Null Teshima TAMOTSU
Fauteuil T.C-09

Chêne avec finition naturelle, rotin
Date …

Description

Teshima TAMOTSU Fauteuil T.C-09 Chêne avec finition naturelle, rotin Date de création : 2014 Dim.: 78,5 x 53,5 x 50 cm Assise : 43 cm Localisation : Paris

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Teshima TAMOTSU Fauteuil T.C-09 Chêne avec finition naturelle, rotin Date de création : 2014 Dim.: 78,5 x 53,5 x 50 cm Assise : 43 cm Localisation : Paris

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Estim. 3 500 - 4 500 EUR

FABRIQUE NATIONALE A CUSTOM BAPTISTE-ENGRAVED 12-BORE 'B25' SINGLE-TRIGGER SIDEPLATED OVER AND UNDER EJECTOR, serial no. 18583 S4, dated 1964, 30in. nitro barrels with 6mm ventilated matt top-rib, 2 3/4in. chambers, bored approx. 1/4 and 3/4 choke, hold-open toplever engraved with a duck head in profile, adjustable trigger, beaded border and acanthus scroll engraving, the decorative sideplates with scenes of woodcock and pheasant in flight over their naturalistic habitat, the underside with the vignette of a bolting bunny, triggerplate signed 'R. Baptiste', silver finish, 15in. highly-figured semi-pistolgrip stock, weight 7lb. 11oz., together with a fleece-lined tan gunslip. S2 - Sold as a Section 2 Firearm under the 1968 Firearms Act

Estim. 7 000 - 8 000 EUR

JOOST CORNELISZ DROOCHSLOOT (Holland, 1586-1666). "Kermesse". Oil on oak panel. Cradled. Signed in the central area. Measurements: 48,5 x 64 cm. This is a work attributed to the Dutch painter Joost Cornelisz, whose productive corpus echoed the achievements of genre painting during the Dutch Golden Age. It is a theme frequently treated by the artist (a lively village view), achieving here to integrate with masterful naturalness the lively human groups in different levels of depth, through a skillful handling of lights and chromatic sieves, proportions and perspective. The houses, some of them stately, are lined up on both sides of the street to escape towards a cloudy horizon. With descriptive eagerness, peasants and bourgeois are typified, thus distinguishing their different social backgrounds. Liveliness animates gestures and gestures. Joost Cornelisz was a painter of the Dutch Golden Age. It is believed that he was born in Utrecht. It is possible that he spent some years in The Hague. The documentation starts in 1616 when he was enrolled as a master in the guild of St. Luke in Utrecht, of which in 1623, 1641 and 1642 he was elected dean. A respected member of his community, in 1638 he was elected regent of the Sint Jobs hospital, deacon of the Reformed Church in 1642 and officer of the schutterij or urban militia in 1650 and 1651. In addition, from 1665 to 1666 he was a painter at the University of Utrecht. Prolific painter, the first known works, such as the Good Samaritan of the Centraal Museum of Utrecht, signed and dated 1617, in which it is clear the knowledge of the work of Jan van Scorel of the same subject, or The Seven Works of Mercy of the same museum, dated 1618, are great historical compositions of religious subject, a genre that he would never abandon (parables of the useless servant and the guest at the wedding, 1635, Centraal Museum; new version of the Seven Laws of Mercy, 1644, The Hague, Museum Bredius), but what is most repeated in his production are the urban landscapes or those located in small villages, with a wide avenue arranged diagonally and directed towards the depth, serving as a framework for the development of festive and market scenes or, more occasionally, with motifs of current events and battles. In this order, influences of the Flemish masters, both Pieter Brueghel the Elder and Pieter Brueghel the Younger, and his compatriot David Vinckboons, have been pointed out, although the finish of the works of this type of painting is not always the same as that of the Flemish masters.

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