Null Piccatto Luigi La lunga notte- Dylan Dog. 2006. Graphite on paper. Cm 30x21…

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Piccatto Luigi La lunga notte- Dylan Dog. 2006. graphite on paper. Cm 30x21. 4 preparatory and study plates ( exactly no. 2, 51 and 81 for Dylan Dog Giant 2006 and other plate also for Dylan Dog Giant 2006)

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Piccatto Luigi La lunga notte- Dylan Dog. 2006. graphite on paper. Cm 30x21. 4 preparatory and study plates ( exactly no. 2, 51 and 81 for Dylan Dog Giant 2006 and other plate also for Dylan Dog Giant 2006)

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Starting price 300 EUR

HUGO (Victor). Odes - Odes et Ballades. Paris, Ladvocat, 1825-1827. 3 volumes in-12, collection of all Victor Hugo's "Odes", Odes et Ballades (volume 3) in first edition, Odes in third edition. Illustrated with 3 frontispieces engraved by Mauduit and Godefroy after Devéria. Enriched with an additional state of the frontispiece of volume 1, an original drawing after the frontispieces of volumes 1 and 2, a portrait of the author by Pollet, a portrait of the Duc de Berry engraved by Cardon after Monenteuil and 10 hors-texte engravings. The copy also includes a signed autograph letter to Victor Hugo from Maréchale Oudinot duchesse de Reggio, née Eugénie de Courcy and dame d'honneur to the Duchesse de Berry, located in Paris and dated May 27, 1821, bound at the head of the first volume. "It is infinitely pleasant for me to have to announce to you, Monsieur, that M. la Marquis de Lauriston, Minister of the King's Household, to whom I had written in your favor, on behalf of Madame la Duchesse de Berry, has just replied that your talent and the position of your fortune were known to him, and that you would be one of the first for whom he would invoke the King's kindness." This interesting letter, addressed to the 19-year-old Victor Hugo, marks a turning point in the poet's life. In 1821, having just published the Odes, King Louis XVIII, who had read the collection, granted Victor Hugo an annual pension of one thousand francs. The letter probably bears witness to the Duchesse de Berry's intercession with the king to obtain this pension. It enabled the poet to devote himself fully to his art, to make a living from it, to plan his marriage to Adèle Foucher and to really begin his career as a writer. Bound in full green long-grain morocco, the boards and spine mosaicked with red, blue, violet and brown leather in the Romantic style, smooth ornate spine, red morocco title-pieces, vegetal roulettes on the edges, frieze and fillets framing the inside covers, blue silk moire endpapers, all edges gilt, signed René Kieffer. In common slipcase. (spine faded, tear to title-piece). Expert : Monsieur Nicolas Asvisio

Estim. 800 - 1 600 EUR

Gun stock saw, likely late 18th c., decorated throughout with mottoes and imagery related to the French Revolution. Incised along one side of the blade: "Viva la nation et tout ces bon cytoiens [citoyens]. Fait a Brignais...C. Vincent." Incised along the other: "La mort dez aristocrats, la rejouissancez du diable....JFG." In English reading "Long live the nation and all its good citizens. Done in Brignais...C. Vincent" and "The death of aristocrats, the rejoicing of the devil....JFG" respectively. The point is decorated with the image of a face above crossbones, dripping blood. The wooden handle carved with two folk art heads, one with a toothy grin and a cap and the other an animal missing its horns; possibly a devilish cartoon depiction of Louis XVI. Saw; Length: 44 in x width: 4 in. Handle; Length: 27 in x width: 6 1/4 in x depth: 1 1/2 in.

Estim. 6 500 - 7 000 EUR

LORETTA LUX (Dresden, Germany, 1969). "Hugo and Dylan 1", 2006. Photography, edition 10/20. Work referenced on the artist's website. Measurements: 27 x 22 cm; 50 x 40 cm (frame). The resounding success of photographer Loretta Lux lies, in part, in her cold and unsentimental approach to the children captured through her lens. Her snapshots, which have more to do with metaphors of childhood innocence than with the psychology of individuals, are influenced by the bourgeois portraits of the early twentieth century, showing us young models in domestic settings dressed in eccentric outfits that are now considered old-fashioned. Aesthetically, the mixture of photography, painting and digital manipulation is appreciated, by means of which Lux distorts proportions and places the children in static scenarios. Loretta Lux left East Germany shortly before the fall of the Berlin Wall to travel to Munich, where she studied painting at the Akademie der Bildenden Künste. In 1999 she began taking photographs. She was awarded the 2005 Infinity Award for Art, International Center of Photography, New York, NY. Throughout her career she has exhibited in Israel, Italy, Switzerland, Mexico, Netherlands, USA, Russia, Germany (solo). Currently his work is part of public collections such as the Solomon R. Guggenheim Museum in New York. Guggenheim Museum in New York, the National Museum of Art in Osaka, the Photo Museum in Munich, the Musée de l'Elysée de Lausanne in Switzerland, the Maison Europeenne de la Photographie in Paris, the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Israel Museum, Jerusalem in Israel, the Gemeentemuseum Helmond in the Netherlands, the Art Gallery of New South Wales in Sydney, the National Gallery of Victoria in Melbourne and the Art Gallery of Alberta in Edmonton, Alberta, Canada. In the United States: the Art Institute of Chicago, the Brooklyn Museum of Art, the Denver Art Museum, the Los Angeles County Museum of Art, the Milwaukee Art Museum or the San Francisco Museum of Modern Art. He currently lives and works in Ireland.

Estim. 7 000 - 7 500 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) Untitled, from "Angels series", Rome, 1977-1978. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 297 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 15.5 x 15.5 cm (image); 26 x 21 cm (paper). This photograph belongs to Woodman's Roman period. The blurring of the body, the ghostly presences, the night and the specters make up a suggestive print in which the artist herself is the protagonist. Woodman delves into the hidden part of her own being, trying to make visible what is essentially invisible. In this series, the photographer employs long exposure techniques to capture movement, resulting in blurred figures that seem to fade or merge with their surroundings. This effect creates a sense of dynamism and evokes the idea of ethereal beings or ghosts. He made this series (Angels) in Rome. Between 1975 and 1979, while studying at Providence College of Fine Arts, where Francesca Woodman excelled in her artistic abilities, she was awarded an Honors Program scholarship that allowed her to live for a year in the school's facilities at Palazzo Cenci in Rome. She met and joined a group of artists linked to the Maldoror Gallery and Bookstore. Its owners Giuseppe Casetti and Paolo Missigoi were attracted to all those related to the avant-garde movements, more specifically, those related to futurism, surrealism and symbolism. It was the owners who managed to include Woodman in an exhibition of five young artists at the Ugo Ferranti Gallery, where she was the only American to participate. This became her first solo exhibition. It was in Rome that she produced some of her best known works to this day, such as "On Being an Angel", "Glove Series", "Self-deceit". Her photographs reformulate the image of women, Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from the 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 fine 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.

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