Collectors' items

Ingo MAURER (born 1932) Uchiwa" wall lamp with bamboo structure and palm-shaped rice paper Designed in 1973 and published by Design M H : 60 l : 44 cm Bibliography: "Light", Ingo Maurer, "Reaching for the moon", Vitra Design Museum, similar model reproduced on pages 68-71.

LAPICQUE Charles (1898-1988) "Tiger in the Jungle" (1961) Color lithograph on Japanese paper, signed lower right and numbered "51/125" lower left. Subject height: 50 cm x Width: 38 cm Ref : Charles Lapicque - Bernard Balanci - Georges Blache - Elmina Auger, "Charles Lapicque. Catalog raisonné de l'oeuvre complet des lithographies, eaux fortes et gravures", Imprimerie Sipo, Béziers, 1981, under number 166.

Large fossil ammonite disc from Madagascar, composition of 30 different ammonites assembled on a polymer support plate, diameter approx. 25cm, thickness 0.7cm, weight650 grams

CITROEN AMI 6, 1965 1st registration: 08/12/1965 Type : VP Body : CI Serial number : 9398606 Fiscal power : 3 CV Energy : ES Displayed mileage : 1,164 kms (not guaranteed) With over a million units sold of all models, the Ami 6 is a classic on French roads, with a very famous driver in the person of Yvonne de Gaulle. The vehicle was created in 1961 by Citroën CEO Pierre Bercot and Flaminio Bertoni, the brilliant creator of the 2CV and DS front-wheel drives. The idea was to take up the principle of the inverted rear window initiated on the American Packard Balboa X prototype of 1953 and carried over to the Ford Anglia of 1959. The result was an instantly recognizable silhouette. Described as the "Super 2CV", it uses the same chassis but with a larger volume, increasing its mass by more than 80 kg. It was also equipped with an engine 83% larger than that of the Deudeuch. Production ceased in 1969, to be replaced by the Ami 8. Technical specifications : - Engine: 602 cm³ flat-twin petrol engine - Power: 22 hp - Transmission: 4-speed manual, front-wheel drive - Top speed: approx. 105 km/h - Fuel consumption: approx. 6.5 l/100 km Dimensions: Length: 3,875 mm. Width: 1,526 mm. Height: 1,525 mm. Wheelbase: 2,400 mm. Empty weight: Approx. 640 kg The engine has not been restarted but is not blocked. Immobilized for several years in the dry, the car will need to be completely overhauled, including a check of its safety features. The paintwork has a few defects, but is of a very good appearance. Structural elements show little visible corrosion. The upholstery is in good condition. Interior door trim needs to be refastened. Pitted chrome. Dutch registration, FFVE file to be compiled. With technical inspection.

VAN CLEEF & ARPELS Yellow gold (750‰) godronné octagonal-section flat mechanical pencil with cane motif. Signed VAN CLEEF & ARPELS and numbered. Master jeweler's hallmark. Size: 9.5 x 1.2 x 0.7 cm. Gross weight: 25.3 g.

ink set with Bankers Lamp, German, 1930s, black veined marble with two ink pots of crystal glass, green adjustable glass lampshade, electric not examined, H. approx. 47cm

