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Colima - Dragon / Lézard à corne - COMALA - COLIMA - Mexique - 100 AV. J.-C. -250 AP. J.-C. - Précolombien Hauteur: 14 cm Longeur : 32 cm Largeur : 24.5 cm Terre cuite creuse brune à engobe rouge orangé avec importantes traces d’oxyde de manganèse. Documents (originaux) remis à l’acquéreur : - Certificat d’authenticité de la Galerie Mermoz, Santo Micali, Expert, (CNE) Compagnie Nationale des Experts - Certificat Art Loss Register - Passeport de libre circulation - Rapport de thermoluminescence - Facture La beauté de cette céramique témoigne autant du talent des artistes Colima que de sa valeur aux yeux de ces derniers. On retrouve ici tout ce qui la désigne comme un objet rituel et cérémoniel ayant appartenu à un membre important de la communauté.  D’une grande vivacité, le sujet est un chef-d’œuvre de naturalisme. Sublimé par une magnifique surface vernissée, sa couverte brun-rouge aux accents orangés est éclatante. Cette couleur, propre aux terres cuites Colima, résulte d’une savante cuisson par oxydation (sans fumée), qui dans le cas présent, a été parfaitement maîtrisée. Déposé comme offrande funéraire dans une profonde tombe à puits, typique du nord-ouest du Mexique, cet objet avait pour fonction d’accompagner un défunt, sans doute un dignitaire, dans son ultime voyage vers l’au-delà et de prouver aux esprits et aux ancêtres sa qualité de chef. À noter : Les traces noires d’oxyde de manganèse visibles sur le dos de cette pièce sont une conséquence de son enfouissement prolongé. De taille modeste, le lézard à corne se rencontre généralement dans les zones arides allant du sud du Canada jusqu’au Guatemala. Il dispose de facultés qui en ont fait, à l’évidence, un animal singulier aux yeux des peuples habitant la côte nord-ouest du Mexique.  Fort d’un savoir-faire accompli, l’artiste a su restituer fidèlement ses caractéristiques : les deux cornes visibles sur son crâne qui lui valent son nom, ses yeux ronds inquisiteurs dont le pourtour gravé fait ressortir l’orbite, son visage triangulaire, son museau pointu, sa large mâchoire et sa grande bouche extensible sign

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L'ATLAS - Toile "Legacy" Technique : Acrylique et aérosol sur toile.  Format : 80 x 80 cm  Vendue encadrée en caisse américaine noire.  Année de réalisation : 2022 La galerie At Down est à votre disposition pour plus de renseignements sur l'acquisition de cette oeuvre. L'ATLAS  Né en 1978 Vit et travaille à:  Paris, France 48° 51' 23.8104" N, 2° 21' 7.9992" E L’Atlas commence le graffiti dans les années 90. Fasciné par le travail du trait et de l’écriture, il part étudier la calligraphie arabe traditionnelle au Maroc, en Égypte et en Syrie. Il s’intéresse tout particulièrement au koufi, écriture géométrique dont il transpose les codes dans l’alphabet latin, créant ainsi sa propre typographie. L’Atlas expérimente plusieurs media tels que la photographie, la peinture ou la vidéo. Après avoir travaillé un moment dans le cinéma, où il apprend les techniques traditionnelles du montage et réalise quelques documentaires, il développe un univers pictural où toute lettre est considérée comme une forme, et toute forme comme une lettre. Peu à peu, la ville elle-même lui apparaît chargée de signes dont il collecte la trace presque abstraite avec un système d’empreinte. Artiste méticuleux à la recherche d’une certaine pureté, tant dans la forme que dans l’usage parcimonieux des couleurs. La pensée orientale, selon laquelle la dualité est source de complémentarité, occupe une place prépondérante dans sa vie et dans son art. C’est de là qu’il puise l’essentiel de sa démarche artistique. On observe en effet une dichotomie récurrente entre le blanc et le noir dans la majeure partie de ses compositions. Souvent comparé au mouvement contestataire italien de la fin des années 60, l’Arte Povera. il renonce, la plupart du temps, à un équipement lourd qui pourrait le rendre tributaire de l’économie et des institutions culturelles. Il accorde une grande importance au processus, et plus précisément au geste créateur Son travail sur le logo et la calligraphie le mène vers d’autres formes d’intervention dans la rue. Il devient, avec Zevs une figure du courant post-graffiti et conçoit une série d’interventions urbaines comme le tracé de boussoles urbaines dont une face au centre Georges Pompidou, réalisée parfois au gaffeur, un de ses outils de prédilection. Une autre de ses techniques consiste à prendre des empreintes des plaques d’égout par contact. L’œuvre de L’Atlas se veut réconciliatrice, entre la ville et l’homme, l’extérieur et l’intérieur. Avec le temps, sa pratique artistique évolue, parallèlement à sa présence dans la rue, vers la conception d’œuvres qui résistent au temps, et qui viennent naturellement s’inscrire, de même que les affiches ou les boussoles au scotch s’inscrivent dans la ville, dans des lieux d’exposition adaptés, sans perdre pour autant l’esprit contestataire et subversif qui les caractérise.

