Null Strand of old oriental, mostly opaque dark yellow amber beads, 46 Baltic am…

Description

Strand of old oriental, mostly opaque dark yellow amber beads, 46 Baltic amber beads mostly as beveled discs of irregular shape, size from 8 x 4 mm to 21 x 16 mm, strand L 35 cm, total weight 53.27 g, one small disc with larger old chip. 4455-137

260102

Strand of old oriental, mostly opaque dark yellow amber beads, 46 Baltic amber beads mostly as beveled discs of irregular shape, size from 8 x 4 mm to 21 x 16 mm, strand L 35 cm, total weight 53.27 g, one small disc with larger old chip. 4455-137

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Estim. 200 - 400 EUR

Jean-Pierre Malaussena (né en 1935) Sculpted group In steel, signed, numbered 3/8 and bearing the Blanchet foundry stamp on the back H. 35 cm W. 46 cm D. 21 cm Condition report: Oxidation Jean-Pierre Malausséna is an Algerian-born sculptor who arrived in Paris at the age of 10. Deaf by birth, he entered the École Nationale des Beaux-Arts in Algiers before continuing his training in the preparatory class at the École des Beaux-Arts in Paris. He studied under such masters as Adam, Janniot, Leygues and Yenrenc. Malausséna's work is characterized by the opposition of black and gold, and by the confrontation of materials. "I use different materials: bronze and resin mainly for the bodies. The supports are mostly pieces of wood of various origins and shapes. This confrontation gives rise to an emotion that I translate into a word: "shadow", "gossip", "youth", "waiting", for example. As for female bodies, I owe my advice to Jean-Paul Belmondo to draw them at least two hours a day." (MLD)

Estim. 7 500 - 8 000 EUR

Spanish or Novo-Hispanic school; second half of the 17th century. "Virgin of the tabernacle of Toledo". Oil on canvas. Re-drawn. It presents damages caused by xylophagous. It has a 17th century frame. Measurements: 220 x 163 cm; 258 x 202 cm (frame). The work shows, on an undetermined background, the image of the Virgin Mary with the Child in her arms. Her gaze to the front, the gesture of her hands, and the position in which Jesus is with respect to his mother suggest that it is an image inspired by a carving prior to the period in which the image was painted. It was very common in the 17th century to dress the most venerated images in this way in order to respect and update them at the same time, as well as to highlight them and add the richness that their "rank" as sacred figures required. The elements carried by both Mary and the Child, and the gestures of both, directly allude to the representation of the image of the so-called Virgen del Sagrario in Toledo Cathedral. It is usually dated to around 1200, made of wood and completely covered in silver (except for the head and hands) and, already famous in the time of Alfonso X the Wise, it was enthroned around 1226, with Isabella the Catholic being even more prominent. During the first half of the 17th century a chapel was built for her, begun by Don Gaspar de Quiroga and finished by D. Bernardo de Sandoval, and whose inauguration was presided over by Philip III (it took place in 1616). As already mentioned, the position of Mary's hands in this work is very similar to that of the Toledo carving, as are the faces of the two figures, although the "updating" of the style and the modelling of the volumes is clear. Although it is true that the work adopts an archaic style related to the medieval. That is to say, using aesthetics (composition, style, drawing, palette...) It is known from texts that the Virgin of the Tabernacle in Toledo mentioned was dressed in the 17th century in a rich mantle of pearls and jewels. Furthermore, the crown shown in the oil painting would be the older of the two important ones in "his treasure" today (it seems to be a 15th-century base and the rest of the work of Alonso de Montoya in 1568 or between 1574 and 1586), and it is truly particular in its shape and the bands and hollows it creates at the front. The rostrillo with pearls of Mary would also be a common element when "decorating" or dressing the medieval carvings that were very popular in the Baroque period and later, with a series of jewels and elements that may have been donated by prominent personalities of the time.

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