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Thu 06 Jun

Athi-Patra RUGA The Exile According to the Elder - 2014 Wool, artificial flowers and threads on tapestry canvas 220 × 184 cm Wool, artificial flowers and threads on tapestry canvas 86.61 × 72.44 in. Provenance : Whatiftheworld Gallery, Cape Town Africa First Collection Exhibitions : London,1:54 Art Fair, Stand Whatiftheworld Gallery, October 14-19, 2014 Paris, Fondation Louis Vuitton, Art/Afrique le nouvel atelier: les Initiés (Jean Pigozzi collection) and Être là (South African contemporary scene), April 26-September 4, 2017 Athi-Patra RUGA Athi-Patra Ruga is a South African artist born in 1884. A performer, video artist, photographer and textile designer, his protean works sometimes straddle the border between fashion and contemporary art, drawing viewers into a fantastical universe tinged with provocation and eroticism. Most of his works are linked to the mythology of "Azania", a utopian dreamland with a matriarchal system, which he uses to rewrite his personal history within the broader framework of the traumas of Apartheid and the collective history of South Africa. The futuristic "Azania" is colorful, baroque and queer, freeing itself from the shackles of gender and race with which the artist was confronted during his youth. The tapestry depicts "the Elder", the only male figure in Azania, and is also a self-portrait of the artist: in invented mythology, "the elder" is in exile after Azania's First War. This tutelary figure echoes the story of her father, who was himself in exile during South Africa's liberation struggle. Through the materials used, the artist underlines the ambivalence of this situation of exile, sad in its uprooting but also rich in the new cultural experiences it brings. The abundance of artificial flowers and the predominance of black evoke mourning and an image of hieratic devotion, while the accumulation of jewels and the staging blur the lines and lead us towards a vision of a pop-culture icon. The virtuosity and richness of the composition lend an almost historical status to the piece, which becomes an integral part of Azania's mythology and pantheon of whimsical characters. Athi-Patra Ruga is a South African artist born in 1984. A performer, video artist, photographer, and textile designer, his protean works sometimes straddle the border between fashion and contemporary art, drawing viewers into a fantastical universe tinged with provocation and eroticism. Most of his works are linked to the mythology of "Azania," a utopian dreamland with a matriarchal system, which he uses to rewrite his personal history within the broader framework of the traumas of Apartheid and the collective history of South Africa. The futuristic "Azania" is colorful, baroque, and queer, freeing itself from the shackles of gender and race with which the artist was confronted during his youth. This tapestry depicts the character "the Elder," the only male figure in Azania, and is also a self-portrait of the artist. In this invented mythology, "the Elder" is in exile after Azania's First War. This tutelary figure echoes the story of his father, who was himself in exile during South Africa's liberation struggle. Through the materials used, the artist underlines the ambivalence of this situation of exile, sad in its uprooting but also rich in the new cultural experiences it brings. The abundance of artificial flowers and the predominance of black evoke mourning, an image of hieratic devotion, while the accumulation of jewels and the staging blur the lines and lead us toward the vision of a pop-culture icon. The virtuosity and richness of the composition lend an almost historical status to the piece, which becomes an integral part of Azania's mythology and pantheon of whimsical characters.