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Deverberie - Gilt Bronze Mantel Clock “The Magic Lantern” Case attributed to Jean-Simon Deverberie (1764-1824) Paris, Empire period, circa 1800 Height 46 cm, width 24 cm, depth 13 cm An extremely fine gilt bronze mantle clock of eight-day duration, the white enamel dial with Roman and Arabic numerals, is signed “à Paris” and gilt bronze hands for the hours and minutes. The movement, with lever escapement and silk thread suspension, strikes the hour and half hour, with outside count wheel. The case, in the form of a magic lantern, has a beaded bezel and is decorated with blue enamel rosettes; it is surmounted by a flaming torch pierced with stars and hearts. The pendulum bob is formed as a butterfly. The magic lantern is carried on the back of a striding Cupid with enamel eyes who carries a quiver of arrows and a bow. He stands on an oval plinth, featuring a cast frieze with winged putti playing around a central vase, is raised on feathered eagle’s claw feet. A clock with a very similar case, but with a patinated bronze Cupid, is illustrated in Pierre Kjellberg, Encyclopédie de la Pendule Française du Moyen Age au XXe Siècle, 1997, p. 447, pl. D. An almost identical gilt bronze clock whose dial is signed “Pinart à L’Orient” is illustrated in Elke Niehüser, Die Französische Bronzeuhr, Eine Typologie der Figürlichen Darstellungen, 1997: detail shot on the front cover; p. 129, colour pl. 210, and p. 230, pl. 658. An almost identical clock case is pictured in the undated catalogue of the François Duesberg museum, p. 38. “Magic Lantern” clocks almost certainly derive from the prints, drawings, and statuettes showing travelling lanternists that circulated during the 19th century. Magic lantern shows, which had become very successful as of the late 18th century, included a range of slides, including comic and historical images and even topographical views. The age of the travelling lanternist came to an end once inexpensive lanterns for home use began to be offered. The magic lantern was invented around the mid 17th century, most probably by Christiaan Huygens (1629-95). It was an early form of slide projector, consisting of a domed top and rectangular box in which a candle or oil lamp was placed. The slides were placed before a lens and lit by a light source, so that they were projected onto a wall or a sheet. The design of the present case, however, in which Cupid points to the dial, suggests an interesting interpretation: perhaps he means to indicate that Time - or possibly Love itself - is merely an illusion. Further references to Love are provided by the pierced hearts around the lantern top and the flaming torch. Jean-Simon Deverberie (1764 - 1824) Jean-Simon Deverberie was one of the most important Parisian bronziers of the late 18th century and the early decades of the following century. Deverberie, who was married to Marie-Louise Veron, appears to have specialized at first in making clocks and candelabra that were adorned with exotic figures, and particularly African figures. Around 1800 he registered several preparatory designs for “au nègre” clocks, including the “Africa”, “America”, and “Indian Man and Woman” models (the drawings for which are today preserved in the Cabinet des Estampes in the Bibliothèque nationale in Paris). He opened a workshop in the rue Barbette around 1800, in the rue du Temple around 1804, and in the rue des Fossés du Temple between 1812 and 1820. - REF: P062 Piece also visible on our website (with HQ pictures) and in our gallery La Pendulerie (Vendôme) located at 19 rue de la Paix, 75002 Paris. NB : All the gilding present on our objects (antique clocks, lighting, furniture and antiquity art) is the original gilding, meaning mercury gilding, also called “ormolu”. We have a thorough cleaning process where we clean each individual part made in gilt bronze while respecting the quality of the original gilding.

