Räumungen Antiquité-Brocante-Débarras-Galerie d'Art-Apple boutique

Antiquités, Brocante, Tableaux, Expertises, Débarras
Jules Petroz
6   83%
Rue de l'Ecole-de-Médecine 1, 1205 Genève

Kontakte

Adresse
Rue de l'Ecole-de-Médecine 1
1205 Genève
J. Petroz
A. Petroz
E-Mail
Webseite
Wünscht keine Werbung
Finden Sie uns auf

Übersicht

Sprachen
Sprachen
Englisch, Französisch, Italienisch
Zahlungskonditionen
Zahlungskonditionen
American Express, Bar, Bezahlung mit Kreditkarte, EUR, GBP, Maestro, Mastercard, Paypal, Traveler Check, USD, Visa
Lage
Lage
Nahe öffentlichem Verkehr, Parkmöglichkeit, Stufenlos zugänglich
Von
Nach

Apple_Boutique Kunstgalerie , Antiquitäten, Flohmarkt , Speicher

Apple Boutique

Kauf Ist Antiquitäten, Trödelhandel, Dekoration, Alter(Ehemaliger) Zeichnungen, Tabellen(Bilder), Gravuren, Stiche, Mobiliars, Statuen, Kunstgegenstände, Silbergeschirres, Spiegel, Fotos, Alter(Ehemaliger), keramischer Schmuckstücke, Alter(Ehemaliger) Waffen windig, Judaica, Maçonnique, die Teppiche, die leitenden Angestellten(die Rahmen), die Gläser, die Bildhauerei(Skulptur), die Bronzen, die Archäologie, die seltenen Bücher(Pfunde) u.s.w. … Schnelle und vollständige Hausentlastung(Hausabstellraum), Wohnungen, Keller, Dachböden, Büros(Schreibtische)

In der Mitte des Marktes der Kunst Genfer gelegt, hinter dem Museum Moderner Kunst MAMCO und dem Museum Patek Philippe in der Nähe des neuen Museums von Ethnographie MEG, neben dem Flohmarkt Plainpalais, ist die Galerie Apple Boutique Fine Art der ideale Ort, um Zeichnungen, Gravuren oder Alte(Ehemalige) Tabellen(Bilder) aufzustöbern aber auch alle Arten andersartiger Gegenstände(Ziele) - der Archäologie in der Modernen Kunst

Jules und Aicha Petroz beraten Sie und begleiten Sie am besten für den Kauf und Verkauf von Kunstwerken.

Petroz Jules wurde 1960 in Genf geboren Eingeführt in die Welt der Kunst von antiken Eltern studierte er Restaurierung und Know-how der Malerei mit einem Master. Dann wird die Kunstgeschichte an der Universität Genf, dann in das Geschäft der Kunst zu engagieren. Jules ist aktiv auf dem Kunstmarkt seit den 80er Jahren, und seit 1990 arbeitet er mit seiner Frau Aisha. Ihre Diskretion und ihr Know-how sind stark von Kennern sehr geschätzt. Mit Sitz in Genf, kreuz und quer durch sie Europa auf der Suche nach seltenen Objekten, Museen und renommierten Galerien und eine Gruppe von privaten Kunden. Ihre Interessen decken praktisch alle Epochen, von der Archäologie bis zur zeitgenössischen Kunst, der Höchste Zeit, die Renaissance oder dem 18. Jahrhundert, mit besonderem Interesse in Zeichnungen, Gemälden und Stichen der alten Meister, Keramik. Immer in Bewegung eine Messe in der anderen beiden unter den großen als kleinen Antiquitätenläden besuchen. Man kann sie finden und kontaktieren Sie sie über das Internet oder per Telefon.

Möchten Sie einige Ihrer Artikel, Waren, usw. zu verkaufen
Wir bewegen uns schnell und frei von Genf, Lausanne und der Grenzregion unsere Schätzungen zu machen, die wir kaufen und Bargeld und nach Hause zahlen.
Wenn Sie es vorziehen, bieten wir Ihre Artikel auf unserer Website oder durch unser Netzwerk von Privatkunden zu verkaufen.

Sie profitieren von unserer Erfahrung den besten Preis für Ihre Artikel zu erhalten.

Freie Schätzungen und Verschiebung.

Wir bringen Sie den ganzen Nachmittag im Apple Boutique Gallery

Kundenmeinungen

Was ist Ihre Erfahrung?
5 von 6 würden Antiquité-Brocante-Débarras-Galerie d'Art-Apple boutique einem Freund empfehlen.
(6 Bewertungen)

Produkte & Dienstleistungen

Horses in the Stables by Wouterus Verschuur
Horses in the Stables by Wouterus Verschuur

