{"id":27957,"date":"2025-04-17T15:19:47","date_gmt":"2025-04-17T13:19:47","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=27957"},"modified":"2025-06-11T09:46:23","modified_gmt":"2025-06-11T07:46:23","slug":"jeannine-guillou-jeannine-de-stael","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2025\/04\/17\/jeannine-guillou-jeannine-de-stael\/","title":{"rendered":"Jeannine Guillou, Jeannine de Sta\u00ebl"},"content":{"rendered":"\n
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N\u00e9e en 1909 \u00e0 Concarneau, Jeannine Guillou est une artiste dont l\u2019\u0153uvre picturale, longtemps \u00e9clips\u00e9e, retrouve aujourd\u2019hui une place m\u00e9rit\u00e9e dans l\u2019histoire de l\u2019art moderne. Peintre et voyageuse insatiable, figure libre, elle a suivi un parcours personnel remarquable, dont la port\u00e9e artistique, longtemps ignor\u00e9e, se red\u00e9couvre peu \u00e0 peu. La vente d\u2019une de ses \u0153uvres provenant du fonds d\u2019atelier de Simon de Cardaillac, peintre ami de la famille, est l\u2019occasion pour Vichy Ench\u00e8res de mettre en lumi\u00e8re cette femme de l\u2019ombre.<\/p>\n<\/blockquote>\n\n\n\n

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Catalogue – bient\u00f4t disponible<\/em><\/a><\/div>\n\n\n\n
Vente du 19 juin 2025<\/a><\/div>\n\n\n\n
Simon de Cardaillac (1932-2019) – bient\u00f4t disponible<\/em><\/a><\/div>\n\n\n\n
Catalogue raisonn\u00e9 de Simon de Cardaillac<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Une vocation pr\u00e9coce et affirm\u00e9e<\/h1>\n\n\n\n
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Nicolas de Sta\u00ebl, Portrait de Jeannine , huile sur toile, 81 x 62 cm, 1941-42<\/figcaption><\/figure>\n\n\n\n
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Simon de Cardaillac et Antoine Tudal devant chez Braque\n\u00a9 Collection priv\u00e9e – DR<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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Dans le d\u00e9cor maritime de Concarneau, Jeannine Guillou d\u00e9couvre tr\u00e8s t\u00f4t le go\u00fbt de la peinture. \u00c0 14 ans, elle peint d\u00e9j\u00e0. Sa famille, cultiv\u00e9e et ouverte, lui offre un terreau fertile, et elle grandit entre rigueur bourgeoise et stimulation artistique. Elle partage avec son cousin Jean Deyrolle un int\u00e9r\u00eat pr\u00e9coce pour l\u2019art, arpentant les quais, carnet \u00e0 la main.<\/p>\n\n\n\n

Elle poursuit sa formation \u00e0 l\u2019\u00c9cole des arts d\u00e9coratifs de Nice – avec Jeanne, la m\u00e8re de Simon de Cardaillac -, o\u00f9 elle s\u2019ouvre \u00e0 l\u2019enseignement classique tout en cultivant une approche personnelle, d\u00e9j\u00e0 marqu\u00e9e par une grande libert\u00e9. Elle \u00e9pouse \u00e0 20 ans Olek Teslar, peintre polonais fantasque qui l\u2019initie \u00e0 la vie d\u2019artiste itin\u00e9rante. Ensemble, ils voyagent \u00e0 travers la Pologne, les Carpates, puis vivent au Maroc, o\u00f9 leur fils Antoine Tudal – dit Antek – na\u00eet.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Une peinture structur\u00e9e, sensible, ancr\u00e9e<\/h1>\n\n\n\n
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L\u2019\u0153uvre de Jeannine Guillou frappe par sa coh\u00e9rence et sa force discr\u00e8te. Peintre de la lumi\u00e8re et de la structure, elle d\u00e9veloppe une \u00e9criture visuelle influenc\u00e9e par le cubisme mais sans rigidit\u00e9. Ses paysages – Nice, le Maroc, l\u2019Italie – t\u00e9moignent d\u2019un sens aigu de la composition et d\u2019une palette \u00e0 la fois sobre et vibrante. Elle affectionne les formats modestes, les sc\u00e8nes quotidiennes, les atmosph\u00e8res silencieuses : \u00e0 l\u2019image du paysage enneig\u00e9 de la vente du 19 juin 2025.<\/p>\n<\/div>\n\n\n\n

