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Romain Thiery - Romain Thiery, Requiem for pianos N°2, 2016, Photography, 50 x 75 x 4 cm, Work signed Romain Thiery, born in Bergerac in 1988, is an artist photographer living and working near Montpellier. Romain is an amateur pianist who started photography more than fifteen years ago following the work of his mother specialized in heritage photography. Romain Thiery believes that the piano is deeply rooted in the depths of our culture, and sought to explore the instrument from an original angle. He made it his mission to combine his two greatest passions and set out to find buildings where old pianos are left to decay. Since 2014, he has discovered more than a hundred pianos, in as many stunningly beautiful locations. Scenes from which he never changes anything, leaving the place as it is. " Even in the middle of a Even in the middle of a degraded space, the piano never ceases to preserve its power. It is there, it is enthroned with all its nobility". Beyond his photographic work, Romain records in situ, when possible, note by note, all the sounds of the pianos he discovers. They will allow him to build a collection of virtual instruments that he will make available to the public online and during his exhibitions. This method allows him to create a realistic sound model, to immortalize the sound of these pianos and to capture their identities. These sample libraries will give a second life to abandoned and sometimes hard-to-reach pianos, giving hundreds of musicians around the world the opportunity to make them sound. This research has led hiḿ to visit much of Europe as well as the United States. The series resulting from his works is entitled Requiem for Pianos and has made his international reputation take off. In recent years, he has won major international photography awards in various competitions. His solo and group exhibitions have been seen in North America, Europe and Asia. His photographs have been exhibited in galleries and festivals in New York, San Francisco, St. Petersburg, Tokyo, Seoul, Paris, Madrid, Tel Aviv and many others. The most prestigious press titles have already praised or covered his work in their pages such as El País, Der Spiegel, The Guardian, Daily Mail, Lonely Planet, Cultura Inquieta, Point de vue, Esquire, Beijing News... and in TV reports on M6 (France), DW (Germany), Channel Cuatro (Spain), TV5 Monde (France) and I24 News (France and Israel).

1,000 EUR

L'Insecte - "Lend me your pen" Acrylic, aerosol and posca on wood Unique work Format : 49 x 39 cm (without frame) | 65 x 55 x 6 cm (with frame) Framing : old gilded frame To acquire the work THE INSECT (born in 1986) An insect is a being often unloved and yet essential to the ecosystem ... Coming from graffiti, wouldn't it be for this reason that the artist decides to make it his blaze? A blaze that sounds like a parallel between his two reasons to live: nature and Street art, this movement so denigrated since its origin and already so embedded in the history of art! L'Insecte is originally a hardcore graffiti artist, a fan of typography and more particularly of old school letters from the 90s. He graffitied in the streets, wastelands, wasteland, abandoned houses ... and discreetly affixed to his messages claiming, we can decipher the tag "1sekte", that he reserves for the street. But L'Insecte is also a reference to nature, his nature which is dear to him and in the middle of which he likes to live. Don't think that graffiti is reserved for big cities, it has known with the decades to cross the fields and the countryside to inspire, sublimate, (vandalize?) the least small stations of provinces. Wood has become his favorite material over time. Always recycled, he hunts it, treats it, sands it and paints it. L'Insecte is a mixture of nature and hip-hop graffiti culture. It's graffitiing an owl on oak, drawing a bear with posca, denouncing with the softness of the line and the brutality of the words. Because yes, L'Insecte denounces and behind its pretty animals, its warm colors and its compositions skilfully punctuated by slats, the message is clear and speaks to all!

2,000 EUR

L'Insecte - "The Eagle" Acrylic, aerosol and posca on wood Unique work Format : 61 x 61 x 6 cm Framing : black wood frame To acquire the work THE INSECT (born in 1986) An insect is a being often unloved and yet essential to the ecosystem ... Coming from graffiti, wouldn't it be for this reason that the artist decides to make it his blaze? A blaze that sounds like a parallel between his two reasons to live: nature and Street art, this movement so denigrated since its origin and already so embedded in the history of art! L'Insecte is originally a hardcore graffiti artist, a fan of typography and more particularly of old school letters from the 90s. He graffitied in the streets, wastelands, wasteland, abandoned houses ... and discreetly affixed to his messages claiming, we can decipher the tag "1sekte", that he reserves for the street. But L'Insecte is also a reference to nature, his nature which is dear to him and in the middle of which he likes to live. Don't think that graffiti is reserved for big cities, it has known with the decades to cross the fields and the countryside to inspire, sublimate, (vandalize?) the least small stations of provinces. Wood has become his favorite material over time. Always recycled, he hunts it, treats it, sands it and paints it. L'Insecte is a mixture of nature and hip-hop graffiti culture. It's graffitiing an owl on oak, drawing a bear with posca, denouncing with the softness of the line and the brutality of the words. Because yes, L'Insecte denounces and behind its pretty animals, its warm colors and its compositions skilfully punctuated by slats, the message is clear and speaks to all!

