Aurelien Gendras Decorative Objects

This face with prominent eyes, open mouth and beautiful hairs with symetrical undulations may be the face of the Archangel Gabriel.  

Carlo Ramous (1926-2003) Abstract composition, Circa 1960 Bronze sculpture with brown patina Signature of the artist Foundry’s mark : Fonderie MAF Ramos Milano Numeroted 2/3.

Albert Leclerc (1906 – 1975) Portrait de femme Signed on the chignon : « Albert Leclerc », along the lower right edge foundry mark « Susse Fondeur Paris » Bronze, with brown p...

Magdalena Reinharez (1925 – 2012) Dromaderies Bronze sculpture Signed « Magdalena Reinharez 3/8 » Numeroted 3/8 Foundry mark : Chapon, Paris Biography Born in Central Europe, Magdalena Reinharez arrives in France at a young age. She takes her painting class with masters such as Fernand Léger and André Lothe...

BLASCO-FERRER Eleuterio said Blasco Born in 1907 in Foz-Calanda in Aragon (Spain) "Woman" Old collection Raton, Gabrielle Laroche’s collection...

Magdalena Reinharez (1925 – 2012) Homage to Géricault 1992 Bronze sculpture with brown patina Signed "M. Reinharez 2/8" Foundry mark : Chapon, Paris Biography Born in Central Europe, Magdalena Reinharez arrives in France at a young age. She takes her painting class with masters such as Fernand Léger and André Lothe...

Magdalena Reinharez (1925 – 2012) Bengal Tiger Bronze sculpture with brown-green patina Signed « M. Reinharez 1/8 » Numeroted 1/8 Foundry mark: Chapon, Paris Biography Born in Central Europe, Magdalena Reinharez arrives in France at a young age. She takes her painting class with masters such as Fernand Léger and André Lothe...

Magdalena Reinharaz (1925 – 2012) In the arena 1 / 8 Bronze sculpture Signed: M. Reinharez Bronze-caster’s mark : Chapon Biography Born in Central Europe, Magdalena Reinharez arrives in France at a young age. She takes her painting class with masters such as Fernand Léger and André Lothe...

Edmond Moirignot (1913-2002) Faun playing the flute or Satyr, Before 1959 Godard lost wax, foundry mark Signed « MOIRIGNOT » Exhibition ...

Edmond Moirignot (1913-2002), The sacred dance, 1965 Valsuani Foundry 2 / 6 Exhibition of the plaster at Montmorency Gallery, Paris, december 1965 Exhibition of the bronze...

Young Lady, 1967 Bronze sculpture, lost wax Signed « MOIRIGNOT », numeroted 5/8 Foundry mark Ducros Measures: Height : 39 cm Historic : Exhibition Pacitti Gallery, Par...

Edmond Moirignot (1913-2002) Mother courage, Circa 1989 Bronze black blue patina 2/6 Foundry’s Mark « Ducros » Reproduced in Catalogue raisonné, Moirignot, Claude Jeancola...

This rare Venetian frame entirely carved in high-relief shows a rich decor of scrolls, garlands, daisy flowers and thistles. At the four corners of the frame are depicted large acant...

This fine amber sculpture depicting Jesus Christ is a very rare object. Exemples of this sort can only be found in Germanic countries. Already used during Prehistoric times, amber have always fascinated people. Because of the virtues associated with this material amber was carved as amulets and prophylactic ornaments. As an expression of luxury and means amber was also used for adornments and small figures collected by the upper classes. This fossilized resin was picked on the Baltic Sea shores and soon entered a intense trade system. From the 14th century onwards knights of the Teutonic Order...

Mandron Femme à la toilette Bronze sculpture with green patina Signed and numeroted 1/8 Blanchet Foundry.

LIDICKY KAREL 1900 - 1976 Pain Bronze proof with brown patina Signed on the terrace Measures: Height: 48.5 cm Provenance: S. MEHRINGER, Munich.

MICHAËL RIEU (Born in 1953) The Great Travel, 1990 Signed and dated 1990, justified EA Measure: Height : 142 cm Patinated bronze group depicting a figure holding the prow of a ship on which rests a church. This piece is reproduced in the book of Michaël Rieu, En reise i bilder og skoquerurer. Grafisk Partner Kristiansand 2015, pages 6 and 10. Preparatory studies...

André Barelier Né en 1934 Autoportrait à la Salle de Bain 1981 Premier Grand Prix de Rome Sculpture en bronze à patine brune 3/6 Signée R...

