Null CLAUDE ÉMILE SCHUFFENECKER (1851-1934)
La Forge
Fusain sur papier
Cachet en…

Description

CLAUDE ÉMILE SCHUFFENECKER (1851-1934) La Forge Fusain sur papier Cachet en bas à droite 37,5 x 41,5 cm Charcoal on paper Stamp lower right 14 3/4 x 16 3/8 in. Provenance Collection particulière

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CLAUDE ÉMILE SCHUFFENECKER (1851-1934) La Forge Fusain sur papier Cachet en bas à droite 37,5 x 41,5 cm Charcoal on paper Stamp lower right 14 3/4 x 16 3/8 in. Provenance Collection particulière

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Estim. 20 - 40 EUR

[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.

Estim. 480 - 720 EUR

Julien Charle, Portrait of a Lady Portrait of an elegantly dressed lady with a hat and gazing into the distance against a green background, partly slightly impasto portrait painting, oil on canvas, relined, signed "Julien Charle" and dated "1883" lower left, craquelure, several retouches, framed, rebated dimensions approx. 51 x 42 cm. Artist information: real name Émile Charles Julien de La Rochenoire, French painter and etcher (1825 Le Havre to 1899 Paris), studied painting under Constant Troyon, Charles Gleyre and Léon Cogniert, 1857-78 regular participation in the Salon de Paris, campaigned for a change in the selection procedure at the Salon, spent the period of the Franco-Prussian War in London together with Camille Pissaro and here became friends with Claude Monet, source: Thieme-Becker, Singer and Wikipedia.

Estim. 50 - 60 EUR

NOAILLES (Anna, Princess Brancovan, Countess Mathieu de). L'Honneur de souffrir. Paris, Les Cahiers verts, Bernard Grasset, 1927. In-12 paperback, printed cover. Original edition printed in 6740 copies; n°XXXI of the top 40 on light green paper. Ex-libris in red morocco of Dr. Lucien-Graux. Also included: MORÉAS (Jean), Trois nouveaux contes de la vieille France. Paris, Émile-Paul frères, 1921. In-12 paperback, filled printed cover. First edition printed in an edition of 1,600 copies; n°III of 81 on Arches papier velin. Ex-libris in red morocco of Dr. Lucien-Graux. Very good uncut copies, with an interesting common provenance.

Estim. 4 500 - 4 700 EUR

JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Portrait of Maria Teresa. 1941. Charcoal drawing on paper. Signed and dated at the bottom. Description: "Visage de M.H. inquiet, recensé FW n 52 raisonné, PG 24664 et cachet bleu au dos". Publications: catalog raisonné of drawings. Josette Gilbert, volume "Portraits", pg 137, illustrated. Measurements: 31 x 23,5 cm. Made a year before his death, this female portrait is ascribed to a certain desire to return to localist naturalism (after having ventured into formal purification) that characterized the sculptor's last period, in line with the theme of Montserrat (Catalan peasant women with headscarves). Considered the father of iron sculpture, Julio González is a key artist for the avant-garde of the 20th century. He was born into a family of goldsmiths, learning the trade in modernist Barcelona. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went to Paris, where he frequented the artistic environments and maintained contact with Picasso, Gargallo and Brancusi, among others, which marked a before and after in his language. There he learned the technique of autogenous welding, key to his research with the expressiveness of iron. Around 1910 he began to work with embossed metal masks, with a style marked by naturalistic and symbolist features, and a new conception of the human figure, with synthesized volumes and lines. During these years, Gonzalez began to participate in the Parisian salons. In 1920 he opened his own forge workshop, and two years later he made his debut at the Povolovsky Gallery. During these years he experimented with the two-dimensionality of the plane, and continued in this line of exploration of volume until 1928, when he was asked to collaborate in the realization of the funerary monument of his friend Apollinaire, characterized by its transparent forms and its emptying. With Picasso, he puts his previous experiments into practice for the first time and proves their viability, given the perfect harmony between them and Picasso's synthetic capacity for drawing. Thus, the delicate small-format irons are finished, and his forms will be increasingly imposing and complex, pushing the artist internationally. Thus, at the end of the twenties he began his first sculptures in wrought iron. During the thirties his work became more abstract, and the first spatial constructions appeared. He prioritizes "the marriage between matter and space" and moves away from traditional symmetrical compositions, through what he himself called "drawing in space". These are improvised pieces, built directly with the wrought iron rod, which build schematic, abstract images of great formal complexity. In parallel, he will work with iron plate, creating a series of works that scholars have related to cubism. After a long list of participations in solo and group exhibitions such as Spanish Art at the Jeu de Paume Museum (1936) or the Universal Exhibition in Paris (1937), his work, as a result of the shortage of iron, focuses on a new material, gypsum, and on drawings with war themes. On the other hand, in 1937 he had achieved the culmination of his sculptural work in iron with "La Montserrat" and "Mujer ante el espejo". A key artist to understand the Spanish avant-garde, his work has been vindicated by important exhibitions such as the retrospective exhibition dedicated to him in 2009 at the MNCARS in Madrid. On the other hand, Gonzalez is represented in the most important contemporary art collections in the world, including the Georges Pompidou Center in Paris, the Reina Sofia in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

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