Null Max MALKA (1942)

WEC, Bahrain, Shakir circuit, 2017, battle between the tw…

Description

Max MALKA (1942) WEC, Bahrain, Shakir circuit, 2017, battle between the two Aston Martins. Sublimation print on aluminum. 60 x 40 cm

194

Max MALKA (1942) WEC, Bahrain, Shakir circuit, 2017, battle between the two Aston Martins. Sublimation print on aluminum. 60 x 40 cm

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Starting price 50 EUR

Set of art books including: - Daniel ARASSE. Leonardo da Vinci. Hazan, 1997. In slipcase. - Zeev GOURARIER. Roundabouts of yesteryear. Flammarion, 1991. - Exhibition catalog Gustave DORE, l'imaginaire au pouvoir. 2014. - Elio CIOL. Assise. Hatier, 1991. - Exhibition catalog L'ange du bizarre, Le romantisme noir de Goya à Max Ernst. Hatje Cantz 2012/2013. - Catalog of the exhibition Beauté animale. RMN, 2012. - Renoir exhibition catalog. RMN, 1985. - Sempé in New-York. Editions Denoël, Editions Martine Gossieaux, 2009. - Catalog of the exhibition 21 rue de la Boétie, based on the book by Anne Sinclair. Hazan, 2017. - Yann LE PICHON and Roland HARARI. Le musée retrouvé de Sigmund Freud. Stock, 1991. - Roger CAILLOIS. Images of the universe. Illustrations by Jean Bazaine. Editions Deyrolle, 1991. - The Brancacci Chapel, Church of the Carmine, Florence. Hazan. - Nicolas PAPAHATZIS. Mycenae, Epidaurus, Tirynthe. Nauplie. - Antiquités et Objets d'art. Silverware, England and other European countries. Editions Fabbri. - La Sainte Russie, Mille ans d'histoire. - Les trésors de la Dynastie Tang; Guerriers et chevaux en terre cuite de l'Empereur shihuangdi des Qin; L'armée en terre cuite de l'Empereur Qin Shihuang. Jules VERNE, Vingt mille lieues sous les mers. Collection Jules Verne, Atlas 2006.

Estim. 500 - 800 EUR

François MELIN (1942-2019): Sancho Panza. Sculpture of welded brass plates. H. 195 - L. 170 cm (wear, accidents and missing parts) Provenance: Le Verrier collection, exhibited on the terrace of the Max Le Verrier workshop, rue Deparcieux, Paris.

Estim. 600 - 1 000 EUR

François MELIN (1942-2019): Don Quichotte. Sculpture of welded brass plates. H: 255 cm. Length: 230 cm (wear, accidents and missing parts) Provenance: Le Verrier collection, exhibited on the terrace of the Max Le Verrier workshop, rue Deparcieux, Paris.

