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ANTIQUE & MODERN PAINTINGS - FURNITURE & OBJETS D'ART - DESIGN

Boisgirard - Antonini - Nice - +330493800403 - Email CVV

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编号 3 - Jean Baptiste PATER (Valenciennes 1695 - Paris 1736) Artist's presumed self-portrait Canvas 82 x 65 cm (old restorations and scratches) Old sales label on reverse of stretcher Bibliography: another version by Florence Ingersoll-Smouse, Pater, Paris, 1928, p.81, no. 551, repr. p.195, ill. 172. This painting revives the question of the portraits occasionally painted by painters renowned for their gallant scenes. gallant scenes. Their place in the work of Antoine Watteau, Pater's master, is wide open and still debated. debated. The Portrait d'un gentilhomme, said to be by Jean de Jullienne (Musée du Louvre), is generally considered to be as autograph, unlike the Portrait dit d'Antoine Pater, sculptor and father of the painter, which has been refused (Valenciennes, Musée des Beaux-Arts). Florence Ingersoll-Smouse, in her 1928 monograph on Pater, lists a dozen portraits reported in early sales, or that of his sister Marie-Marguerite Pater (Valenciennes, Musée des Beaux-Arts), documented in the model's will in 1769. For our composition, the Portrait presumed to be by the painter in his thirtieth year, is catalogued as "attributed to Pater", the version in the Alvin-Beaumont collection in Paris, and lists as a copy the one then held at the Société d'agriculture, de sciences et des arts de Valenciennes, now in the museum. It is on this canvas that the traditional traditional identification of the model. We propose to consider our canvas as the original. The artist is dressed in black, perhaps be interpreted as mourning the death of his master in 1721. He presents himself as a history painter holding a drawing board and a red-tipped stylus for the sanguine, under the aegis of Minerva, goddess of reason reason and the Arts, depicted in the painting on the easel. The influence of the portrait painters of his time Nicolas de Largillierre, Hyacinthe Rigaud and François de Troy, but it is above all Watteau's Watteau's influence shines through in the pictorial material and elegance. The face is close to the various figures of Pierrot (le Gilles, Musée du Louvre). We would like to thank Martin Eidelberg for his help in describing this lot.

估价 40 000 - 60 000 EUR

编号 62 - Georges-Lucien GUYOT (1885-1973) "Lioness Rare bronze sculpture with brown patina Signed "Guyot", founder's stamp Susse Frères Éditeurs Paris and annotated "Cire perdue". Cire perdue" (lost wax) Circa 1930 H: 29 cm - W: 54 cm - D: 12.5 cm Bibliography: "Mobilier et Décoration", year 1930, model reproduced on page 17. GEORGES-LUCIEN GUYOT Georges-Lucien Guyot was a French sculptor born in Paris on December 10, 1885. Paris. Despite his modest background, Guyot showed an obvious talent for art, but his financial situation prevented him from pursuing artistic studies. financial situation. He was apprenticed to a wood sculptor, but his passion for art for art led him to study nature on his own, drawing the animals animals at the Jardin des Plantes. At the age of 17, his father gave him the option of training for a year before joining the army. Guyot spent this year studying at the d'Histoire Naturelle, where he closely observed wild animals and their anatomical details. In 1904, he joined the army while attending evening classes evening classes at the École des Beaux-Arts in Rouen. In 1906, when a ceramic kiln was installed at the École des Beaux-Arts, Guyot creates a clay bear that attracts the attention of a teacher. This sculpture is exhibited at the Salon des Artistes Français and marks the beginning of artistic career. After the war, Guyot settled in Montmartre and enjoyed creative period, exhibiting his sculptures, Cubist-influenced paintings Cubist-influenced paintings and animal drawings in numerous galleries. In 1931, he joined the Douze Animaliers Français group and regularly and regularly exhibited his work at art fairs. He received numerous commissions for monumental sculptures from the French state and municipalities. At the same time, Guyot worked for the Manufacture nationale de Sèvres from 1929 to 1950. In 1950, he was named Chevalier, then Officier de la Légion d'Honneur, and in 1972, he became the first sculptor to receive the Prix Edouard Marcel Sandoz Prize. The end of his life was marked by the fire in his studio at the Bateau Lavoir in 1970, destroying much of his work. Guyot died three years later, on December 31, 1972. Furniture and decoration January 1930

估价 6 000 - 8 000 EUR

编号 65 - Jean DUNAND (1877-1942) "Waders" also known as "Birds Rare folding screen featuring four articulated rectangular panels in lacquered wood with finely incised polychrome decoration on a gilded leaf background. Signed lower right "JEAN DUNAND". Created in 1933, unique piece H : 180 L : 200 cm Provenance: Private collection, South of France Bibliography: "Jean Dunand", by Félix and Amélie Marcilhac, Norma Éditions, Paris, 2020, documented in black and white on page 212 under number 169. Exhibition: Galerie Georges Petit, Paris, 1933, n7 Note: We know of a gouache-on-paper project for a four-leaf folding screen with a design almost identical to ours, titled La nichée and dating from 1933-1935. It was made for a project commissioned by Valentine Brun, but apparently never realized. Jean DUNAND Born in Switzerland in 1877, Jean Dunand specialized in metalworking at the École des Arts Industriels in Geneva from the age of 14. With his diploma in hand, he moved to Paris in 1897, working as a chaser while studying at the École Nationale des Arts Décoratifs in the workshop of sculptor Jean Dampt. His introduction to the subtleties of coppersmithing with a Geneva artisan during his vacations in Switzerland, and his commitment to the Association des Artistes Suisses in Paris, which he founded in 1899, testify to his deep bond with his native country. In 1900, Dunand received a gold medal for a sculpture at the Exposition Universelle in Paris. His first exhibition of dinanderie at the Salon de la Société nationale des Beaux-Arts in 1904 encouraged him to move definitively into the decorative arts. Determined to produce unique pieces, he abandoned the turning and stamping processes in favor of hammering and hand chasing, incorporating gold or silver inlays, patinas, lacquers or enamels. After a first international success at the Milan International Exhibition in 1906, Dunand discovered Chinese and Japanese bronzes, influencing his style towards more realistic ornamentation. In 1912, he deepened his knowledge of lacquer with Japanese master Seizo Sugawara, a technique that would become central to his work. Although the Great War interrupted his activity, he remained in France, signing on as an ambulance driver and designing a combat helmet for French soldiers. After the war, Dunand devoted himself intensely to lacquer, a technique that fascinated him, and created works that integrated metal and lacquer. His work attracted attention at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes, where he was recognized as a master of lacquer and metal. In the 1930s, he completed prestigious commissions, notably for the liners l'Atlantique and Normandie. Working with his son Bernard, Jean Dunand continued to perfect his art until his death in 1942. His work, combining technical skill and creativity, made him an icon of the Decorative Arts, symbolizing the spirit of the Roaring Twenties.

估价 20 000 - 30 000 EUR