Null We present one of the finest collections of Central African baskets acquire…

Description

We present one of the finest collections of Central African baskets acquired by Mr. Christian Borzykowski over the years and brought together in this sale. It includes over 200 lots from the Democratic Republic of Congo, Uganda, Rwanda, Burundi, Angola, Zambia and Tanzania. Looking at the baskets, one can't help but be fascinated by the finesse of the technical workmanship and the many aesthetic differences depending on the basket's country of origin. The entire collection sold is listed in the book "Paniers de l'Afrique centrale" by Christian Borzykowski, published by Le Livre en Papier.

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We present one of the finest collections of Central African baskets acquired by Mr. Christian Borzykowski over the years and brought together in this sale. It includes over 200 lots from the Democratic Republic of Congo, Uganda, Rwanda, Burundi, Angola, Zambia and Tanzania. Looking at the baskets, one can't help but be fascinated by the finesse of the technical workmanship and the many aesthetic differences depending on the basket's country of origin. The entire collection sold is listed in the book "Paniers de l'Afrique centrale" by Christian Borzykowski, published by Le Livre en Papier.

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Estim. 100 - 200 EUR

Salvador DALI (1904-1989) E.G.I France PORTE-PARAPLUIE à quatre cheminées gainé de skaï marron à motifs Daligramme. Base circulaire. Haut. 50 cm Si l’activité de Salvador Dalí devait se résumer en un mot, nous pourrions choisir celui de protéiforme. Ses créations artistiques multi-supports semblent, tous les jours, nous paraître un peu plus complètes. Si nous pensions déjà connaître l’artiste peintre, sculpteur, réalisateur ou encore auteur, c’est au créateur de mode que nous sommes aujourd’hui confrontés. Cet exceptionnel ensemble signé Salvador Dalí résulte d’une histoire Daliesque comme on n’en fait plus. Au tournant des années 1970, Salvador Dalí décide, conjointement avec son bras droit et homme de confiance : John Henri Moore, de s’attaquer au marché de la Mode et de la Maroquinerie. Pour ce faire, ils s’associent à la société E.G.I France (Editions Graphiques Internationales) afin de mettre en œuvre une collection de diverses pièces de bagagerie, maroquinerie et petite maroquinerie destinées à être commercialisée au plus grand nombre. La production est lancée, les meilleurs artisans de Paris sont sélectionnés et la production est exposée dans les vitrines passantes des boutiques parisiennes ou belges, dont la société Lancel. En 1971, les premières campagnes publicitaires sont publiées et l’échantillon produit par EGI France -que nous présentons aujourd’hui - est exposé. Elle en fait la promotion dans son numéro de décembre 1971 en titrant « Emporter Dalí en voyage, c’est assez extraordinaire. Et possible (…) ». Sauf que l’aventure tourne court, brutalement, dans les quelques mois qui suivent cette campagne publicitaire. « On arrête tout » mentionne un simple télégramme adressé aux gérants d’EGI France. Pourquoi cette collaboration meurt-elle dans l’œuf ? Pourquoi une campagne pourtant prometteuse doit-elle s’arrêter ? Nous ne le savons pas. Reste que la production, en nombre très limitée, reste sur les étalages des maroquiniers pour arriver, le 2 août 2024, sur les cimaises de Côte Basque Enchères. Outre, les rares pièces vendues au lancement de la collection, un ensemble d’une telle envergure reste inédit sur le marché de l’Art. D’une grande qualité de manufacture, les quelques vingt échantillons que nous présentons ont toujours été soigneusement conservés par ceux qui les ont créés, assemblés. Produit à titre d’échantillons de vente, ils présentent bien sûr quelques usures et traces du temps passé mais reflètent véritablement un pan de l’Histoire contemporaine de la Mode.

Estim. 1 800 EUR

Domaine du Chêne Belle Dame 5 L Dame Jeanne with red leather collar, engraved natural leather label, solid walnut structure with red mass-stained chromate base, satin varnish finish. Artisans and materials made in Nouvelle-Aquitaine. Dimensions: Diameter 45 cm and Height 40 cm Creating spirits for over 150 years, Domaine du Chêne is a family-run business established in Saint Palais de Phiolin in the heart of the Charente-Maritime region. The history of the estate began in 1865 with the with the acquisition of the first still, with the ambition to distill its own Cognac eaux-de-vie. In 1993, Jean-Marie BAILLIF created the current current brand: "Le Domaine du Chêne". The development of the vineyard and the diversification and diversification of grape varieties, we are now able to create of rare Pineaux Mono-cépage and Cognacs award-winning Cognacs. In 2024, the new generation takes up the torch the torch and perpetuate Jean-Marie's know-how and modernism. Belle Dame: For several years now, through the evolution of our vinification and ageing processes, we have been Pineaux and Cognacs. We present "Belle Dame", a glass dame jeanne jeanne en verre containing an exceptional Pineau 100% Folle Blanche. This is the first Pineau made entirely from Folle Blanche Folle Blanche (grape juice and Cognac). This grape variety, historically very present in the historically present in the region before the Phylloxera our vineyards for over 20 years. We now offer you a rare, contemporary, fresh and contemporary, fresh, taut and low in sugar. To sublimate this bulbous shape, Joachim BAILLIF has created this case, giving the impression of a barrel that opens up to reveal this drop-shaped Pineau as if suspended in levitation. "The secret of Charentes is revealed through this work of art".

