FOURNIER JEAN-CLAUDE FOURNIER THE HORSES... - Lot 25 - Daniel Maghen Enchères et Expertises

Lot 25
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FOURNIER JEAN-CLAUDE FOURNIER THE HORSES... - Lot 25 - Daniel Maghen Enchères et Expertises
FOURNIER JEAN-CLAUDE FOURNIER THE HORSES OF THE WIND Second part, Dupuis 2012 Original cover. Signed. Watercolor and India ink on paper 30.8 × 40 cm (12.13 × 15.75 in.) In 2008, the first volume of Horses of the Wind was published, a family drama, imagined by Lax and drawn by Jean-Claude Fournier, set in the heart of the Himalayas during the second half of the 19th century. At the end of the volume, Cathay, one of the main characters, collapsed from exhaustion, dropping his instruments intended to map the still unknown regions of the mountain range. Kansa, a Nepalese police officer, came after him. Readers will have to wait a little longer before knowing the rest of the story. Four years precisely. The time to gather the necessary documentation and to refine every detail. As a bonus, for this second part, Fournier provides a splendid cover illustration, all in tension. Tethang, a fortified village on the side of a cliff, seems both close and inaccessible. Cathay is imprisoned there, accused of being a spy for the British. Perched on a rock, his son Resham observes the place. How to get there? Whatever the means, the young man does not hesitate to take any risk to reach his elder son and free him, hoping to lead him to his dying mother. In the sky, the "horses of the wind" float, these prayer cloths linked by a thread. Playing with the verticality of the mountain, the curve of the flags, and a shoe on the right of the figure, Fournier completes the image with watercolor, via two distinct hues, a yellow and a mauve. The result is purely spectacular. While researching the Himalayan kingdoms, I was struck by the beauty of certain places. In particular, these cliffside habitats. People were sheltered from everything in these places cut off from the world. I love this kind of crazy stuff, these houses that fit into each other. I had to bring out this vertiginous side, this verticality, this feeling of emptiness, this solitude. I deliberately used two complementary colors, yellow and purple. It was not a question of making a simple illustration, it was necessary that this image tells something. J.-C.F.
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