Aurelien Gendras Decorative Objects

Monica Machado Born in Lisbonne (Portugal) in 1966. Lives in Paris since 1981. Technique : Assembly of different brooms, bicycle parts, hanger and furniture leg, resin, glass fib...

Monica Machado Born in Lisbonne (Portugal) in 1966. Lives in Paris since 1981. Technique : wood, furniture leg, armrest, chair, drawer, wiring, mortar, tow, water pump, lighting,...

Patinated bronze sculpture, signed on the wood base, dated 69 and numerated 1/6. Similar model reproduced in Nat Neujean(1923-2018), Atelier Vokaer, Bruxelles, 1986, p. 75, 76 et 77...

Signed bronze sculpture with brown patina, numeroted 1/8.  

Monica Machado Born in Lisbonne (Portugal) in 1966. Lives in Paris since 1981. Technique: textile work. Stuffed animals mosaic reworked and reassembled Exhibition: 1993 to 19...

Created in 2008 A unique and original work of art. Engraved brass, metal and glass slab. 32 pieces made of silver engraves brass with a dark brown finish. Sharkskin support ...

Monica Machado Born in Lisbonne (Portugal) in 1966. Lives in Paris, since 1981. Technique: Modified caddie, silicon glue and glass on fabric, lighting, magnifying glass, packages...

Incised and painted ceramic tripod zoomorphic vase.   

Welded iron zoomorphic sculpture from 20th century. Maybe by Michel Anasse. Measures: Height 20 cm; width 21 cm.   

Sèvre -Cup Pop shade of green porcelain cup Manufacture de Sèvres, dated 1962 Decor in shades of green by Bernard Bannier. Measures: H 5.5 cm / 2,2 in. Ø 18 cm / 7 in.

A pair of vase -Sèvres Manufacture Nationale de Sèvres France, Sèvres, 1986. Unique pieces Pair of oval-roll-shape porcelain vases, each presents a unique decor of fine crysta...

Liptay Mathias.Born in Kalocsa (Hongria) in 1936. Direct carving in Pyrenees marble, signed on the back, Mathias L. Biography: Came to Paris at the age of twenty, he entered the Ecole des Beaux Arts. Formed through different experiences and different materials : iron, metal , plastic. He creates transparent sculptures before tackling the woods and find finally in stone his preferred medium . Since 1972, Mathias Liptay lives and works in Carrara in Italy where , through the marble , he seeks to achieve the essence and unity of things . He is concerned with specific topics for some years, allowing to divide his creative activities in several successive periods : - "Les Eclosions" 1977-1982 - "Les Têtes" 1984...

Francky Criquet. Born in 1968. Glazed stoneware masks. Human and animal faces. Each piece is unique Dimensions: between 25 and 35 cm.

Polychromed terracotta proof, signed inside and dated 1985. It placed on a base with a dedication of the artist's hand: "For Atila and Leela with great friendship, Osvaldo Rodriguez...

Bronze with brown patina. Signed and numbered "Jacques Tenenhaus 1996 1/8" Landowski Foundry's Mark, 1998. Provenance: Artist's Workshop.

Bronze with brown patination. Signed the back "Jacques Tenenhaus - 1/8". Landowski Foundry's Mark, 1990.

Marble of Carrare and bronze sculpture. Carlo Nicoli Workshop. Unique piece. Date of creation : 1985. Exhibition : Château du Repas, France. Japanese artist. His work is close t...

Jacques Tenenhaus (Paris, 1947). Bronze with brown patination. Signed and numbered on the lower left «Jacques Tenenhaus 1/8». « Landowski Fondeur, 2001 » foundry. Exhibition : Ga...

Jacques Tenenhaus (Paris, 1947). Bronze with brown patination. Signed and numbered « Jacques Tenenhaus 1983 1/8 » below. «Landowski Fondeur, 2001 » foundry.

Bronze brown patina, signed and numbered "Jacques Tenenhaus 1/8". Landowski Foundry's mark. Exhibition: Liliane François Gallery, 1983.