2,200 EUR

Veracruz - ‎ ‎ ‎VERACRUZ - Palma ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎  ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎  Palma cérémonielle représentant un aigle harpie - VERACRUZ – MEXIQUE - 450 - 750 AP. J.-C. - Précolombien Hauteur : 21,5 cm Largeur : 14,7 cm Epaisseur : 12,2 cm Roche volcanique brun-gris Documents (originaux) remis à l’acquéreur : - Certificat d’authenticité de la Galerie Mermoz, Santo Micali, Expert, (CNE) Compagnie Nationale des Experts - Certificat Art Loss Register - Passeport de libre circulation - Rapport de microanalyses - Facture Cette splendide palma est une œuvre caractéristique de la Culture classique du Veracruz. Elle représente une harpie féroce, l’un des plus grands et plus puissants rapaces des forêts tropicales d’Amérique latine, aussi appelée aigle-harpie. Cette sculpture exceptionnelle illustre à merveille le talent et la maîtrise technique atteinte par les artistes du Veracruz, qui savaient réaliser des pièces très sophistiquées sur le plan artistique et très puissantes sur le plan symbolique, à partir de pierres dures, particulièrement exigeantes à travailler.   Les palmas, issues principalement du nord du Veracruz, appartiennent au « complexe du jeu de balle ». Ce terme, employé par les archéologues, désigne trois types de sculptures cérémonielles : yugos, hachas et palmas (de leur nom espagnol) associées au jeu sacré, et considérés comme les répliques en pierre des équipements portés par les joueurs.   La très haute qualité de ces ouvrages, la présence de certains exemplaires dans des contextes funéraires, leur iconographie à haute teneur symbolique et les matériaux utilisés pour les sculpter - ici une pierre volcanique importée des montagnes du Veracruz, considérée comme sacrée - indiquent qu’il s’agissait d’objets rituels de première importance, appartenant aux membres de l’élite.

Price on request

NASTY - Inclusion bombe aerosol NASTY Sculpture avec inclusion de bombe aérosol peinte. 43 x 20 x 10 cm avec un poids de 14 kg Pièce unique. Avec son support lumineux avec variateur d'intensité. « Avec l’inclusion, il y a cette idée d’immortalité. L’objet prisonnier de cette matière transparente devient éternel, contrairement au graffiti qui reste éphémère. » Nasty La galerie At Down est à votre disposition pour plus de renseignements sur l'acquisition de cette oeuvre. Né en1974 / PARIS NASTY commence le graffiti en 1988 à Paris.  Début 1990, avec une poignée d’autres Graffiti-artists, il se distingue en peignant des fresques en couleur sur les trains. 0n retrouve son nom dans les tunnels de la Rapt, sur les quais de Seine, le long des voies ferrées et sur les rames du métro parisien. Son activité souterraine a fait de lui une référence auprès des générations actuelles. Parallèlement, il a participé à de nombreux projets publicitaires (1664, Mercedes, Bnp Paribas, Burn, Bic, Nestlé...) ou encore dans l'univers des "artoys": Kidrobot et Toy2R à Hong-Kong. Dans ses expositions, Nasty met en scène les fameuses plaques en émail du métro parisien dont il s‘empare depuis une quinzaine d'années. Grâce à ses supports originaux, son travail se distingue lors de ventes aux enchères consacrées à l’art urbain, notamment chez Artcurial et Drouot. Son parcours depuis 1988 a été retracé dans un livre édité aux éditions Alternatives : «Nasty & Slice, Artistes en cavale».  Ses oeuvres ont été exposées au Palais de Chaillot, à la galerie Chapon,à la galerie Magda Danysz et il a fait partie de la collection Gallizia exposée au Grand Palais en 2009. Depuis 2008, il est représenté par la galerie Bailly Contemporain à Paris. Plus récemment, Arte lui a consacré un documentaire de 26 minutes, dans l'Art & la Manière.