Estim. 800 - 1 000 EUR

Elizabeth Taylor (3) Autograph Letters Signed to National Velvet Director Clarence Brown: "I know I'm not a star" Three ALSs by the adolescent Elizabeth Taylor to National Velvet director Clarence Brown, all signed "Elizabeth," circa 1944-1945. The remarkable letters outline the charming relationship between the actress and the director of her first starring role, beginning with a letter of apology for some youthful indiscretions on the set of National Velvet, followed by a grateful letter for his skillful work on the film, and concluding with a gleeful postcard from a Wisconsin fishing trip. Includes: ALS in pencil, signed "Sincerely, Elizabeth," four pages on a 5 x 4 folding personal stationery card, no date but circa 1944, during the production of National Velvet. In full (spelling and grammar retained): "I'm sorry I said what I did, this morning, that I didn't like my green & yello dress, I know now, that I shouldn't say whether I like anything or not. I'm sorry too, that I spoke to you while you were talking to Miss Revere. Mommy has told me it was wrong. I only did it, because I was in a hurry to talk to you before the hairdresser got me. I though you'd understand, but I promise I'll never do it again. I know I'm not a star Mr. Brown, it was just our joke when Mr. Boil put the star on my dressingroom, but I tore it up to-day and I don't want the red carpit anymore, please, don't think, I think I'm a star the way you said it this morning, makes me never want to be one...P.S. Please excuse the pencil & the way I've jumbled up the pages, but I'm in bed and I couldn't go to sleep until I wrote this." ALS signed twice, "Love, Elizabeth," three pages on a 5 x 4 folding personal stationery card, December 6, 1944. In full: "You know when we were up in Monterey, we bought this blue cashmere sweater for you for an end of the picture preasent, but somehow the picture just never seemed to finish properly, and we never said good-by. But I kept the sweater for you—and now I'de like to give it to you for a thank-you preasent for making me good in 'Velvet' and making 'National Velvet' such a wonderful picture. When everybody keeps telling me how good I am in Velvet I know it is because you made me that way, because you are such a wonderful director. And I appreciate everything you have done for me and 'Velvet'...P.S. I like the way you keep doing it over until we get it right, until it feels just right. Oh thank you thank you Mr. Brown for everything." In closing, Taylor sketches two horses at the bottom of the page. ALS signed "Love, Elizabeth Taylor," one page on a 5.5 x 3.5 postcard depicting a scenic drive near Minocqua, Wisconsin, postmarked August 13, 1945. In full: "It is so beautiful up here in Wisconsin and we're having the most wonderful vacation. We're catching more fish, and I'm catching great big ones. Wait untill I tell you about them." In overall fine condition. Accompanied by an ALS by her mother, signed "Sarah Taylor," three pages, 6.25 x 9.5, personal letterhead, December 6, 1944, also to Clarence Brown. In part: "I must tell you how grateful we are to you...For weeks we have been hearing the most wonderful reports of 'National Velvet.' Everyone agrees it is the best picture they have ever seen—on any screen—any year, etc. Naturally we are happy about it. There is only one thing to mar the thrill & happiness of it all—and you know what that is. Oh, please Mr. Brown, if you could only forgive us—if we could only feel in our hearts that you are our friends—You don't know how unhappy Elizabeth & I have been about it all...We were so 'on the spot' from every direction...and we thought we were doing the right thing...I don't know how true it is but we have heard from several sources that the studio is trying to get 'Peter Pan' for Elizabeth (in Technicolor). If they do we would so like to have you do it. That's all we can think of. Would you do it Mr. Brown? We can hardly wait to see 'National Velvet'—and we hope that in the joy & happiness you feel over the great triumph of your picture you will find it in your heart to forgive us—so that we may feel happy too."

Estim. 4 000 - 6 000 EUR

Jean-Charles Blais (b. 1956) La Main rouge Mixed media on card 77 x 66 cm Provenance: > Former Jean-Charles de Castelbajac collection, Paris > Private collection, Paris Condition report: Framed In 1989, Keith Haring visited Paris and painted a pair of monumental vases for Jean-Charles de Castelbajac. Numerous photographs from the period illustrate this intervention, and on one of them, the Blais drawing we present (then unframed) appears on the designer's wall, echoing the work of the American Keith Haring.

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