Latvia 1 - 2 - 5 - 10 - 20 - 50 - 200 - 500 Rublu 1992 P# 35 - 42, VF-UNC

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Latvia 1 - 2 - 5 - 10 - 20 - 50 - 200 - 500 Rublu 1992

P# 35 - 42, VF-UNC

482

Latvia 1 - 2 - 5 - 10 - 20 - 50 - 200 - 500 Rublu 1992

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Estim. 800 - 1 200 EUR

Souvenirs of Compagnon charpentier Victor L. RENOLEAU dit "Le tourangeau", late 19th century, including : - a large polychrome engraving after Alphonse GUILLETAT edited by Daniel MONDY, printed by Imprimerie de Marie, 61 Faubourg Saint-Denis, depicting a masterpiece by a Compagnon charpentier, with a photograph of RENOLEAU pasted in the center. 90 x 58 cm (slight wetness). - a pair of polychrome engravings entitled "Maître Jacques, Fondateur des Compagnons du Devoir (ami de SOUBISE)", and "Le Père SOUBISE", published by A. PERDIGUIER, 38 Rue Traversière Saint-Antoine in Paris, lithographed by BECQUET, 37 rue des Noyers. Bearing oval stamps in blue ink "Souvenir de la Sainte-Baume et de Saint-Maximin AUDEBAUD, Père des Compagnons D.D. Handwritten label specifying that it is a Souvenir de la Sainte-Baume brought back by RENOLEAU on July 15, 1880. 58 x 42 cm and 58 x 42 cm on view (missing, wet, as is). - a polychrome engraving entitled "Le Génie du Compagnon faisant le Tour du Globe", lithographed by GRANGER and printed by FRICK Frères 17 Rue de la Vieille Estrapade in Paris. Bearing an oval cancel in blue ink "P. CHARUE à Paris". 69 x 53.5 cm (as is). - numerous elements of Compagnon masterpieces in assembled wood, including roofs, architectural elements, staircase shutters... Size of largest element: 39 x 40 x 35 cm (as is). - Carpenter's axe numbered VR for Victor Renoleau. L. 36 cm. (repairs, as is). - two books: Chefs d'Oeuvre de Compagnons by Roger LECOTTÉ, Imprimerie Moderne du Lion, Paris, September 1980; Centenaire du Ralliement des Compagnons du Devoir, November 11, 1880-November 8, 1980, Imprimerie du Compagnonnage, Paris, 1980. - photograph of a Compagnon Chef d'Oeuvre from 1867. 26 x 19 cm (as is). - 7 thematic postcards

Estim. 70 000 - 100 000 EUR

DEGAS Edgar, 1834-1917 Dancer adjusting the epaulette of her bodice. Bronze proof with shaded brown patina, lost-wax casting A. A. Hébrard, copy no. 64/F (from an edition of 20 proofs numbered A to T). On the terrace: - stamp mark: Degas - founder's mark: CIRE/PERDUE/A. A. HÉBRARD - 64/F Height: 35.4 cm; Terrace width: 15.7 cm; Terrace depth: 10 cm; Total depth: 10.4 cm Weight: 2.124 kg. Produced from the yellow-brown wax model designed between 1882 and 1895 (Rewald dating). Cast mainly between 1919 and 1937, according to Hébrard archives. BIBLIOGRAPHY : - J. Rewald, Degas's Complete Sculpture Catalogue Raisonne, New Edition, Alan Wofsy Fine Arts, San Francisco, 1990, similar model described and reproduced as n°XXV, p.88 and also reproduced on p.42. - A. Pingeot, F.Horvat, Degas sculptures, Édition RMN, Paris, 1991, similar model described and reproduced under n°28 p.166. - S. Glover Lindsay, D.S. Barbour, S.G. Sturman, Edgar Degas Sculpture, The Collection of the National Gallery of Art Systematic Catalogue, National Gallery of Art of Washington, 2010, similar model described and reproduced under n°35, p.220. - J.S. Czestochowski, A. Pingeot, Degas Sculpture, Edmonton, Art Gallery of Alberta, 31-01-2010 to 30-05-2010, similar model described and reproduced p.246 and 247. - B. Gaudichon, C. Chevillot, E. Papet, Degas sculpteur, exhibition catalog, La Piscine de Roubaix, 8-10-2010 to 16-01-2011, similar model described and reproduced under n°146, p.212. EXHIBITIONS : - Edgar Degas, Galerie Max Kaganovitch, Paris, 1952 (copy 64/F). - Edgar Degas, Stedelijk Museum, Amsterdam, assembled by Max Kaganovitch (Paris) and Max Huggler (Kunstmuseum, Bern), 8-02 to 24-03-1952, no. 117 (copy 64/F). - The Sculptures of Edgar Degas, Galerie Chalette, New-York, assembled by Max Kaganovitch, Paris, 3-10 to 29-10-1955, n°11 (copy 64/F).