Price on request

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Nebay - Yellow Corner, 2021, acrylic and spray ink on canvas, 130 x 97 cm  Without ever leaving the wall or the street intervention, Nebay uses canvas as an additional element, a source of experiences and discoveries. His style is inspired by graffiti artists from New York.  He’s one of the first French artists to bring dripping not only on the canvas but also to the sidewalks of Paris. His rich, colorful and energetic universe mixes diverted posters, double canvases and abstract expression. His wild style carries a message of anger always full of hope. Born in 1973, Nebay is a street artist who lives in his time and invests in his environment: the city. He likes to say that he is “a concrete gardener who grows color”. Nebay started graffiti in 1987 in the streets of Paris. He is a part of the French Graffiti collective JCT – Je Cours Toujours à 100 à l'heure (from French, «I Still Run at 100 per hour»).  In the 2000’s Nebay goes on a long journey of several months around the world. The discoveries of the countries he crossed (Russia, Mongolia, China, Vietnam, Cambodia, Laos, Thailand) – made him aware of the world around him and of what he wishes to leave behind. Back to France, he decided to change his life to become an artist in his own right.  Graffiti is an ephemeral art, which has to be constantly reinvented. For Nebay graffiti became a lifestyle. It’s a form of art that brings everything around to life: the streets, the under bridges, the abandoned places... The facades become dynamic, they present irregularities that are not found on canvas. By appropriating the public space and the street, Nebay becomes a part of the city. Graffiti, an illegal practice, becomes a political act: it belongs to the public sphere, while conveying a message with political, social or environmental connotations.  Nebay always strives to transform its support into a real memory: collective memory, memory of events, individual memory... by expressing its search for identity, its feelings, its declarations and tributes. Visitors of his exhibitions are invited to travel in his company, capturing the emotions that the artist generously transmits to them.

4,700 EUR

Gallery

Workshop of Frans Snyders STILL LIFE WITH BIRDS AND GRAPES, WORKSHOP OF FRANS SNYDERS (ANTWERP, 1579-1657) An exquisite and attractive work, our painting with its rich and harmonious composition is one of the outstanding examples of the passion of seventeenth century art lovers for still life, the genre that was in full bloom in Antwerp at the beginning of the seventeenth century, long before it appeared in Paris in the years 1630-40. Our painting presents on an entablature covered with wine-colored velvet sheet, various objects in an artistic arrangement that is intended to be spontaneous. The tight framing, like an extract, and the heaped objects suggest a fullness and infinite richness of what nature has to offer and reinforce the feeling of prosperity. The wicker basket overflowing with bunches of translucent grapes in green and purplish hues with icy reflections dominates the right side of the painting. In the center is the game birds, partridge, snipe, sparrow, pincon and others, each bird with a fine and precise design, transparent plumage, meticulous rendering of the different parts of the beak or legs, zebras and streaks of down. On the left two stacked white and blue Wan-li bowls of Chinese porcelain with shiny red langoustines. The bowl tilted to the left and the basket tilted to the right bring a kind of symmetry to the composition and enclose it forcing the viewer to contemplate the painting. The gaze never ceases to rest on bunches of grapes, whose irresistibly velvety fruits of a translucent rendering bring an incredible vitality to the composition. The surprising lightness of the brushstrokes to illustrate the transparency of two wine glasses, barely visible, whose shape is drawn on a black background in the second plan. The stoneware pitcher in warm ochre and the salt cellar in vermeil fill the background on the left side of the painting. An intense light concentrated on objects standing out on a darkened background creates contrasts reinforced by the white of the porcelain, the feathers and the skin of the grapes. With remarkable finesse the artist strives to paint the feathers and down of the birds to achieve a very realistic effect. These numerous small strokes are done with brushes with only one hair. This incredible meticulousness makes it possible to appreciate all the talent and the patience which the painter shows. The way the surfaces and materials are treated evokes a great mastery of the brush. Oil on oak panel (parquet). Dimensions : h. 55 cm, l. 80 cm Gilded wooden frame in baroque style, framed dimensions : h. 73 cm, l. 98 cm Our work is a studio reworking of the same dimensions as the painting by Frans Snyders held in a private collection, Christie's New-York sale, 4/6/2014 (realized price $ 461,000). A variant of this composition with the identical basket of grapes and game by Frans Snyders was sold at Lempertz, Cologne, Germany, 14/11/2020 (realized price 143.750€) Frans Snyders (Antwerp, 1579-1657) Frans Snyders entered the studio of Peter Brueghel II in 1593 at the age of 14. In 1602 he became a master and went to Italy, first to Rome and then to Milan. Back in Antwerp, he specialized in still lifes and his reputation spread rapidly, so much so that Rubens called on him between 1611 and 1616 to collaborate on some of his works. Having married in 1611 Marguerite de Vos, sister of Cornelis and Paul de Vos, he influenced the latter considerably. Member of the Society of Romanists in Antwerp in 1619, he became its dean in 1628. He established himself as one of the most important and recognized painters of his time, receiving numerous prestigious commissions. The body of his paintings being quite large, he worked with many collaborators in his studio, and his most famous pupils were Paul de Vos, Nicasius Bernaerts and Jan Fyt.

