Null YVELINES. MANTES-LA-JOLIE. "Elevation of the MANTES bridge, built on the ar…

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YVELINES. MANTES-LA-JOLIE. "Elevation of the MANTES bridge, built on the arm of the Seine on the City side, completed in 1765 (Plan of half of the bridge; Foundation of a pier and abutment...) (c. 1765) Engraving by DUVAL (58.5 x 80 cm) Condition B+.

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YVELINES. MANTES-LA-JOLIE. "Elevation of the MANTES bridge, built on the arm of the Seine on the City side, completed in 1765 (Plan of half of the bridge; Foundation of a pier and abutment...) (c. 1765) Engraving by DUVAL (58.5 x 80 cm) Condition B+.

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Estim. 3 000 - 3 500 EUR

Plano. 630x480 mm. Attractive contemporary marbled calf binding with the coat of arms of the city of Paris in the center of the covers; on the covers framing a gilt roulette with lily flowers in the corners, spine with raised nerves with gilded lilies, internal roulette and gilt edges, marbled endpapers. Pages 2 with the Title-page, 22. Large vignette at the Title-page engraved by Soubeyran based on a drawing by Bouchardon, illustrated head-piece drawn and engraved by Rigaud, 13 large plates drawn by Blondel, Gabriel, Salley, Servandoni and engraved in copper by J.-F. Blondel, of which 8 double-page. Fine copy. Beautiful first edition, magnificently illustrated. The work describes the sumptuous festivities, likely the most spectacular of the 18th century, were held before the young Dauphine left France to be officially married to Philip in Spain. A large number of architects and craftsmen, led by Jean-Nicolas Servan, designed and built the decorations. Millard: "The illustrations show the entire spectacle on the Seine between the Pont-Neuf and the Pont Royal as follows: the structure for the fireworks on the Pont-Neuf and the new terrace; the octagon 'island' for the musicians designed by Jean-Jerome Servandoni in the center of the Seine; the eight marine 'monsters' surrounding the island; a plan of the superstructures built along the banks of the Seine to accommodate the viewers; and the Throne Loge in the form of a canopy attached to the Louvre, in which the royal couple could view the spectacle. In addition, the water jousting and floating illuminations and the ball given at the Hôtel de Ville for the couple are described." The plates are engraved by Jacques-François Blondel on drawings by the architects who designed the celebration apparatus; particularly spectacular is the plate number 9, on a double page, which shows the fireworks over the river.

Estim. 240 - 300 EUR

Friedrich Johann Reusch (Siegen 1843-1906 Girgenti), "Siegerländer Hüttenmann" (Frieder), bronze, patinated, inscribed on the plinth: Friedrich Königberg and with foundry stamp WMF Geislingen, mounted on a marble base, h: 39 cm. After one of the two figures, which were created in 1902 for the industrial and commercial exhibition in Düsseldorf and erected on the newly built Siegbrücke in 1904 after being donated to the city of Siegen. Limit 240,- >> German sculptor; studied under Alb. Wolff a. in Rome, since 1881 teacher, finally director of the academy of arts in Königsberg, inspired by stays in his home country he created the Eisenstein miner a. the Hüttenmann; litt.