STUTZ BLACKHAWK, 1973 1st registration: 01/01/1973 Type : VP Body : CI Serial number: 2K57T3A245482 Fiscal power : 46 CV Energy : ES Displayed mileage : 78 813 kms (not guaranteed) Founded in 1911 in the United States, the Stutz Motor Company laid the foundations for a company that would become synonymous with luxury and performance. The latter, combined with great reliability, enabled "Stutz" cars to shine in major competitions such as the 24 Hours of Le Mans, the Indianapolis 500 and the Pikes Peap International Hill Climb. Production ceased in 1935, a victim of the Great Depression, In 1968, a New York financier, James O'Donnel, resurrected the brand by creating the company "Stutz Motor Car of America Inc." and entrusted the design of a first car to Virgil Exner, a former designer who had worked for Dodge, Plymouth and Chrysler. The prototype was presented in January 1970 at the Waldorf Astoria hotel in Manhattan, and made a strong impression. Produced from 1971 to 1987 in just 617 examples, the Stutz Blackhawk was, in 1973, the most expensive car in the world, with a price tag of $43,000. By comparison, the Cadillac Eldorado luxury version was priced at $8,000! Stutz Blackhawks were "hand-assembled" in Turin, Italy, on a Pontiac Grand Prix chassis, and powered by a 7.5-liter, 431 hp General Motors V8, supporting a weight of 2.3 tons! Famous owners include Elvis Presley, Paul McCartney, Al Pacino, Frank Sinatra, Sammy Davis Junior, Dean Martin, Jerry Lewis, Isaac Hayes and Elton John. Tradition has it that our example, whose steering wheel is monogrammed "EJ", belongs to the English star. We estimate that only five examples are in circulation in France. Technical data TH 400 three-speed automatic gearbox, power steering, two-tone metallic paintwork, air conditioning, grey leather upholstery in fine condition, precious wood interior, 15-inch spoked wheels, with chromed running boards to protect the side-pipe exhaust. - Engine: powerful 7.5-liter V8, delivering some 425 hp. - Transmission: 3-speed automatic for smooth, comfortable driving. - Dimensions offering an imposing presence on the road: Length: 5.84 m. Width: 2.03 m. Height: 1.32 m. - Performance: capable of a top speed of 209 km/h (130 mph) with acceleration from 0 to 100 km/h in around 8 seconds. The engine has been successfully restarted, but as the car has been parked in the dry for several years, it will need a complete overhaul, including a check of all safety features. The paintwork has a few defects, but is of a very good appearance. Structural elements show little visible corrosion. Pitted chrome. Clean upholstery. French registration, in collection. With technical inspection.

Set of 2 glass medicine bottles. Height: 23-24 cm

LAPICQUE Charles (1898-1988) "Tiger hunt" (1961) Color lithograph on beige Arches paper, signed lower right. Height : 40 cm x Width : 50 cm Ref : Charles Lapicque - Bernard Balanci - Georges Blache - Elmina Auger, "Charles Lapicque. Catalog raisonné de l'oeuvre complet des lithographies, eaux fortes et gravures", Imprimerie Sipo, Béziers, 1981, under number 168.

SEBASTIAO SALGADO (Aimorés, Brazil, 1944). "A leopard (Panthera pardus) in the Barab River Valley". Damaraland, Namibia, 2005. Gelatin silver print. Photographer's credit embossed (in margin). Signed, dated and annotated in pencil; artist's stamp (on verso). Provenance: Claudio Poleschi Arte Contemporanea Gallery, San Marino, Italy. Measurements: 37,4 x 51 cm (image); 50,8 x 61 cm (paper). This is an image of subjugating beauty and elegance. The powerful majesty of the leopard enhanced by the play of reflections between the water and the night sky introduce us to a sublime nature that is barely hinted at with the minimal elements. It is perhaps one of the least descriptive and most experimental photographs by Sebastiao Salgado, who on this occasion deviates from the documentary rawness of his social photographs to address another of his most pressing concerns: environmental conservation. In several series, Salgado has used his art to draw attention to the challenges facing our planet. Sebastião Salgado is a Brazilian socio-documentary photographer and photojournalist. He has traveled to more than 100 countries for his photographic projects. Most of these have appeared in numerous publications and books. Traveling exhibitions of his work have been shown around the world. Gallery owner Hal Gould considers Salgado the greatest photographer of the early 21st century. He has received numerous international awards, including the 1998 Prince of Asturias Award for the Arts3 and the W. Eugene Smith Award for Humanitarian Photography. Eugene Smith Award for Humanitarian Photography4 in 1982. He came to the field of photography relatively late, having previously trained and worked as an economist. In his career as a photographer he started working for the Paris-based Gamma agency and then joined Magnum Photos in 1979. In 1994 he left Magnum to form his own agency Amazonas Images in Paris to represent his work. Salgado belongs to the tradition of socio-documentary photography: his work highlights the documentation of the work of people in less developed countries or in poverty. In 2001 he was nominated as a special representative of Unicef for his work. He works on his own long-term projects, some of which have been published in books such as "Otras Américas" or "Éxodos". Among his best known photographs are those taken in the gold mines of Serra Pelada in Brazil. He usually photographs in black and white with Leica. In 1989 he received the Hasselblad Foundation International Award. In June 2007, after receiving the Prince of Asturias Award for the Arts, there was a large anthological exhibition of his work at the PHotoEspaña international festival in Madrid, where he won the Audience Award. While Sebastião Salgado's fame grew in the world of photography, being part of the Magnum agency, his wife Lélia Wanick worked as editor of his works to publish them in books and exhibitions. In the 1990s they both decided to return to Minas Gerais, Brazil, to receive from Sebastião's family a totally devastated, eroded and dry field. In 1998 they formed the Terra Institute and with Lélia as president of the project, they began to reforest the land. With more than 4 million seeds of native species raised by them, they completely reforested the Bulcao Farm with its original flora, giving life to an emblematic and hopeful project for the whole world. Published books: GOLD (2020), Genesis (2013), Exodus (2000), The Gold Mine of Serra Pelada (1999), Terra (1997), Trabalhadores (1996), The Hand of Man (1993), Sahel: l'Homme en Détresse, Prisma Presse and Centre National de la Photographie, for Médecins sans frontières, France (1986), Other Americas (1986), Les Hmongs, Médecins sans frontières, Chêne/Hachette, Paris (1982).