26,000 EUR

Gallery

Anemone - Gerard van Spaendonck, 1799-1801 - Anémone double - Anemone coronaria , gravure au pointillé réalisée par P.F. le Grand d'après un dessin de Gerard(us) van Spaendonck tiré des "Fleurs dessinées d'après nature", publiées entre 1799 et 1801. Avec coloriage original à la main. Taille (impression) environ 50 x 33 cm. Anemone coronaria signifie anémone couronne, en référence à la couronne centrale de la fleur, évoquant des associations royales. Le nom arabe est shaqa'iq An-Nu'man, qui se traduit littéralement par les blessures ou "morceaux" de Nu'man. L'une des sources possibles du nom remonte au dieu sumérien de la nourriture et de la végétation, Tammuz, dont l'épithète phénicien était "Nea'man". On considère généralement que Tammuz a été introduit dans le panthéon grec sous la forme d'Adonis, qui est mort de ses blessures en chassant le sanglier. La divinité est transformée en une fleur, tachée du sang d'Adonis. L'épithète phénicienne de Tammuz, "Nea'man", serait à la fois la source de "an-Nu'man" en arabe, venu du syriaque, et de "anémone", venu du grec. En hébreu, l'anémone est kalanit metzuya. "Kalanit" vient du mot hébreu "kala ? ??" qui signifie "mariée", "metzuya" signifie "commune". Le kalanit doit son nom à sa beauté et à sa majesté, qui évoquent une mariée le jour de ses noces. En 2013, l'anémone coronaire a été élue fleur nationale de l'État d'Israël. Chaque année, un festival d'un mois est organisé en Israël pour célébrer la floraison des anémones rouges. Gerard van Spaendonck (1756-1842) a étudié avec le peintre décorateur Willem Jacob Herreyns à Anvers. En 1769, il s'installe à Paris, où il est nommé en 1774 peintre en miniature à la cour de Louis XVI. En 1780, il succède à Madeleine Françoise Basseporte comme professeur de peinture florale au Jardin des Plantes et est élu peu après membre de l'Académie des beaux-arts. Van Spaendonck a contribué à plus de cinquante œuvres des Vélins du Roi, une célèbre collection d'aquarelles botaniques appartenant à la royauté française. De 1799 à 1801, il publia vingt-quatre planches dans le cadre de ses Fleurs dessinées d'après nature, des gravures de grande qualité destinées aux étudiants en peinture florale. Aujourd'hui, les Fleurs dessinées d'après nature sont considérées comme l'une des meilleures gravures botaniques au monde. Les gravures au pointillé, qui permettent de différencier les différents tons de gris, se sont avérées très adaptées à la représentation des détails botaniques, une méthode que Van Spaendonck a également enseignée à son élève Pierre-Joseph Redouté. Comme d'autres peintres de fleurs célèbres, Van Spaendonck était également parfait sur le plan technique : à l'huile, à l'aquarelle, à la plume ou au crayon, à n'importe quelle échelle. Avec l'attention portée à chaque détail, l'élégance et la sophistication de la composition, il démontre sa maîtrise. Comme Jan van Huysum, Van Spaendonck a compris l'air du temps et a créé des compositions florales qui correspondaient au goût du public vers 1800. Il a combiné la manière traditionnelle hollandaise de représenter les fleurs avec la sophistication et le bon goût français. Prix de vente : Euro 950,-