Wouterus Verschuur
Watercolor and blue wash on paper over crayon drawing, signed lower right 12 cm x 17,5 cm
Wouterus Verschuur (11 June 1812 – 4 July 1874) was a Dutch painter of animal subjects – mainly horses – and of landscapes. He is one of the later representatives of Romanticism in Dutch art.
Life and career
Born to an Amsterdam jeweller, Verschuur received his training from the landscape and cattle painters Pieter Gerardus van Os and Cornelis Steffelaar. As part of this education Verschuur had to copy works by the 17th century painter Philips Wouwerman, like Wouwerman Verschuur’s subjects consist mostly of stable scenes, landscapes with horses and coastal landscapes.
Showing talent from an early age, at 15 Verschuur had a painting exhibited at the “Exhibition of Living Masters” at Amsterdam in 1828. In 1832 and 1833 he won the gold medal at the annual exhibition at Felix Meritis. In 1833 he was appointed a member of the Royal Academy in Amsterdam. In 1839 he joined the artists’ society, Arti et Amicitiae. His reputation was also considerable abroad. He was often featured in the annual exhibitions which travelled the large European cities at that time. In 1855 Napoleon III purchased one of his paintings at the Exposition Universelle in Paris.
The popularity of his paintings provided him with sufficient funds to travel widely. He made frequent trips to Gelderland and Brabant and abroad to Switzerland and Germany. In 1874, on one of his trips to Gelderland, he died on July 4 in the town of Vorden. He left behind an oeuvre of about four hundred paintings and over two thousand drawings. Amongst his students were his son, Wouterus Verschuur Jr. and Anton Mauve.

Mehr Infos

Preis:

Auf Anfrage

Albrecht Durer martyrdom of the ten thousand woodcut
Albrecht Durer martyrdom of the ten thousand woodcut

Albrecht Dürer (1471-1528) 

The Martyrdom of the Ten Thousand (B. 117; M., Holl. 218; S.M.S. 104) 
woodcut, 1497, on laid paper, a good impression,  in very good condition
397 x 285 mm. 

Provenance :

Charles Naudet au Louvre 1818

https://www.appleboutique.com/collections/prints/products/albrecht-durer-woodcut

 

From Wikipedia, the free encyclopedia

The Martyrdom of the Ten Thousand is an oil painting by Albrecht Dürer, dating to 1508 and now at theKunsthistorisches Museum of ViennaAustria. It is signed on a cartouche which hangs from the artist's self-portrait in the center, saying Iste fatiebat Ano Domini 1508 Albertus Dürer Aleman.

The painting was commissioned by Frederick III, Elector of Saxony for the All Saints' Church, Wittenberg.[1]Frederick had been Dürer's patron since 1496. He himself chose the subject, as his collection of relics included some of the Ten thousand martyrs.

 

Dürer had used the same subject for a woodcut of some ten years before, but in the new work he eliminated some macabre details such as the torture of the bishop Acacius, having his eyes stripped through a drill. This scene was replaced by a crucifixion on the right and by the presence of the bishop in chains behind it.

The work was repeatedly mentioned in the correspondence between the artist and Jakob Heller of Frankfurt. Dürer received 280 florins for it.

Description[edit]

The painting illustrates the legendary martyrdom of ten thousand Christian soldiers perpetrated on Mount Ararat by the King of Persia, Shapur I, by the order of the Roman emperor Hadrian or Antoninus Pius, or, according to other sources,Diocletian.

Dürer painted numerous different martyrdom scenes within a forest with clearings and cliffs. In the foreground are crucifixions, decapitations, crushing with a hammer. The Persian King is portrayed as an Ottoman sultan, riding a horse on the right. The executioners also wear gaudy Ottoman dress. In the background are prisoners walking through to a cliff from where they are thrown down against rocks and thorny bushes, as well as scenes of fighting, stoning and hitting with huge clubs.

At the center of the crowded scene, dressed in black, are two characters who walk placidly, apparently unaware of the horrors around them: one is Dürer's self-portrait (holding his signature), the other his friend and humanist Conrad Celtes, who had died a few months before the execution of the painting.

 

 

Mehr Infos

Preis:

1'500.00 CHF

Cascade de Tivoli watercolor 18th century
Cascade de Tivoli watercolor 18th century

Large watercolor landscape, 37,5 cm x 53 cm animated scene with personnage in the Tivoli cascade.

Mehr Infos

Preis:

1'300.00 CHF

Aubert & Klaftenberger a Geneve gilt bronze clock
Aubert & Klaftenberger a Geneve gilt bronze clock

Exceptionnel  - 19ème siècle Grand Bronze Doré Ormolu style Louis XVI Chérubin Mantle Horloge - Aubert & Klaftenberger a Geneve, avec deux angelots assis l' eau potable à partir d' une coquille sur une forme de serpentin applique en bronze et blanc de base en marbre de Carrare, frappant les heures et demi - heures sur une cloche, cadran émail blanc signé Aubert & Klaftenberger a Geneve.

vers 1870 

Taille: 

travail, bon état, a besoin d'un bon nettoyage.

Aubert & Klaftenberger étaient en affaires à Londres 1839-1857 et sont de nouveau enregistrés en 1881. Charles Klaftenberger ce que le commerce de 1863 à 1881. Seul ou en thèse de partenariat de deux débitait quelques-unes des très belles pendulettes français. Ceux-ci montrent souvent l'adresse 157, rue Regent, deux portes du T Martin & Co, un autre détaillant pris acte. 

