HAMILTON (David). The Shadows of Summer. La Classe de danse. P., Agep, "Portfoli…

Description

HAMILTON (David).

The Shadows of Summer. La Classe de danse. P., Agep, "Portfolio", 1979, folio, in sheets, 8 p. of text and 12 plates out of text in colors, blue cover printed, publisher's box (box slightly damaged, otherwise nice copy).

421

HAMILTON (David).

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Estim. 100 000 - 150 000 EUR

JOSEPH MALLORD WILLIAM TURNER, R.A. (BRITISH 1775-1851), THE STRAW YARD

Estim. 180 000 - 200 000 EUR

Italian master; 17th century. "Narcissus". Carrara marble. It presents faults and restorations. Measurements: 217 x 130 x 60 cm. Sculpture carved in Carrara marble representing a young ephebe. Technically the work that starts from an anatomical canon of classic character, with naturalistic dimensions that tends to a dynamism and expressiveness typical of the baroque. This feature can be seen in the posture of the protagonist with his legs crossed and one of his arms forward, as well as in the treatment of the fabric covering his waist, where the ample folds create a play of light and shadows that favor the grandeur of the volume. Aesthetically, the work is inspired by classical statuary, specifically Roman, which in turn was in some ways based on Greek, despite other stylistic influences and its own idiosyncrasies. In this case it should be noted that the piece corresponds to a historical period, in which antiquity is used as an example of virtuous society, rescuing and adapting the models established by the aforementioned cultures. This piece, which brings together both the tradition of Baroque statuary and the expressive and theatrical taste of the Baroque, is largely reminiscent in its composition to the sculpture of David Bernini's David, made between 1623 and 1624, currently in the collection of the Galleria Borghese. Known for his beauty, according to the best known version of the story, by Ovid, Narcissus rejected all advances, finally falling in love with a reflection in a pool of water, tragically unaware of his likeness, enraptured by it. In some versions, he struck his chest with purple in agony at being cut off from this reflected love, and in its place sprouted a flower bearing his name. Several versions of the myth have survived from ancient sources, one by the 2nd century A.D. Greek traveler and geographer Pausanias and a more popular one by Ovid, published before A.D. 8, found in Book 3 of his Metamorphoses. It is the story of Echo and Narcissus, a story within a story. Ovid's framing shows the story to be a test of the prophetic abilities of Tiresias, an individual who had been both male and female, and whose sight was taken from him during a contest between Juno and Jove. He had sided with Jove and Juno, in anger, blinded him. Instead, Jove granted her future sight, or prophecy. The prophecy that gave Tiresias his name was the story of Echo and Narcissus. It presents faults and restorations.

Estim. 2 000 - 2 500 EUR

A SUITE OF LIGNE ROSET SOFAS, FRANCE c. 2000

Estim. 7 000 - 9 000 EUR

AN EXTREMELY RARE PAIR OF WOODEN AND POWDER-BLUE PORCELAIN QIANJIANGCAI PANELS SIGNED BY WANG JUNSHUN China, dated 1902 h cm 142.5 x l cm 40.5 Beautifully painted on powder blue background, each panel consists of: a round plaque at the top (diameter 26.5 cm) depicting two rabbits and two horses in landscapes among trees and rocks, a fan-shaped plaque (maximum length 26.5 cm) depicting scholar's objects, flowers, and antiques (peku), a hexagonal plaque (length 26.5 cm) depicting flowers and birds, and a square plaque depicting landscapes with trees, mountains, and rivers. Each plaque bears gold inscriptions where the artist's signature Wang Junshun (汪俊顺作) and the cyclical date Ren Yin (壬寅), corresponding to the year 1902, are found. Catalog notes: Qianjiang literally means "pale umber" and originates from a genre of painting on paper that emerged during the Yuan dynasty (1279-1368) in China, catering to the literati class. Regarding porcelain, the term qianjiang refers to a style that developed in the late 19th century, probably during the reign of Emperor Tongzhi (1861-1875), and was adopted by many artists of the time, some of whom were even part of the Imperial Kilns. This style of porcelain decoration is closely linked to the landscape paintings on paper and silk by the master Huang Gongwang (1269-1354). Wang Junshun was a renowned painter of the qianjiang style on porcelain during the late Qing dynasty. He was active from 1900 to 1905. 清光绪汪俊顺浅绛彩人物花鸟山水博古纹两条屏

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