Null NANDO (1912-1987), Pierluca Fernandino, known as. Acrobats of the future, c…

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NANDO (1912-1987), Pierluca Fernandino, known as. Acrobats of the future, circa 1970. 2 oil on canvas, 30 x 24 cm each.

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NANDO (1912-1987), Pierluca Fernandino, known as. Acrobats of the future, circa 1970. 2 oil on canvas, 30 x 24 cm each.

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Estim. 40 000 - 60 000 EUR

KUNSTSCHRANK CABINET, SOUTH GERMANY, FIRST HALF OF THE 17th CENTURY Attributed to Matthias Walbaum In ebony, ebony veneer and ivory inlay, decorated on all sides, the slightly domed lid revealing an interior lined with crimson silk velvet and fitted with eighteen compartments, the architectural front and sides adorned with niches set in arcades and punctuated by columns, The interior features fifteen drawers, four of which are secret drawers around a central leaf. The waistband opens with two drawers, one of which reveals a writing desk, and rests on flattened ball feet; restorations, traces of old silver mounts now missing H. 47 cm (18 ½ in.) l. 74 cm (29 in.) P. 36.5 cm (14¼ in.) Provenance: Private collection, Île-de-France. A Southern German ebony and ivory inlaid cabinet, first half of the 17th century, attributed to Matthias Walbaum Marketing authorization within the European Union. Authorisation to sell within the EU. * Information for buyers : When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. By 1600, Augsburg had become a major cabinet-making center in southern Germany. These cabinets were often made of ebony and ivory, with gilded bronze, silver or vermeil mounts. Given the value of these materials, they were considered treasures for princes and the high aristocracy. Some were also the subject of diplomatic gifts, which already contained other treasures in their drawers, both from the natural world -naturalia-, such as corals, shells, stones and animals, and from craftsmanship -artificialia-, such as turned ivory, goldsmiths, clockmakers and jewellers. The consuls of Augsburg donated a cabinet full of treasures to Swedish King Gustavus Aldolphus (now housed at Uppsala University), and every high-ranking dignitary of the day was expected to have his own cabinet of curiosities, demonstrating the erudition of its owner. Collections of this type were highly prized from 1570 onwards, and were mostly reserved for princes, such as the Duke of Pomerania, for whom Baumgartner father and son delivered one in 1617, now no longer in existence (see fig. 1), and Grand Duke Ferdinand II of Tuscany, whose cabinet is now housed in Palazzo Pitti. Augsburg's reputation as a center for the creation of luxury goods was largely due to the talents of the merchant (cf. fig. 2) Phillipp Hainhofer (1578-1647), who propagated this type of cabinet throughout Europe and ensured Augsburg's leading position for the quality of its production. In her book Der Pommersche Kunstschrank des Aubsburger Unternehmers Philipp Hainhofer für den gelehrten Herzog Philipp II von Pommern, Barbara Mundt lists the cabinets produced by Hainhofer. The Pommersche Kunstschrank, the Walbaum-Kabinett in Berlin's Kunstgewerben Museum (cf. fig. 3) (circa 1610-1615) and the cabinet designed for Grand Duchess Marie Madeleine of Tuscany (circa 1611-1613), the latter long since lost, are among the first group of cabinets dating from the first quarter of the 17th century and made entirely of ebony and enriched by rich silver applications. This was followed by creations with gemstone inlays for the Grand Duke of Tuscany Ferdinand II (1619-1625), the King of Sweden Gustavus Adolphus (1628-1632), and finally the cabinet for General Wrangel. In particular, our cabinet is very closely linked to the Walbaum-Kabinett in the Berlin Museum, with which it shares the choice of materials, the overall composition, the rich architectural structure of the facades and the layout of its interior structure (see fig. 4). Traces of an earlier decorative system, comparable to the Walbaum-Kabinett's silver decoration, can be seen beneath the exterior ivory decoration and on the interior facades. We can therefore deduce that the original appearance of our cabinet was also the result of a collaboration between Ulrich Baumgartner and Matthias Walbaum (active 1590-1632), and that it can therefore be associated with the corpus of Hainhofer's first large cabinets. The cabinet's current appearance is characterized by its remarkably fine ivory decoration, which replaced the silver ornamentation. This change in decoration can be dated to around 1620-1625, when the War of 1812 was waged.

