The Plaisance gallery is a specialist in 20th century decorative art and design. You can also discover exceptional pieces from all periods. Since 1992.
La Galerie Plaisance dénommée « Le Vendeur » accepte de vendre le ou les œuvres à l'acquéreur dénommé « L'Acheteur » sous réserve des conditions suivantes :
L'oeuvre est vendue par Le Vendeur dans l'état où elle se trouve pendant la vente. Les informations relatives à son état seront mentionnées dans les détails descriptifs de l'oeuvre.
Toutes demandes de restaurations doit être faites au préalable auprès du Vendeur.
L'Acheteur à la responsabilité d'examiner l'oeuvre et de demander des informations quant à son état et aux éventuelles restaurations déjà effectuées.
Toute réclamation post achat ne peut faire l'objet d'une contestation au regard des éléments fournis par Le Vendeur.
Les œuvres demeurent l'entière propriété du Vendeur jusqu'au complet encaissement du prix final.
Le paiement s'effectue en Euros par virement bancaire ou carte bleue au sein de la galerie. Pour toute demande d'un autre moyen de paiement, L'Acheteur doit contacter Le Vendeur, préalablement, pour convenir d'une solution.
Si L'Acheteur souhaite une livraison, un devis devra être demandé préalablement au Vendeur afin que celui-ci puisse faire les démarches à cet effet.
Le contrat est conclu lors de la confirmation du règlement par la banque ou Le Vendeur.
Large white marble sculpture depicting a kneeling young man holding a young woman standing on a rocky base.
"The Ivy".
Signed and titled in the marble.
H. 109 cm
No accidents and/or restorations, but the marble needs to be cleaned as the sculpture was outdoors.
Biography:
Delanglade Charles Henri (Marseille, May 26, 1870 - Marseille, January 19, 1952), sculptor, medallist and ceramist.
Pupil of Émile Aldebert (1827-1924) in Marseille, then of Jules Cavelier (1814-1894) and Ernest Barrias (1840-1905) in Paris, he received an academic training. A member of the Salon des Artistes Français in 1909, he received an honorable mention in 1910 for his marble Vers la vie.
However, coming from a wealthy background, he withdrew from the art market and practiced his talents as a dilettante in his home town. Although he worked for his own pleasure and that of his friends, his activity was intense both artistically and intellectually. Although he abandoned the Salon des Artistes Français, he was an active participant in the Salon des artistes marseillais, exhibiting numerous works between 1894 and 1919. He also took part in major exhibitions in Marseille, such as the Colonial Exhibitions of 1906 and 1922, and the Catholic Exhibition of 1935. Recognized and appreciated by Marseille's intelligentsia, he joined numerous learned societies and institutions, including the Comité du Vieux-Marseille, the Comité Régional des Arts Appliqués de Marseille (1916), the Commission d'inspection et de surveillance du Musée des Beaux-Arts de Marseille and the Académie des Sciences, Lettres et Arts de Marseille (1919-1951).
An excellent portraitist, he produced numerous busts: Léopold Le Mée de la Salle (1915, Saint-Pierre cemetery, Marseille) Antoine de Ruffi (1916, Archives municipales de Marseille), his brother, physician Édouard Delanglade (circa 1918, formerly Hôtel-Dieu de Marseille) or Eugène Rostand (1921, Caisse d'épargne; 1936, Edmond Rostand's birthplace, Marseille). He also developed his portraiture skills as a medallist.
One of the hallmarks of his work is the variety of materials he used, and his ability to produce a single work in different materials: Antigone (pewter, 1896; marble, 1897), Walkyrie (bronze, 1908; wood, 1908), Nymphe et faune (ivory)... But it was ceramics that he was most attached to (pair of bottles, Musée Borély, Marseille), even going so far as to create his own factories.
Galerie Plaisance
110 Rue des rosiers - Marché Paul Bert Stand 409 Allée 7
93400 Saint-Ouen
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