950 EUR

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A RARE PRESENTATION BOX WITH PORTRAIT OF MARÉCHAL NEY, PARIS, 1809-1815 Rectangular black tortoiseshell snuffbox gold-mounted (18k), the hinged lid with a push-button is inlaid with a superb oval miniature portrait depicting Michel Ney (1769-1815), Marshal of the Empire (1804), Duke of Elchingen (1808), Prince of Moskowa (1813), signed on the right "Hollier". He is depicted as a bust, bare head, short curly hair and long sideburns with red highlights. He wears a black tie and is dressed in his embroidered full dress of a Marshal of the Empire with epaulettes. It features the red silk cord of the great eagle of the Legion of Honor, the great eagle star embroidered in silvered threads, the gold cross of the Legion of Honor for officers and higher ranks hanging from its ribbon red, and the insignia of the knight of the Iron Crown of Italy suspended from its yellow ribbon with green edging. Paris, 1809-1815. Goldsmith: probably Antoine Tardiveaux (1798-c. 1815). Hallmark of 3rd title (rooster to the left) and large guarantee (lion's head) for Paris (1809-1819). 3rd title hallmark with bear head (1795-1838). Good general condition, small chips at the tortoiseshell on the edge, traces of humidity on the miniature. L. 8 x D. 6 x H. 2.5 cm. Gross weight: 82.3 g. Provenance - Presented by Marshal Michel Ney, Duke of Elchingen, Prince of Moscowa (1769-1815). - French private collection. Exhibition The miniature possibly exhibited by Hollier at the Salon of 1808 under number 294 ("M. le Maréchal Ney"). Related works A similar snuffbox with an identical miniature signed Hollier, offered by Marshal Ney to his aide-de-camp M. Vallet, was sold at Binoche & Giquello, June 20, 2012, lot 18. History Jean-François Hollier (1772-1845), pupil of Jacques-Louis David and Jean-Baptiste Isabey, is one of the best miniature painters of his time. Based in Paris, he exhibited at the Salon between 1804 and 1831. In his obituary he was honored in these terms: "(...) he walked almost immediately after Isabey, almost all the notable figures of the Empire wanted to have their portrait executed by him..."