RENÉ COLLAMARINI (1904 - 1983) Woman standing with hand on shoulder Patinated bronze proof Valsuani foundry As an admirer of Joseph Bernard, René Collamarini practices dire...

OSVALDO RODRIGUEZ, né en 1946 JEUNE FEMME, 1982 PROVENANCE : Atelier Atila du 22 octobre 2012. Œuvre originale en terre cuite représentant une jeune femme, signée en bas à dro...

FABRICE LEBAR Man under a sheet Bronze patinated Artist proof Signed and numeroted 1/1.

KAREL HLADIK (1912-1967) Decorative plaque depicting a bull Bronze sculpture Signed and titled Karel Hladik (27 June, 1912 - le 27 April, 1967) is a Czech sculptor and uni...

EXCEPTIONNEL CABINET DE BOIS, MÉTAL ET PIERRES DURES CRÉATION CONTEMPORAINE DE L’ORFÈVRE DANIEL ARNOUL ORIGINE : FRANCE PERIODE : XXe SIÈCLE, 1995. ...

Noël Van Cauwenberghe (Born in 1935) « Jean-Paul Sartre, L'enfer c'est les autres » Patinated bronze proof, signed, titled, lost wax. Foundry stamp. Height : 65 cm.

In Medieval Europe and even more during the early 16th century fantastic beasts could be found in Bestiaries, a literary genre close to poetry. A bestiary used the characteristics of...

Ochoa Clemente (Born in Spain, 1937) Bust of a young woman with long hair Bronze brown patina, lost wax Signed Marble base.

BERNARD VIÉ LES DANSEURS « The Dancers », 1986 Bronze, Foundry Blanchet-Landowski, EA1 Measures: Height : 32 cm Width : 30 cm Depth : 10 cm Exh...

ALEX BERDAL (Perpignan, 1945) Nature Morte or Ouverture, 1980 Bronze with green patination Signed at the front. Numbered 6/8 on the reverse Foundry mark « Fonderie de la Plaine » Measures: Height : 26 cm Width : 36 cm Depth : 12 cm Bibliography : Berdal, sculptures, Editions Le Chardon...

Alex Berdal (Perpignan, 1945) Phoenix, 1980 Bronze with brown patination. Stone base. Signed along the side. Numbered 4/8 Foundry mark « Fonderie de la Plaine » Height : 15,5 cm Total Height : 28 cm Width : 51 cm Depth : 10 cm Bibliography : Berdal, sculptures, Editions Le Chardon...

ALEX BERDAL Nature Morte, les Raisins, 20th century Measures: Height : 37 cm Length : 26 cm Depth : 20 cm Reproduced in the catalog BERDAL, Sculptures, éditions Le Chardon...

Thierry Mazillé “Strasbourg cathedral” on the scale of 1/100th, 2004-2007. Measures: height with mount: 174 cm. Single piece Work create...

Thierry Mazille « Tour Eiffel» d’après « Gustave Eiffel », 1998 Signée MT Travail d’art brut par Thierry Mazille Pièce Unique Œuvre cré...

Marguerite LAVRILLIER-COSSACEANU 1893 - 1980 Woman bust (1945 - 1946) Bronze proof with brown-green patina 2/8 Posthume lost wax of Coubertin Foundry Signed and numeroted (...

XAVIER DAMBRINE Born in 1964 The war Bronze sculpture Signed on the back.

Aglae Liberaki (1923 – 1985). Bronze sculpture. Lost wax. Foundry’s mark Valsuani. Monogram et dated 72.

