Null TECLA
COLLIER A TRANSFORMATION
De deux rangs de belles perles de culture di…

Description

TECLA COLLIER A TRANSFORMATION De deux rangs de belles perles de culture disposées en chute. Le motif central, amovible, est orné d'une fleur en or gris centrée d'un diamant de taille brillant de 4,50 cts, dans un entourage de diamants de taille brillant et baguette. Il est accompagné d'une feuille stylisée sertie de diamants. Entièrement amovible la broche ronde peut être portée sans les feuilles. Dans un écrin de la Maison Técla. A diamond, cultured pearl and 18k gold necklace, set with a brilliant cut diamond weighing 4,50 cts. Can also be worn as a brooch. Certificat L.F.G. pour le diamant attestant : couleur J, pureté VS1. RC : Diamètres des perles : 5,3 - 7,4 mm environ. Dimensions de la pierre : 11,0 - 11,4 x 6,18 mm. Longueur interne : 41,5 cm environ. Dimensions de la broche : 7,5 x 3,2 cm environ. Poids brut : 86,7 g (18k - 750).

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TECLA COLLIER A TRANSFORMATION De deux rangs de belles perles de culture disposées en chute. Le motif central, amovible, est orné d'une fleur en or gris centrée d'un diamant de taille brillant de 4,50 cts, dans un entourage de diamants de taille brillant et baguette. Il est accompagné d'une feuille stylisée sertie de diamants. Entièrement amovible la broche ronde peut être portée sans les feuilles. Dans un écrin de la Maison Técla. A diamond, cultured pearl and 18k gold necklace, set with a brilliant cut diamond weighing 4,50 cts. Can also be worn as a brooch. Certificat L.F.G. pour le diamant attestant : couleur J, pureté VS1. RC : Diamètres des perles : 5,3 - 7,4 mm environ. Dimensions de la pierre : 11,0 - 11,4 x 6,18 mm. Longueur interne : 41,5 cm environ. Dimensions de la broche : 7,5 x 3,2 cm environ. Poids brut : 86,7 g (18k - 750).

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Estim. 300 - 350 EUR

SCIENCE - CARNOT Lazare (1753 - 1823) - Partly printed letter with autograph lines and signature Partly printed letter with autograph lines and signature, dated “Paris, le 9. Vendémiaire an 9” by the French mathematician, physicist, military officer, politician and a leading member of the Committee of Public Safety during the French Revolution. His military reforms, which included the introduction of mass conscription, were instrumental in transforming the French Revolutionary Army into an effective fighting force. Addressed to the Louis César Alexandre Dufresne (1751 - 1836) “Conseiller d’État Directeur du Trésor Public”: “…Je vous envoye, Citoyen, deux états de distribution montant ensemble à la somme de 154, 351 et affectée au service du logement et campement pour l’an 9…”. 1 p. In-4. With official letterhead “République française/Liberté. Egalité”. - This item is under temporary import. If the item is delivered within the United Kingdom, it will be subject to a 5% Value Added Tax (VAT) on the hammer price.

Estim. 2 200 - 2 500 EUR

BANDELLO (Matteo). XVIII histoires tragiques, extraictes des oeuvres Italiennes de Baudel, & mises en langue Françoise. Les six premières, par Pierre Boisteau, surnommé Launay natif de Bretaigne. - The next twelve, by Franc. de Belle-Forest, Comingeois. Turin, Cesare Farina, 1582. In-16, 436 ff, [3] ff, fawn calf, ornate spine, triple gilt fillet framing the boards, gilt edges, inner lace (Thompson). Reprint of Bandello's first translation by Pierre Boaistuau (1517-1566), which appeared in 1559 at the Paris address, with Belleforest's continuation, first published in 1560 and constituting the first French translation of Romeo and Juliet. The 214 Novelle del Bandello were first published in Italian in 1554 (first three parts, addressed to Lucca) and 1573 (fourth part, addressed to Lyon). Boaistuau and Belleforest were only interested in a small part of the corpus - including the story of ROMEO ET JULIETTE, which makes its FIRST APPEARANCE IN FRENCH "Histoire troisième de deux amans, dont l'un mourut de venin, l'autre de tristesse". The play is part of a tradition of tragic love stories dating back to Antiquity. The plot is based on an Italian tale by Luigi da Porto, translated into English verse by Arthur Brooke in 1536 as The Tragical History of Romeus and Juliet. In 1582, William Painter proposed a prose version in his Palace of Pleasure. Shakespeare borrowed from both, but deepened the plot by developing the secondary characters, notably Mercutio and Count Paris. Probably written between 1591 and 1595, the play was first published in quarto in 1597. Bishop of Agen since 1550, Matteo Maria Bandello (1480-1561) was both an Italian and French literary and social figure: having visited the French court as early as 1510, he also frequented the Sforza family in Milan, and had resided in our country since his appointment to the bishopric of Agen. He died at Château de Bazens, owned by the bishop's mense. (Brunet I, 638. Cioranescu, XVI, 4092 (for the first edition). A fine copy from the library of M. F. Clicquot de Reims n° 602 (handwritten bookplate) and the Heirisson brothers (bookplate).