18,000 EUR

Gallery

L'ATLAS - FOCUS" canvas Technique: Acrylic and aerosol on canvas. Format : 60 x 60 cm Sold framed in a black American box. Year of realization : 2022 The At Down gallery is at your disposal for more information on the acquisition of this work. THE ATLAS Born in 1978 Lives and works in: Paris, France 48° 51' 23.8104" N, 2° 21' 7.9992" E L'Atlas starts graffiti in the 90s. Fascinated by the work of the line and the writing, he leaves to study the traditional Arabic calligraphy in Morocco, in Egypt and in Syria. He is particularly interested in kufi, a geometric writing whose codes he transposes into the Latin alphabet, thus creating his own typography. Atlas experiments with several media such as photography, painting and video. After having worked for a while in the cinema, where he learned the traditional techniques of editing and made a few documentaries, he developed a pictorial universe where every letter is considered as a form, and every form as a letter. Little by little, the city itself appears to him loaded with signs of which he collects the almost abstract trace with a system of imprint. He is a meticulous artist in search of a certain purity, both in form and in the sparing use of colors. The oriental thought, according to which duality is a source of complementarity, occupies a preponderant place in his life and in his art. This is where he draws the essence of his artistic approach. Indeed, we observe a recurrent dichotomy between black and white in most of his compositions. Often compared to the Italian protest movement of the late 60s, Arte Povera, he renounces, most of the time, a heavy equipment that could make him dependent on the economy and cultural institutions. It grants a great importance to the process, and more precisely to the creative gesture His work on the logo and calligraphy leads him to other forms of intervention in the street. He became, with Zevs, a figure of the post-graffiti movement and conceived a series of urban interventions such as the tracing of urban compasses, one of which is in front of the Georges Pompidou center, sometimes made with a gaffer, one of his favorite tools. Another of his techniques consists in taking impressions of manhole covers by contact. The work of L'Atlas wants to reconcile, between the city and the man, the outside and the inside. With time, his artistic practice evolves, in parallel to his presence in the street, towards the conception of works that resist time, and that come naturally to be inscribed, in the same way that the posters or the scotch compasses are inscribed in the city, in adapted places of exhibition, without losing for all that the contesting and subversive spirit which characterizes them.

4,200 EUR

Gallery

Pikeperch - Markus Elieser Bloch, 1782-1795 - LE PIKEPERCH "Perca Lucioperca//Der Zander/Le Sandre/The Pike-Perch" (planche 51), gravure sur cuivre réalisée par Ludwig Schmidt d'après le dessin de Krüger jr, pour l'"Allgemeine Naturgeschichte der Fische" de Markus Elieser Bloch, publiée à Berlin entre 1782 et 1795. Avec coloriage original à la main. Dimensions : 19 x 38 cm. Le travail de Bloch sur l'"Allgemeine Naturgeschichte der Fische" a occupé une grande partie de sa vie et est considéré comme ayant jeté les bases de la science de l'ichtyologie. La publication a été encouragée par une souscription importante et a connu rapidement cinq éditions en allemand et en français. Bloch n'apporta que peu ou pas de modifications à l'arrangement systématique de Peter Artedi et Carl Linnaeus, bien qu'il ait été disposé à introduire dans la classification certaines modifications dépendant de la structure des branchies. Au nombre de genres déjà établis, il a jugé nécessaire d'en ajouter dix-neuf nouveaux, et il a décrit 276 espèces nouvelles pour la science, dont beaucoup habitent les parties les plus reculées de l'océan et sont, par l'éclat de leurs couleurs ou la singularité de leurs formes, autant d'objets d'admiration populaire que de curiosité scientifique. Bloch est considéré comme l'ichtyologiste le plus important du 18e siècle. La Perca Lucioperca, également connue sous le nom de sandre ou de brochet, est une espèce de poisson d'eau douce appartenant à la famille des Percidae, qui comprend également le doré jaune et la perche jaune. Il est originaire d'Europe et se trouve généralement dans des environnements d'eau douce tels que les rivières, les lacs et les étangs. Le sandre est un poisson prédateur qui se nourrit d'une variété de petits organismes tels que les insectes, les crustacés et les petits poissons. Il atteint généralement une longueur de 60 à 80 centimètres et peut peser jusqu'à 6 kilogrammes. Le sandre est une espèce de poisson de sport très appréciée des pêcheurs. Il est également apprécié pour sa chair, considérée comme de haute qualité et souvent utilisée dans des plats tels que les gâteaux de poisson et les ragoûts. Son prix est de 350 euros : 350 euros

