Description

George Minné, 1866 Gent-1941 Sint-Martens- Latem, large bronze sculpture, mother with child, the mother walking through ankle-deep water and raising the child protectively in front of her body, depiction of motherhood, dark patina, rectangular plinth, signed and dated on the side 1929, height approx. 77cm; Minné studied at the Ghent Academy and maintained an acquaintance with the designer Henry van de Velde

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George Minné, 1866 Gent-1941 Sint-Martens- Latem, large bronze sculpture, mother with child, the mother walking through ankle-deep water and raising the child protectively in front of her body, depiction of motherhood, dark patina, rectangular plinth, signed and dated on the side 1929, height approx. 77cm; Minné studied at the Ghent Academy and maintained an acquaintance with the designer Henry van de Velde

Estimate 9 000 - 18 000 EUR
Starting price 9 000 EUR

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For sale on Saturday 27 Jul : 11:00 (CEST)
mutterstadt, Germany
Henry's Auktionshaus
+49623480110
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ANDRÉ-LÉON VIVREL (1886-1976) Reunion of two paintings View of Paris at the Sacré-Coeur - Paris under the snow Oil on canvas The first signed lower left, the second signed lower left (Soiling, stretcher mark and worn upper edge on the second) A set of two paintings, oil on canvas, the first one signed lower left, the second one signed lower left 55 x 46 cm - 21 5/8 x 18 1/8 in. 46 x 55 cm - 18 1/8 x 21 5/8 in. Provenance Private collection, France André-Léon Vivrel was born in Paris in 1886. At just 15, he decided to become a painter. He was supported in this by his mother, whom he describes as his first teacher, and his father, a wine merchant who won first prize for drawing in 1870. A pupil at the Lycée Louis-le-Grand, André-Léon Vivrel entered the Académie Julian in 1910. There, he studied with Paul Albert Laurens, and later with Marcel Baschet and Henri Royer at the École des Beaux-Arts. He rents a studio in Montmartre, at 65 rue Caulaincourt, just eight numbers from Auguste Renoir's. He first exhibited at the Salon des Artistes Français in 1913. Mobilized in 1914, he was awarded the Croix de Guerre for heroic conduct in 1917. After the war, he returned to his studio in Montmartre. He was awarded an honorable mention at the 1920 Salon, and the French government bought the two still lifes he exhibited at the Salon des indépendants. He also exhibited two portraits of Breton women painted on his return from a stay in Ploumanac'h (Côtesss d'Armor). In 1922, Vivrel appeared for the first time at the Salon de la Société Nationale des Beaux-Arts. After winning the Deldebat de Gonzalva prize in 1932, the following year he won a silver medal at the Salon des Artistes Français with "Le Temps des cerises". In 1934, Vivrel presented Bathers, the first in a series of large nudes exhibited at the Salon until 1943. The culmination of his research into the female nude, his 1939 "Baigneuses" won a gold medal at the Salon des Artistes Français. This final award crowned a silver medal won by Vivrel in 1937 at the Exposition Internationale des Arts et Techniques in Paris. Critics were unanimous in their praise of his talent, and in 1940, Louis Paillard wrote on the front page of the "Petit journal" of May 6, 1940: "André Vivrel, appears, I proclaim, as one of the best in this Salon [of French artists]". The exhibition "Vivrel - peintures récentes" (Vivrel - recent paintings), organized by the Galerie de Berri in May 1942, illustrated the diversity of Vivrel's genres in 31 paintings, but it was landscape that he explored most passionately. His land of choice was the Loiret, where his older brother Marcel owned a second home in Châtillon-sur-Loire, not far from Champtoceaux. In the aftermath of the Great War, destitute of money, he took refuge there to paint on the motif at lower cost. In the spring of 1926, Vivrel was again in Brittany, from where he brought back "Port de Camaret", exhibited at the 1926 Salon des Tuileries. A few years later, in 1934, he returned to Côtes d'Armor, where he composed seascapes that were also studies of the sky. Vivrel spent the summer of 1926 in Corsica. There, he produced watercolors that were exhibited in the autumn at the Galerie Georges Petit and then in New York. On each occasion, the critics were unanimous in praising their qualities: "André Vivrel's exhibition is the work of an artist who is sensitive and refined, while remaining broad in his conceptions. His views of Corsica, Brittany and Paris are like his delicately harmonious flowers" ("La Semaine à Paris", November 12, 1926, p. 63). In 1928, he returned to the Midi. Capturing the warm, vibrant light of Provence, he painted "Le port de Saint-Tropez", exhibited the same year at the Salon des Indépendants. The Mediterranean theme was also evident at the Salon des Tuileries, where Vivrel presented harbor views and ocean liners, evidence of a flourishing tourist industry. When Vivrel wasn't on the roads of France, he took Paris as his model. He painted the alleyways of the Montmartre hilltop and the capital's monuments, such as Notre-Dame Cathedral, which he painted in series, following Monet's example. He liked to linger on the banks of the Seine, which offered him many unusual views of the city and inspired paintings reminiscent of Albert Lebourg's Parisian landscapes. Painting until his last breath, André-Léon Vivrel died in Bonneville-sur-Touques on June 7, 1976.