Estim. 80 000 - 120 000 EUR

Henry MORET (1856-1913) L'Averse, Brittany coast, 1902 Oil on canvas, signed lower left Exhibition label on reverse 65 x 92 cm PROVENANCE : Finistère private collection (Estate) EXHIBITIONS : 1966, Paris, Galerie Durand-Ruel, January 5 - 29, 1966, Henry Moret, no. 28. 1994, Paris, Galerie l'Ergastère, May 6 - July 13, 1994, Henry Moret, page 26, reproduction page 27. 2021, Quimper, musée des beaux-arts, June 24 - October 4, 2021, Henry Moret 1856-1913, De Pont-Aven à l'impressionnisme en Bretagne, no. 65 reproduction page 133. BIBLIOGRAPHY : Jean-Yves Rolland and Marie-Bénédicte Baranger, Henry Moret, Plomelin, Éditions Palantines, 2002, reproduction page 96. "The work of Henry Moret (1850-1913), a major painter of the Pont-Aven School, is now well known. But his life as an artist remains something of a mystery. He was a solitary master of his time. So when Wladislaw Slewinski organized a dinner to celebrate Paul Gauguin's return to Le Pouldu in 1894, Moret declined the invitation and preferred to go and work in Groix. His life as a landscape artist, constantly on the move from Houat to Ouessant, remains astonishing. In 1894, he chose Doëlan as his home port, more lively than Le Pouldu, and returned there after his long peregrinations to paint in his studio the drawings and gouaches he had taken on the spot. This gave him a certain stability, and came at a time when the famous Durand-Ruel gallery, from the heroic days of Impressionism, decided to buy his paintings and showcase his work in exhibitions. At the age of 44, Moret was able to lead a life that suited him: Doëlan was also, and perhaps above all, about hunting, fishing and playing cards in the bistro with his local friends. We know almost nothing about his itinerant life and the choices he made over the years, which led him to spend one month in Ouessant and the next in Douarnenez or Groix. He knows the Breton coasts inside out, and perhaps chooses according to the seasons and activities, such as seaweed burning. It also depends on the availability of accommodation and local contacts. So there are "privileged" places where he comes and goes to work. Raguénez en Névez has been one of them, at least since 1896. The site, close to Port-Manech, is easily accessible by boat from Doëlan, avoiding the long detour to Pont-Aven. Painting from the island of Raguénez is interesting for the painter because there's the island in the foreground, then the sea and finally the nearby coast in the background. L'averse, côte de Bretagne is part of a series of four paintings showing the house of the Marrec family, the island's farmers. Moret may well have stayed at this farm, for in his paintings he depicts the house from different angles, and it becomes the major element of the composition. And he seems familiar with the people, as evidenced by the subjects of two paintings. In L'averse côte de Bretagne, we see a man and two women, one with a red headdress, the other white, observing the state of the sea and a heavy shower in the sky. The fisherman is waiting for the weather to calm and has temporarily abandoned his two traps, oars and rigging, waiting to join his dinghy in the shelter below to go fishing. These three people, the man and the two women in different-colored headdresses, can be seen again in another painting, Gros temps à Raguénez (Sotheby's sale, London, June 29, 1994, lot 148), where they are closely observing the crashing waves, no doubt awaiting the arrival of the wreck's seaweed. In contrast to the painting L'Île de Raguénez, Bretagne (Washington, National Gallery of Art), where the house is shown in bright sunshine with a calm sea in an almost idyllic setting, Moret expresses great tension in L'averse côte de Bretagne, symbolically conveying the people's expectation of the violence of the elements. The canvas's foreground is built on a relationship between a strong green and a pink. This has characterized Moret's art ever since he adopted the principles of pontavenian synthetism through contact with Gauguin. The strong lines of the ground in the middle left and of the house fix the viewer's gaze. The whole of the upper part and towards the right are painted differently to convey ephemeral atmospheric effects. Painting rain or a downpour is undoubtedly one of the most difficult things a landscape artist can do. Such a scene and such a landscape may seem simple at first glance, but as the viewer observes, it becomes clear how Moret skilfully plays with a few elements to guide the eye, such as the piles of seaweed in the middle of the picture.

Estim. 40 000 - 45 000 EUR

Desk on bridge foot buffet; Mexico, second half of the eighteenth century and later. Polychrome pine wood with embossed silver plates. It has a crest with the coat of arms of Francisco Antonio de Lorenzana y Butron. It has restorations and reforms. Measurements: 102 x 102 x 41 cm; 90,5 x 116 x 54,5 cm. Desk on buffet of Mexican origin with a prismatic and robust structure. The piece is composed of two parts; buffet with bridge foot and the upper desk. Both are made of polychrome pine wood and adorned with embossed silver appliqués that present vegetal motifs and religious scenes. The lower area is supported by two longitudinal feet on which are placed three columns, each of them of Doric order, with ebonized capital and base. The feet, located on the sides, are joined by a central structure architecturally conceived, simulating a corridor with semicircular arches. The legs give way to a top of angular profiles with the outer perimeter adorned with embossed silver applique. The desk is organized symmetrically, in three rows and three registers. The drawers are unified in the form of small drawers that have an identical design, varying only in size and arrangement. On the front, the central zone and the lower sides have silver appliqués of greater technical complexity. As a canopy the artist frames different scenes of religious character; the education of the Virgin and the nuptials of the Virgin in the lower zone and in the center the Annunciation. While the sides of the desk have large ornaments that welcome the flight to Egypt on one side and the other the birth in the manger of Christ. Finally, the piece of furniture is topped by a balustrade with a central crest and figures in round silver bulge dominating the corners. It is interesting to note the copete, since a coat of arms can be seen, indicating that the owner of the piece was Francisco Antonio de Lorenzana y Butrón (León, 1722-Rome, 1804), Archbishop of Mexico, Cardinal-Archbishop Primate of Spain, Inquisitor General. Silver was one of the main sources of export in Spanish America. First as a raw material in itself for its high economic value and later and with greater interest for its work in goldsmithing. Viceroyal silverware would reach very high levels of fineness and quality worthy of European works. The western tradition was joined by the cultural roots and inheritance of the places of work where the artisans displayed great talent both in the execution of the works and in the creation of especially novel and original models and decorations. It has a crest with the coat of arms of Francisco Antonio de Lorenzana y Butrón. It has faults, restorations and reforms.

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