Strong set of herbarium plates. 30 x 23 cm (scratches, stains, missing parts)

Henri LEBASQUE (1865-1937) Women with parasols Pencil, shading and watercolor highlights on paper Signed lower right 27.5 x 24 cm (view) (slight stains)

PONTIAC FIREBIRD, 1994 1st registration: 27/09/1994. Type : VP Serial number: 2G2FS22S1R2243539 Fiscal power: 14 HP Energy : ES Mileage: 90,240 km (not guaranteed) A carriage builder in Pontiac, near Detroit, Michigan, Edward Murphy met Alanson Brush, designer of the first Cadillacs, in 1906. The Oakland Motor Car Company was born, and in 1926 the Pontiac Series 6 became the first true Pontiac model. Hard hit by the Depression of 1929, the company returned to success in 1933, producing the cheapest in-line 8-cylinder car on the market. Although the post-war years were profitable, Pontiac cars had become "conservative" and "stuffy" over the years. It was the arrival of Pontiac's new president, Semon E. Knudson, in 1955, that led the company to offer more spirited, sporty models. A winning bet: in 1959 and 1965, the entire Pontiac range was named "Car of the Year" by Motor Trend magazine. In 1967, the "Firebird" rolled off the assembly line and, with its "Trans Am" version in 1969, became an icon of American production, entering pop culture thanks to the film "Run After Me Sheriff" starring Burt Reynolds. Production of the Firebirds ceased in 2002. Technical specifications Dimensions: Length: approx. 4.72 m (186 inches). Width: approx. 1.88 m (74 inches). Height: approx. 1.21 m (48 inches). Weight: Approx. 1,560 kg (3,440 lbs). Performance and driving : - Engine: 3.8L V6. - Transmission: 4-speed automatic. - Exterior design: aerodynamic lines, T-top roof. - Interior: sport seats, ergonomic center console. - Suspension: independent front and rear suspension. - Brakes: ventilated disc brakes front and rear. - Steering: power-assisted, often with variable steering option. - Fuel consumption: varies according to engine and transmission, generally around 12 to 15 liters per 100 km in city driving. The engine has been successfully restarted, but as the car has been parked in the dry for several years, it needs a complete overhaul, including a check of all safety features. The paintwork has a few flaws, but is perfectly presentable. Structural elements show little visible corrosion. FFVE file in progress. With technical inspection.

