Explore the Art of the Past

“L’Apiculteur et les Indiens” — a print by Gérard Garouste, Hors Commerce, signed and numbered 8/10.

The Minotaur emerges from a Greek-inspired setting, its meander and foliate scrolls drawn in black line, almost architectural in feel.
The face escapes this rigour: hand-painted, in browns and pinks that soften the figure.

In Garouste’s work, “the Indian” is never an anecdotal detail. Ever since his play “Le Classique et l’Indien” (1977), the figure has embodied the painter’s double: facing the Classical — reason, order — the Indian carries the savage, the mad, the uncontrollable. A theme he would explore for more than thirty years, up to his series of “Indiennes”.

The full title of this print echoes that of a book Michel Onfray devoted to his painting in 2009.

Presented in museum-quality framing, with anti-reflective and anti-UV glass.

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A spectacular Italian chandelier in Murano glass, composed of a multitude of long crystalline glass rods with prismatic sections, arranged in a cascade and of varying heights.

The composition, particularly elegant and sculptural, forms an animated and airy silhouette, characteristic of the great Italian glass design of the second half of the twentieth century by Venini, notably his compositions employing prismatic elements of the Triedri type, developed from the late 1950s onwards. The glass elements, of remarkable transparency, offer magnificent plays of light and reflection when illuminated.

The chandelier features a silvered/chromed structure. The warm reflections visible in the photographs derive solely from the lighting.

A very fine piece of great character, monumental and rare, particularly well suited to a contemporary interior, an entrance hall, a dining room or a space benefiting from generous ceiling height.

Italy, circa 1960–1970.

Electrification redone by a professional.

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Colour print/lithograph on wove paper after the iconic work by Pierre Bonnard depicting an intimate winter landscape.

The composition opens onto a snow-covered path bordered by walls and trees with branches heavy with snow, at the centre of which a child advances, wrapped in his coat.

One finds here all the modernity of the post-Impressionist movement: tight framing, stylisation of forms, outlined touches of colour and a muted palette awakened by the vivid accent of a chimney in the background and the child’s legs. A composition characteristic of Bonnard’s view of Parisian winter street scenes.

The artist’s signature is printed in the plate at the lower right.

Numbered in pencil 192/220 at the lower left.

Posthumous reproduction, art edition type, 1950s–1970s.

The work benefits from a bespoke museum-quality frame under glass: anti-reflective, UV-filtering glass.

An elegant pair of two-light wall appliques, Italian or Venetian-style work dating from the mid-twentieth century (circa 1950).

Each applique comprises a shaped and curved mirror plate with bevelled edge, forming a reflective backplate. The glass is richly intaglio-engraved and embellished with gilded and sanded motifs, featuring at the top a stylised foliate design flanked by stars, together with broad leafy scrolls bordering the contours.

The lower structure supporting the two arms of light is executed in carved and gilded wood with an antiqued patina.

The curved arms with double moulding support moulded bobèches. The backs are of original plywood.

Very good overall condition.

Original electrification.