Swiss Uhruhrenfabrikation DF Aubert a fondé avec Charles Ignaz Klaftenberger à Londres en 1835, la société Aubert & Klaftenberger à Londres. La société a été créée dans la rue Regent 157, et livré des montres compliquées de qualité. En plus de Klein et d'horlogerie étaient au programme. Prince Albert et de la reine Victoria faisaient partie de la clientèle de l'entreprise et a également été nommé Horuhrmacher (Makers montre à la Reine et Son Altesse Royale le Prince Albert). Lors de l'Exposition universelle de Londres en 1851, la société a reçu une mention honorable. La société était à Genève, Vienne, Paris et Londres a représenté.  

DF Aubert a travaillé comme horloger à Genève 1820-1864, probablement vient à David Frédéric Aubert, fils d'horloger Jacques David Henri Aubert. Charles Ignaz Klaftenberger (1702-1874) était un horloger qualifié et vice-président de l'Institut British Horological. BHI. 

Mehr Infos

Preis:

3'500.00 CHF

A wood carved Louis XV style frame
A wood carved Louis XV style frame

Product Description

A beautifully wood carved Louis XV style frame, of rectangular shape, decorated with stylized shells, foliate and flowers.

62 x 72 cm outsides  –  43 x 53 cm insides (small damage)

Mehr Infos

Preis:

1'500.00 CHF

Médaille de grade de maître maçonnique
Médaille de grade de maître maçonnique

Antique Master Masonic Medal.:

Green and Red Ribbon 18,5 cm

Gilded Silver

 

 

Mehr Infos

Preis:

Auf Anfrage

Antiphonary officium proprium san francisco de paula
Antiphonary officium proprium san francisco de paula

Antiphonary officium proprium san francisco de paula die II aprilis festum sancti Francisci de Paula ordinis minimorum fundatoris

Antiphonary on Partchment (Exept title page on paper) Religious Service for Saint Francis of Paul, illuminated with capitals depicting the Eudes Bridge at Tours on the River Loire and Various Loire Castles.

40 cm x 27 cm Dated 1755

«Antiphonaire du 18ème». Antiphonary officium proprium san francisco de paula die II aprilis festum sancti Francisci de Paula ordinis minimorum fundatoris. Sur parchemin (40x27). 1755.

Le pont d'Eudes ou Vieux pont, aujourd'hui à l'état de vestiges, fut, à l'époque médiévale et pendant plus de sept siècles, jusque dans les années 1780, le seul pont qui traversait la Loire à Tours. Auparavant, on formait un pont-volant avec des bateaux, ce qui rendait la traversée de la Loire assez périlleuse. Cela décide le comte de Tours a ériger un solide pont empierré pour résister à la fougue et aux humeurs du fleuve. Il escompte ainsi favoriser le commerce et le pèlerinage de Saint Martin et amenuiser l'avantage que son grand rival le comte d'Anjou tire du pont d'Amboise, le seul existant alors pour traverser la Loire. Le pont subira cependant bien des vicissitudes qui éprouvèrent son manque de fiabilité malgré de nombreux remaniements.  Le pont d'Eudes était le plus ancien connu à Tours à cet endroit, jusqu'à la découverte à l'est de ses vestiges, en 2000, de traces augurant l'existence d'un pont antiquenote. Sur cet emplacement on trouve aujourd'hui une passerelle.

Mehr Infos

Preis:

1'500.00 CHF

HENRI DE REGNIER
HENRI DE REGNIER

HENRI DE REGNIER Lot de 56 volumes, la majorité en grand papier et, pour la plupart, comportant un envoi autographe à son ami Constantin Photiadès. Une rare opportunité d’acquérir un bel ensemble de l’oeuvre de cet écrivain français proche du symbolisme. VOLUMES BROCHES: «Poèmes anciens et romanesques», 1890. «Suppléments aux lettres d’Italie», 1/60 H.C. Envoi autographe à Constantin Photiadès. «1914-1916», Mercure de France, 1/52 sur Japon. «Lettres diverses et curieuses» Mercure de France. H.C. Envoi autographe à C.P. «Aréthuse» 1895. 1/12 sur Vélin d’Arches. «Tel qu’en songe» 1892. «Esquisse vénitienne», Mercure de France. Sur Lafuma 1/1295. «Episodes». Envoi autographe à Constantin Photiadès. «Contes à soi-même», 1894, no 12 sur Verger Vosges. «Escales en méditerranée», H.C. Envoi autographe à C.P. «De mon temps», 1933, Mercure de France, envoi autographe, 1/12 H.C. «Choses et autres, par ci, par là» Fac-similé. No42. «Lui ou les femmes et l’amour» Mercure de France, 1929. H.C. 1/25. «Pour les mois d’hiver», 1912, les Bibliophiles fantaisistes. No 108. «Moi, elle et lui», Mercure de France. Envoi autographe à C.P. H.C. «Lui ou les femmes et l’amour», Kra, 1928. «Nos rencontres», Mercure de France. Envoi autographe à C.P. 1/750 sur Vélin de Rives. «Le voyage d’amour», envoi autographe à C.P. 1930. H.C. sur Hollande Von Gelder. VOLUMES RELIES demi maroquin et plats marbrés signée Pierson - H. Joseph, G. Desbled Succ.) «Donc», Kra, 1927. Envoi autographe à C.P. «Les amants singuliers». Mercure de France. Envoi autographe à C.P. «Les scrupules de Sganarelle». 1908. «Le passé vivant». Mercure de France, 1905. Envoi autographe à C.P. «Couleur du temps». 1909. Envoi autographe à C.P. «La peur de l’amour». Envoi autographe à C.P. «Poésies diverses». Mercure de france, 1925. Envoi autographe à C.P. «Histoires incertaines». Mercure de France, 1919. 1/275 sur pur fil Lafuma. Envoi autographe à C.P. «Le trèfle blanc». Mercure de France. Sur Hollande van Gelder. «Le plateau de laque». 1913. «Romain Mirmault». Mercure de France. Sur Hollande Van Gelder. Envoi autographe à C.P. «Le bon plaisir». 1902. 2ème édition. «La flambée». Mercure de France, 1909. Envoi autographe à C.P. «Scène mythologique». 1924. Envoi autographe à C.P. «Les bonheurs perdus». Mercure de France. 1/25 HC. Envoi autographe à C.P. «La canne de jaspe». Mercure de France, 1897. Envoi autographe à C.P. «Figures et caractères». Mercure de France, 1906. «Les vacances d’un jeune homme sage». 1903. Sur Hollande Van Gelder. Envoi autographe à C.P. «La double maîtresse». Mercure de France. «Paray-Le-Monial». 1926. Sur hollande van Gelder. Envoi autographe à C.P. «Oeuvres IV». Mercure de France. «L’amphisbène». Mercure de France. Sur Hollande van Gelder. Envoi autographe à C.P. «La pécheresse». Mercure de France. Sur pur fil Lafuma. Envoi autographe à C.P. «Le divertissement provincial». Albin michel. H.C. XVII/XXV sur vergé pur fil montgolfier. Envoi autographe à C.P. «Le miroir des heures». Mercure de France, 1911. Envoi autographe à C.P. «L’escapade». Mercure de France, 1926. Exemplaire numéro E (1/25 H.C.) sur vergé pur fil Montgolfier. Envoi autographe à C.P. «Les rencontres de M. de Bréot». 1904. Envoi autographe à C.P. «Le mariage de minuit». Mercure de France, 1910. Mention de 14ème édition. «Portraits et souvenirs». Mercure de France. Envoi autographe à C.P. «Contes de France et d’Italie». Georges Crès, 1912. Sur papier de Rives. Envoi autographe à C.P. «L’illusion héroïque de Tito Bassi». Mercure de France. Sur Hollande non numéroté. Envoi autographe à C.P. «L’Altana I et II». Mercure de France, 1928. 1/25 H.C. sur vergé pur fil Montgolfier. Envoi autographe à C.P. 2 tomes. «Sujets et paysages». Mercure de France, 1906. Envoi autographe à C.P. «Flamma». Mercure de France, 1928. No U (1/25 H.C.) sur vergé pur fil Montgolfier. «Vestigia Flammae». Mercure de France, 1921.1/628 sur Hollande Van Gelder. Envoi autographe à C.P. «La sandale ailée». Mercure de France, 1906. Envoi autographe à C.P. «Proses datées». Mercure de France. 1/25 sur vergé pur fil Montgolfier. Envoi autographe à C.P. «Vues». Paris, le divan, 1926. Envoi autographe à C.P

Mehr Infos

Preis:

Auf Anfrage

FRITZ STÄGER. GRAVIA (REVUE). TRES RARE
FRITZ STÄGER. GRAVIA (REVUE). TRES RARE

. FRITZ STÄGER. GRAVIA (REVUE). TRES RARE collection complète de la revue créée et publiée par Fritz Stäger à partir des années 1950. Gravia, selon les termes inscrits dès la deuxième parution est élaborée par un groupe de passionnés d’art, qui paraît au printemps de chaque année. L’ouvrage se compose d’une collection de gravures sur lino ou sur bois et représente en même temps un échange amical d’oeuvres gravées. Les participants de la «GRAVIA» fournissent chacun au minimum trois gravures et un projet pour la couverture. Le tirage est limité au nombre des participants. Chacune des gravures est signée au crayon. Se côtoient, tous numéros confondus, des artistes tels que: Fritz Stäger, Joseph Blatter, Pierre Terbois, Rodolphe Scheucher, Jean Baier, Jean Linder, Charles May, Henri Marcacci, Annelise Albrecht, Martin Alfred Christ et bien d’autres encore. Le No1 comporte 24 gravures originales et ne porte pas de mention de tirage. Le No2 comporte 35 gravures et a été tiré à 6 exemplaires. Le No3 comporte 45 gravures et a été tiré à 8 exemplaires. Le No4 comporte 44 gravures et a été tiré à 10 exemplaires. Le No5 comporte 52 gravures et a été tiré à 11 exemplaires. Le No6 comporte 29 gravures et a été tiré à 6 exemplaires. Le No7 comporte 33 gravures et a été tiré à 6 exemplaires. Le No8 comporte 43 gravures et a été tiré à 6 exemplaires. Le No9 comporte 26 gravures et a été tiré à 5 exemplaires. Le No10 comporte 54 gravures et a été tiré à 7 exemplaires. Le No11 comporte 42 gravures et a été tiré à 6 exemplaires. Le No12 comporte 47 gravures et a été tiré à 6 exemplaires. Le No13 comporte 43 gravures et a été tiré à 6 exemplaires. Le No14 comporte 33 exemplaires et a été tiré à 5 exemplaires. Le No15 comporte 33 gravures et a été tiré à 6 exemplaires. Le No16 comporte 44 gravures et a été tiré à 8 exemplaires. Le No17 comporte 61 gravures et a été tiré à 12 exemplaires. La plupart portent la mention «exemplaire No1». Nous y joignons une collection très importante de bois originaux gravés, de Lino, de cartes postales, de dessin, de nombreux tirages d’essais et d’autres documents. Cet ensemble unique, digne d’un musée, apporte un témoignage fantastique sur la pratique de l’estampe Suisse des années 1950 à 1967. 12000-13000