Liptay Mathias. Born in Kalocsa (Hongria) in 1936. Direct carving in Carrara marble, signed Mathias L, unique piece. Measures: Height 67 cm Width 27 cm Depth 17 cm Height 5 cm Diameter 33 cm Biography Came to Paris at the age of twenty, he entered the Ecole des Beaux Arts. Formed through different experiences and different materials : iron, metal , plastic. He creates transparent sculptures before tackling the woods and find finally in stone his preferred medium . Since 1972, Mathias Liptay lives and works in Carrara in Italy where , through the marble , he seeks to achieve the essence and unity of things. He is concerned with specific topics for some years, allowing to divide his creative activities in several successive periods : - "Les Eclosions" 1977-1982 - "Les Têtes" 1984...

Black marble of Belgium and bronze sculpture. Carlo Nicoli Workshop, Carrara. Unique piece. Date of creation: 1985. Japanese artist. ...

Unique piece, Lalloz Foundry. Bibliography: Invitation aux Journées du Patrimoine, Jardin Toulaho (Le Caron, architecte), Clamart, 2000.  

Bronze with green and brown patina, Jean Capelli Foundry, signed, 1/8. Bibliography : 15th International Impact Art Festival, 1994, Kyoto (Japon), page 15/.  

Unique piece, signed, Jean Capelli Foundry.

Bronze proof with golden patina. Edit font Ed. Artcurial. Signed, proof of draw n° 3/10B.

Bronze with green patina, 2/8, Christophe Lalloz's Foundry. Bibliography: - 18th International Impact Art Festival, 1997, Kyoto (Japon), page 13 - Pierre Descargues, Le Jardin ...

Bronze sculpture with green and golden brown patina, 2/8, signed. Jean Capelli's foundry.      

Bronze with black patina. Signed and numbered on the right foot "Jacques Tenenhaus 1/8", Landowski Foundry's mark, 2001. Provenance: Artist's Workshop.

Bronze, Jean Capelli Foundry, 2/8, signed.   

Bronze with white and green patina Lalloz Foundry Unique piece

Bronze with blue patina, Jean Capelli Foundry, 1/8, signed. Bibliography : Pierre Descargues, Catherine Val la Clandestine, Paris, Area/Descartes & Cie, 2011, page 54.   

Bronze, Jean Capelli Foundry, 1/8. On one side reads Europa, another Libertas. The combination of two words sculpture posing interesting problems. Bibliography : Sculptures, catalo...

Bronze with opalescent blue patina, Lalloz Foundry, 1/8, signed.

Bronze with yellow and green patination, Lalloz Foundry, 1/8, signed. Bibliography : - 17th International Impact Art Festival, 1996, Kyoto (Japon), p.15 - Pierre Descargues, Cathe...

Bronze sculpture, Lalloz Foundry, signed. Bibliography: Double sortie de chaos, page 14.

Bronze sculpture, Got Foundry, signed. Bibliography: Sur l’invitation et l’affiche de l’exposition à la Galerie de Gustave Got, 2006.

Bronze signed, got foundry. Bibliography: Sur l’invitation et l’affiche de l’exposition à la Galerie de Gustave Got, 2006.

Bronze test with black patina signed and numbered 4/8. Foundry Mark Valsuani F. Bagneux.

Bronze test with black patina signed and numbered 3/8. Foundry Mark Valsuani.

Bronze test with black patina signed and numbered 2/8. Foundry Mark Valsuani F. Bagneux.

Michel Warren (1930-1975) Bronze test with black patina Signed and numbered : 2/8. Foundry Mark Valsuani : F. Bagneux.

Bronze Sculpture Lalloz Foundry, Signed and Numbered : 1 / 8 Bibliography: Pierre Descargues, Catherine Val la Clandestine, Paris, Area/Descartes & Cie, 2011.

Bronze, got foundry, 2/8, signed. Bibliography: Double sortie de chaos, page 8.

Bronze with green patina.

Russian Bronze (Yousoupov R.U ?), circa 1930. Bronze patinated, monogrammed back.  

Anita Tullio (Born in 1935, Paris) Polychrome terracotta, multiple signature stamp on base.

A set of two ceramic dishs by Jacques Lignier with beige, green, red glaze decorations. Perfect original conditions. Signed under the base "J. Lignier", circa 1960-1970. Measures...