Estim. 20 000 - 30 000 EUR

Laurent Delvaux (Ghent 1696 - Nivelles 1778), Rome, 1728-1732 Sphinx Terracotta model Headed by Némès; resting on a fully molded rectangular base; monogrammed D Dimensions: 21.5 x 42 x 16.5 cm (8 ½ x 16 ½ x 6 ½ in.) Provenance: Estate of Laurent Delvaux: on March 2, 1778, the work devolved by inheritance to Jean-Godefroid Delvaux ; Brussels, Laurent Delvaux-de Saive collection; Louis Jacques Delvaux Collection; Ixelles, Octave Delvaux-de Breyne (Willa me) collection; Brussels, Mme Madeleine Verstraete collection, then by descent to the current owner. Bibliography: G. Willame, Laurent Delvaux, 1696-1778, Bruxelles-Paris: G. Van Oest et Cie, 1914, p. 59, no. 68. M. Devigne, De la parenté d'inspiration des artistes flamands du XVIIe et du XVIIIe siècle. Laurent Delvaux et ses élèves, Mémoire de l'Académie royale de Belgique, Classe des Beaux-Arts, 2e série, II, fasc. 1, 1928, p. 8. A. Jacobs, Laurent Delvaux 1696-1778, Paris, Arthena, 1999, p. 206, p. 249, n°S 35. A terracotta model of a Sphinx, Laurent Delvaux (Gand 1696 - Nivelles 1778), Rome, 1728-1732 "La Sphinge" is monogrammed D but does not bear any mention of Rome. However, the terracotta, with its lovely blond color, is Roman and not Flemish. While the work is just as delicate and conscientious in its craftsmanship and finished appearance, Delvaux seems to have taken a more assertive liberty in interpreting an antique model. The antique sculpture that most closely resembles his figure is one of the two "Sphinxes" that adorned the walls of the museum. Sphinx" that adorned the gardens of the Villa Borghese in Rome (Paris Musée du Louvre, inv. N 32). He transformed the Egyptian archetype into a more graceful, lively image, with a more assertive naturalism and sensuality befitting 18th-century taste. A second Delvaux's later terracotta Sphinge is listed in his work (loc. cit.). The sphinx in Greek mythology is a female monster, an infernal deity with the face and breast of a woman and the body of a lion (androcephalus), which has inspired artists over the centuries. The sphinx / sphinge was sent to Boeotia to punish the city for the crime of its king, Oedipus' father Laios, who had loved Chryssipos in an unnatural way. Installed on a rocky mount, the monster asked a question to all travelers passing by. Those who failed to solve the riddle were immediately killed and devoured. In ancient Egypt, the sphinx was a mythical figure, a symbol of power and vigilance. The oldest representation is the Giza Sphinx, east of the Khephren Pyramid, dated to around 2500 BC. A cross between sculpture and architecture, it features a monumental reclining lion whose head is that of the ruler Khephren or his father Khufu, wearing the royal headdress Nemes. He is depicted here as the guardian of the necropolis, charged with defending it against potential assailants or evil forces. He is the symbol of sovereign strength, protective and formidable to enemies. This terracotta testifies to his desire to penetrate the secrets of the emotion that contact with antique marble originals in Rome can arouse in an artist sensitive to the classical ideal. Delvaux's primary aim in creating these terracotta sculptures in Rome was to build up a stock of working models for his subsequent career in the Netherlands. He kept them in his studio until the end of his life. The sphinx presented here is of major importance in the appreciation of the work of the famous Flemish sculptor. Its appearance on the art market is an important event for collectors, connoisseurs and art historians alike. The sculpture was part of Laurent Delvaux's estate from March 2, 1778, and has been handed down from generation to generation, where it has remained to the present day. We thank Professor Alain Jacobs for his collaboration. We thank Professor Alain Jacobs for his collaboration.

Estim. 800 - 1 500 EUR

Olympic Games/ Winter, 1924/ Chamonix/ Coubertin/ Euro/ Hockey-sur-Glac/ A large-format photo album, probably the only one of its kind, created by André G. Poplimont, the meticulous Belgian manager of the Belgian Ice Skating League. Here, in 42 calligraphed pages (in the old-fashioned style), 136 photo prints reveal every facet of the 1924 Chamonix-Mt Blanc Winter Games. Bonus: press review reports with 28 photos from the European Ice Hockey Championships in Milan (1924), Prague (1925) and Davos (1916). Size: 35 x 26 cm Here, we finally discover little-known facets of the Chamonix Games: starting with "the big shots" (Baron de Coubertin, Count Clary, Frantz-Reichel and General Kentish), all the disciplines and specialities are brought to life in high-quality, well-captioned photos, grouped by chapter...Here's an idea: 3 pages on military racing, 5 on bobsleds (where we discover that the 5-man bobsled was a reality), 3 on jumps, 10 pages on field hockey (28 photos), 9 on figure skating (with Melle Sabouret, Joly or Hénie), 4 p on speed skating, the other pages revealing parades, tracks, grandstands, etc....The French bobsledders, field hockey players, skaters, not to mention all the world's best, and the ventripotent Gaston Vidal. Formats vary: 13.5x9, 9x11.5, 9x12, 16x8.5, 10.5x16, 6.5x16, diam: 7.5 for some rounds. Are the photos by M.Poplimont? Not impossible.

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