BEAUTIFUL SCULPTURE IN POLYCHROME LINDEN REPRESENTING SAINT GEORGE SLAYING THE DRAGON ORIGIN : SOUTHERN GERMANY, SWABIA PERIOD : LATE 15th CENTURY Polychrome linden wood, silvered flange Measures: Height : 104 cm Width : 21 cm Good state of conservation, original polychromy HISTORICAL Officer in the Roman army, Saint George passed through a city plagued by a voracious dragon that devoured its inhabitants. To appease the monster's hunger, the villagers offered him sheep, but when all the cattle were sacrificed, two young people were drawn. One day, fate designated the king's daughter, forced to be delivered to the dragon. Initiating a fight to save her, Saint George, on his horse, triumphed over the monster by piercing it with his spear. In order to symbolize the victory of faith over Evil, the different versions of the legend end with the death of the dragon. However, the Golden Legend, by Jacques de Voragine affirms that the creature was only wounded and that the saint would have dragged it, chained, at his side. Before leaving the city, Saint George distributed to the poor the money that the king had given him as a reward. After his victory over the dragon, came the passion of the saint. Indeed, Saint George was martyred for refusing to sacrifice to pagan idols during the persecution of Diocletian. The saint suffered numerous physical abuses from which he miraculously survived. He was eventually beheaded and his holy body was retrieved by an angel. DESCRIPTION This polychrome sculpture represents Saint George standing, his foot on the dragon which he strikes down with a spear. This image is one of the most evocative of the iconography of Saint George. He is represented young and beardless, in infantry armor, typically German, due to the length of the poacher who protects the thighs of the saint. The armor covers his whole body, from the neck, with the gorget, to the foot with the sabatons. The armor is realistic thanks to the precision of the parts composing it and this silver highlight which gives it a patina with metallic reflections The saint is wearing a hood with raised brown edges, revealing curly hair down to the bottom of his neck. The face of the saint seems serene, and his attitude controlled, a symbol of chivalrous virtues. Concerning the posture, Saint George raises his right arm and bends the left in order to plant his spear in the mouth of the dragon. He is in contrapposto, his left foot crushing the long neck of the monster. The dragon, on the other hand, is salamander-like with large, pointed ears and a large, jagged crest on its back. The creature opens its mouth and twists its neck in pain. A green color covers its skin, and highlights of red are located inside its mouth and ears. This exceptional piece is the reflection of a remarkable sculptural work, due to the harmony that emerges from the composition, the precision of the details and expressions, as well as the contribution of the polychromy that animates this scene. LITERATURE Louis Réau, Iconographie de l’Art Chrétien...

Virgin and child in majesty Origine: castille Epoque: early 14th century Measures: Height: 72cm Length: 30cm Depth: 25cm Polychrome and gi...

Important virgin and child in majesty Origin : Germany Or Eastern France Époque : Second Half Of The 13th Century Height: 104.5 cm Length: 3...

Virgin and child in majesty with a bird Origin: Southern Germany Or Austria Period: Late 13tth - Early 14th Century Height : 87.5 cm Length : 32 cm Depth : 19 cm Lime ...

Virgin and child sedes sapientiae, seat of holy wisdom Origin : Northern Spain, castile, navarre or galicia. Period : early 13th century. Heigh...

Exceptionnal polychrome wood virgin with child in the style of Salzburg’s Madonnas Origin : Central Europe Era : 19th century Measures: height : 123...