Estim. 25 000 - 35 000 EUR

Fri 07 Jun

Le Passage du Granique Tapestry from the Manufacture Royale des Gobelins, part of the History of Alexander hanging Woven in basse lisse after models by Charles Lebrun (1619-1690) Last quarter of the 17th century, probably circa 1686 358 cm x 274 cm The Hanging The hanging for L'Histoire d'Alexandre featured five subjects: - The Passage of the Granic, - The Family of Darius at the Feet of Alexander, - The Battle of Arbèles, - The Triumph of Alexander, - Poros wounded before Alexander. Iconography The Crossing of the Granic was Alexander's first battle against Darius, in March 334 BC. By crossing this river and invading Asia Minor, Alexander definitively conquered Persia. The Greeks numbered 30,000 and the Persians 100,000. On this tapestry (left side of the battle), the infantry soldiers are in boats, while the cavalrymen cross the river on their horses. The strength of the current and the men's difficulty in holding on to their boats are clearly visible. Another part of the army can be seen in the distance. Creating the models It was at the Château de Fontainebleau that Charles Le Brun painted the first picture in the Histoire d'Alexandre: La Famille de Darius aux pieds d'Alexandre (now at the Château de Versailles). In 1661, Le Passage du Granique was begun at the Gobelins. Before 1665, Alexander's Triumph. In 1669, the Battle of Arbèles, then in 1672, Poros wounded before Alexander. Many of Le Brun's preparatory drawings are held by the Musée du Louvre. Some are reproduced in the 2008 Mobilier National exhibition catalog. Other painters at the Manufacture Royale des Gobelins then painted the cartoons to scale. For the weaving of the hanging, each battle was divided into three parts, for a total of nine tapestries, plus the two one-piece tapestries of La Famille de Darius aux pieds d'Alexandre and Le Triomphe d'Alexandre, bringing the total number of tapestries to eleven, plus an entrefenêtre for some of the haute lisse hangings. The present tapestry represents the left wing of the Passage du Granique. The original painting of Le Passage du Granique by Charles Le Brun (H.4.64 x10.25 m) is in the Musée du Louvre (Charles Le Brun's magnificent original paintings are well worth a visit). Several suites of the Histoire d'Alexandre were produced at the Gobelins: four suites woven with gold in the haute lisse, and four suites in the basse lisse, three of which were woven with gold and one without. It is probable that the tapestry shown here is part of the latter hanging, woven in the basse lice workshop of Jans fils, which the King presented to La grande Mademoiselle (Anne, Marie-Louise d'Orléans duchesse de Montpensier) in 1686. The height of this hanging was 3 aunes; since the Paris aune measures 1.188 m, the height was therefore 3.56 m, which corresponds to the height of the present tapestry. Two other tapestries from this hanging that belonged to the Grande Mademoiselle appeared on the art market a few years ago: La Famille de Darius aux pieds d'Alexandre (Christie's London, April 2, 1998) and the Bataille d'Arbèles (Galerie Chevalier, 2000). Border and mark - The side borders are decorated with garlands of fruit and flowers au naturel, and the upper and lower borders feature a scroll of acanthus leaves and flowers. - The border features a mark in the outer blue braid, an F: this F is different from that of Jean Lefevbre. Rather, it is a monogram in which the initials of Jans, or rather Ians le Fils (1644 - 1723) are concentrated, since it was this weaver who wove the basse lisse suite that the King presented to his cousin, the grande Mademoiselle, of which the present tapestry is a part, delivered in 1686 with two other tapestries to complete the basse lisse suite of the L'Histoire d'Alexandre hanging, of which eight other tapestries had been delivered in 1685 (Vittet 2008, p.49), see above. His monogram emphasizes FILS, so as not to be confused with his father. Materials and condition Woven in wool and silk (wool warp, wool and silk weft - 9 warp threads per cm), the tapestry retains its vivid colors. When you consider that the flesh was the most difficult part of the tapestry to weave, and that only masters were qualified to do so, you realize the importance and quality of this piece. Maintenance restorations. The tapestry is ready to hang. Bibliographical references - Maurice Fenaille, 1903, Etat général des tapisseries de la Manufacture des Gobelins depuis son origine jusqu'à nos jours - 1600 -1900 - five volumes. - Jean Vittet, 2008, La Tenture de l'Histoire d'Alexa

