Null Roger Krieger, Attributed to, for L'Equipe

Duel

A mythical moment in the …

Description

Roger Krieger, Attributed to, for L'Equipe Duel A mythical moment in the Tour de France, Anquetil battling Poulidor on the climb up the Puy de Dôme, Tour de France 1964. Pigment print. One-of-a-kind print. 60 x 60 cm

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Roger Krieger, Attributed to, for L'Equipe Duel A mythical moment in the Tour de France, Anquetil battling Poulidor on the climb up the Puy de Dôme, Tour de France 1964. Pigment print. One-of-a-kind print. 60 x 60 cm

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Estim. 20 - 40 EUR

Lot of 12 biographical works on Balzac: DEvaldès, Honoré de Balzac. 1909. Zweig, Balzac Dickens. 1927. Surville, Balzac, sa vie et ses oeuvres. 1858. Faguet, Balzac. 1913. Boudou, Contes dels Balssas, Balzac's ancestors. 1953. Spanish edition with facing translation. Letter from the author, in Spanish, to Maurice Rogues. Mirbeau, Balzac, sa vie prodigieuse, son mariage, ses derniers moments. 1918. Gigli, Balzac in Italia. 1920. J Romains, Saints of our calendar. 1952. Laurencin, Daily life in Touraine at the time of Balzac. 1980. Gozlan, Balzac en pantoufles. Sd (ca.1920). Aubrée, Balzac in Fougères. 1939. Maury, Balzac's social and political opinions. 1941. Lot of 12 biographical works on Balzac: Léon Thoorens, "La vie passionnée de Balzac", Marabout, 1959. In-8, 284 pp. Publisher's full cloth binding. Illustrated dust jacket. Nadine Satiat, "Balzac ou la fureur d'écrire". Hachette Littératures, 1999. In 8, 631 p. Roger Pierrot, "Honoré de Balzac". Paris, Fayard, 1994. In-8, 582 p. Pierre Sipriot, "Balzac sans masque". Laffont, 1992. In-8, 499 p. [Collective] Under the direction of Jules Bertaut. Hachette, Collection "Génies et Réalités, 1959. In-8, 295 p. Publisher's full Skivertex binding, illustrated dust jacket. Numerous illustrations in and h.t. Bouvier et Maynial, Les comptes dramatiques de Balzac. Paris, Sorlot, 1938. In-8, 521p. Half-chagrin, covers preserved. Bouteron, Muses romantiques. Paris, Plon, 1934. In-8, 216p. Barbey d'Aurevilly, Romanciers d'hier et d'avant-hier. Paris, Lemerre, 1904. In-12, 349p, half basane. Delaye, Madame Honoré de Balzac. Paris, Perrin, 1989. In-8, 261p, publisher's boards, dust jacket (damaged). Laurencin, La vie quotidienne en Touraine au temps de Balzac. Paris, Hachette, 1980. In-8, 335p. Simenon, Portrait-souvenir de Balzac. Paris, Bourgois, 1991. In-8, 265p. Anton Bettelheim, Balzac. Munchen, C.H. Beck'sche Verlagsbuchhandlung, 1926. in-8, 479p.

Estim. 4 000 - 5 000 EUR

Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, XVII century. "Vase". Oil on canvas. Measurements: 87.5 x 74 cm: 98 x 83.5 cm (frame). This painting follows a compositional scheme that knew great boom during the Spanish Baroque: The still lifes of flowers. In the way of resolving the varied bouquets of cheerful colors, in which a dense brushstroke of bright pigment has been used, the hand of Gabriel de la Corte is recognizable. The chromatic juiciness of the floral piece advances rococo solutions, which break symmetry and tend to horror vacui. The painter has frozen the moment of maximum maturity of the flower, prior to its decay. The dark background highlights the light of the still life, extracting a wide range of shades. The freedom of execution and vigorous brushstroke are reminiscent of the work of the master from Madrid. Specializing in the execution of vases, Gabriel de la Corte was the son of another painter from Madrid, Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. During his lifetime, De la Corte's success was scarce, which led him to eke out a meager living by painting at low prices and even completing the works of other artists by inserting flowers in his works. He was known for the use of an overloaded composition in which the freedom of the workmanship and the spontaneous and vigorous touch of the brush loaded with matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that, later on, would be crowded with complicated compositions on tremendously elaborated cartouches. Some important works by De la Corte are preserved in the Prado Museum, among other important institutions.

Estim. 8 000 - 10 000 EUR

ALFRED EISENSTAEDT ( Dirschau, West Prussia, 1898- United States, 1995). "V-J Day in Times Square, New York," 1945. Gelatin silver print. Printed at time life photo in 1991. Signed, dated, titled in pencil on reverse and Time Warner copyright limitation in pencil (on reverse). Provenance: Alona Kagan Gallery NY. Measurements: 48 x 33 cm; 62 x 51 cm (frame). A week after Alfred Eisenstaedt captured this moment, Life magazine, in a section called Victory and dedicated to celebrating the end of World War II, published this snapshot along with many others reflecting the happiness of the end of the war. However, this photograph rose above the rest and became an icon. A nurse and a Marine, a defender of the nation and someone dedicated to preserving his life kiss, symbolizing hope for the future. He began his career in Germany before World War II, but rose to fame as a photographer for Life magazine after moving to the United States. Eisenstaedt was fascinated by photography from his youth and began taking pictures at the age of 11, when he was given his first camera, an Eastman Kodak Folding Camera with roll film. He later served in the German army artillery during World War I and was wounded in 1918. While working as a belt and button salesman in 1920s Weimar Germany, Eisenstaedt began taking freelance photographs for the Berlin office of Pacific and Atlantic Photos in 1928. Eisenstaedt became a full-time photographer in 1929, when he was hired by the Associated Press office in Germany, and within a year was described as an "extraordinary photographer." He also worked for Illustrierte Zeitung, published by Ullstein Verlag, then the world's largest publishing house. Four years later he photographed the famous first meeting between Adolf Hitler and Benito Mussolini in Italy. He photographed Adolf Hitler at St. Moritz in 1932 and Joseph Goebbels at the League of Nations in Geneva in 1933. Although initially friendly, Goebbels frowned at Eisenstaedt when he took the photograph, after learning that Eisenstaedt was Jewish. In 1935 due to the political situation he moved to New York, where Eisenstaedt became a naturalized citizen and joined fellow Associated Press émigrés Leon Daniel and Celia Kutschuk in their photographic agency PIX Publishing, founded that same year. The following year, 1936, Time founder Henry Luce bought Life magazine, and Eisenstaedt, already known for his photographs in Europe, was invited to join the new magazine as one of the four original photographers, including Margaret Bourke-White and Robert Capa[8]. He remained on staff from 1936 to 1972, noted for his news and celebrity photojournalism.

Estim. 150 - 200 EUR

LECAL Roger (20th), attributed to Lipstick" psyche mirror in white lacquered resin. Height: 145 cm Small scratches on the mirror, missing cup under the base.

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