5,000 EUR

L'Insecte - "Street" Acrylic, aerosol and posca on wood Unique work Format : 75 x 114 x 6 cm Framing : white wood frame To acquire the work THE INSECT (born in 1986) An insect is a being often unloved and yet essential to the ecosystem ... Coming from graffiti, wouldn't it be for this reason that the artist decides to make it his blaze? A blaze that sounds like a parallel between his two reasons to live: nature and Street art, this movement so denigrated since its origin and already so embedded in the history of art! L'Insecte is originally a hardcore graffiti artist, a fan of typography and more particularly of old school letters from the 90s. He graffitied in the streets, wastelands, wasteland, abandoned houses ... and discreetly affixed to his messages claiming, we can decipher the tag "1sekte", that he reserves for the street. But L'Insecte is also a reference to nature, his nature which is dear to him and in the middle of which he likes to live. Don't think that graffiti is reserved for big cities, it has known with the decades to cross the fields and the countryside to inspire, sublimate, (vandalize?) the least small stations of provinces. Wood has become his favorite material over time. Always recycled, he hunts it, treats it, sands it and paints it. L'Insecte is a mixture of nature and hip-hop graffiti culture. It's graffitiing an owl on oak, drawing a bear with Posca, denouncing with the softness of the line and the brutality of the words. Because yes, L'Insecte denounces and behind its pretty animals, its warm colors and its compositions skilfully punctuated by slats, the message is clear and speaks to all!

3,200 EUR

Kan - Action May 68, 2018, Mixed media on the original cover of "Action" magazine, 54 × 37 cm 42 urban art artists express themselves on original front covers of Action newspaper activist of May 68. Founded in Paris by Claude Kunetz in 2011, the Wallworks Gallery has quickly made a place for itself on the graffiti art scene with solo shows dedicated to French (Nebay, Tilt) or American (Rime, Haze) graffiti artists and group shows for which artists are invited to customize urban furniture. Originally a film producer, Claude Kunetz adapts his production know-how to the mounting of exhibitions by gathering vintage urban furniture that he entrusts as creative supports to artists from the graffiti and urban art movement. With "Ne Pas Effacer" (2012), "Intérieur Rue" (2013), "Pièces détachées" (2014), "Morceaux de rue" (2015) and "Dehors Dedans" (2016), he has made a specialty of these exhibitions for which many graffiti artists and street-artists intervene on all types of urban furniture: telephone booths, mailboxes, traffic lights, illuminated signs, street lamps, subway plates, enameled street signs, iron curtains, bus stops, road and railroad signs, train benches, car parts... On the occasion of the 50th anniversary of May 68, he renews the experience by entrusting this time to artists original copies of the newspaper Action. Created by the journalist Jean Schalit, Action released its first issue on May 7, 1968. It serves as a relay for the demands of several student movements and high school action committees. The pages of Action were opened to numerous cartoonists such as Siné, Topor or Wolinski. All these documents have been kept for 50 years and were collected by Claude Kunetz when he was a pre-teen living with his parents on rue Gay-Lussac. Impressed by the effervescence of the barricades that he observed from his window, he began to collect these documents methodically. The exhibition also presents a selection of leaflets and documents of the time.

1,500 EUR

L'Insecte - "Rainbow fish" Acrylic, aerosol and posca on wood Unique work Format : 75 x 55 x 6 cm Framing : wood frame To acquire the work THE INSECT (born in 1986) An insect is a being often unloved and yet essential to the ecosystem ... Coming from graffiti, wouldn't it be for this reason that the artist decides to make it his blaze? A blaze that sounds like a parallel between his two reasons to live: nature and Street art, this movement so denigrated since its origin and already so embedded in the history of art! L'Insecte is originally a hardcore graffiti artist, a fan of typography and more particularly of old school letters from the 90s. He graffitied in the streets, wastelands, wasteland, abandoned houses ... and discreetly affixed to his messages claiming, we can decipher the tag "1sekte", that he reserves for the street. But L'Insecte is also a reference to nature, his nature which is dear to him and in the middle of which he likes to live. Don't think that graffiti is reserved for big cities, it has known with the decades to cross the fields and the countryside to inspire, sublimate, (vandalize?) the least small stations of provinces. Wood has become his favorite material over time. Always recycled, he hunts it, treats it, sands it and paints it. L'Insecte is a mixture of nature and hip-hop graffiti culture. It's graffitiing an owl on oak, drawing a bear with posca, denouncing with the softness of the line and the brutality of the words. Because yes, L'Insecte denounces and behind its pretty animals, its warm colors and its compositions skilfully punctuated by slats, the message is clear and speaks to all!