Sculpture In Polychrome Wood Representing Saint Anthony Hermit Origin : East of France Period : End of the 15th century Measures: Height : 97 cm Width : 32 cm Depth : 26 cm Polychrome wood The saint is represented by an old, bearded man, dressed in a hooded monk’s habit over the tunic of his religious order. He is stood upright, holding an open book, La Règle des Antonnites, in his right hand. In the other hand, he is holding a staff in the form of the Greek letter tau with a rosary hanging down over it. At his feet lies a pig wearing a small bell around its neck. He rests on his right leg, whilst the left advances forward as if he were about to start walking. His belted tunic, forming several rectilinear pleats, is covered by a habit which is open only at the waist, therefore revealing these pleats. He is also wearing a hooded scapular over his shoulders. His thick hair escapes from under a distinctive hat, forming a collection of finely sculpted ringlets. This fine detail is also applied to the four long ringlets of his superb beard, which sit just below the shorter ones of his moustache. His face is a picture of harmony, with lowered eyes and his small mouth lost amongst the abundance of hair. At his feet on a pedestal of flames, hinting to the fire of Saint Anthony no doubt, a pig trying to scratch its ear. Born in 251 in Upper Egypt, he withdrew into solitude at a very young age. He would have been plagued in the desert with extremely diabolical temptations. He payed a visit to Saint Paul the hermit towards the end of his life. He was the dean of the Thébaïde anchorites, who was miraculously fed by a crow. On the day that Saint Anthony visited, the crow brought two portions of bread in its beak instead of one. Some time after, having learnt of the death of his venerable brother, Saint Anthony went to bury him with the help of two lions. The King of Catalonia pleaded to come and exorcise his posessed wife and children. He left Thébaïde for Barcelona. He appeared at the house of the provost André, bringing him a sow in his mouth, a monstrous piglet born without eyes. André wanted to kill it but Anthony stopped him, telling him that the poor beast wanted to ask for healing, as the King had done for his offspring. He made a sign of the cross on the piglet and it suddenly acquired its sight and the members which it did not have at birth. After which, André, guided by Saint Anthony, exorcised the Queen of Catalonia in the same way whilst she knelt at his feet. Théophile discovered the body of Saint Anthony wrapped in a palm fibre tunic which he had been given by Saint Paul the Hermit. In the Red Sea Desert there are two Coptic, IV century, monasteries which stand next to each other, one dedicated to Saint Anthony, the other to Saint Paul the Hermit. They are the oldest monasteries in the Christian world. The body of the famous hermit was transported to Constantinople and would have been transferred into the abbaye, Saint Antoine-en-Viennois, Dauphine. The Antonnite Order was a charitable order which specialised in treating contagious diseases. The fire of Saint Anthony, was identified by doctors as a grangrenous ergotism, caused by a diet of rye bread contaminated with the parasite ergot. The effect of this is the drying out of hands and feet which then need amputation, the plague and then later syphilis. All the skin diseases came from Saint Anthony. Saint Anthony’s pilgrimage to Dauphine rivaled that of Saint Jacques to Compostela. Thanks to the various commanderies created by the mother house, Saint Anthony’s cult spread throughout Christianity. In order to maintain commanderies and their hospitals, the Antonnites resorted to pig farming. They enjoyed having the benefit of letting their pigs roam freely through the streets of the villages, with little bells round their necks that had a recognisable chime so that they were able to find them. This privilege was very envied by other monastic Orders. Saint Anthony was the patron saint of several crafts such as basket makers and gravediggers. However it is to the pig that he owes the majority of his patronages; pigkeepers, pig sellers, butchers, porc butchers, brush makers who use pig bristle and bell-ringers because of the pig bells...

Constantin Andréou 1917 (Sao Paolo, Brésil) – 2007 (Athènes, Grèce) Momie Darling 1997 Œuvre en laiton doré Pièce unique Signée Hauteur...

Exceptional virgin and child in majesty or “Sedes Sapientiae”, throne of wisdom Origin: southwestern France. Period: late 12th - early 13th cen...

Carved wood depicting the resurrection of Christ ORIGIN : SOUTHERN NETHERLANDS, ANTWERP PERIOD : EARLY 16th CENTURY Height : 67.5 cm Len...

SAINT AFRE OF AUGSBURG ORIGIN : SOUTHERN GERMANY PERIOD : 16th CENTURY Height : 119 cm Width : 50 cm Depth : 28 cm Limewood Good state of conservation Patron Saint of the city and the diocese of Augsburg, the oldest traces of her worship date back to the 6th century. There are several versions of his legend. She is sometimes identified as the daughter of a king of Cyprus whose violent and unexpected death forced her and her mother, Hilaria, to flee. They went to Augsburg via Rome. Others see her origins in Africa instead, her name meaning African in Latin. Settled in Augsburg, they became the owners of a notorious inn where they traded in their charms. Bishop Narcissus of Girona, accompanied by his deacon Felix, found refuge there one day, fleeing the persecution of Emperor Diocletian. As the two men prayed devoutly, Afre was touched by grace and asked to be baptized. She then left her old life and embraced the Christian faith. When the Roman authorities learned of his new vocation, they exhorted her to worship the old gods and to deny the Christian faith. She refused to renounce her faith and was sentenced to be burned alive. Her sentence was applied immediately and she suffered her mart...

Carved wood depicting saint martin Origin : Germany Period : 15th century Measure: Height : 85 cm Wood Polychrome remains Good state of conservation Collection number on the back 26757 Our partially polychromed Saint...

VIRGIN OF CALVARY ORIGIN : ITALY PERIOD : SECOND HALF 13th CENTURY Height : 75 cm Length : 19 cm Depth : 13 cm Polychrome wood carved in the round This rare sculpture of a Virgin of Calvary originally belonged to an ensemble depicting the Crucifixion. The Virgin would be accompanied by a sculpture of the apostle John, both flanking the Christ. Depictions of Joseph of Arimathea and Nicodemus could complete the ensemble. The portrayal of the Descent from the Cross had to be a touching and moving scene for the viewer. Quite rare during the 10th and 11th centuries this particular scene of the Passion was very much in favour during the 12th century before other scenes took over in turn. Mary is standing with her head slightly tilted to her right shoulder. In a gesture of intercession she raises her left hand – note the long and delicate fingers – towards the missing Christ while with her right hand she holds her cloak around her elbow. Those calm and restrained movements break with the hieratism of Romanesque sculpture...