Italian school, XVII-XVIII century. Following models of ORAZIO GENTILESCHI (Pisa; 1563-London; 1639). "Virgin of the milk". Fragment of the "Rest in the Flight into Egypt" (Louvre Museum). Oil on canvas. Presents some lack in the frame. It needs restoration. Measurements: 117 x 102 cm; 131 x 116 cm (frame). This painting of classicist school retakes the motive of the maternity extracted from the painting of the mannerist painter Orazio Gentileschi dedicated to the theme of the flight to Egypt (oil painting conserved in the Louvre), where the Holy Family appears making a rest in its way, after leaving Bethlehem to escape to the persecution of Herod. The painter in question is inspired by that image of the Virgin breastfeeding the Child Jesus, respecting the volumetric and monumental proportions of the bodies. He also follows the model of the Virgin of the Milk. Jesus suckles the breast while looking at us out of the corner of his eye, adopting a natural gesture, without any artifice. The mother has classical features that remind us of the timeless. Her hair is gathered in a silky, light brown bun. The painter has chosen a range of more contrasting and earthy tones than the original, so that the flesh tones are slightly atheistic and the light models bodies and features with ingenuity. The whole shows a sacred and leisurely image without the need to introduce symbolic elements. Orazio Lomi Gentileschi was an Italian painter born in Tuscany. He began his career in Rome, painting in a mannerist style. Much of his early work in Rome was collaborative in nature. He painted the figures in Agostino Tassi's landscapes in the Rospigliosi palace, and possibly in the great hall of the Quirinal palace. After 1600, he was influenced by the more naturalistic style of Caravaggio and began to have commissions in Fabriano and Genoa before moving to Paris, to the court of Maria de' Medici. He remained there for two years, but only one painting from his stay has been identified, an allegorical figure of Public Happiness, painted for the Luxembourg Palace, and now in the Louvre collection. In 1626, Gentileschi, accompanied by his three sons left France for England, where he joined the household of the king's prime minister, George Villiers, 1st Duke of Buckingham. He was a favorite artist of Queen Henrietta Maria, for whom he painted the ceiling of the Queen's House at Greenwich. The paintings of his English period are more elegant, artificial and sober than his earlier works. They include two versions of The Finding of Moses (1633), one of which was sent to Philip IV of Spain; it was previously supposed to have been a gift from Charles I, but is now known to have been sent on Gentileschi's own initiative.

Quintilianus, Marcus FabiusM. Fabii Quintiliani Oratoriarum institutionum Lib. XII. Una cum novemdecim sive eiusdem, sive alterius Declamationibus argutissimis, ad horrendae vetustatis exemplar repositis, & nunc iteru Gallia impressis. Mit großer Holzschnitt-Verlegermarke auf Titel und zahlr. Holzschnitt-Initialen. Paris, Jodocus Badius für Jean Petit, 12. August 1519. 12 nn. Bll., CCXII. - Angebunden: Ders. (Declamationes XIX). o.O., o.Dr., o.J. LXXXVIII. 8°. Zus. in späterem Ldr. mit Fleur-de-Lys-Verg. auf Rücken (Deckel mit Defekten). Quintilianus, Marcus Fabius M. Fabii Quintiliani Oratoriarum institutionum Lib. XII. Una cum novemdecim sive eiusdem, sive alterius Declamationibus argutissimis, ad horrendae vetustatis exemplar repositis, & nunc iteru Gallia impressis. Mit großer Holzschnitt-Verlegermarke auf Titel und zahlr. Holzschnitt-Initialen. Paris, Jodocus Badius für Jean Petit, 12. August 1519. 12 nn. Bll., CCXII. - Angebunden: Ders. (Declamationes XIX). o.O., o.Dr., o.J. LXXXVIII. 8°. Zus. in späterem Ldr. mit Fleur-de-Lys-Verg. auf Rücken (Deckel mit Defekten). Vgl. BP16 103852 u. Renouard II, 2189 (mit abweichendem Datum). - Auf dem Titelblatt mit großer Holzschnitt-Druckermarke von Jean Petit. - " Jodocus Badius (Josse Bade) ... ein gelehrter Drucker und Buchhändler Frankreichs von hervorragender Bedeutung. ... Nachdem er bei den Brüdern des gemeinsamen Lebens in Gent die erste Schulung erhalten und sodann in Italien namentlich unter dem berühmten Humanisten Battista Guarino in Ferrara studirt hatte, kam er nach Lyon, wo er als Lehrer des Griechischen und Lateinischen, bald aber auch, seit 1491, als gelehrter Corrector für die Werkstätte des deutschen Buchdruckers Joh. Trechsel thätig war . Wahrscheinlich im J. 1500, siedelte er nach Paris über ... um nun selbst eine Druckerei zu errichten. Zu dem Druck gesellte sich bald auch der Buchhandel und namentlich der Verlag, bei dem wir ihn oft mit dem großen Verleger Jean Petit vereinigt sehen." (ADB 46, 184f.) - Vorderer fliegender Vorsatz erneuert. Vorsätze und Titelbl. mit zeitgen. hs. Annotationen. Titelbl. und letzte 2 Bll. mit restaurierten Fehlstellen. Teils etwas (wasser-)fleckig. Vereinzelt mit Unterstreichungen, 1 Bl. mit Marginalien. Incunabula - Postincunabula - With large woodcut publisher's mark on title and numerous woodcut initials. - Bound with: see above. Together in later leather with fleur-de-lys gilt on spine (cover with defects). - On title-page with large woodcut printer's mark of Jean Petit. - Front flyleaf renewed. Endpapers and title-page with contemporary manuscript annotations. Title-page and last 2 leaves with restored missing parts. Partly somewhat (water-)stained. Occasional underlining, 1 leaf with marginalia. Dieses Werk ist regelbesteuert. Auf den Zuschlagspreis fallen 23,95% Aufgeld sowie auf den Rechnungsendbetrag 7% (Bücher) bzw. 19% Mehrwertsteuer in der Europäischen Union an. This work is subject to the regular margin scheme. There is a 23.95% buyer's premium on the hammer price and 7% (Books) or 19% VAT on the final invoice amount in the European Union.