Breathe of Air, Unique Contemporary Piece by Alfred Sfez

A French Napoléon III Large Pair of very decorative hand-painted polychromed Porcelain Plaques with Orientalist scenes, with traditional costumed characters. In the manner of Rudolf Ernst (1854-1932), the famous Orientalist painter: One Representing “Le marchand d’oranges”, the Oranges merchant, the other one “Le fumeur de Narguilé”, the hookah smoker. Both signed L.Lagrange, one dated 1908 and located Dijon In originals wooden frames Napoléon III Period Plaque dimensions H 43 cm L 33 cm Total dimensions H 57,5 cm L 48 cm Rudolf Ernst (1854, Vienna-1952, Fontenay-aux-Roses, France) Best known for Ottoman Empire paintings...

"Ce qu'évoquent les Livres" Allegory of the Literature Oil on canvas Signed on the lower part beside parchment 111 x 133 x 2 cm Framed 125 x 146 x 7 cm Provenance: Collection Georges AUBRY, brother of the artist Bibliography: Illustrated in catalogue «Regards de peintre» , Suzanne AUBRY-CASANOVA, 1997, p.104 After trying years of forced confinement due to the war, he composed this allegorical fresco on the theme of Literature, Science and Arts was painted by Émile Aubry for his younger brother Georges Aubry, who had intended it for his library. This work, composed on the theme of the book it symbolizes, in its diversity by allegorical characters, he cannot help ordering the painting around Art, which he places at the top of the scale of human...

Raphaël DELORME (1885-1962) « Jeune femme dans son intérieur » Oil on panel Signed Lower right Framed 36 x 32 cm Total 50 x 47 cm Raphaël Delorme was a French painter born in 1885 ...

Pierre Legendre (1932-2009) Accord II oil on canvas circa 1980 Measures: 116 x 81 cm. Pierre Legendre, born in 1932 in Haute-Marne, moved to Paris at the age of 22. After classes at the Estienne school in Paris as well as those of the Beaux-Arts, he worked for several big houses and was the originator of logos for big brands like Hermès or Nina Ricci. He entered the academy of the painter Henri GOETZ, which allowed him to familiarize himself with abstract, geometric art. He exhibited from the 1970s, as in 1979 at UNESCO in Paris. A discreet painter, he nevertheless participated in the 80s and 90s in many artists' salons (Comparaison, Grand et Jeunes d'Aujourd'hui, Réalités Nouvelles). Pierre Legendre is of deep integrity, of great moral rigor, his geometric and abstract art also reflects a quest for spirituality and philosophical reflection. Although denying itself to belong to Concrete Art, Legendre by its taste for purism and the immateriality of the straight line is not so far removed from, among others, the art of Jean Gorin...

Pair of large Japanese Porcelain Cone Shape Vases with Imari decoration Important mounts in ormolu and gilded metal, the base decorated with a laurel wreath, the upper part of falling leaves and a frieze of knotted ribbon. The mounts signed Gagneau, 115 R. Lafayette. Circa 1860 With their original aluminium bulb cover and original gilding Vase it self Height 47 cm The Gagneau Company is one of the most famous lighting factories in Paris in the nine-teenth century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 rue de Lafayette. She has participated in many exhibitions throughout this century. She began in 1819 with the Exposition des Produits de l'Industrie and later participated in the Universal Exhibitions where she was part of the jury in the category of art bronzes (class 25) at the Universal Exhibition in Paris in 1889. "Imari" was simply the trans-shipment port for Arita wares, from where they went to the for-eign trading outposts at Nagasaki. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-Pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari". In the mid-17th century, there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market.Kutani Ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are ac-cordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aes-thetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors. Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Ex-ports to Europe were made through the Dutch East India Company, and in Europe the des-ignation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China resumed export to Europe, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Eu-ropeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe.Thus, in the western world today, two kinds of true Japanese Imari can...

Pair of French Napoléon III Curule Armchairs Moulded, carved, blackened wood, enhanced with gold. Open-banded back decorated with interlacing, X-bas...

About the painting: "I Looked Everywhere and Found One-Piece of Gold" 2017 About the artist: Cecilia’s is working with all geometrical forms, lines and shadows. Her style developed to be clean and sharp forms in different combinations. Often they are in juxtaposition to create a three dimensional effect. Since two decades she has only painted in acrylic on canvas. Her art characteristics are uniform geometrical shapes with pristine borders, often in bold colours. Born in Sweden in 1954, Cecilia Setterdahl has always been painting from Swedish inspiration. Studied ascetics in High School and then went on to the Technical University of Lulea and graduated as a teacher. Moved to Stockholm and studied at the “Konstskolan” First exhibition 1988. Through a move to Neuchatel, Switzerland Cecilia continued her studies at the M-Art and Accademie Maximilien de Meuron. “Art Studio Bv5”, together with 4 other artists, she continued to work until moving to Dubai in 2015. Several part exhibitions in Neuchatel, Lausanne, Geneva, Brussels, London, New York, Hong Kong and Sweden. In the United Arab Emirates she has exhibited both acrylic paintings and hand- made carpets at Downtown Design...

Annelies, the painter of this work, works under the name 'Hymn of Silence'. As she progresses trough life, searching for balance or going with the flow, her art translates her evolut...

Annelies, the painter of this work, works under the name 'Hymn of Silence'. As she progresses trough life, searching for balance or going with the flow, her art translates her evolut...

Annelies, the painter of this work, works under the name 'Hymn of Silence'. As she progresses trough life, searching for balance or going with the flow, her art translates her evolut...

Contemporary abstract painting by Belgian artist Diane Petry. The acrylic painting is in shades of grey. The artist creates her own canvas using mixed-media. Archivally mounted on...

'Healing' by British artist Jessica Zoob lives up to its title - a peaceful and tranquil place of sanctuary. Even when there are storms in evidence, metaphors for the turbulence of l...