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Wed 29 May

16th century Spanish school. "Saint Andrew". Relief in polychrome wood. Measurements: 85 x 36 cm. Devotional image of Saint Andrew which presents the saint with the attribute of his martyrdom, the cross in a crossbuckle to which he was tied by order of the proconsul Aegeas. At the beginning of the 16th century, Spain was the European nation best prepared to receive the new humanist concepts of life and art due to its spiritual, political and economic conditions, although from the point of view of plastic forms, its adaptation of those introduced by Italy was slower due to the need to learn the new techniques and to change the taste of the clientele. Sculpture reflects perhaps better than other artistic fields this desire to return to the classical Greco-Roman world, which in its nudes exalts the individuality of man, creating a new style whose vitality surpasses mere copying. Anatomy, the movement of the figures, compositions with a sense of perspective and balance, the naturalistic play of folds, the classical attitudes of the figures soon began to be valued; but the strong Gothic tradition maintained expressivity as a vehicle for the profound spiritualist sense that informs our best Renaissance sculptures. This strong and healthy tradition favours the continuity of religious sculpture in polychrome wood, which accepts the formal beauty offered by Italian Renaissance art with a sense of balance that avoids its predominance over the immaterial content that animates the forms. In the early years of the century, Italian works arrived in our lands and some of our sculptors went to Italy, where they learned first-hand the new standards in the most progressive centres of Italian art, whether in Florence or Rome, and even in Naples. On their return, the best of them, such as Berruguete, Diego de Siloe and Ordóñez, revolutionised Spanish sculpture through Castilian sculpture, even advancing the new mannerist, intellectualised and abstract derivation of the Italian Cinquecento, almost at the same time as it was produced in Italy.

Estim. 1 800 - 2 000 EUR

Sat 01 Jun

Cartier - Travelling clock In blue-enamelled gilt metal H. 6.5 cm L. 5.5 cm Provenance: > Collection Andrée Heimann, Paris > By descent "Thank you, Mrs. Heimann" was the title given by painter Edmond Heuzé (1883-1967), then a recent member of the Académie des Beaux-Arts, in spring 1950 to a newspaper article about the public auction organized on June 9, 1950 at the Musée d'Art Moderne to benefit the fight against cancer. The aim was to help finance the Fourth International Cancer Congress, to be held at the Sorbonne in July 1950, the first event of its kind in Europe since the Second World War. The method was new in France at the time: 150 artists and their heirs - including Marie Laurencin, Braque, Derain, Rouault, Marquet, Utrillo, Matisse and Vlaminck, among many others - were approached and agreed to donate a work to the fight against cancer. The idea came from a pioneer of philanthropic communication, Andrée Heimann, and reflects her commitment to the fight against cancer and her links with the art world. It was she who contacted them and convinced them. The sale was a great success. Andrée Heimann was born in Geneva in 1892, at the time General Delegate of the International Union Against Cancer and President of the Propaganda Committee - now called the Communication and Development Committee - of the French League Against Cancer. During the First World War, she devoted herself wholeheartedly to the service of French soldiers treated, transported or welcomed in Switzerland, earning her the rare French Recognition Medal in 1920. She married in Paris in the early 1920s, but her husband Albert Heimann died of cancer a few years later. She raised her daughter Marise on her own in the 1930s and, having escaped anti-Semitic persecution during the war, became passionate about publicity campaigns in the fight against cancer in memory of her husband. At a time when few women were honored in this way, she was made a Chevalier de la Légion d'Honneur in 1952 and an Officer in 1973. Her portrait by Marie Laurencin, which can be dated to 1950, reflects the friendly ties she forged with many of the artists of the time. Over the course of the 1950s and 1960s, she amassed a collection of works by Marquet, Braque, Gen Paul, Utrillo, Manessier and many others, as well as art books, which she loved to contemplate, in the evening of her life (she passed away in 1983), while reflecting on her resolute commitment to the service of others. Her daughter Marise (1927-2024) took up the torch in her own way, becoming a haematologist and oncologist alongside Professors Jean Bernard and Claude Jacquillat.