Mehr Infos

Preis:

Auf Anfrage

Charles-Joseph Natoire
Charles-Joseph Natoire

Charles-Joseph Natoire

Old Master Drawing
Large Academy : Male Nude
Red Chalk 440 mm x  590 mm on watermarked paper
Except minor tears and folding traces, very good condition.

Charles-Joseph Natoire (3 March 1700 – 23 August 1777) was a French painter in the Rococo manner, a pupil of François Lemoyne and director of the French Academy in Rome, 1751-1775. Considered during his lifetime the equal of François Boucher, he played a prominent role in the artistic life of France.

He is remembered above all for the series of the History of Psyche for Germain Boffrand’s oval salon de la Princesse in the Hôtel de Soubise, Paris, and for the tapestry cartoons for the series of the History of Don Quixote, woven at the Beauvais tapestrymanufacture, most of which are at the Château de Compiègne.

First Roman stay (1723-1729)

He was born in Nîmes.

Natoire’s father Florent Natoire, a sculptor, gave him his fundamental training in drawing, then sent him to Paris in 1717 to complete his training, first in the atelier of Louis Galloche (1670–1761), peintre du Roi and professor at the Académie royale de peinture et de sculpture, and then in the atelier of François Lemoyne, whose training shaped Natoire’s style.

In 1721 he obtained the Prix de Rome with a Sacrifice of Manoah to obtain a son. On 30 June 1723 he was appointed a pensionnaire at the French Academy in Rome, at the time lodged in the Palazzo Mancini, where he arrived in October. During his stay he executed a copy of Pietro da Cortona’s Rape of the Sabine Women. In December 1725 he won a first prize from the Accademia di San Luca with a Moses Returning from Sinai. In 1728 he painted for the French ambassador, the prince de Polignac, an Expulsion of the Money-Changers from the Temple.

In Paris (1730-1751)

Natoire returned to Paris via Venice in the early part of 1729. He was received into the Académie royale de peinture et de sculpture on 30 September 1730.

His reputation was quickly established, and he received major commissions. From 1731 to 1740 he provided several suites of canvasses for Philibert Orry, contrôleur général des finances, who was to succeed the duc d’Antin as general director of the Bâtiments du Roi in 1736. For Orry’s Château de La Chapelle-Godefroy at Saint-Aubin (Aube) Natoire provided a series of nine canvasses of Histories of the Gods, six more of the History of Clovis, six of a History of Telemachus and four Seasons. During the same period, in 1732 he provided three overdoors on Old Testament subjects for the duc d’Antin in Paris.

In June 1734, Natoire submitted to an Exposition de la Jeunesse in place Dauphine a Galatea. In the same year his first royal commission arrived, for the Chambre de la Reine at Versailles and was made a full member of the Académie on 31 December with a Venus Commanding from Vulcan the Arms ofAeneas. Henceforth, numerous royal commissions came his way for the petits appartements at the Château de Fontainebleau, for the Cabinet du Roi and the royal dining-room at Versailles, decorations for Marly, for the Cabinet des Médailles in the royal library in Paris, and others.

In 1735, Natoire carried out the first of his tapestry cartoons for the series Histoire de Don Quichotte woven at the Manufacture de Beauvais, the first set for the fermier général Pierre Grimod du Fort (1692–1748). In 1737 he received the commission at the Hôtel de Soubise. From 1741, he produced a series of cartoons for the History of Mark Anthony woven at the Gobelins.

In 1747, he painted the portrait of Louis, Dauphin of France. In a more familiar vein, he provided a Saint Stephen and the False Witnesses for the chapelle Saint-Symphorien in the Church of Saint-Germain-des-Prés, 1745. A major loss was his illusionistic decor for the chapel in the Hôpital des Enfants-Trouvés (1746–1750), built by Germain Boffrand but demolished in the 19th century. Also in 1747 he participated in the competition organized by the new general director of the Bâtiments du Roi, Le Normant de Tournehem, with the Triumph of Bacchus, now in the Musée du Louvre.