This wood scultpure showing fine traces of polychromy depicts John the Baptist, one the Old Testament’s last prophets and the first martyr of the New Testament. He is easily recognizable with the lamb he is carrying in his left hand. The way the artist has carved the face exudes a spiritual strenght inherited from previous centuries. Description Saint John the Baptist is depicted bare feet, seated in a hieratic manner. His elongated face is marked by a beard and a moustache. The straight nose and wide eyes indicate a Spanish origin. This asumption is reaffirmed by the Saint’s resigned expression. His parted hair frames his face while uncovering his ears. He wears a round collar red-orange tunic, draped onto the body and belted at the waist. A flap of his green coat covers his knees and falls down in stylized pleats. Following iconographic rules Saint John the Baptist is pointing with his right hand the lamb seated...

Exceptional polychrome wood low-relief depicting a werewolf and saint george after a woodcut by lucas cranach (“DER WERWOLF” 1512) Provenance : collection Brimo de Laroussihle c...

Easily recognizable with his gesture of showing pest effect on his thigh this pilgrim saint is accompanied by an angel curing him. The quality of the wood is noteworthy. Bibliography Louis Réau, Iconographie de l’Art Chrétien...

While the birth of Christ is briefly told in the Gospel of Luke (2, 7) it is in the apocryphal texts that we find most of the elements and details that have then inspired artists. As of the 14th century and even more of the 15th century the subject of the Adoration of the Child replaces in Western art the scene of the Birth, much favoured in Byzantine art. Instead of being depicted lying with the new-born swathed in the manger, the Virgin is now kneeling, her hands joined in prayer in front of the naked child. This change was probably hastened by the popularity of the visions of Saint Bridget of Sweden to whom the Virgin allegedly appeared to show how she had given birth to Jesus (Visions, VII, chap. 21). Sheltered by a thatch-roofed structure the Virgin is kneeling in front of the Child Jesus. She wears a magnificent red dress under a large gold cloak. Her curled blond hair is partially veiled. The newborn is lying on a straw mat. Joseph is depicted with a parted beard and stands opposite from the Virgin. He wears a tunic and a coat with a purse hanging from the belt. His costume reminds us of the long journey him and Mary have accomplished to reach Bethlehem. Two other women are present. One is looking through the stable’s window to observe the Holy Family while another one kneels in prayer in front of the divine child. The rich costume of the lady might indicate she is a donator. However they could also both represent the women who took part in the birth of Christ, Zelemi and Salome. Salome, incredulous did not believe in the virginal conception of Mary and she is represented far from the scene. The artist has depicted her with an expression of doubt on her face. Zelemi, on the contrary, is a believer. She is rewarded by a place of honour at the heart of the scene, close to Mary. To the left the donkey and ox that have accompanied Mary and Joseph to Bethlehem observe quietly the scene. On the foreground two angels hold a scroll reading an excerpt from the Gloria : “/Gloria/ in excelsis /Deo/.” One of the angels wears a blue cape while the other’s is red Those two colours are very significant as during Middle-Ages blue symbolises hope and red charity. Together they express the hope in redemption thanks to the advent of Christ and his sacrifice to come. Above the main scene, up a cliff, a small shepherd lets his herd of sheep graze amidst the trees. He is framed by two walled cities. This wood carving is the work of a very skilled and inventive artist. The piece bears witness to his exceptional talent. The realism of the scene is emphasised by the amount of details depicted. The refinement of the carving itself is highlighted by the well preserved polychromy. This key moment of the New Testament is set in a contemporary context thanks to the clothes of the characters and the scenes of rural life. The universal dimension of the scene is intensified while allowing contemporary viewers to grasp its meaning more easily. This care for details, the picturesque realism as well as the extraordinary rendition of the cloths suggest it was made by a Flemish artist during the late 15th century. This relief can be compared with the panel of the Nativity from the Saint-Vaast altarpiece made by Jacques Daret between 1433 and 1435, today in Madrid’s Thyssen-Bronemisza Museum. Literature Louis Réau, Iconographie de l’Art chrétien...

This carved oak woodwork was probably placed on the facade of the house, close to the roofing framework of a Norman house. The sculptor had depicted the salamender frontview in a sty...

