Null MALCOM SMITH (20ème siècle)
You're gonna need a bigger boat, 2014

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MALCOM SMITH (20ème siècle) You're gonna need a bigger boat, 2014 From the "DOTTY" series, acrylic on panel signed with monogram lower left, countersigned, titled and dated on back. Dimensions: 110 x 72.5 cm

219

MALCOM SMITH (20ème siècle) You're gonna need a bigger boat, 2014 From the "DOTTY" series, acrylic on panel signed with monogram lower left, countersigned, titled and dated on back. Dimensions: 110 x 72.5 cm

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Estim. 180 - 350 EUR

RICARDO (David): Des principes de l'économie politique et de l'impôt. Translated from English by F.-S. Constancio; with explanatory and critical notes, by M. Jean-Baptiste Say. Paris, J.P. Aillaud, 1819. 2 volumes. 13 by 21.2 cm. X-(2)-431; VI-375 pages. Contemporary half calf, spines gilt, gilt heads, black endpapers. Old restoration of hinges. Paper sometimes slightly foxed. Rare first edition in French (E.O. in English: 1817). Perhaps the most powerful book in the history of economic doctrines". "The founding father, alongside Adam Smith, of the classical approach, David Ricardo (1772-1823) proposes in On the principles of political economy and taxation, an analysis of nascent capitalism that guided the whole of political economy in the 19th century. First and foremost, the Principles mark the advent of a deductive economic theory, based on the formulation of hypotheses and axioms and the uncovering of their logical consequences". (Encycl. Universalis).

Estim. 15 000 - 18 000 EUR

Italian school; first half of the seventeenth century. "Expiring Christ". Silver plated bronze. Measurements: 29 x 28 x 5 cm; 38 cm (base). The Crucifix, of great executive quality, is part of the group of bronzes of this type of the Giambolo-Gnesco circle, datable between the late sixteenth and early seventeenth century. The work proposed here presents similarities with well-known examples such as: two crucifixes in the Convent of the Santissima Annunziata, Florence; the one in the Smith College Museum of Art, Northampton; another in a private collection, Siena (reproduced in P. Torriti, fig. 77); another in a private collection, Siena (reproduced in P. Torriti, fig. 77); and another in the Smith College Museum of Art, Northampton. Torriti, fig. 77); three other examples in private collections (Exhibition catalog: "Giambologna 1529-1608", 1978, nos. 99, 100, 101); also the hybrid variant of the "semi-living Christ" in the Municipal Museum of Douai. Because of the linearity of the folds of the loincloth, it is revealed as a work of the generation after Giambologna, who preferred flat fabric surfaces. It is distinguished from the examples cited above by its vigorous anatomical articulation and the refined and detailed execution of the features of the beautiful face and hair. While in the examples we have mentioned Christ turns his head upwards and to the right, the Christ we are examining is the only example in which the head is reclined to the left. head is reclined to the left, in accordance with the graphic archetype from which the living Christ of Giambologna's sculpture derives, that is, the Crucifix designed by Michelangelo for Vittoria Colonna around 1540 (London, British Museum, inv. 1895-9-15-504r). Cf. Giambologna 1529- 1608. Sculptor to the Medici, exhibition catalog Edinburgh, London, Vienna, edited by C. Avery, A. Radcliffe, London 1978, nos. 98-104, pp.140-142. (K.J. Watson); P. Torriti, Pietro Tacca da Carrara, Genoa, 1984; M. Tommasi, Pietro Tacca, Pisa, 1995; E. D. Schmidt, Scultura sacra nella Toscana del Cinquecento, in Storia delle arti in Toscana: il Cinquecento, edited by R. P. Ciardi, Florence, 2000, pp. 231-254, in particular p.248 with note 83. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the fourth century. It is one of the most recurring themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with open eyes and erect body; the patiens is represented dead, with the will totally emptied (kenosis), the head bowed, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth.

Estim. 150 - 300 EUR

Large early 20th century South Indian brass oil lamp. With a hanging chain affixed to the apex of the lamp. Provenance: C.W. Smith Imported Antiques, St. Louis Park, Minnesota, 2001; Private Minnesota Collection. Height: 18 1/2 in x diameter: 14 1/2 in. Weight: 23 lbs 14 oz.

Estim. 100 - 200 EUR

Thai wooden document box inscribed with three characters, mid-20th century. Provenance: C.W. Smith, Inc., Imported Antiques, St. Louis Park, Minnesota, 2001; Private Minnesota Collection. Height: 8 in x width: 24 1/2 in x depth: 7 1/4 in.

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