Estim. 100 - 200 EUR

Thu 06 Jun

MOURGUYE, Martin-Georges - Essai historique sur les anciens habitans de l'Auvergne. Aurillac, B. Ferary, 1841. In-8, VIII, 413 pp. and (1) f. in contemporary eggplant half-basin, smooth spine decorated with gilt thread, hinges and spine rubbed. (Enclosed:) BOUILLET - Dictionnaire héraldique de l'Auvergne, facilitant la recherche du nom des familles auxquels appartiennent les écussons ou armoiries peintes, sculptées, gravées ou émaillées sur les monuments de toute nature. Clermont-Ferrand, Paul Hubler, 1857. In-8, br, XXII, 527 pp, one h. t. plate in color, margins affected by damp -- RIBIER, Louis de - Armorial des villes, monastères, communautés, etc. de la province d'Auvergne; D'après l'Armorial général de d'Hozier de 1696. Paris, H. Champion, 1904. In-8, br. 20 pp. -- CHASTEAU DU BREUIL - Précis des guerres religieuses d'Auvergne, suivi d'une esquisse biographique du Chancelier de l'Hospital, et de notices sur quelques autres personnages et quelques autres historiens. Clermont, Thibaud-Landriot, 1840. In-8, br. 293 pp, some russ. -- LEFÈVRE D'ORMESSON - Mémoire concernant la province d'Auvergne, drawn up by order of Mgr le Duc de Bourgogne in 1697-1698. Clermont-Ferrand, Perol, 1845. In-8, brown paper, spine defr, (2) ff, 136 pp, some russ. -- BOUILLET, J.-B. (publ. par) - Etat de l'Auvergne en 1765, présenté à M. de L'Averdy, par M. de Ballainvilliers. Clermont-Ferrand, 1846. In-8, brown, spine broken and split, 199 pp, several russets. -- BOUDET, Marcellin - Les Tribunaux criminels et la justice révolutionnaire en Auvergne d'après les Minutes des Greffes et des documents inédits. Les Exécutés. Paris, A. Aubry, 1873. In-8, glossy, cover missing, XV, 305 pp. Printed on Hollande laid paper. (From the same source:) Les Conventionnels d'Auvergne. Dulaure. Paris, A. Aubry, 1874. In-8, br, (2) ff, 464 pp. Printed in all at 130 ex. num. -- DURIF, Henri - Aperçu général de l'Histoire de la musique. Airs d'Auvergne. Aurillac, L. Bonnet-Picut, 1876. In-8, br. 2 ex. -- AYMAR, A. & CHARVILHAT, Dr. G. - L'Art rustique auvergnat. I. Bois gravés et sculptés des campagnes. Clermont-Ferrand, G. Mont-Louis, 1913.in-8, br. 7 pp. 10 pl. h. t. From Revue d'Auvergne.