350 EUR

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Paul Van Gysegem - Paul Van Gysegem (1935- ) Sculpture in Welded Iron About 1990-2000 100 x 90 x 30cm ------------ Born in Berlare (near Dendermonde) on June 6, 1935. Studies at the Kon. Academy of Fine Arts in Ghent and at the National Institute of Fine Arts in Antwerp. Triple winner of the prov. Prize for Visual Arts of East Flanders (1959: painting; 1960: sculpture; 1961: graphics). Professor of sculpture at the Academy of Ghent. Active as a sculptor, drawer, engraver, painter and jazz musician. Member of the Kon. Academy of Belgium, Klasse der Schone Kunsten, 1982. Recent exhibitions in Breda (1981), Oosteeklo (1981, 1983, 1986 and 1988), Lokeren (1983), Berlare (1985), Brussels (1987 and 1989) and Baarle-Hertog-Nassau (1988). Workshop: Verschansingstraat 9, 9910 Mariakerke (Gent). --------- Some biographical details: Born in Berlare (near Dendermonde) on June 6, 1935. Studies at the Kon. Academy of Fine Arts in Ghent and at the National Institute of Fine Arts in Antwerp. Triple winner of the prov. Prize for Visual Arts of East Flanders (1959: painting; 1960: sculpture; 1961: graphics). Professor of sculpture at the Academy of Ghent. Active as a sculptor, drawer, engraver, painter and jazz musician. Member of the Kon. Academy of Belgium, Klasse der Schone Kunsten, 1982. Recent exhibitions in Breda (1981), Oosteeklo (1981, 1983, 1986 and 1988), Lokeren (1983), Berlare (1985), Brussels (1987 and 1989) and Baarle-Hertog-Nassau (1988). Workshop: Verschansingstraat 9, 9910 Mariakerke (Gent).

Price on request

Gallery

PAIR OF GIRANDOLES WITH TWO LIGHTS IN GLASS AND GOLDEN BRASS, Russia or Sweden, late 19th century Charming pair of girandoles with two arms of lights, decorated with a fountain and faceted glass threads, the square base is in white marble, the baluster shaft in cobalt blown glass, which animates the play of crystal pendants. The whole is mounted in gilded brass with chased decoration, topped by a crescent moon. Good condition. Russia or Sweden, late 19th century. H. 41,5 x L. 22,5 cm. History A girandole (from the Italian girandola - "fiery wheel, fireworks") is a candlestick or lamp for several candles arranged in a circle. Girandolas were made in specialized workshops, sometimes by jewelers, and were placed on fireplaces or tables; they were used to light ceremonial rooms. The main decorative role of the girandole was attributed to the crystal decoration and the metal structure was only a frame. The girandole spread in France in the 17th century, as well as in other countries, especially in the North. The girandoles appeared as varieties of candelabras and looked like small trees. Crystal pendants glittered on their metal stems and supports, among which were porcelain figures of people and animals, baskets of fruit and flowers. In Russia, there are two main types of girandoles, according to the typology of chandelier designs, classically called "Elizabeth" and "Catherine". Our pair was most probably made in Sweden at the end of the 19th century, after a Russian model from the second half of the 18th century.

1,800 EUR

Gallery

Workshop of Constantin Netscher WILLIAM III, PRINCE OF ORANGE, WORKSHOP OF CONSTANTIN NETSCHER (THE HAGUE, 1668-1723) Full-length portrait of William III, Prince of Orange-Nassau, future king of England. At the head of the United Provinces (Holland) in the 17th century, he was for 30 years one of the main rivals of Louis XIV during the Wars of the Spanish Succession and the Dutch Wars. The young prince is represented standing on a rocky landscape. He is holding in his right hand the baton of command, while with his left arm he is leaning on his thigh. Dressed in full armor, a lace tie tied around his neck, he wears a wig of long curly hair. His helmet adorned with red feather dusters sits on a stone entablature adorned with a drapery. His body slightly turned to three quarters, his head held high, his gaze turned towards the viewer, his bellicose attitude against the background of a battle allows him to assert his status as one of the greatest sovereigns of Europe. Workshop of Constantin Netscher, last quarter of the 17th century. Oil on canvas, dimensions: h. 80 cm, l. 63 cm Gilded and carved wooden frame: framed: h. 95 cm, l. 79 cm Our portrait is a studio version by Constantin Netscher, replicating the first portrait of the sovereign painted between 1680 and 1684. Now in the Rijksmuseum, Amsterdam, it has the same dimensions as our portrait. Few versions of this portrait are known, because when William III became king of England in 1689, he preferred portraits with the insignia of royal power. Constantin Netscher was the son of the painter Gaspar Netscher and also his pupil. He adopted his father's style and manner, painting almost exclusively small-scale portraits. Specializing in small portraits, he was admitted to the painters' society in The Hague in 1699 and later became director of the academic school.