Estim. 25 000 - 40 000 EUR

Tue 11 Jun

Tapestry, Aubusson, 17th century - depicting The Entry of Alexander the Great into Babylon, 293x460 cm (some restoration) The episode is from the cycle of the Stories of Alexander the Great, the preparatory cartoons for which were painted by Le Brun and made by the Gobelins manufactory for Louis XIV, later replicated by that of Aubusson. In 1660, Charles Le Brun, the king's first painter, produced a large painting in Fontainebleau depicting the queens of Persia at the feet of Alexander (Palace of Versailles). The success of this composition convinced the artist to undertake a monumental cycle on the life of the Macedonian king; in four canvases he depicted: Alexander's Entry into Babylon, The Passage of the Granique, The Battle of Arbelles, and Alexander and Pore. The four paintings, monumental in format, were presented at the 1673 Salon and flowed into the collections of Louis XIV. Subsequently, the compositions were translated into tapestries at the Gobelins manufactory, directed by Le Brun, and then by that of Aubusson, although it is not certain that these works were intended from the beginning to become tapestry cartoons. The figure of Alexander the Great played a key role at the court of Louis XIV: the king's ambitions found in Alexander a comparison and a model for their true measure. Le Brun's compositions were thus not just a reminder of some famous episodes from Antiquity, but participated fully in the propaganda that glorified the monarchy and the reigning sovereign.

Estim. 10 000 - 15 000 EUR

Tue 11 Jun

A Brussels tapestry with scene from "The Assembly in the Palace of King Modus and Queen Ratio", 17th Century after the original cartoon from the series "The Hunt for Maximilian - Allegory of the Month of February" by Bernard van Orley . Reduced in height 254 x 543 cm 28.000 - 30.000 € Provenance: SOTHEBY'S Madrid "Fine Arts sale" May 23rd 1985 Lot 157 "The Hunt of Maximilian" is a series of tapestries most likely commissioned by a member of the Habsburg Dynasty such as Charles V or Mary of Hungary, both lovers of hunting and governors of the Netherlands. The series is divided into the twelve months of the year, astrological symbols and hunting themes. This tapestry belonging to the month of February shows the tribute of hunters accompanied by their dogs to Kings Modus and Ratio, characters that emerged from a famous treatise on hunting from the 16th century. These symbolize the "good way" and "reason" that must direct the art of hunting. For this reason, at his feet, the personifications of "Idleness" and "Gluttony" are represented trampled. The main scene is located in an interior courtyard of the Coudenberg Palace, while in the background you can see the old church of Saint-Jacques-sur-le-Coudenberg. Also, in the background of the scene you can see the forest with the deer. This series was very successful in the 16th and 17th centuries and copies are preserved in the Musee du Louvre in Paris and the Metropolitan Museum in New York.

Estim. 28 000 - 30 000 EUR

Wed 12 Jun

DAVID LACHAPELLE (Hartford, Connecticut, 1963). "Rebirth of Venus", 2009. Inktjet print on dibond. Edition 3/3 + 2 A.P. With labels on the back of David Lachapelle Studio and Maruani Mercier Gallery. Enclosed certificate issued by Maruani Mercier Gallery. Measurements: 153 x 118 cm; 164 x 128,5 x 6,5 cm (frame). With his "Renaissance of Venus", David LaChapelle reinterprets Botticelli's "Birth of Venus" in a modern and ironic key. Several elements remain, but are recombined with humor and wit to slip other readings. The large shell on which the Renaissance Aphrodite floated is dwarfed to be held by the left hand of a lesser goddess ("Nike," the mark of the shoe is imprinted on the foot of the gender-fluid nymph), who takes the shell and covers Venus' pubis. This emulates the attitude of the Venus pudica. To the right of the goddess of love, an exotic Zephyr uses a conch shell to produce the breeze that inaugurates the magical moment of genesis. The group gathers in a landscape exultant with greenery and vibrant colors. LaChapelle has been as captivated by beauty as the great Renaissance painters, and has dedicated his life to redefining those ideals of beauty and desire, which become multiple and polymorphous. LaChapelle's career began in a significant way in 1982, when Andy Warhol prompted him to publish his "Interview" photographs. "Andy Warhol corresponds perfectly to his time," says the photographer, "He is without a doubt a great artist of the 20th century. He was very generous and I learned a lot from him, but we belong to two different generations and have different ideas. The most valuable art today is that which manages to clarify the time in which we live, and that's what I try to do." David LaChapelle's wacky, bizarre and fantastic images have appeared on the pages and covers of Vogue, Rolling Stone, i-D, Vibe, Interview, The Face and GQ magazines, just to name a few. His style is unique and recognizable, he works with open shots, fresh and extremely colorful scenes showing his pop-art style. His shots have a meticulous and detailed work, working with the physical aspect of the character taking it almost to caricature. "I try to take pictures that I've never seen before," LaChapelle says. Talented creative, he plays with fictitious and grotesque scenes, mostly artificial and has an excellent production, the images are generally at the time of shooting, with little post-production. We can also see in his work the criticism of the society in which we live full of excesses and vanity. His unconditional dedication to originality is legendary in the world of fashion, film and advertising. LaChapelle has participated in advertising campaigns for a variety of clients including L'Oreal, Iceberg, MTV, Ecko, Diesel Jeans, Sirius, Ford, Sky Vodka, Cervecería Cuahtemoc Moctezuma and the Got Milk? campaign. David has photographed numerous album covers for artists such as Macy Gray, Moby, No Doubt, Whitney Houston, Elton John, Christina Aguilera, Madonna and Kylie Minogue. His successful first book, LaChapelle Land, was published in 1996 by Collaway Publishing, bringing within its extravagant packaging, an explosive collection of portraits of celebrities and models, including Lady Gaga, Madonna, Shakira, Leonardo DiCaprio, Pamela Anderson, Uma Thurman, Marilyn Manson, Mark Wahlberg, Drew Barrymore and Elton John. The successor to this debut was the book Hotel LaChapelle, also published by Collaway in 1999, which showcases fresh images with unforgettable colors. LaChapelle continues to produce photographs that confront our visual tastes, taking a fresh look at today's landscape.