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Ses gouaches et fusains r\u00e9v\u00e8lent une grande spontan\u00e9it\u00e9 du geste, un trait s\u00fbr, nerveux, mais jamais brusque. Ses portraits, souvent intimes, refl\u00e8tent une attention au visage, \u00e0 la posture, au regard. On devine une artiste proche de l\u2019essentiel, d\u00e9barrass\u00e9e des effets, qui cherche moins \u00e0 s\u00e9duire qu\u2019\u00e0 traduire un monde int\u00e9rieur.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Jeannine<\/a>
Jeannine Teslar Guillou, Paysage de la vall\u00e9e d’Amizmiz
\u0152uvre mise en vente par Vichy Ench\u00e8res le 19 juin 2025
\u00a9 C. Darbelet
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Souk au Maroc, gouache sur papier, collection particuli\u00e8re<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Une rencontre fondatrice : Nicolas de Sta\u00ebl<\/h1>\n\n\n\n
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Jeannine Guillou, La maison de Nicolas de Sta\u00ebl, huile sur toile<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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En 1937, \u00e0 Marrakech, Jeannine croise la route de Nicolas de Sta\u00ebl. La rencontre est spontan\u00e9e, naturelle, presque anodine – elle l\u2019entend demander de la terre pour sculpter dans un caf\u00e9, et l\u2019invite chez elle[1]<\/sup><\/a>. C\u2019est un geste simple, mais d\u00e9terminant. \u00c0 partir de ce jour, ils partagent leur vie, leur art, leur pr\u00e9carit\u00e9.<\/p>\n\n\n\n

Durant les ann\u00e9es difficiles qui suivent – Alg\u00e9rie, Italie, puis Nice pendant la guerre – c\u2019est Jeannine qui fait vivre le couple gr\u00e2ce \u00e0 ses ventes. Elle peint, expose, vend. Elle soutient, critique, accompagne. Elle encourage Nicolas de Sta\u00ebl \u00e0 affirmer sa propre voie, \u00e0 chercher, \u00e0 douter aussi. Cette attitude n\u2019est pas un effacement, mais plut\u00f4t un dialogue d\u2019\u00e9gal \u00e0 \u00e9gal, o\u00f9 Jeannine reste peintre, tout en \u00e9tant aussi la premi\u00e8re spectatrice et m\u00e9c\u00e8ne de son compagnon.<\/p>\n\n\n\n

Les lettres et carnets retrouv\u00e9s, les t\u00e9moignages de sa fille Anne de Sta\u00ebl, et les \u0153uvres elles-m\u00eames, confirment aujourd\u2019hui ce r\u00f4le central dans les ann\u00e9es de formation du peintre.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Voir documentaire Portraits de Jeannine, <\/em>Catherine Aventurier, Am Art Films, 2024<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Une vie nomade, une \u0153uvre enracin\u00e9e<\/h1>\n\n\n\n
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Les ann\u00e9es 1937 \u00e0 1945 sont celles d\u2019un nomadisme f\u00e9cond. Le couple voyage, peint, observe. Jeannine, toujours attentive \u00e0 son environnement, capte les couleurs du Maroc, les lumi\u00e8res d\u2019Italie, l\u2019aust\u00e9rit\u00e9 du Midi. L’\u0153uvre de la vente Vichy Ench\u00e8res du 19 juin 2025 provenant du fonds d\u2019atelier de Simon de Cardaillac en offre un beau t\u00e9moignage.<\/p>\n<\/div>\n\n\n\n

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Cette encre repr\u00e9sente un paysage enneig\u00e9 de la vall\u00e9e d\u2019Amizmiz, au Maroc, domin\u00e9 par la cha\u00eene montagneuse du Haut Atlas.  Jeannine Guillou a probablement r\u00e9alis\u00e9 cette \u0153uvre \u00e0 l\u2019\u00e9poque de sa rencontre avec Nicolas de Sta\u00ebl. Son premier \u00e9poux, Olek Teslar, r\u00e9alisa d\u2019ailleurs une vue similaire en 1939.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Maroc, Vall\u00e9e d’Amizmiz<\/figcaption><\/figure>\n\n\n\n
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Maroc, Vall\u00e9e d’Amizmiz<\/figcaption><\/figure>\n\n\n\n
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Olek Teslar, Paysage, r\u00e9gion d’Amizmiz, 1939, collection particuli\u00e8re<\/figcaption><\/figure>\n\n\n\n
\"Jeannine<\/a>
Jeannine Teslar Guillou, Paysage de la vall\u00e9e d’Amizmiz
\u0152uvre mise en vente par Vichy Ench\u00e8res le 19 juin 2025
\u00a9 C. Darbelet
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Une reconnaissance tardive mais indispensable<\/h1>\n\n\n\n
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Jeannine Guillou est aussi une femme de son temps, engag\u00e9e dans la modernit\u00e9 sans militantisme. Elle vit ses choix, les assume, ne les justifie pas. Elle n\u2019a pas de manifeste, pas d\u2019\u00e9cole, mais une ligne de vie claire : peindre, transmettre, aimer.<\/p>\n\n\n\n

