LITERATURE - MALOT Hector (1830 - 1907) - Autograph letter signed He worked for …

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LITERATURE - MALOT Hector (1830 - 1907) - Autograph letter signed

He worked for his father, a notary, while studying law. His first book (Les amants) was a great success. He became a popular novelist with the publication of seven novels. Autograph letter signed "Hector Malot" (to Abraham according to an annotation), Fontenay sous Bois, August 26, 1873, 2 pp. in-8°. Beautiful piece. Letter relating to the performance of "Un Beau Frère", a drama taken from his novel. By de la Pommeraye, if the play succeeds, could attract attention, in its fuilletton " Bien public" on the analogy that the play presents with "Le mari de Charlotte".

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LITERATURE - MALOT Hector (1830 - 1907) - Autograph letter signed

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Estim. 2 500 - 3 000 GBP

DAMIEN HIRST (Bristol, United Kingdom, 1965). "Beautiful, Most infinitesimal, Admirably, Restrained, Yet Great, Unformulated, Strange and Fascinating Star Cluster Painting". Beautiful Paintings Series 2023. Glicée. Print on polycotton artist's canvas mounted on birch plywood frame. Copy 1/1 (Unique). -Reproduced in Heini Editions catalogue Number H12-8-82. Informative label on the back. Preserves author's box. Hand signed at the bottom. Measurements: 23 x 23 cm; 9 x 35 x 32 cm (box). Damien Hirst was born in Bristol on 7 June 1965, in a suburban environment with economic problems. He never knew his biological father and his mother married a car salesman, who left them when Hirst was 13. His mother, an amateur artist and devout Christian, took care of him, but because of his father's abandonment he had to educate himself from the bottom up, which is perhaps the main reason why Damien Hirst argues that art has no class. He trained at the University of Leed while combining his studies with a job at the local mortuary, which he later left to move to London. During this time he was working in construction while also applying to various art schools such as St Martins and the Welsh College. He was eventually accepted at Golsdmiths College, which at the time, due to the economic recession in England, was a school that attracted bright students and creative tutors. While studying, Hirst financed his expenses by working on telephone surveys, a direct cause of his ability to fake any emotion over the phone. During his studies he also worked at McDonald's, and part-time at the Anthony D'Ofray gallery, where he learned the mechanics of the art market. Already in his second year, Hirst took on the role of artist and curator, and managed to stage an exhibition that would change the course of British art, his first solo exhibition at the age of 26. Four years later, in 1995, he won his second Turner Prize nomination for Mother and Child. At the age of 32, the Larry Gagosian Gallery offered him a major retrospective, after which he declared that there was nowhere left for him to exhibit, he had done it all and too quickly. As a result, he was soon dubbed Hooligan Genius by the media. Although he became a millionaire at the age of 40, Hirst's hypersensitivity became suspect. Wrapped in an aura of romanticism, he made revolutionising the art world look easy. Damien Hirst has works in MoMA, New York, the Tate Gallery and the Victoria & Albert Museum, London, the Palazzo Gras, Venice, the Kunstmuseum Wolfsburg (Germany), the Hirshhorn, Washington D.C., and the Neu Galerie, Graz (Austria), among other major public and private collections.

Estim. 500 - 550 GBP

After models by ÉMILE GALLÉ (Nancy, France, 1846 - 1904), second half of the 20th century. Table lamp. Pâte de verre in ochre and orange tones with floral decoration in cameo glass. Electrified. With signature. Measurements: 50 cm (height); 32 cm (largest diameter). This table lamp continues the Art Nouveau aesthetics and technique of Émile Gallé. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, producing designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he travelled around Italy, England and Germany, taking an interest in the applied arts, but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return he settled in Meisenthal, where his family's glass furnaces were located, in order to fully learn the craft of glassmaking. He also travelled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory and soon achieved great international success, winning prizes at International Exhibitions and selling works to important collections and museums. Today, works by Emile Gallé can be seen in the Hermitage Museum in St Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.