Estim. 80 000 - 90 000 EUR

Wed 12 Jun

ALBERT-ANTOINE LAMBERT (Paris, 1854-1925) JEANNE D'ARC Original canvas Signed and dated lower right "Albert Lambert 1896". Joan of Arc, original canvas, signed and dated lower right 148 x 85 CM - 58,3 x 33,5 IN. Albert-Antoine Lambert entered the École des Beaux-Arts in 1872, introduced by Adolphe Yvon, and later studied with Alexandre Cabanel, Émile Bin and Fernand Cormon. He was awarded a second Grand Prix de Rome in 1883. He then exhibited regularly at the Salon des artistes français and at the 1900 Universal Exhibition, evolving towards a Symbolist style and "daring to venture, with hushed and timid steps, on the paths of Impressionism" (Gérald Schurr, Le Guidargus de la peinture, Les Éditions de l'Amateur, 1993). Dated a few years earlier, our large canvas is more in keeping with the aesthetics of a Luc-Olivier Merson, a Pierre-Victor Galland, painters working at the time on the Pantheon or the tapestries of the Parlement de Bretagne in Rennes. Its monumental purpose is confirmed by the presence of a decorative border with oak and laurel leaves. The iconography of Joan of Arc was very much in evidence in French painting at the turn of the century (see the catalog of the exhibition Jeanne d'Arc, Les tableaux de l'histoire 1820-1920 at the Musée de Rouen, RMN, 2003). At a time when Alsace and Lorraine had been attached to the German Empire since 1870, the Virgin of Domrémy embodied the Third Republic's vision of resistance and hope for the liberation of the occupied territories.

Estim. 1 000 - 1 500 EUR

Fri 14 Jun

Georges Devêche (1903--1974), attribué à - Rare set of a lice tapestry work with the cardboard that served as a model for a low wool lice weave, on cotton warp. H. 58.5 cm - L. 51 cm The original cardboard is painted in gouache, with a stamp on the reverse that reads "Devêche décorateur". It is most likely the work of Georges Devêche (1903-1974), heir to a family of Parisian interior decorators dating back to 1870 with his grandfather Alexandre, father Pierre and brother André. He worked on tapestries for the Mobilier National and stained-glass windows. On a bright pink background, the artist portrays a rooster in a foliage of leaves and bell-shaped flowers. The rooster theme is classic in modern tapestry (cf. Lurçat), especially in the war years... but Devêche reveals his originality in the choice of a daring, almost Fauvist color palette. The colors gradually move away from reality. The rooster, in a mimicry in the making, adorns himself in multiple hues, confronting warm and cold values on the surface of his body alone. The rooster, and by extension the nature that surrounds it, seems to be the receptacle of a bright light, worthy of the intense end of an Indian summer's day. Beyond their highly decorative aspect, this diptych confronts the tapestry, i.e. the definitive work, with its carton. It's clear just how closely the tapestry-maker followed the model. According to the indications on the back of the gouache, this tapestry should have adorned the back of a seat, part of a larger ensemble, a salon on the theme of hunting.