Provenance : - Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930, lot 16. - Sotheby's, Amsterdam, Feb. 26, 2006, lot 201. HISTORIC Located between Moselle valley and Meuse valley, framed by the Vosges Mountains on the south side and the duchy of Luxembourg on the north side, the duchy of Lorraine is the result of several partitions. It starts with the 9th century when the Carolingian empire is divided, with Lothar 1st inheriting Lotharingia. In 959 this territory was in turn divided in two; Lower and Upper Lotharingia, the latter being the forebear of the duchy of Lorraine. This duchy was under the rule of the Holy Roman Germanic Empire until 1736 when it was absorbed by the kingdom of France. All along its history the duchy of Lorraine has found itself in the midst of many conflicts. Alliances and feuds marking European history were always particularly sensible in Lorraine where instability was frequent. Because of its geographic position the duchy of Lorraine was also an artistic crossroad. Hence the duchy of Lorraine becomes from the 13th century onwards an important artistic centre where a particular type of Virgin and Child appears. According to professor J. A. Schmoll the characteristics of Lorraine sculpture burgeon around 1280-1300 in the Aube region. It presents “vigorous volumes, restrained movements, rare but solemn gestures and a strong interiorised and stern expression”. Those Virgins look similar with a wide forehead, a shield- or oval-shaped face, large neck, small lips and a cleft chin. This model is particularly in favour during the 13th century because of the revival for Marial worship and for the theme of the Virgin and Child. It bears witness to a new religious sensibility with a more intimate vision of religious practice. DESCRIPTION The important 14th century Virgin we present to you is one of the most beautiful examples of sculptural art from Eastern France, with her fascinating distant gaze. Her contrapposto posture is induced by the weight of the child she carries high on her left side. The child has a chubby face framed by blond hair with well defined curls and he wears a long red V-collared tunic from which emerge his feet. The fabric is animated by long folds. The position of the right foot turned to the back is a detail we can notice on several Virgins from Lorraine. He holds a bird that seems to be pecking his thumb. “The bird /held by the child in his hands/ has been read as a reference to an episode from Christ’s childhood when he has moulded sparrows with clay before giving them life. It appears in the apocryphal gospel of Pseudo-Matthew (ch. 27) and later in the Quran (III, 43, v. 110). However the iconography seems to be more influenced by the concept of Redemption or of Eucharist, the bird symbolising the soul of the Christian about to be redeemed or revitalised.” Mary wears a long dress with two rock crystal cabochons remaining from the original five. She is covered by a red cloak enriched with old-gold motifs draped as an apron falling in long pleats along her left hip. The relief treatment and the volume of the cloak developing a network of concentric pleats contrast with the the flat pleating of her dress. They nevertheless suggest the curve of her bent right leg. She wears a floret crown securing a short thin veil carved in very low relief. From it emerges her blond curled hair characteristic of the 13th century. The large face with almond-shaped eyes, straight nose, small lips and cleft chin casts its gaze afar in a fashion typical of 13th century Virgins. In her right hand she holds a lily flower. In a very refined manner the artist has carved a band on her right ring-finger. In the back, carefully sculpted, spreads the minutely detailed short veil. COMPARATIVE STUDIES This sculpture of great quality presents obvious similarities with Virgins from Lorraine, designated by William Forsythe...

The monk is depicted with an oval face, marked with high and strong cheekbones, sunken cheeks, strong jawbones and a cleft chin. His almond shaped eyes are opened under very strong a...

This wood Christ bears signs of time without diminishing its grace nor its interest. This Christ presents some characteristic of the previous century. While the feet are missing the position of his legs, parallel one to the other, let us think his feet where placed side by side as in the 12th century’s crucifix. The remains of his perizonium let us guess the cloth was very short, displaying the knees and a part of the thighs. The figure is straight, the arms horizontal, the hands open -with tha palm then pierced by nails- and the thumbs parallel to the other fingers as in most of the 12th century’s Christ on...

Seating on a bench-like throne the Virgin carries her child on her left knee. She bears an important crown high on her head .The Virgin has an ovoid face with bulging eyes, straight long nose and thin lips. The hair parts in the middle and are carved as thick horizontals parallel hair strands...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

Exhibition Museum Cantini, 1952, The art of the Middle Ages in the Marseille collections, n°101 Provenance Former collection Louis Bresset (before 1952) Former collection Profe...

This Virgin and Child is wearing clothes with a limited number of folds and showing a thickness characteristic of the Burgundy region. As a result of the presence in the region of th...