Estim. 9 000 - 10 000 GBP

Italian school; 17th century. "The return of the prodigal son". Oil on canvas. Presents restorations. Attached export permit. Measurements: 156 x 144 cm; 160 x 147 cm (frame). Aesthetically the work belongs to the circle of Guercino, who was one of the most acclaimed Italian artists in the first half of the seventeenth century. The quality of the composition, the anatomical care especially noticeable in the body of the young man on the right, the rigor of the qualities and the representation of the ages of the characters reveal a great mastery of the hand of the artist. The present canvas represents the parable of the prodigal son which, together with that of the lost sheep and the lost coin, forms a trilogy traditionally called the parables of mercy. The Parable tells " A man had two sons; and the younger of them said to his father, "Father, give me the portion of the inheritance that is due to me." And he divided the inheritance to them. A few days later the younger son gathered it all together and went away to a far country where he squandered his inheritance living like a libertine. "When he had spent everything, an extreme famine came upon that country, and he began to be in need. So he went and made an adjustment with one of the citizens of that country, who sent him to his farms to graze pigs. And he wished to fill his belly with the carob that the pigs ate, but no one would give it to him. And coming to himself, he said: "How many of my father's hired servants have bread in abundance, while I am starving here! I will arise and go to my father and say to him, 'Father, I have sinned against heaven and before you. I no longer deserve to be called your son; treat me as one of your hired servants." And he arose and went to his father. "While he was still a long way off, his father saw him and, moved, ran to him, threw himself on his neck and kissed him warmly. The son said to him, "Father, I have sinned against heaven and before you; I no longer deserve to be called your son." But the father said to his servants, "Bring quickly the best robe and dress him, put a ring on his hand and sandals on his feet. Bring the fatted bullock, slaughter it, and let us eat and feast, for this my son was dead and is alive again; he was lost and is found." And they began the feast. His eldest son was in the field, and on his return, when he came near the house, he heard the music and the dancing; and he called one of the servants and asked him what it was. He said to him, "Your brother has returned, and your father has killed the fattened steer, for he has recovered him sound." He was irritated and would not go in. His father came out and begged him. But he replied to his father, "I have served you for so many years, and I have never failed to do a command of yours, but you have never given me a kid to have a feast with my friends; now that son of yours has come, who has devoured your inheritance with prostitutes, you have killed for him the fatted bullock!" But he said to him, "Son, thou art ever with me, and all that is mine is thine; but it was fitting to hold a feast and rejoice, because this brother of thine was dead, and is come to life again; he was lost, and is found." The main influences that shaped Guercino's style were the Bolognese; Ludovico Carracci, his cousin Hannibal Carracci and the Ferrarese Ippolito Scarsella. Apart from a two-year stay in Rome during the papacy of the Bolognese Gregorio XV Ludovisi, his activity developed in his hometown until 1642 when he moved to neighboring Bologna. He was about twenty-five years old when he came to the attention of his first important clients, among them Cardinal Alessandro Ludovisi, Archbishop of Bologna; Cardinal Jacopo Serra, papal legate in Ferrara; Grand Duke Cosimo II of Tuscany; and Duke Ferdinand Gonzaga of Mantua. By the mid-1620s he had turned down invitations to work outside Italy, from Charles I of England among others. He seems to have been reluctant to enter into direct competition with his Bolognese rivals, especially Guido Reni, who from about 1610 was the most celebrated painter in Italy. Most of his abundant output consists of altar and easel paintings, but in the first half of his career he also painted frescoes in Cento, Bologna, Rome (the Aurora on the ceiling of the Casino Ludovisi) and the cathedral of Piacenza (1626-1627). His first style, "tenebrist", is characterized by dramatic lighting, saturated colors and agitated compositions. His stay in Rome led him to gradually modify his style towards a much more idealized and classical language, with more calm and structured compositions, more elegant contours, a palette generally lighter and richer in pastels. It presents restorations. Attached export permit.

Estim. 100 - 120 GBP

ATTRIBUTED TO Gustave-Frédéric QUIGNON WORK IN THE OTTOMAN TASTE a medallion-back chair with column upright, oval seat, arched belt, tapered and fluted legs. Period: late 19th century. H. 99 x W. 43 x D. 50 cm. (Accidents) Gustave-Frédéric Quignon, born in 1843, worked with his father Napoléon Quignon on boulevard Richard-Lenoir. He took over from his father in 1874, expanding the company's range of products to include seating and furniture, as well as sculpture. Like his father, he produced finely carved and gilded Louis XV and Louis XVI furniture, as well as some Neo-Renaissance pieces. He became a supplier to the Mobilier National. He exhibited at the 1878 Universal Exhibition, where he won a gold medal. He was a member of the jury at the 1889 Universal Exhibition. That same year, he moved his business to 39 rue de Saint-Sabin, where he remained until the end of the century. In 1891, he took part in the French Exhibition in Moscow, alongside H. Dasson and P. Sormani, and in 1893 in the reports on the Chicago International Exhibition. He was awarded the Grand Prix for all his entries at the 1900 Universal Exhibition.

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