ROBERT FRANK (Zurich 1924 - Nova Scotia 2019) "Rainy day", c. 1955. Gelatin silver on Agfa paper. Signed in ink in lower left corner. Provenance: Christie's Paris, Photographies 10/11/2020, Lot 107. Measurements: 41 x 30 cm; 66,5 x 58 cm (frame). Robert Frank was a Swiss photographer and documentary filmmaker, who also became an American citizen. His most notable work is the 1958 book The Americans, which earned Frank comparisons to De Tocqueville because his photography provided a fresh and nuanced view of American society from the outside. Critic Sean O'Hagan, wrote in The Guardian in 2014, that The Americans "changed the nature of photography, what it could say and how it could say it. It remains perhaps the most influential photography book of the 20th century." Frank later explored other fields such as film and video and experimented with photo manipulation and photomontage. Robert Frank was born in Zurich, Switzerland, into a Jewish family. Frank and his family remained safe in Switzerland during World War II. He trained with several photographers and graphic designers before creating his first handmade photography book, 40 Photos, in 1946. Frank emigrated to the United States in 1947 and got a job in New York City as a fashion photographer for Harper's Bazaar. In 1949, Camera magazine's new editor, Walter Laubli (1902-1991), published a substantial portfolio of Jakob Tuggener's photographs taken at high-class shows and in factories, along with the work of the 25-year-old Frank, who had just returned to his native Switzerland after two years abroad. He soon left for South America and Europe and created another book of handmade photographs he took in Peru. He returned to the United States in 1950 where he met Edward Steichen, and participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA). Although initially optimistic about American society and culture, Frank's perspective quickly changed when confronted with the fast pace of American life, which he saw as an overemphasis on money. It was then that his images began to show America as an often desolate and lonely place. Frank's own dissatisfaction with the control that editors exerted over his work also undoubtedly influenced his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines such as McCall's, Vogue and Fortune. By associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has called the New York School of photographers during the 1940s and 1950s. In 1955, Frank achieved further recognition with Edward Steichen's inclusion of seven of his photographs in the Museum of Modern Art exhibition. In 1955 Frank was awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation to travel the United States and photograph society. The cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family with him for part of his series of road trips over the next two years, during which time he took 28,000 photos of which only 83 were selected by him for publication in The Americans. He had his first solo show at the Art Institute of Chicago, and a year later exhibited a second time at MoMA. In 1972 the Kunsthaus Zürich held a major retrospective of his work.

Bronze sculpture of a plant. Signed. Height: 16 cm (slight wear to patina)

GUERLAIN Set of two metal atomizers and a glass bottle (empty). 12-18 cm

YAMAHA - Model "C 3 Very nice professional piano. N°6219060 - Large quarter grand. Perfect condition. Purchased around 2008 in Saintes. Overhaul invoice dated March 23, 2018. With locking key 100 x 190 x 145 cm Visible by appointment, collection by appointment on the ground floor in Châtellerault 86100

Christian DIOR Petit entonnoir à parfum en argent. Poids : 7,51 g Haut.: 4 cm

André DERAIN ( (1880-1954) Seated Nude Ink on paper, studio stamp lower left, minor foxing 23 x approx. 38 cm, framed

PEUGEOT 301 D, 1935 1st registration: 01/01/1935 Type : VP Body : CI Serial number : 387387 Fiscal power : 8 CV Energy : ES Displayed mileage : 42 806 km (not guaranteed) This Peugeot, of which around 70,000 were produced between 1932 and 1936, reflects the manufacturer's desire to break away from the so-called "rolling cabinet" body style. It benefited from emerging aerodynamic techniques, such as the "beavertail" termination and slightly sloping grille. Its lines are more "in the wind". It is powered by a 1465 cm3 in-line 4-cylinder engine, with side valves and 3-bearing crankshaft, with horizontal solex carburetor, developing 35 hp at 4000 rpm. It is coupled to a 3-speed gearbox. It was produced in 5 versions, including our model, the A6S, corresponding to the 4-door, 4-seat sedan. The 1935 Peugeot 301 is not just a car, it's a living legacy of French engineering, an icon that has crossed the decades to become a symbol of prestige and sophistication. Every moment spent behind the wheel of this car is a tribute to an era when elegance was the norm, and the road was an adventure to be savored. Technical specifications : - Engine: 4-cylinder in-line petrol engine - Displacement: approx. 1465 cm³ - Power output: approx. 30 hp - Transmission: rear-wheel drive, 3-speed manual gearbox - Top speed: approx. 90 km/h Dimensions : - Length: approx. 4.20 m - Width: approx. 1.60 m - Height: approx. 1.55 m - Weight: approx. 1,000 kg The engine, not blocked, could not be restarted. Immobilized for several years in the dry, the car needs to be completely overhauled, with all safety components checked. The paintwork has a few flaws, but is in perfect condition, and the structural elements show little visible corrosion. French registration document. With technical inspection.

S.T. DUPONT - Paris Silver-plated ballpoint pen with torso stripes, signed. Numbered "5766U56". In case, with instructions and cartridges. Length: 13.8 cm

Lot of 10 33 rpm records, including Michael Jackson, Pink Floyd, Rolling Stones, Beatles (wear to cases).

Set of two small silver-plated purses, from 6 to 10cm (slight silvering).