IMPORTANT SEDES SAPIENTIAE VIRGIN AND CHILD ALSO CALLED « THRONE OF WISDOM » ORIGIN: FRANCE, BURGUNDY PERIOD: EARLY 13th CENTURY Height : 75 cm Len...

Carlo Ramous (1926-2003) Bronze sculpture, with a brown patina. Signed ‘C Ramous’ and numbered 1/3. Measures: Height : 78 cm Width: 86 cm Depth: 24 cm Inside, there ar...

Carlo Ramous (1926-2003) Abstract Composition Bronze sculpture, with a brown patina. Signed ‘C Ramous’ and numbered 1/4. Height : 42 cm Width : 42 cm Depth : 12 cm Pe...

Marie Pierre Thiebaud (1933-2010) Golden bronze Founder's stamp: Valsuani Draft 1 / 4 Measures: height: 21 cm Length: 36cm Depth: 22cm Description This art piece was made by Marie-Pierre Thiébaut. Her name is engraved on the side of the sculpture: « THIEBAUT », as well as the print run number: « 1 / 4 ». There is also the foundry stamp « C VALSUANI CIRE PERDUE ». This sculpture is composed by seven individual pieces. There is a main piece on which rest bronze elements, including two spheres and three elements which are articulated around a cylinder. Close to abstraction, the shape can remind of a sea creature. The artist conceives a sculpture with vaporous forms which plays with effects of brightness and contrasts, in particular thanks to marked undulations. As the preface of the book, Marie-Pierre Thiébaut, La forme-geste reminds us, the artist’s work can’t be dissociated of a mineral and natural world : « Some of the pieces remind us of undulations of the sea bed, the granulated skin of a wave, the intimacy of a body. A whole universe touched, suggested with grace, fervor and present with touches of absolute. » In addition, the writer Marguerite Duras wonders about the vision of her work in the preface of the exhibition Lanscapes in 1972 : « Where are we? at the bottom of the sea? at the bottom of a woman? in a fruit? I believe that we are both in the sea and inside of an organ. in the primary, common environment, the marine symbiosis. » Marie Pierre Thiebaud Biography : Marie-Pierre Thiébaut (1933-2010) is an artist, sculptor and visual artist. She favors natural materials such as earth, wood, or paper. Bronze is also one of the mediums She uses, although rarer in her creative process. At the beginning of the 1950’s, Marie-Pierre Thiébaut trained at the Academy of the Grande Chaumière, with Ossip Zadkine, who would say of his apprentice "that he was young, and sculpture becoming the primary concern of her life, I am sure that the sun will illuminate her work of a truly discovered world” During this period she explores the sensuality of the female body. Her work expresses a personal serenity, developed on the margins of any theoretical thought. The essence of her work lies in the contemplation of forms and what they can evoke for the viewer. Our work is the perfect synthesis. Thus her gesture has consequences since Marie-Pierre Thiébaut offers the world a sensitive and dreamlike universe. Many art personalities such as François Barré, the painter Jean Degottex...

Guido HAFNER Born in 1968 Title : Mensch mit Mensch Technique : Bronze sculpture Biography : Guido Häfner is a sculptor and graphic artist who completed his studies i...

Pierre Brun (attributed to) 1915-2011 Le couple (The Couple) Important sculpture Fire-patinated copper-ware cast Oakwood base Height of the s...

Béatrice Serre (Born in 1970) Le Champ des possibles Date : 2012 Technique : Oval-shaped relief. Mixed media, lava, glass paste, bismuth, pyr...

Bronze with medal patina, signed.  

Silvino Poza 1926 - 2010 Zambra Bronze sculpture with Green patina Lost Wax technique Signed : S.Poza Numeroted : n° 2/6.  

Silvino Poza 1926 - 2010 Gaonera - The Toreador Bronze sculpture with Green patina Lost wax Technique Signed : S.Poza Numeroted : n° 2/6 Biography : Born in 1926, Va...

P. Plumet « Woman with hat » 20th century Bronze green patina Lost Wax.

Bronze proof sculpture with brown-green patina. Blanchet-Landowski Foundry, EA.