10,500 EUR

Gallery

Hobz - Action May 68, 2018, Mixed media on the original cover of "Action" magazine, 54 × 37 cm 42 urban art artists express themselves on original front covers of Action newspaper activist of May 68. Founded in Paris by Claude Kunetz in 2011, the Wallworks Gallery has quickly made a place for itself on the graffiti art scene with solo shows dedicated to French (Nebay, Tilt) or American (Rime, Haze) graffiti artists and group shows for which artists are invited to customize urban furniture. Originally a film producer, Claude Kunetz adapts his production know-how to the mounting of exhibitions by gathering vintage urban furniture that he entrusts as creative supports to artists from the graffiti and urban art movement. With "Ne Pas Effacer" (2012), "Intérieur Rue" (2013), "Pièces détachées" (2014), "Morceaux de rue" (2015) and "Dehors Dedans" (2016), he has made a specialty of these exhibitions for which many graffiti artists and street-artists intervene on all types of urban furniture: telephone booths, mailboxes, traffic lights, illuminated signs, street lamps, subway plates, enameled street signs, iron curtains, bus stops, road and railroad signs, train benches, car parts... On the occasion of the 50th anniversary of May 68, he renews the experience by entrusting this time to artists original copies of the newspaper Action. Created by the journalist Jean Schalit, Action released its first issue on May 7, 1968. It serves as a relay for the demands of several student movements and high school action committees. The pages of Action were opened to numerous cartoonists such as Siné, Topor or Wolinski. All these documents have been kept for 50 years and were collected by Claude Kunetz when he was a pre-teen living with his parents on rue Gay-Lussac. Impressed by the effervescence of the barricades that he observed from his window, he began to collect these documents methodically. The exhibition also presents a selection of leaflets and documents of the time.

1,500 EUR

Gallery

Romain Thiery - Romain Thiery, Requiem for pianos N°30, 2017, Photography, 100 x 150 x 4 cm, Romain Thiery, born in Bergerac in 1988, is an artist photographer living and working near Montpellier. Romain is an amateur pianist who started photography more than fifteen years ago following his mother's work in heritage photography. Romain Thiery believes that the piano is deeply rooted in the depths of our culture, and sought to explore the instrument from an original angle. He made it his mission to combine his two greatest passions and set out to find buildings where old pianos are left abandoned. Since 2014, he has discovered more than a hundred pianos, in as many stunningly beautiful locations. Scenes from which he never changes anything, leaving the place as it is. " Even in the middle of a Even in the middle of a degraded space, the piano never ceases to preserve its power. It is there, it thrones with all its nobility. Beyond his photographic work, Romain records in situ, when possible, note by note, all the sounds of the pianos he discovers. They will allow him to build a collection of virtual instruments that he will make available to the public online and during his exhibitions. This method allows him to create a realistic sound model, to immortalize the sound of these pianos and to capture their identities. These sample libraries will give a second life to abandoned and sometimes hard-to-reach pianos, giving hundreds of musicians around the world the opportunity to make them sound. This research has led hiḿ to visit much of Europe as well as the United States. The series resulting from his works is entitled Requiem for Pianos and has made his international reputation take off. In recent years, he has won major international photography awards in various competitions. His solo and group exhibitions have been seen in North America, Europe and Asia. His photographs have been exhibited in galleries and festivals in New York, San Francisco, St. Petersburg, Tokyo, Seoul, Paris, Madrid, Tel Aviv and many others. The most prestigious press titles have alreadỳ praised or covered his work in their pages such as El País, Der Spiegel, The Guardian, Daily Mail, Lonely Planet, Cultura Inquieta, Point de vue, Esquire, Beijing News... and in TV reports on M6 (France), DW (Germany), Channel Cuatro (Spain), TV5 Monde (France) and I24 News (France and Israel).

3,500 EUR