Microscope, Ernst Leitz Wetzlar, around 1910, No. 166964, brass housing partly blackened, round slide plate, in the original. Wooden box, with additional eyepieces, traces of age,partly corroded, box 40x20x24 cm

GEORGES ROUSSE (Paris, 1947). Untitled. Barcelona, 2003. Photographic paper, copy 12/30. Signed, numbered, traced and dated by hand. Exhibited at the Carles Taché gallery, Barcelona, 2003. Size: 52 x 41 cm; 75 x 63 cm (frame). Since the early 1980s, Georges Rousse's work has been characterised by the relationships he has established between photography, painting, sculpture and architecture. The photographic language, however, is the backbone of the others, dialoguing with them and playing with spatial effects. This was seen in the exhibition held at the Carles Taché gallery in Barcelona, of which this work was part. Ever since he received a Kodak Brownie Flash as a Christmas present when he was 9 years old, the camera has never left Georges Rousse's hands. While studying medicine in Nice, he decided to learn the techniques of photography and printing from a professional, and then set up his own architectural photography studio. Increasingly, his passion led him to devote himself entirely to the artistic practice of this medium, following in the footsteps of the great American masters Edward Steichen, Alfred Stieglitz and Ansel Adams. It was with the discovery of the works of Land art and Kasimir Malevitch's Black Square on a White Background that Georges Rousse chose to intervene in the field of photography, establishing a relationship between painting and space. He appropriates abandoned places that he has always liked, transforms them into pictorial spaces and builds there a unique and ephemeral work that only photography can reproduce. In order to allow the spectator to share his experience of Space, he has been presenting his images in large format prints since the early 1980s. This strong and singular work, which shifts the boundaries between traditional media, immediately imposed itself on the contemporary art scene. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued to create his installations and show his photographs all over the world, in Europe, Asia (Japan, Korea, China, Nepal), the United States, Quebec and Latin America. He has participated in numerous biennials (Paris, Venice, Sydney) and received many prestigious awards: 1983: Villa Medicis hors les murs, New York City 1985 -1987: Villa Medicis, Rome 1988: International Center of Photography Award, New York 1989: Salon de Montrouge Drawing Award 1992: Romain Roland Fellowship, Calcutta 1993: Grand Prix National de Photographie 2008: Succeeded Sol LeWitt as associate member of the Royal Belgian Academy. He is represented by several European galleries and his works are included in many important collections around the world.

Lot including a rhinestone metal belt buckle, a metal box, a wood and leather case, a resin and metal penknife, a pair of padlocks with keys, a miniature bronze magnifying glass, needles (in case). 3-11 cm

CHAUSSEPIED Jean-François (Born 1944) "Abstract composition Gouache and India ink on paper, signed and dated "88" lower right. Height 11.5 cm x Width 13.5 cm (Sight)

Inkwell/desk top, George Morin, 1874-1950, bronze, in the form of a miner pushing a cart full of ore, signed, glass insert defective, approx. 10x25x13cm

RENAULT ONDINE, 1960 1st registration: 26/11/1960 Type : VP Body : CI Serial number : 1011227 Fiscal power : 5 CV Energy : ES Displayed mileage : 22 901 kms (not guaranteed) Aimed at comfort-seeking customers, the Renault Ondine is the evolution of a French road celebrity: the Dauphine. With its thicker carpet, matte black dashboard, reclining front seats, more refined steering wheel, double front bumpers and rear bumpers, it was the link with the no less famous R8, and 66,000 units were produced. The Renault Ondine seduces at first glance with its harmonious lines and distinguished allure. Its flowing silhouette and chrome details captivate the eye, while its round headlights and emblematic grille recall an era of automotive sophistication. Inside, the atmosphere is just as enchanting: vinyl or fabric seats offer enveloping comfort, ideal for leisurely drives. The elegantly arranged dashboard combines functionality and vintage aesthetics, immersing us in a gentle nostalgia that's enjoyable at every turn. Under the hood, the Renault Ondine hides a valiant heart: a petrol engine that combines power and reliability. With a smooth, responsive ride, this car will transport you into the comfort and style characteristic of the 60s. Technical specifications - Transmission: rear-wheel drive, manual gearbox - Dimensions: approx. 3.9 metres in length - Weight: approx. 800-900 kg The engine has been successfully restarted, but as the car has been parked in the dry for several years, it will need to be completely overhauled, with all safety components checked. The paintwork has a few defects, but is of a very good appearance. Structural elements show little visible corrosion, except for a snag on the passenger seatback. The upholstery is in good condition. French registration document, in collection. With technical inspection.