Second Roman stay (1751-1777)

In 1751, Natoire was appointed director of the French Academy in Rome, a prestigious position, but one that was to set a seal on his active career. Far from court, Natoire witnessed his rivals Carle Van Loo, then François Boucher named premier peintre du Roi in turn. He all but ceased painting, turning his energies instead to the Academy, pressing the pensionnaires to produce the envoies that were forwarded to Paris as proof of their progreess and sending them out to draw in the countryside of the Roman campagna.

He was ennobled in April 1753 and received the Order of Saint-Michel,an honour he had impatiently awaited, but he found himself out of sympathy with the new neoclassical style that was being developed by the Academy’s pensionnaires. His own fresco of the Apotheosis of Saint Louis for the French national Church of San Luigi dei Francesi, 1754–1756, came in for criticism.

Natoire’s late work, in the two decades that remained to him was largely confined to numerous drawings of the Campagna for his own pleasure, and few canvasses. He became more religious.

In 1767, the architect Adrien Mouton, who had been expelled from the Academy, brought a suit that he won in 1770: Natoire was fined 20,000 livres and court costs with interest, accused of administrative errors. The new general director of the Bâtiments, the comte d’Angiviller retired Natoire from office in June 1775.

He withdrew to Castel Gandolfo, where he died.

Source Wikipedia

Mehr Infos

Preis:

Auf Anfrage

EMANUELE RAMBALDI, Vaso di fiori, Flowers in a vase.
EMANUELE RAMBALDI, Vaso di fiori, Flowers in a vase.

EMANUELE RAMBALDI

Vaso di fiori – Flowers in a vase.
Oil Painting on wood board
60 cm x 50 cm signed dated 1931

 

Google traduction
Trained  very young, despite being self-taught, a remarkable ability to study without ever falling into an artistic vision provincial, paying particular attention to the movements rather a pictorial-cultural Britain. He can be considered chiavarese in all respects, having arrived in Chiavari young and trained there as an artist and as a man of culture. Was interested inter alia, the enhancement of Chiavari as an artistic center, following with perseverance the realization of the Picture Gallery of Palazzo Torriglia. His first official training must be sought in the motion of the second Futurism (Fillia, Farfa); example of this is the painting “Tabarin” 1920 Later approaches to the movement of the twentieth century Italian, formed in Milan in 1925 by Sarfatti and Alberto Salietti valuable as secretary. In particular, the Rambaldi linger its attention on the so-called “magic realism”, which Ubaldo Oppi is the maximum exponent. The Rambaldi of the 20s will not even be immune to attraction towards the metaphysics of De Chirico and Carrà, but remained a painter original with its atmospheres that recall the air of Liguria (see the painting “Old houses on the rocks”, 1927) . In 1925 Rambaldi constitute, together with Attilio Podesta, Pescini, Falcone and Pierazzi, the “Group action art” in Chiavari, first modern art movement in Liguria. At the same time worked, too, the Futurist group “Synthesis”. Around 1935, after completing a few cubist compositions, Rambaldi will focus in particular on the landscape, views of Paris and the Ligurian and still life. The stretch always sharp, but with less geometric forms, to arrive at the painting of the 50s, marked by the French experience (and Paris in particular), with a painting that will be affected to a greater extent post-impressionist tendencies, manifesting following a very pronounced coloring and painting almost material. Clear references to the French painters Matisse, Bonnard and Renoir. Rambaldi won, too, remarkable results with his work as a draftsman and etcher. Very intense to show his work. From 1928 to 1948 he participated in all the Venice Biennale, where in 1940 he had a solo show. He then exhibited at the National Exhibition in Rome, Milan, Turin and Rome Quadrennial, the exhibition of Decorative Arts in Monza and Milan, as well as in numerous exhibitions abroad. His works include the Ligurian Academy of Genoa (“Marina Giulia”), the Gallery of Modern Art in Genova Nervi (“Roads in Liguria”, “Case of Varigotti”), the Galleria d’Arte Moderna in Turin, at the Galleria Nazionale in Rome and in the municipal collections of many other Italian cities. The Rambaldi, from 1946 to 1962 he was director and professor of naked Ligurian Academy of Genoa.
Formatosi all’arte molto giovane dimostrò subito, pur essendo autodidatta, una notevole capacità di approfondimento senza mai cadere in una visione artistica provinciale,prestando anzi una particolare attenzione ai movimenti pittorico-culturali europei. Egli può essere considerato chiavarese a tutti gli effetti, essendo giunto a Chiavari giovanissimo e quivi formatosi come artista e come uomo di cultura. S’interessò tra l’altro della valorizzazione di Chiavari come centro artistico, seguendo con tenacia la realizzazione della Quadreria di Palazzo Torriglia. La sua prima formazione ufficiale va ricercata nel movimento del secondo Futurismo (Fillia, Farfa); esemplificativo di ciò è il dipinto “Tabarin” del 1920. Più tardi si avvicina al movimento del Novecento Italiano, formatosi a Milano nel 1925 ad opera della Sarfatti e con Alberto Salietti come validissimo segretario. In particolare il Rambaldi soffermerà la sua attenzione sull’aspetto del così detto “realismo magico”, del quale Ubaldo Oppi è il massimo esponente. Il Rambaldi degli anni ’20 non sarà neppure immune da attrazione verso la metafisica di De Chirico e Carrà, rimanendo però un pittore originale con le sue atmosfere che richiamano l’aria di Liguria (vedere il dipinto “Vecchie case sugli scogli” del 1927). Nel 1925 Rambaldi costituirà, unitamente ad Attilio Podestà, Pescini, Falcone e Pierazzi, il “Gruppo d’azione d’arte” a Chiavari, primo movimento artistico moderno in Liguria. Nello stesso periodo operò, anche, il gruppo futurista “Sintesi”. Verso il 1935, dopo aver eseguito alcune composizioni cubiste, Rambaldi si dedicherà in particolar modo al paesaggio, vedute liguri e parigine ed alla natura morta. Il tratto sempre nitido, ma con le forme meno geometriche, fino a giungere alla pittura degli anni ’50, segnati dall’esperienza francese (e parigina in particolare), con una pittura che risentirà in maniera più marcata delle tendenze post-impressioniste, manifestando in seguito un colorismo assai pronunciato ed una pittura quasi materica. Chiari i richiami ai pittori francesi Matisse, Bonnard e Renoir. Rambaldi ottenne, anche, notevoli risultati con la sua attività di disegnatore e acquafortista. Molto intensa la sua attività espositiva. Dal 1928 al 1948 ha partecipato a tutte le Biennali di Venezia, dove nel 1940 ha avuto una sala personale. Ha esposto poi alle mostre Nazionali di Roma, Milano, Torino e alle Quadriennali romane, alla mostra di Arti Decorative di Monza e Milano, oltreché a numerose esposizioni all’estero. Sue opere figurano all’Accademia Ligustica di Genova (“Marina Giulia”), alla Galleria d’Arte moderna di Genova Nervi (“Strade in Liguria”, “Case di Varigotti”), alla Galleria d’Arte Moderna di Torino, alla Galleria Nazionale di Roma e nelle Quadrerie municipali di numerose altre città italiane. Il Rambaldi, dal 1946 al 1962 è stato direttore e titolare della cattedra di nudo all’Accademia Ligustica di Genova.