Estim. 500 - 700 EUR

Sat 15 Jun

Polychrome woollen tapestry depicting a knight and a bishop under the blessing of the Virgin and Child, in a medallion with the coat of arms of Basse-Alsace and the motto "Universitas Episcopalis Argentinensis", supported by two angels, wide borders decorated with the Tables of the Law and lithurgic furniture in bouquets of flowers. Circa 1700. 230 x 400 cm (Wear, accidents and tears at edges, faded colors) Provenance: Antonia BANUELOS-THORNDIKE (Rome 1855 - Bournemouth 1921) Last intimate memories Buried in the darkness of a remote villa in Saint-Jean-de-Luz, these last memories of the Marquise d'Alcedo transport us to the height of the Belle Époque and plunge us into the heart of Europe's great aristocratic families. Antonia Bañuelos-Thorndike was born in Rome, at the Vatican, where her father, Count Miguel de los Santos Bañuelos y Traval, held a diplomatic post for Spain. He married Maria Adelina Thorndike, whom he had met while working in New York. Young Antonia spent her childhood in Spain. In 1891, she married Fernando Quiñones de Léon y Francisco-Martin (1858-1937), Marquis of Alcedo, son of the Marquis of San Carlos. Her husband's title was created by Infanta Isabel of Spain especially for him. Antonia Banuelos, Marquise d'Alcedo entered even further into the circle of European aristocracy, through the Quiñones branch, Grands of Spain. The Marquis d'Alcedo, born in France, was also a diplomat, politician, writer and bibliophile. From 1896, she settled in Biarritz, where she spent almost 25 years. They had two daughters, Antonia and Isabel, who are often depicted in her later works. She died in England, but her funeral in Biarritz was attended by her great friend Queen Nathalie of Serbia (1859-1941). She is buried in the family vault in Biarritz's Sabaou cemetery, for which she created a large marble sculpture of an angel. In Paris, Antonia Bañuelos studied under Charles Chaplin (1825-1891), the official artist of the Second Empire, and produced mainly genre scenes and portraits. She exhibited regularly in Europe from the late 1870s onwards, winning a bronze medal in 1889 at the Exposition Universelle in Paris (lot 177). She is probably one of the most important Spanish women artists of the late 19th century. The furniture, objects and paintings we have the honor of presenting bear witness to this prestigious lineage, in which the arms of the Quiñones de Leon family rubbed shoulders with diplomatic functions for which grand receptions could be organized. But Antonia Bañuelos-Thorndike's works also illustrate the intimacy of the family and the sensitivity of a woman well-versed in the manners of Belle Époque high society. This collection has been preserved to this day in the descendants of Antonia Bañuelos. The latter succeeded in passing on her artistic fibre to Juan Luis Cousino, her grandson, and the larger aristocratic line has been maintained, notably with Micaela Cousino Quinones de Léon, wife of Henri Comte de Paris, who died in 2022 and 2019 respectively.

Estim. 5 000 - 8 000 EUR

Thu 20 Jun

Fragment of tapestry. Brussels, late 17th century. "Banquet of Cleopatra and Mark Antony". Hand-knotted wool. Border of later period. Lined back. Use marks. Wear and tear. Presents some restorations. Measurements: 260 x 290 cm. Tapestry made in hand-knotted wool in which a scene is represented in a garden full of vegetation with a castle in the background, in which we see Marco Antonio seated in front of a table and behind him, the servants bring all kinds of delicacies to the table, it is decorated with characteristics that come from the inspiration of the art in the classical antiquity. As for the central scene, it is worth mentioning the great dynamism achieved by the author through a composition conceived as a frieze, where, despite the evident depth of the image, the great majority of the figures are located in the foreground. From the late Middle Ages until the 18th century, Flemish tapestries, as well as the pictorial production of the Flemish masters of painting, became a luxury commodity exported throughout Europe. The special relationship that was established between the region known as Flanders (an imprecise way of referring to the northern part of the Burgundian state) and the medieval Christian peninsular kingdoms (especially the Crown of Castile, and later the Hispanic Monarchy - which incorporated the Habsburg Netherlands), from where much of the wool that reached the textile workshops of Bruges, Ghent, Antwerp, Brussels, Mechelen, Arras came from.

