Null EMMANUELLE KHANH - 1980'S
SKIRT
WOOL
NOISETTE
T. L

PROVENANCE: ARCHIVES CA…

Description

EMMANUELLE KHANH - 1980'S SKIRT WOOL NOISETTE T. L PROVENANCE: ARCHIVES CATHERINE GORNE-ACHDJIAN. FRENCH COSTUME DESIGNER RENOWNED FOR HER WORK IN THE FILM INDUSTRY. CÉSAR FOR BEST COSTUMES IN 1986 FOR THE FEATURE FILM "HAREM" DIRECTED BY ARTHUR JOFFÉ

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EMMANUELLE KHANH - 1980'S SKIRT WOOL NOISETTE T. L PROVENANCE: ARCHIVES CATHERINE GORNE-ACHDJIAN. FRENCH COSTUME DESIGNER RENOWNED FOR HER WORK IN THE FILM INDUSTRY. CÉSAR FOR BEST COSTUMES IN 1986 FOR THE FEATURE FILM "HAREM" DIRECTED BY ARTHUR JOFFÉ

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Estim. 20 - 40 EUR

Henri Gauthier, L'image de l'homme intérieur chez Balzac. Paris-Genève, Droz, 1984. In-8, 330p. Foreword by P-G Castex. Paperback, good condition. [Collective] Edited by: Susan Mendus & Jane Rendall, Sexuality and Subordination Interdisciplinary Studies of Gender in the Nineteenth Century. London and New York, Rutledge, 1989. In-8, 260p. Includes: Nicole Ward Jouve, Balzac's A Daughter of Eve and the Apple of knowledge (p.25-59). Paperback. Beatrice Martina Guenther, The Poetics of Death. The Short Prose of Kleist and Balzac. State University of New York Press, 1996. In-8, 216p, paperback. [Collective] Edited by Claude Duchet and Isabelle Tournier, Balzac, OEuvres complètes - Le "Moment" de La Comédie humaine. Presses Universitaires de Vincennes, 1993. In-8, 332p. Paperback, mint condition. Also includes Franc Schuerewegen, Balzac suite et fin. ENS éditions, 2004. In-8, 152p, mint condition. Raffaele de Cesare, Balzac e Manzoni e altre studi su Balzac e l'Italie. Milano, Vita e Pensiero, 1993. In-8, 332p, paperback. Set of 5 volumes: M Descotes, L'image de Louis XVIII dans la Comédie humaine. Paris, Archives des lettres modernes, 1994. In-12, 114, mint condition. David Bellos, La Cousine Bette. London, Grand & Cutler, 1980. 94p, mint condition. Georg Lukacs, Balzac and French Realism. La découvert-poche, 1999. In-12, 109p. Mint condition. Armin Renker, Der Anfand eines großen Sieges. Balzac über das Papier. Berlin, 1937. 41p, bradel boards, uncommon. Nicole Cazauran, "Sur Catherine de Médicis" by Honoré de Balzac. Essai d'étude critique. Paris, École Normale Supérieuire de Jeunes Filles, 1976. In-8, 270p. Paperback. [Collective] Edited by Claudie Bernard and Franc Schuerewegen, Balzac, pater familias. C.R.I.N., 2001. In-8, 106p. Paperback, mint condition. 3 volumes enclosed: Gamil Farag, Le costume et le caractère dans la Comédie humaine de Balzac. Cairo, le livre de France, 1974. In-8, 159p, paperback, uncommon. Léon Emery, Balzac en sa création. Audun, Touzot, 1952. In-8, 190p, uncut. [Collective] Under the direction of Philippe Chardin, La tentation théâtrale des romanciers. Paris, SEDES, 2002. In-8, 167p. Mint condition. Véronique Bui, La femme, la faute et l'écrivain. La mort féminine dans l'œuvre de Balzac. Paris, Honoré Champion, 2003. In-8, 323p. Publisher's binding, mint condition.