Estim. 20 000 - 30 000 EUR

Gustave Courbet, "Wildbach" In motif, colouring and painting style typical of Courbet's oeuvre in the 1860s, a roaring torrent in a rugged, rocky forest landscape, possibly a preparatory study for Courbet's repeatedly depicted "Entrance of the Puits-Noir Valley, Douvs, Evening Effect" from 1865, in 1860 Courbet set up a studio on the road from Ornans to Besançon in his native Franche-Comté, as is characteristic of Courbet's river landscapes of these years, he layers areas of colour on top of each other over a dark background, on which he himself remarks: "Nature is black and dark without the sun, I do what the sun does, I put the important points in the light, and the picture is finished.", heavily impasto painting in palette knife technique, oil on cardboard, mid-1850s to early 1870s, signed "G. Courbet" lower left, label fragment of the Salzburg State Gallery with designation and title on the reverse, the inventory number and the frame inventory number correspond to the information in the inventory book of the Salzburg State Gallery (cf: Fritz Koller, Das Inventarbuch der Landesgalerie Salzburg (1942-1944), Salzburg 2000, pp. 216f.), we would also like to thank Susanne Greimel of the Museum der Moderne Salzburg for kind information in this regard, label of the maker of the painting ground on the reverse "GENUINE FLEMISH GROUNDS [...] BY C. DAVY [...] LONDON", inscribed "Courbet" again on later label, minor losses to margins, otherwise in good unrestored original condition, unframed, folded dimensions approx. 24 x 32.6 cm. In motif, colouring and painting style typical of Courbet's oeuvre in the 1860s, a roaring torrent in a rugged, rocky forest landscape, possibly a preparatory study for Courbet's repeatedly depicted "Entrance of the Puits-Noir Valley, Douvs, Evening Effect" from 1865, in 1860 Courbet set up a studio on the road from Ornans to Besançon in his native Franche-Comté, as is characteristic of Courbet's river landscapes of these years, he layers areas of colour on top of each other over a dark background, on which he himself remarks: "Nature is black and dark without the sun, I do what the sun does, I put the important points in the light, and the picture is finished.", heavily impasto painting in palette knife technique, oil on cardboard, mid-1850s to early 1870s, signed "G. Courbet" lower left, label fragment of the Salzburg State Gallery with designation and title on the reverse, the inventory number and the frame inventory number correspond to the information in the inventory book of the Salzburg State Gallery (cf: Fritz Koller, Das Inventarbuch der Landesgalerie Salzburg (1942-1944), Salzburg 2000, pp. 216f.), we would also like to thank Susanne Greimel of the Museum der Moderne Salzburg for kind information in this regard, label of the maker of the painting ground on the reverse "GENUINE FLEMISH GROUNDS [...] BY C. DAVY [...] LONDON", inscribed "Courbet" again on later label, minor losses to margins, otherwise in good unrestored original condition, unframed, folded dimensions approx. 24 x 32.6 cm. Provenance: according to the post-war inventory list of the US Army of 1947, purchased by the Salzburg gallery owner Friedrich Welz from the Paris art dealer on 9 October 1940. According to the information provided by the previous owner, the painting comes from the estate of the painter Paul Matthias Padua, who acquired several works from the Salzburg Landesgalerie; neither the "Art Loss Register" nor the "Lost Art Database" list the painting as missing. Source: "French Art in the 20th Century" Galerie Welz (ed.), 1941, ill. p 8. Artist information: actually Jean Désiré Gustave Courbet, French painter, lithographer (1819). Painter, lithographer (1819 Ornans to 1877 La Tour de Peilz), from 1837 grammar school in Besançon, here artistic support from Pére Baud from Ornans and pupil of the private drawing school of Charles-Antoine Flajoulot, from 1840 studied law in Paris, parallel autodidactic artistic training in the Louvre and supported by Carl von Steuben and Nicolas-Auguste Hesse, first exhibitions at the Paris Salon in the 1840s, turned completely to painting in 1844, maintained contact with Charles Baudelaire, Pierre-Joseph Proudhon and Max Buchon, supported by Alfred Bruya's establishment of the Pavillon du Réalisme in the early 1850s, in addition to his provocative painting, Courbet was politically active and advocated democratic and anarchist positions, undertook studies at the Paris Salon. In addition to his provocative painting, Courbet was politically active and advocated democratic and anarchist positions, travelled through Germany with longer stays in Frankfurt am Main and Munich and to Austria (Vienna), temporarily in Trouville-sur-Mer, where he became friends with James Mc Neill Whistler, and later in Étretat with Claude Monet, friend of Jean-Jacques Henner and Puvis de Chavannes, member of the city council of the Paris Commune in 1871, responsible for the destruction of the Colonne Vendôme, for which he was sentenced to six months in prison and a fine of 500 francs after the Commune was crushed in 1872 and ordered to rebuild the column in 1875 for 335.000 francs, fled from his creditors to La Tour-de-Peilz on Lake Geneva in Switzerland in 1875 after being hospitalised in Neuilly-sur-Seine and spent the last years of his life there in exile and in debt, is considered one of the main representatives of realist painting in France, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Bénézit and Wikipedia.

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