Estim. 1 200 - 1 800 EUR

GRIGORY GUBAREV (St. Petersburg, 1895 - Kiev, Ukraine, 1978). Untitled. Oil on panel. Attached certificate issued by Jon Urgoiti. Measurements: 30 x 20 cm; 43 x 35 cm (frame). This painting is ascribed by period, origin and style to the Russian avant-garde, a period of great innovation and plastic experimentation, especially in the field of geometric abstraction. Within the dominant movements of the region (suprematism, rayonism, futurism...), the present work on panel follows constructivist models. The use of color is bold and vibrant, associated with a form that contains it and gives it dynamism. The Russian avant-garde encompasses a period of artistic innovation that developed approximately between 1890 and 1930. This school includes a variety of movements and styles that together transformed art and visual culture not only in Russia but throughout the world. Russian avant-garde artists sought to break with academic traditions and experiment with new forms, techniques and concepts. Malevich, Tatlin and Rodchenko were among the many stellar figures of the movement. Grigov Gubarev studied with the painters A.A. Vesnin and Andrei Pomarenko and attended the art school of the HYLEA group of futurist-cubist tendencies. He was a member of the futurist group "Luchistj primitives" and participated intensively in the post-revolutionary pictorial changes. His painting ranged from avant-garde to constructivism. He was a professor of color technique at the Leningrad State Art College. Emeritus painter, member of the Association of Soviet Painters, he participated in various Russian and pan-Soviet exhibitions: his post-cubist paintings and his decorations in the various popular Dom Kultur of the countries of the Soviet Union stand out.

Estim. 3 500 - 4 500 EUR

ALFONS BORRELL PALAZÓN (Barcelona, 1931-2020). Untitled. 1998. Mixed media on thick paper. Signed and dated. Measurements: 74 x 112 cm; 82 x 120 cm (frame). Alfons Borrell is considered one of the maximum exponents of the lyrical abstraction in Spain. In this composition the influence of Rothko and his floating color fields can be appreciated. Starting from symmetries and gestural abstractions, his work progressively simplified. With large monochrome surfaces - color has a structural protagonism in Borrell's work - often centered on a single geometric figure or on a graphic sign or dimensioning, the lyricism and austerity of this painting brings it closer to the interior or introspective landscape than to the will of representation. Born in Barcelona but settled in Sabadell since he was a child, Alfons Borrell trained in the fifties with Hermen Anglada Camarasa in Mallorca and at the Escola de Belles Arts in Barcelona. In 1960 he was part of the Grup Gallot, a collective created in Sabadell that practiced actions halfway between action painting and surrealist automatism that questioned the limits of authorship and the pictorial medium. In 1971, he participated in the creation of Sala Tres in Sabadell. A close friend of Joan Brossa and artists such as Perejaume, throughout his extensive career, his pictorial abstraction has been consolidating as an expressive corpus of great intensity and solidity. Since his first solo exhibitions in the late fifties, Borrell has presented his work in prominent art venues in the country and also in France, Germany, the United States and Japan. The art critic Alexandre Cirici invited him to participate in the inaugural exhibition of the first Museu d'Art Contemporani de Barcelona in the dome of the Coliseum Cinema in 1960. In 1978, he was part of the exhibition Seny i rauxa. 11 artistes catalans at the Centre Georges Pompidou in Paris. Among the numerous retrospectives of his work, those presented at the Centre Cultural Tecla Sala in L'Hospitalet de Llobregat (2006), the Museu d'Art de Sabadell (2007) and the Fundació Joan Miró in Barcelona (2015) stand out.

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