Null ALPHONSE LALAUZE (Francia, 1872-1941)
掷弹兵第 2 足, 1775 .19 世纪绘画。布面油画,已签名。尺寸:5…
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ALPHONSE LALAUZE (Francia, 1872-1941) 掷弹兵第 2 足, 1775 .19 世纪绘画。布面油画,已签名。尺寸:55 x 38 厘米

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ALPHONSE LALAUZE (Francia, 1872-1941) 掷弹兵第 2 足, 1775 .19 世纪绘画。布面油画,已签名。尺寸:55 x 38 厘米

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五本关于法国国王宠妃的合订本重聚: 1.[Barbé-Marbois]:Lettres de Madame la Marquise de Pompadour: depuis MDCCXLIV, jusqu'à MDCCLII, inclusively.伦敦,1773 年。三卷合一。 9 x 16.5 厘米。连续页码为 (4)-IV-331 页。当代全小牛皮,光滑书脊装饰,红色扉页。书脊上部磨损,一角略有磨损,其他方面装订完好。棕色斑点非常罕见。第 3 卷的扉页和警告页(第 179-182 页)被错误地装订在第 192 页之后。 每卷都有一个扉页,包含在页码中。第 2 卷的标题为 "从 MDCCLIII 到 MDCCLXII"。 第 1 版可追溯到 1771 年。 该版本包含 163 封启示录信件。 "这些书信最初被认为是克雷比永 (Crébillon Fils) 的作品。此后,由于这些信写得非常好,它们被认为是生于 1745 年、卒于 1837 年的巴尔贝-马布瓦侯爵的青年作品。更真实的情况是,无论推测作者是谁,他都是一个非常机智的人"(Gay III-824)。(盖伊 III-824)。 2.CANTREL (Emile):Nouvelles à la main sur la Comtesse du Barry trouvées dans les papiers du Comte de *** revues et commentées.Arsène Houssaye 作序。两幅肖像和一份亲笔签名。巴黎,亨利-普隆,1861 年。一卷。 14.5 x 23 厘米。(4)-IV-441 页 + 2 张 h.t. 肖像 + 1 张 h.t. 传真。当代午夜蓝色半马赛克封面,带四角,书脊有五根神经,书首镀金。非常精美的副本。 第一版。 3.CRAUFURD (Quentin):Notices sur Mesdames de La Vallière、de Montespan、de Fontanges et de Maintenon; extractes du catalogue raisonné de la collection de portraits de M. Craufurd.巴黎,J. Gratiot 出版社,1818 年。一卷。 (4)-88-(1) 页。当代半玄色,书脊有装饰,红色扉页。装订状况良好,有零星褐色斑点。 第一版。罕见。 Quérard II-331;CCFr.仅在 B.N.F. 找到副本。 4.[GAIN DE MONTAGNAC (Louis-Laurent-Joseph):曼特侬夫人的精神,附注释。作者为《基尔帕骑士回忆录》(Mémoires du Chevalier de Kilpar)作者。巴黎,杜兰,1771 年。一卷。 9 x 16.5 厘米。XXIV-156 页。第 1 页和最后一页有灰尘。第 126 章);19 世纪全本,书脊有棱线和装饰。 初版。 Barbier II-190;Conlon 71: 956。 德-曼特侬夫人妙语格言集,摘自她的书信。 5.[THEVENEAU de MORANDE (Charles de)] 或 [PIDANSAT de MAIROBERT (Mathieu-François)]:M. la comtesse du Barri 的轶事。伦敦 [阿姆斯特丹],[范-哈雷维特],1778 年。 9 x 16 厘米。连续页码为 1 幅肖像-416 页。当代全玄色,书脊有棱纹和装饰。封面磨损,一角破损。前 10 页边缘有轻微斑点。 第二部分从第 241 页开始,有自己的扉页。 原版可追溯到 1775 年。 巴尔比耶,《无名作品集》I-188c. 巴尔比耶在他的第一版中将这部作品归功于查尔斯-泰维诺-德-莫兰德(Charles Théveneau de Morande)。法国书目协会将其归功于皮丹萨-德-梅洛贝尔...... "这部作品包含了许多关于这位著名的宠妃的丑闻文件、她的通信、家谱等"。

CHARLES EAMES (USA, 1907 – 1978) & RAY EAMES (USA, 1912 – 1988) for VITRA Editor. Office chair, model EA-117. Designed in 1958. Black leather 'Full leather'. Latest generation with chrome ring, polished aluminum frame, rotating stem and five-step foot with wheels, black leather covering both front and rear, tilting function, height adjustable with gas cartridge. Manufactured by Vitra. It has slight marks of use. Measurements: 82/93 cm (height); 43/55 cm (seat height). The model EA-117 office chair by Charles and Ray Eames was launched in 1958 for Vitra. It has an ergonomic shape that easily adapts to the contours of the body, and is in line with the elegant language developed by the Eames couple in the 1950s and 1960s. Charles and Ray Eames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine arts and cinema, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio tackling residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He would eventually teach there, directing the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his Cranbrook colleague, Ray Kaiser. Together they settled in Los Angeles, where they will remain for the rest of their lives. In the late 1940s, Ray and Charles together designed their home, known as the “Eames House,” considered today a masterpiece of modern architecture. In the 1950s, the couple continued working in architecture and furniture design, being pioneers in the use of new techniques and materials such as fiberglass or plastic resin for the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.