LEWIS MORLEY (Hong Kong, 1925-Sidney, 2013). "Christine Keeler," 1963. Gelatin silver. Signed, titled and dated in ink (in the margin). Provenance: Bennett Private Collection, New York. Measurements: 31.5 x 25 cm (image); 36 x 28.9 cm (paper). After cabaret performer and dancer Christine Keeler had an affair with a minister in Harold Macmillan's government, which brought the Conservative Party into disrepute in what became known as the Profumo affair, she was called to do a photo shoot at Lewis Morley's studio. The events took place because a film production company intended to make a movie about the scandal and needed some publicity photographs. Although Keeler had initially agreed to be photographed nude, when she arrived at the studio she was reluctant to do so. For this reason, Lewis Morley began the photo shoot by capturing the model with her clothes on, but the film company's representatives insisted that she pose nude. The photographer, sensing Keeler's discomfort, had the others present leave and, turning his back to her while Keeler undressed, suggested that she pose on the studio chair placed upside down. Lewis Morley began his career with assignments for magazines such as Tatler and was a successful theater photographer for over 100 West End productions. His publicity photographs for Beyond The Fringe magazine (1961) included a study of the cast Peter Cook, Dudley Moore, Alan Bennett and Jonathan Miller, which was used for the cover of the show's best-selling LP. In 1971 he moved to Sydney, where he worked on magazines such as Belle and with interior designers and stylists such as Babette Hayes and Charmaine Solomon. In 1989 he collaborated with photography curator Terence Pepper in staging his first museum retrospective at the National Portrait Gallery in London and subsequently donated all the images printed for the exhibition as part of a larger archive of his work. His first autobiography, Black and White Lies, was published in 1992. In 2003, a film about his life was released and an exhibition entitled Myself and Eye was held at the National Portrait Gallery in Canberra. In 2006, the Art Gallery of New South Wales presented a comprehensive exhibition showcasing 50 years of his work. Entitled Lewis Morley: 50 Years of Photography, the exhibition included 150 of his works spanning fashion, theater and reportage, many of which had never been seen before. After his death his archive was subsequently donated to the National Media Museum in Bradford, England.

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) Untitled, from "Angels series", Rome, 1977-1978. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 297 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 15.5 x 15.5 cm (image); 26 x 21 cm (paper). This photograph belongs to Woodman's Roman period. The blurring of the body, the ghostly presences, the night and the specters make up a suggestive print in which the artist herself is the protagonist. Woodman delves into the hidden part of her own being, trying to make visible what is essentially invisible. In this series, the photographer employs long exposure techniques to capture movement, resulting in blurred figures that seem to fade or merge with their surroundings. This effect creates a sense of dynamism and evokes the idea of ethereal beings or ghosts. He made this series (Angels) in Rome. Between 1975 and 1979, while studying at Providence College of Fine Arts, where Francesca Woodman excelled in her artistic abilities, she was awarded an Honors Program scholarship that allowed her to live for a year in the school's facilities at Palazzo Cenci in Rome. She met and joined a group of artists linked to the Maldoror Gallery and Bookstore. Its owners Giuseppe Casetti and Paolo Missigoi were attracted to all those related to the avant-garde movements, more specifically, those related to futurism, surrealism and symbolism. It was the owners who managed to include Woodman in an exhibition of five young artists at the Ugo Ferranti Gallery, where she was the only American to participate. This became her first solo exhibition. It was in Rome that she produced some of her best known works to this day, such as "On Being an Angel", "Glove Series", "Self-deceit". Her photographs reformulate the image of women, Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from the Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both fine artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