Mehr Infos

Preis:

2'500.00 CHF

Henri Courvoisier Voisin - Guillaume Tell
Henri Courvoisier Voisin - Guillaume Tell

Henri Courvoisier Voisin

Set of 12 prints Aquatinte, by Henri Courvoisier Voisin , Cycle of the life of Guillaume Tell.

Courvoisier-Voisin, Henri (1757-1830)

 

Originaire du Locle. Né à La Chaux-de-Fonds le 11 décembre 1757, décédé à Bienne le 12 mai 1830. Peintre et graveur. Père de Cornélie.
Etudes aux Beaux-Arts à Mulhouse puis, de retour à La Chaux-de-Fonds, il apprend la gravure pour l’horlogerie chez Charles-Louis Leschot. Ambitieux, il décide de se rendre à Paris, malgré une situation financière plutôt mauvaise, et est reçu à l’Académie des Beaux-Arts. Son séjour parisien dure quatre ans puis il retourne au pays. Il se consacre alors à la peinture, surtout à la gravure et au genre historique. Il y a aussi quelques élèves. En 1792, après avoir mené à bien une mission qui lui a été confiée par la Société patriotique française, mais qui ne lui a pas attiré que des amis, il décide de quitter La Chaux-de-Fonds et s’installe à Bienne. En 1797, il y est nommé juge de paix.
Il consacre les dernières années de sa vie à la peinture mais il entreprit aussi de nombreuses recherches scientifiques qui restèrent malheureusement infructueuses, malgré le soutien de sa fille.

Bibliographie

Gustave Amweg: Les Arts dans le Jura bernois et à Bienne, tome 1, Porrentruy, 1937, pp. 261-262 /445

 

Mehr Infos

Preis:

1'800.00 CHF

Gustave Serrurier-Bovy Vaisselier
Gustave Serrurier-Bovy Vaisselier

Gustave Serrurier-Bovy, Attributed to:

Oak Vaisselier

195 cm high 54 cm deep 154 cm large

Gustave Serrurier-Bovy (1858–1910) was a Belgian architect and furniture designer. He is credited (along with Paul Hankar, Victor Horta and Henry van de Velde) with creating the Art Nouveau style, coined as a style in Paris by Bing.

Serrurier-Bovy was born in Liège. In 1884 he visited London, where he became interested in the Arts and Crafts movement. He returned to Belgium and put several of the new movement’s concepts into practice into his creations, which he sold at his store in Liège.

He also designed his own villa, “L’Aube,” situated in the Parc de Cointe, in Liège, and produced work for the Brussels International (1897). He died in Antwerp.

Serrurier-Bovy became known for his line of simple, refined furniture.