Apr\u00e8s sa mort en 1946, \u00e0 seulement 36 ans, Jeannine Guillou tombe dans l\u2019oubli. Nicolas de Sta\u00ebl poursuit sa trajectoire fulgurante, habit\u00e9 par la perte. Il dira d\u2019elle qu\u2019elle lui a \u00ab tout donn\u00e9 \u00bb et que son \u0153uvre continue \u00e0 vivre \u00ab chaque jour \u00bb en lui.<\/p>\n<\/div>\n\n\n\n

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Aujourd\u2019hui, les efforts de sa fille Anne, les expositions r\u00e9centes, les travaux critiques et le documentaire de Catherine Aventurier Portraits de Jeannine<\/em><\/a> contribuent \u00e0 redonner sa juste place \u00e0 cette artiste. Non pas en l\u2019annexant \u00e0 l\u2019histoire de Nicolas de Sta\u00ebl, mais en l\u2019inscrivant dans son propre droit : une femme, une peintre, une voix.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Son \u0153uvre n\u2019est pas tragique. Elle est vivante, ancr\u00e9e, puissante. Elle m\u00e9rite d\u2019\u00eatre regard\u00e9e non comme une trace du pass\u00e9, mais comme une le\u00e7on de libert\u00e9 et de justesse dans l\u2019acte de peindre, que Vichy Ench\u00e8res est fier de vous faire red\u00e9couvrir \u00e0 l\u2019occasion de la vente du 19 juin 2025.<\/p>\n<\/blockquote>\n\n\n\n

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JEANNINE GUILLOU, JEANNINE DE STA\u00cbL<\/h1>\n\n\n\n
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The artist Jeannine Guillou was born in 1909 in Concarneau. Her work was overlooked for a long time, but it is now gaining a deserved place in the history of modern art. She was a painter and insatiable traveller, as well as a free-spirited woman. Her remarkable personal journey, and the art that came of it, was long overlooked, but it is now gradually being rediscovered. The sale of one of her works from the studio collection of Simon de Cardaillac, a painter and family friend, is an opportunity for Vichy Ench\u00e8res to shine a spotlight on this little-known artist.<\/p>\n<\/blockquote>\n\n\n\n

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Catalog – available soon<\/em><\/a><\/div>\n\n\n\n
Sale on 19 juin 2025<\/a><\/div>\n\n\n\n
Simon de Cardaillac – available soon…<\/em><\/a><\/div>\n\n\n\n
Comprehensive annotated catalog of Simon de Cardaillac<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
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An early and strong vocation<\/h1>\n\n\n\n
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Concarneau<\/figcaption><\/figure>\n\n\n\n
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Nicolas de Sta\u00ebl, Portrait de Jeannine , huile sur toile, 81 x 62 cm, 1941-42<\/figcaption><\/figure>\n\n\n\n
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Simon de Cardaillac et Antoine Tudal devant chez Braque\n\u00a9 Collection priv\u00e9e – DR<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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In the maritime setting of Concarneau, Jeannine Guillou developed a taste for painting from a very early age: she was already painting aged 14. Her cultured and open-minded family provided a fertile ground, and she grew up in a mix of bourgeois discipline and artistic stimulation. She shared an early interest in art with her cousin Jean Deyrolle, wandering the quays, notebook in hand.<\/p>\n\n\n\n

She studied at the \u00c9cole des Arts D\u00e9coratifs in Nice \u2013 with Jeanne, Simon de Cardaillac’s mother \u2013 where she was classically taught, whilst developing her own style, already marked by great freedom. At the age of 20, she married Olek Teslar, a whimsical Polish painter who introduced her to the life of an itinerant artist. Together, they travelled through Poland and the Carpathian Mountains, and then moved to Morocco, where their son Antoine Tudal \u2013 also known as Antek \u2013 was born.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Structured, sensitive and grounded painting<\/h1>\n\n\n\n
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Jeannine Guillou’s work is striking for its coherence and quiet strength. She is a painter of light and structure, and developed a visual style loosely inspired by Cubism. Her landscapes \u2013 of Nice, Morocco and Italy \u2013 demonstrate a keen sense of composition and a palette that is both understated and vibrant. She favours smaller settings, everyday scenes and silent atmospheres, such as the snowy landscape in the sale of 19 June 2025.<\/p>\n<\/div>\n\n\n\n