SIMCA ARIANE 4, 1962 1st registration: 12/11/1962 Type : VP Body : CI Serial number : 410922 Fiscal power : 7 CV Energy : ES Displayed mileage : 6 331 kms (not guaranteed) "A swallow with a bird's appetite", the Simca Ariane was one of the most popular cars of the late 50s. Faced with falling sales due to soaring fuel prices, Simca CEO Henri-Théodore Pigozzi came up with the idea of creating a new model using the engine from the Aronde (the brand's most popular model) under the bodywork of the Vedettes Trianon. Weighing in at 1,100 kg, it could hardly exceed 120 km/h, but the main aim of reasonable fuel consumption was thus achieved. Its interior, with room for up to six people, will appeal to both heavy-duty drivers and families, contributing to its success. Unveiled to the general public in 1957, just over 159,000 units were produced. Our Miramas SL (super luxury) model, recognizable by the checkered flag on the fender, features a 1,290 cm3 "rush" engine delivering around 55 horsepower. The four-speed manual transmission offers a smooth ride, ideal for daily commutes or escapades on country roads. Technical specifications Body : - Type: four-door sedan - Dimensions: Length: approx. 4.50 m. Width: approx. 1.70 m Height: approx. 1.50 m Engine type - Type: petrol, in-line four-cylinder - Displacement: variant with Rush Super Flash 1290 cm³ engine - Power: approx. 55 hp - Transmission: four-speed manual gearbox Performance : - Top speed: approx. 130 km/h - Acceleration (0-100 km/h): approx. 24 seconds - Average fuel consumption: approx. 8-9 litres/100 km Chassis : - Suspension: front independent wheels, rear rigid axle with coil springs - Brakes: four-wheel drum brakes The engine has been successfully restarted, but as the car has been parked in the dry for several years, it needs a complete overhaul, including a check of all safety components. The paintwork has a few defects, but is of a very good appearance. Structural elements show little visible corrosion. Pitting on chromes. Upholstery in good condition. French registration document, in collection. With roadworthiness certificate.

beautiful large medal, First East-West Flight 1928, silver, 85,6gr, D-6cm

LAPICQUE Charles (1898-1988) "Le finaud" (1959) Color lithograph on beige paper, signed lower right and annotated "E.A" lower left. Height : 31 cm x Width : 26 cm Ref : Charles Lapicque - Bernard Balanci - Georges Blache - Elmina Auger, "Charles Lapicque. Catalog raisonné de l'oeuvre complet des lithographies, eaux fortes et gravures", Imprimerie Sipo, Béziers, 1981, under number 130.

Arsène CHABANIAN (1864-1949) Moonlight Pastel on paper Signed lower left 37 x 44.5 cm (view) (wetness, tears)

Telescopic brass telescope L13cm and 24cm unfolded

Resin sculpture of a cat. 46x34cm. Restorations, missing polychromy.

Vide-poche en bois fossilisé. Diam.: 16 cm

ASIA Bronze sculpture of a frog. Length: 17 cm

CHRISTOFLE Silver-plated pencil pot. 10 cm

Olympic Games/ Summer 2012/ London/ Miniature torch replica. Olympic torch relay. Replica of the official torch, with certificate (replica n°8795/50000). It is perfectly identical and signed by Jay Osgerby and Edward Barber. Triangular in shape, it features the 8,000 little holes paying tribute to the 8,000 relayers. In its gilded case with top closing flap, it stands on its triangular base, with safety collar for moving. Handling gloves and scratched paper bag with gold rope handle are also included. Silver-plated metal. Height: 40 cm

3x collector's medals, 1x Zeppelin 2x History of Aviation, silver- and gold-colored

Set of three metal and wood folding rulers. Wear

small lot of various circulation coins, all world, with box approx. 1,9Kg.

Cigar cabinet in wood and imitation leather. Length: 40 cm (wear)

Olympic Games/ Summer, 1924/ Paris/ Football/ Cigarettes. Smoking footballers cover the streets, and it's only logical that ashtrays should be their trademark. Ours is round (diam: 12cm), like a ball, coveted by two players. "Soccer. The label reads: "Olympic Games, Paris, 1924". The gift to salute the Uruguayan victory...which would lead to the World Cup.

Olympic Games / Summer, 1924/ Paris. Pocket tray. Polychrome glass dish. On the rim: "Olympic Games, Paris, 1924... In the center, the blue shot putter. The 1924 Paris Games were the pretext for the publication of hundreds of souvenirs (ashtrays, posters, cards, vignettes, pipes, badges, caricatures...). Where does it come from? Who signed it? And why? We'd love to hear any clues. Diameter: 9.3 cm

Brushed metal set, including 2 spotlights and an advertising ashtray. 15-20 cm (wear, oxidation)

Set of 3 metal, glass and wood picture frames. 8-10 cm

Lot of shells and corals. 4-8 cm