer par la brise fine des attouchements.
La bête fait pipi sur l’herbe à chat. Le chat mange la banane.Moi je danse la samba.Yes, nós temos bananas...Carmen Miranda yaya...‘Attention, attention, c’est divin et merveilleux!’ Il faut être attentif et fort, nous n’avons pas le temps de craindre la mort.
La nuit tombe sur le tapis de fleurs sans se faire du mal. La canna biflorine fait plaisir sans bruit.Tandis que moi, allongée sur le tapis de mousse je t’offre ma bouchebouch h h h e...
Prix Goncourt. Pour ces prix, la personne ne vous offre autant. Prix de la Paix à donner à tous les H-omanes. Ceci dit le H te donne ce que tu as.
O ArteLes plâtriers j'adore, O Arte mon ami. Ils murmurent des hymnes sans fin. Non, non, non, ça n'existe pas. L'argile colle aux doigts comme la peau au sud. O Arte, nous n'avons pas peur. La la la... C'est la pénombre indécente.
Le H, cette fête…
Pourquoi? ne verrais-je pas le cornet en forme de brioche. La lampe. Les éponges. Les poumons. La cohorte. Les poumons du H respirent avec les assemblages des tubes. Les autres, le coq ne verra rien. Les poumons de la lampe sont ainsi à l'ombre.
Si les arcades sourcières de Monsieur et de Dame C. ne montent pas des choses aussi prononcées que celles du vrai crocodile, cela n'empêche qu'un peu, comme chez celui, c'est que ses yeux soient disposés de telle manière qu'ils voient surtout latéralement et vers le haut. Vers le haut ils voient sans cesse la lumière de la pupille. Latérale c'est que les champs verts sans bleu sur lesquels des grands yeux se roulent et clignotent, reposent double et posent des brins à ne pas pousser jusqu'au sourcils. Les yeux.
La bête avance sur les murs peints à la chaux. Elle fait les cent pas vers le haut et puis elle s'en va courant latéralement dans toute la longueur de la pièce. Elle court de la paroi droite du personnage où il est assis à la droite du H. Filtre au bout de la page. C'est le moment de peindre, la bête arête du cercle autour de la ligne n'est point à la ligne avancée vers le téléphone 03.38400 à l'intérieur duquel les cancans carnivores volent en habit de lumière. Une voix au bout de la rue appelle. Le charme du personnage au lointain de la place.
Il faut du papier d’argent.Il faut du papier d’argent.
Je prends de l’argent à la quatrième, je verrai est. Je me verrai de l'ombre. Je m'entoure de l'ombre.

More information:
https://fr.wikipedia.org/wiki/C%C3%A9r%C3%A8s_Franco
https://www.museeceresfranco.com/

(0006)