A box of unpublished drawings by Christian d’Orgeix

After the edition of Grand Patagon and other poems by Jean-Pierre Lassalle with unpublished illustrations by Christian d’Orgeix, the editions of Grand Tamanoir continue the collaboration with this artist.

They participate in the edition of an art box of 40 unpublished drawings of the artist by the editions La Doctrine de Genève.

Annonce en français

Couverture du coffret

This box contains the reproduction of 40 hitherto unpublished drawings made by Christian d’Orgeix between 2017 and 2018.
They have been printed in colour on A4 240gr Rivoli paper.
Each box contains one of the 40 original drawings by Christian d’Orgeix.
Entirely hand-made in Paris, the ivory-coloured box is covered with cloth and art paper.
A drawing by the artist reproduced on ivory paper and inlaid into the cloth has been chosen as a “title” to honour this unique edition.

Each box is made to order and constitutes a kind of jewel-case for the recent drawings of the artist.
The box opens with a biographical text by Christian Oestreicher.
These 40 numbered and signed copies, as well as the privatecirculation copies reserved for the authors, are published by La Doctrine editions in Geneva and the Grand Tamanoir editions in Caen (France).


Christian d’Orgeix
Recent Drawings

Please send me:
The book in its box with an original drawing : 320 euros
(250 € before 31/03/2019).
Postage is included.

Mode de paiement :
….: Cheque written in euros to the order of Le Grand Tamanoir
….: International money order
….: Bank transfer (apply to receive our banking details by mail)
….: Paypal (contact@legrandtamanoir.net)
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Fill up this form and send it with your payment to:
Le Grand Tamanoir
75, rue Bellevue, 14000 Caen, France.
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Christian d’Orgeix
Christian d’Orgeix was born in Foix (Ariège) on December 18, 1927. He met Hans Bellmer in 1947 in the south of France, a crucial meeting. From 1948, he lived and collaborated with Bellmer during ten years, helping Bellmer to colour the photographs of the second “doll” and spending many afternoons drawing with him on the café terraces in Paris. He first exhibited in Germany before exhibiting in France in 1955 and discovered and promoted the paintings of Friedrich Schröder Sonnenstern and Richard Oelze. Later on, he befriended Konrad Klapheck and Sergio Dangelo, contributed to Le Surréalisme Même and participated in the EROS exhibition in 1959. Through Bellmer he joined the activities of the Surrealist group but his painting does not exactly reflect surrealism or the informal abstract art of the fifties. It is a painting apart, fully of its own, which has nothing to do with the art history recorded by magazines. D’Orgeix collaborated to the many exhibitions organized by the Phases movement led by Edouard Jaguer and many artists and writers will become his friends, such as Henri-Pierre Roché, Ragnar von Holten, José Pierre, Arturo Schwarz, Renzo Margonari and others.

“Christian d’Orgeix is an unyielding, upright man who stands up against wind and tide, follows narrow paths which hardly anyone would take and remains at the margin – of society, obviously, but also of any constituted group – which made things complicated for him quite a few times.”
“He is anachronistic, ungraspable, timeless. Some say he is a surrealist. Is he? Yes, but he belongs to no clan or coterie, has borrowed a lot from the movement but also gave a lot to it without becoming a member.”
“What is striking at first sight is the elegance of his manners and of his conversation. Also his erudite knowledge of obscure figures and his fascination for forgotten wonders. He has lived in and for obscurity, daily, wherever he was living, in dusty cobwebbed ruins where dampness helps the growth of mysterious mushrooms and draws on the walls messages of beauty.”

Christian Oestriecher, August 2014

“Christian d’Orgeix’s drawings look like fossilizations of ferns and traces of objects. They look like those extremely thin sheets of minerals which geologists obtain by laser slicing and whose transparency reveals the complex and mysterious structure of stone. Strangely enough, from these fine sheets as thin as sheets of paper, there appear different layers, angles, apparent gaps and a kind of depth: that is, a whole bacteriological universe which seems to be petrified at first but which would be given some new expansion, should it only receive a ray of light or be slightly tilted on the side.”

Mikaël Lugan, April 2018