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Her gouaches and charcoal drawings reveal a spontaneous style; a confident, energetic, but never abrupt line. Her portraits, often intimate, reflect her attention to faces, posture and gaze. Her art is concerned with essence and devoid of artifice, and is less about beauty than the expression of an inner world.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Jeannine<\/a>
Jeannine Teslar Guillou, Paysage de la vall\u00e9e d’Amizmiz
\u0152uvre mise en vente par Vichy Ench\u00e8res le 19 juin 2025
\u00a9 C. Darbelet
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Souk au Maroc, gouache sur papier, collection particuli\u00e8re<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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A fundamental encounter: Nicolas de Sta\u00ebl<\/h1>\n\n\n\n
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Jeannine Guillou, La maison de Nicolas de Sta\u00ebl, huile sur toile<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n
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In 1937, in Marrakech, Jeannine crossed paths with Nicolas de Sta\u00ebl. The encounter was accidental, natural and almost innocuous \u2013 she heard him ask for clay to sculpt in a caf\u00e9, and invited him into her home[1]<\/sup><\/a>. This simple invitation turned out to be significant. From that day on, they shared their lives, their art and their state of precariousness.<\/p>\n\n\n\n

During the difficult years that followed \u2013 in Algeria, Italy and then Nice during the war \u2013 it was Jeannine who supported the couple financially through the sale of her art. She painted, exhibited and sold her artworks. With Nicolas de Sta\u00ebl, she was supportive, provided feedback and accompanied him on his journey. She encouraged him to find his own path, to search, and also to doubt. Her attitude was not one of self-effacement, and their exchanges were a dialogue between equals, in which Jeannine remained a painter, while also being her partner’s first public and patron.<\/p>\n\n\n\n

Today, the letters and notebooks that have been found, the accounts of her daughter Anne de Sta\u00ebl, and the works themselves, all confirm the central role Jeanine had in the painter’s formative years.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Voir documentaire Portraits de Jeannine, <\/em>Catherine Aventurier, Am Art Films, 2024<\/p>\n<\/div>\n<\/div>\n\n\n\n

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A nomadic life, a deeply-rooted art<\/h1>\n\n\n\n
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The years from 1937 to 1945 were characterized by a fertile nomadic life. The couple travelled, painted, and observed. Jeannine, who always had a keen eye for her surroundings, captured the colours of Morocco, the lights of Italy and the austerity of Southern France. The work in the Vichy Ench\u00e8res sale of 19 June 2025, from the studio collection of Simon de Cardaillac, is a beautiful example of this.<\/p>\n<\/div>\n\n\n\n

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This ink painting depicts a snowy landscape in the Amizmiz Valley in Morocco, which is dominated by the High Atlas mountain range. Jeannine Guillou most likely created this work around the time she met Nicolas de Sta\u00ebl. Her first husband, Olek Teslar, also produced a similar painting in 1939.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Maroc,<\/a>
Maroc, Vall\u00e9e d’Amizmiz<\/figcaption><\/figure>\n\n\n\n
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Maroc, Vall\u00e9e d’Amizmiz<\/figcaption><\/figure>\n\n\n\n
\"Olek<\/a>
Olek Teslar, Paysage, r\u00e9gion d’Amizmiz, 1939, collection particuli\u00e8re<\/figcaption><\/figure>\n\n\n\n
\"Jeannine<\/a>
Jeannine Teslar Guillou, Paysage de la vall\u00e9e d’Amizmiz
\u0152uvre mise en vente par Vichy Ench\u00e8res le 19 juin 2025
\u00a9 C. Darbelet
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A belated but important recognition<\/h1>\n\n\n\n
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Jeannine Guillou was also a woman of her time, committed to modernity without being an activist. She lived by her choices, accepted them, and did not justify them. She did not have a manifesto or a school, but rather a clear sense of direction: to paint, to transmit and to love.<\/p>\n\n\n\n

After her death in 1946, aged only 36, Jeannine Guillou was forgotten. Nicolas de Sta\u00ebl continued his meteoric rise, haunted by his loss. He would say of her that she “gave him everything” and that her work continues to live on “every day” in him.<\/p>\n<\/div>\n\n\n\n

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Today, the efforts of her daughter Anne, recent exhibitions, reviews of her works, and Catherine Aventurier’s documentary Portraits de Jeannine<\/em><\/a> are all contributing to restoring this artist to her rightful place. This is not done by tagging her along the story of Nicolas de Sta\u00ebl, but by promoting Jeanine in her own right: as a woman, a painter, and a voice.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Her art is not tragic. It is alive, grounded and powerful. It deserves to be seen not as a remnant of the past, but as a lesson in how to pain freely and truly. Vichy Ench\u00e8res is proud to contribute to her rediscovery with the sale on 19 June 2025.<\/p>\n<\/blockquote>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n