Several pieces of his furniture are on display in the Art Nouveau section at the Musée d’Orsay in Paris, along with those of his fellow Belgian Art Nouveau architects.

The work of Gustave Serrurier-Bovy exhibits strong influence of the English Arts and Crafts style, especially the rustic nature of that style. During his stay in England, Serrurier-Bovy became fascinated with the work of William Morris.

The resulting designs followed the English model, but differed in its more extensive use of asymmetry, which had been a growing aspect of English furniture since the work of Edward William Godwin had become popular. He often used asymmetry to advantage, for example combining several pieces of furniture into one unit, such as an open bookcase over a slant-front desk mounted on a chest of drawers flanked on one side by a low cupboard.

Serrurier-Bovy also employed slightly arched trusses in his architectural designs.

From Wikipedia.

Mehr Infos

Preis:

Auf Anfrage

Longcase clock in mahogany c.1800 by Adam Cockburn of Haddington, Scotland.
Longcase clock in mahogany c.1800 by Adam Cockburn of Haddington, Scotland.

Longcase clock in mahogany c.1800 by Adam Cockburn of Haddington, Scotland.

Hand painted 

A maker known to have worked there between 1804 and 1843, when he is believed to have moved t Canada. 

Adam Cockburn, watchmaker, will be recollected by old Haddingtonians. He was a bit of a poet, and a queer customer. He wrote a number of verses, and presented them in manuscript to the Incorporation of Hammermen, of which he was long a member, when he went to Canada, forty years ago, where he died. The manuscript has been lost. Some scraps of his verses are still remembered. He never stayed long in one shop, but was always shifting. He wrote thus—

“See Adie Cockburn shifts again,
His work and toil are all in vain;
What’s made in eident sitting 
Is lost in constant flitting;
Soon baker’s warm and smoking batches 
Will take the place of Cockburn’s watches.”

Cockburn offered a certain half-pay officer in the town by saying he was

“Pensioned at a warrior’s rate, 
A burden on the State.”

A prosecution was threatened, when the following lines appeared:—

“O Willie man, ye’re fond of law,
As ye are fond of butter,
About the words that Cockburn penned 
Ye made an unco splutter.”

Adam once went down to Gullane, &c., to clean clocks, accompanied with "Pottie” Knox, a glazier, to mend “lozens.” They both got “gay fou” at Gullane, and taking a near cut across Peffer, they fell into it, and got well drenched. Adam on the moment recited the following lines:—

“On Peffer’s banks we sat and wept, 
As Haddington we thought on; 
Our dripping garments we did hing
The willow trees upon.”

Mehr Infos

Preis:

2'500.00 CHF

Johann Ludwig (Louis) Bleuler Staubbach Falls
Johann Ludwig (Louis) Bleuler Staubbach Falls

 

Johann Ludwig (Louis) Bleuler Staubbach Falls

"Publié par Louis Bleuler au chateau de Laufen puis Shaffhouse en Suisse"

Gouache and watercolour over pencil on paper

55 cm x 75 cm

Staubbach Falls - free falling waters with a mist of spray

With a height of nearly 300 meters, Staubbach Falls is the third highest waterfall in Switzerland. In the summer warm winds swirl the waters around, so that the Falls spray in all directions. These droplets of water spray gave the brook and the waterfall its name. (Staub = dust)

Vue du Staubbach

Early on romantics and nature lovers made a pilgrimage to Staubbach Falls at Lauterbrunnen, one of the highest free falling waterfalls in Europe. The poet Johann Wolfgang von Goethe is said to have been inspired to write his poem "Song of the Spirits over the Waters" by the Falls.

Staubbach Falls is one of the 72 waterfalls of the Lauterbrunnen Valley and is located right next to further water spectacles such as the Trümmelbach Falls, which are cut into rock. In the summer the latter Falls are accessible by means of a narrow path and a rock balcony. Info panels offer historic and scientific background information on these natural phenomena. 

 

 

Mehr Infos

Preis:

2'500.00 CHF

Johann Ludwig (Louis) Bleuler Lac Lucerne
Johann Ludwig (Louis) Bleuler Lac Lucerne

Johann Ludwig (Louis) Bleuler

Vue from Seelisberg on Lac Lucerne

A very fine Gouache and watercolour over pencil on paper

55 cm x 75 cm nicely framed 

Aussicht vom seelisberg über den Vierwaldstättersee

Vue depuis le Seelisberg sur le lac des quatre cantons

 

Mehr Infos

Preis:

2'500.00 CHF

1893 RUSSIA SILVER Coin 1 ROUBLE - Alex III
1893 RUSSIA SILVER Coin 1 ROUBLE - Alex III
Mehr Infos

Preis:

100.00 CHF

Sonderangebote und Neuigkeiten

Débarras Maisons Appartements Caves Greniers
Débarras Maisons Appartements Caves Greniers
Apple Boutique - Achat Vente Bijoux Or Argent
Apple Boutique - Achat Vente Bijoux Or Argent
Apple Boutique Galerie d’art antiquités brocante
Apple Boutique Galerie d’art antiquités brocante
Quelle: Swisscom Directories AG