Estim. 5 000 - 8 000 EUR

LOUIS XV PERIOD CHEST OF DRAWERS Attributed to Gilles Joubert, trace of stamp, probably Roger Vandecruse dit Lacroix or RVLC Satinwood, violetwood and amaranth veneer, chased and gilded bronze ornamentation with a crowned C, veined gray marble top, front inlaid with crosses opening with two drawers, cambered legs finished with bronze sabots, two very faded stamp marks (...) L.C and several JME hallmarks on the front left jamb H.:88.5 cm (39 ¾ in.) l.:126,5 cm (49 ¾ in.) P.:66 cm (30 in.) The crowned C hallmark was applied to bronze works between March 1745 and February 1749. A Louis XV gilt-bronze mounted, satinwood, kingwood and amaranth commode, attributed to Gilles Joubert, probably stamped by Roger Vadrecruse, called Lacroix or RVLC * Information for buyers: When leaving the EU, a CITES re-export certificate may be required, at the expense of the future buyer. * Information to buyers: For an exit from the EU, a CITES re-export certificate will be necessary, at the buyer's expense. The probable presence of Roger Lacroix's stamp on this commode, which stylistically predates the date when Lacroix became a master in 1755, is an interesting example of the practice of subcontracting under the Ancien Régime. In fact, our commode is more closely related to the work of Gilles Joubert. Admitted to the master's program during the Regency period, well before the use of stamps was imposed by the statutes of 1743, he began working for the Garde-Meuble de la Couronne as early as 1748, subsequently becoming the King's cabinetmaker. The sheer volume of orders received obliged him to subcontract part of his production to his colleagues, and a number of the pieces delivered by Joubert for the Garde Meuble de la Couronne were stamped by Roger Lacroix or Mathieu Criaerd. A chest of drawers stamped by Gilles Joubert, featuring an inlaid lattice decoration set in a comparable amaranth frieze, as well as the same bronze falls and bronze apron, sold at Christie's Paris, December 19, 2007, lot 418 (see fig. 1). The very discreet presence of Lacroix's stamp suggests that the cabinetmaker worked at Joubert's request, acting as restorer.

Estim. 10 000 - 12 000 EUR

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Défilé de Mannequins a Istanbul," 1969. Lithograph on paper. Copy 19/75. It presents humidity in the upper and lower area of the right side and transverse wrinkle in the center. Signed in the lower right corner. Justified in the lower left corner. Measurements: 122 x 82 cm; 141 x 101 cm (frame). The "Mannequin Parade" series exemplifies Miró's mastery of printmaking and his ability to communicate complex ideas through playful imagery. It offers a glimpse into his personal visual language while prompting viewers to reflect on themes of individuality, urban life and the joy of existing.Joan Miró was one of the great figures of 20th century art internationally. He was trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the artistic promoter Joan Prats. Thus, since his formative years he was directly related to the most avant-garde circles of Barcelona, and already in the early date of 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These would be the crucial years of his artistic career, in which Miró would discover his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of surrealism, was grouped. Thus, under the influence of surrealist poets and painters, with whom he shared many of his theoretical approaches, his style matures; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this moment on, his style began an evolution that led him to more ethereal works, in which organic forms and figures were reduced to abstract dots, lines and spots of color. In 1924 he signed the first surrealist manifesto, although the evolution of his work, too complex, does not allow him to be ascribed to any particular orthodoxy. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the thirties onwards Miró became one of the most outstanding figures of the international art scene, as well as one of the key creators of the twentieth century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures or the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon resumed painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, since 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York dedicated a retrospective to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofia Museum in Madrid, the National Gallery in Washington or the MNAM in Paris. It presents humidity in the upper and lower area of the right side and transverse wrinkle in the center.

Estim. 3 000 - 4 000 EUR

Wilbert 'Skeeter' McClure's Atlanta 1996 Summer Olympics Torch and 1960 Rome Participant Pin—Including Scrapbooks, Photos, AAU Boxing, and Awards

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