Estim. 50 EUR

Tue 11 Jun

FRANCISCO MASRIERA Y MANOVENS (Barcelona, 1842-1902). "Lady". 1880. Oil on canvas. Signed and dated in the central left part. Golden frame with some faults. Measurements: 33 x 21 cm; 43 x 31,5 cm (frame). Masriera, one of the greatest Catalan portraitists of his time, always put special interest in the feminine figure. Here, a young woman wearing a felt hat adorned with feathers seems to want to hide her face behind the fluffy cloud formed by the fur stole wrapped in her hands. Her silhouette is carved in a burgundy velvet dress, her graceful curves are cut out against a gray background. Her feet disappear under a blanket of white flowers and she almost seems to float, which gives her an ethereal and carnal essence at the same time. Spanish painter, writer and goldsmith, he began his training in the jewelry workshop of his father José María Masriera and in that of José Serra y Porson. Always concerned about improving and approaching new horizons, he refined his technique after traveling to Geneva where he learned the enamel process, which will be one of the main hallmarks of his goldsmith designs. As for his facet as a painter, there is evidence that he traveled to Paris for the first time in 1865, where he went to Cabanel's workshop. On repeated occasions he visited the French capital, the epicenter of the artistic modernity of the time, where he acquired first-hand the rapid brushstrokes, luminosity and vivid chromatism of the first impressionists, features that can be seen in this magnificent painting. As can also be seen in the work presented here, Masriera had the ability to combine the freshness of the new plastic trends emerging in Paris at the time, with the long neoclassical tradition marked by the Academy: a careful dedication to drawing, the care of the composition and the rigorous study of the old masters. In fact, there is evidence that in the Louvre he devoted himself to copying the main works in order to acquire the mastery of the classics, and in Paris he participated in the Universal Exhibitions of 1867, 1878 and 1889. There is also evidence of his trips to Rome, where he began to paint Orientalist canvases. As a writer and columnist he collaborated in the magazine El Recuerdo. In Spain, he won the second medal at the National Exhibition of Fine Arts in 1878 for the work entitled La esclava, and also exhibited his works at the Bosch Gallery in Madrid in 1882 and at the Sala Parés in Barcelona in 1889. As we observe in this exquisite painting, Masriera's technique is characterized by the perfection of the drawing, the careful composition and a color full of strength and luminosity, which is manifested especially in the iridescence of the canvases. He stood out for his preciousness full of fantasy, as well as for the freshness of his colors.

Estim. 2 500 - 3 000 EUR

Thu 13 Jun

CARMEN CALVO (Valencia, 1950). "Walls", July, 1991. Mixed media (oil, terracotta and canvas) on wood. Signed, dated and titled on the back. It presents breakage in the wood of the back part that does not affect the canvas. Measurements: 150 x 190 cm. Carmen Calvo's transgressive and at the same time poetically charged character is fully appreciated in "Walls", a work that links up with the image of the order of accumulation associated with the artist. In it, small pieces of terracotta are superimposed on the canvas and introduce us to a rhythm of sequences reminiscent of a collector's display case, an influence derived from Calvo's discovery of the Egyptian and Mesopotamian art collections at the Louvre Museum in Paris. With regard to the use of clay, it is worth mentioning that the artist made use of this material on numerous occasions, albeit not as an ornamental element (in its ceramic, enamelled or polychrome form), but as a mundane fragment, stripping it of superfluous elements, that is to say, ennobling it. Carmen Calvo studied at the Schools of Arts and Crafts and Fine Arts in Valencia, and graduated in advertising in 1970. She would later broaden her training thanks to grants from the Ministry of Culture (1980), the Casa de Velázquez in Madrid (1983-85) and the Ministry of Foreign Affairs, for her residence in Paris (1985-92). Around this time Calvo began to be recognised, receiving distinctions such as the 1st LaSalle Seiko Painting Prize in Barcelona (1985), the Alfons Roig Prize from the Diputación Valenciana (1989), a scholarship at the 1st Martínez Guerricabeitia Biennial of the University of Valencia (1989), and selection for the 47th Venice Biennial (1997). The artist had begun her exhibition activity in 1969, taking part in a group show held at the Círculo Universitario in Valencia. She made her solo debut in 1976 at the Temps gallery in her native city, and since then she has shown her work individually in various cities in Spain and the United States, as well as in other countries in Europe, America and Africa. Works by Carmen Calvo can currently be seen in art institutions, museums and private collections all over the world, including the Guggenheim Museum in New York, the Reina Sofía in Madrid, the Marugame Hirai in Kobe, the MACBA in Barcelona, the Fonds National d'Art Contemporain in Paris, the IVAM in Valencia, the Chase Manhattan Bank collection in New York, etc.

Estim. 18 000 - 20 000 EUR
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