Estim. 5 000 - 6 000 EUR

Thu 20 Jun

Neoclassical design carpet; Royal Tapestry Factory, 1944. Wool. Signed and dated. Measurements: 335 x 545 cm. Handmade wool rug, which presents a black field on which is arranged a neoclassical-inspired design. A rosette is inscribed in a medallion as a vegetal garland, dominates the center of pink and blue tones. This center is surrounded by a chain of vegetal motifs inherited from classicist aesthetics. Finally, the field is delimited by the border, through a motif in the form of a fretwork. The border has three bands, two thinner and simpler in terms of decoration and a central one decorated with an aesthetic of rhythmic character with areas reserved for the corners. The birth of the first tapestry factory in Spain dates back to 1721, when Philip V entrusted the Belgian subject Jacob van der Gotem with its creation. Shortly thereafter, the new factory, the Real Fábrica de Tapices de Santa Bárbara, expanded its production to include carpets. The factory of Miguel Stuyck, descendant of Jacobo van der Gotem, after ten generations dedicated to the manufacture of carpets and tapestries, can be considered one of the most important in the world, since it has produced and continues to produce true works of art that have embellished the best palaces, luxury hotels, banks, government agencies ... The purchase of any of its products produces the satisfaction of owning a true work of art, with the guarantee offered by their high quality raw materials, always coupled with the classic beauty of their drawings, designs and colors.

Estim. 7 000 - 8 000 EUR

Thu 20 Jun

Magdalena ABAKANOWICZ (1930-2017) - Magdalena ABAKANOWICZ (1930-2017) "Sawmill", Tapestry. 200 x 100 cm Reference: Our tapestry was made especially for Ms. Gerber when the artist came to Switzerland for the Biennale de la Tapisserie, at the instigation of visionary gallerists Pierre and Alice Pauli (resp. Ms. Gerber's uncle and aunt). Provenance: Collection of Mrs. Michèle H. Gerber, Sierre Note: Abakanowicz (1930-2017), ) is a major artist of 20th-century textile art and sculpture. Present at the Biennale internationale de la tapisserie de Lausanne from 1962, she marked the 1960s and 1970s with original works, using organic fibers to create weavings, relief tapestries, soft sculptures, moldings, knottings and drawings. His work, inspired by nature, gained international recognition in the 1980s with monumental installations in plant fibers, bronze, stone and steel. Lausanne has played a key role in his career, thanks to the Biennales de la tapisserie, exhibitions organized by Pierre and Alice Pauli, and the support of collectors in French-speaking Switzerland. In terms of technique, Magdalena's approach to weaving, inspired by the nature and texture of the threads she uses (sisal, wool, linen), calls out to us, as she claims total creative freedom. Her radical approach won her a Gold Medal in the applied arts section of the 8th São Paulo Art Biennial. She won recognition from professionals and collectors alike. From 1967 onwards, Abakanowicz began to create mural works in which contours and structures further accentuate the organic aspect of the weave. Alice Pauli organized Abakanowicz's first solo exhibition at her gallery in Lausanne, a partnership that continued until 1985, when she exhibited ten times at the prestigious Lausanne gallery. Disconcerted by the enigmatic nature of the artist's work, an art critic coined the term "Abakan" in 1964, inspired by her name. Abakanowicz subsequently adopted this term to designate his large-scale three-dimensional creations. His work, which transcends the boundaries of craft and the applied arts, encourages us to reconsider soft weaves as autonomous works of art.

Estim. 50 000 - 60 000 CHF
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