Estim. 18 000 - 22 500 EUR

Massive Baroque Madonna in Glory - ATTRIBUTED TO JOSÉ DE RISUEÑO (Granada, 1665-1732), 17TH CENTURY BAROQUE GRANADINE SCHOOL Oil on canvas measurements: 100 x 78 cm, framed measurements: 120 x 100 cm. One of the most prominent Spanish painters and sculptors of the Granada Baroque. Trained in the workshop of his father Manuel Risueño with the sculptors Diego and José de Mora and with the painter Juan de Sevilla, all of them disciples of Alonso Cano. With abundant artistic production of a religious nature, in his work we can see the influence of Cano's models, his taste for naturalism and the use of Van Dyck's Flemish prints. Among his paintings, the religious scenes stand out with examples such as The Coronation of Saint Rosalía and The Mystical Betrothal of Saint Catherine (Granada Cathedral), The Virgin of the Rosary (private collection, Almería) and Saint Thomas of Aquinas (acquired in 1911 by the Prado Museum). He collaborated with Palomino in the execution of The Triumph of the Eucharist and Saint Bruno from the dome of the Tabernacle of the Granada Charterhouse (in situ). He also made portraits, highlighting among them that of his protector, Archbishop Dr. Martín Azcargorta (archiepiscopal palace, Granada). In his sculptural works he cultivated the same themes as in painting, using diverse materials: clay, wood and stone, to make altarpieces, doorways and church facades, most of them in his hometown. Provenance: private collection, Barcelona. Reference literature: Orozco Díaz, Emilio, «Some unknown works by Risueño and de Mora (data and comments for the study of a forgotten theme of Granada imagery)», Spanish Art Archive, xliv, no. 175, Madrid, 1971, pp. 233-257; Sánchez-Mesa Martín, Domingo, José Risueño, sculptor and painter from Granada (1665-1732), Granada, University, 1972.

Estim. 7 000 - 7 500 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) "Self portrait", N3017.1. New York, 1979-80. Gelatin silver print. Later printed by Igor Bakht, stamp on verso. Signed by George and Betty Woodman, annotated "I B" "N3017.1" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 13.7 x 13.7 cm (image); 26 x 21 cm (paper). This photograph, in which Francesca Woodman is shown foreshortened and quartered, belongs to the last stage of the artist's short life. At the time, she was living in New York. Woodman had spent the summer of 1979 in Stanwood, Washington to visit her partner, Benjamin Moore. It was there that she created a photographic series on domestic subjects. When she returned to New York, she tried to make her work known and managed to have exhibitions at the Daniel Wolf Gallery. In the advertising and fashion industry she discovered the work of Deborah Turbeville, who was characterized by placing models in gothic-melodramatic settings, such as in desolate or dark buildings or corridors. Woodman imbibed this style, which she then reflected in her future photographs. In the summer of 1980 he experimented with his own body in order to deal with themes of something higher, according to the letter he wrote to his friend Suzanne Santoro, who lived in Rome. At this time, his artistic creation became more meticulous and he elaborated more methodically the composition, starting from previously created sketches, to work out the narrative of his images. Although she put a lot of effort into her artistic work, she was never convinced of it. What really drove her to suicide was a mediocre public response to her photography and a broken romance. Her father suggested that the reason for the suicide was a failed application for funding from the National Endowment for the Arts. She was too far ahead of her time. All this caused Francesca Woodman to fall into a depression and finally, a few days after launching her book, on January 19, 1981, she decided to take her own life at the age of only 22, jumping out of a loft window on the Lower East Side of Manhattan, New York. Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both visual artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

Starting price 1500 EUR

T. WALLIS (1794-1892), Garment study, Pencil Trajan Wallis (1794 Florence - 1892 ): Garment study on a reclining female nude, 19th century, Pencil Technique: White heightened Pencil on Paper Date: 19th century Provenance: From the estate of the artist. Verso: Indication of a female nude study to the left; numbered: 12"" Keywords: garment study, antique drapery, drapery, pleated garment, pleats, shading, skirt, 19th century, Romanticism, Fashion, Italy, Size: Paper: 45,6 cm x 30,0 cm (18 x 11,8 in)

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