2,300 EUR

Romain Thiery - Romain Thiery, Requiem for pianos N°10, 2008, Photography, 50 x 75 x 4 cm, Work signed Romain Thiery, born in Bergerac in 1988, is an artist photographer living and working near Montpellier. Romain is an amateur pianist who started photography more than fifteen years ago following his mother's work in heritage photography. Romain Thiery believes that the piano is deeply rooted in the depths of our culture, and sought to explore the instrument from an original angle. He made it his mission to combine his two greatest passions and set out to find buildings where old pianos are left abandoned. Since 2014, he has discovered more than a hundred pianos, in as many stunningly beautiful locations. Scenes from which he never changes anything, leaving the place as it is. " Even in the middle of a Even in the middle of a degraded space, the piano never ceases to preserve its power. It is there, it thrones with all its nobility. Beyond his photographic work, Romain records in situ, when possible, note by note, all the sounds of the pianos he discovers. They will allow him to build a collection of virtual instruments that he will make available to the public online and during his exhibitions. This method allows him to create a realistic sound model, to immortalize the sound of these pianos and to capture their identities. These sample libraries will give a second life to abandoned and sometimes hard-to-reach pianos, giving hundreds of musicians around the world the opportunity to make them sound. This research has taken him to many parts of Europe and the United States. The resulting series of works is entitled Requiem for Pianos and has brought him international recognition. In recent years, he has won major international photography awards in various competitions. His solo and group exhibitions have been seen in North America, Europe and Asia. His photographs have been exhibited in galleries and festivals in New York, San Francisco, St. Petersburg, Tokyo, Seoul, Paris, Madrid, Tel Aviv and many others. The most prestigious press titles have already praised or covered his work in their pages such as El País, Der Spiegel, The Guardian, Daily Mail, Lonely Planet, Cultura Inquieta, Point de vue, Esquire, Beijing News... and in TV reports on M6 (France), DW (Germany), Channel Cuatro (Spain), TV5 Monde (France) and I24 News (France and Israel).

1,000 EUR

John CRASH Matos - Sérigraphie 10 couleurs par l’artiste John Crash Matos. 2022 Titre : The Mystery of Montpellier Limitée à 50 exemplaires. Aux éditions Anagraphis. Format 70x50 cm, papier Arches Signée et numérotée à la main par l’artiste. Prix sans cadre, envoyée en tube. Editée à l'occasion de l'exposition à la galerie At Down fin 2022 en exclusivité. La galerie At Down est à votre disposition pour plus de renseignements sur l'acquisition de cette oeuvre. Bio de John Crash Matos - 1961 : Il commence le Graffiti très jeune sur les trains New-Yorkais avant de s'exercer sur les toiles. Il intègre dès 1983 la galerie Sidney Janis avant de faire son entrée dans les plus grandes collections mondiales du MOMA de New York au Stedelijk Museum d'Amsterdam. Il apparait au grand public en coproduisant avec Keith Haring la campagne publicitaire, Peter Stuyvesant. Il se fait connaitre en France en participant à l’exposition 5/5 Figuration Libre, France-USA au Musée d’art moderne de la Ville de Paris en 1984. Cette exposition mettait en regard le travail d’artistes tels que Basquiat, Boisrond, Combas, Keith Harring, Tseng Kwong Chi, Di Rosa… et John Matos Crash. En 1996, il peint cinq guitares d'Eric Clapton Stratocaster don l'une part à $321,100. En juillet 2006, il expose au Brooklyn Museum. En 2007, Secret Story utilise une de ses pièces pour créer l'Oeil de la franchise. Depuis 2010 il expose chaque année en France plus particulièrement à Paris. Il expose tous les 2 ans à Montpellier à la galerie At Down pour une exposition personnelle.

350 EUR

Allias - Element 1 Original and signed work 79,5 x 100 X 0,5 cm Mixed media on cardboard Allias is a self-taught urban painter, born in Lille in 1989. Passionate about discovery, creativity, and driven by a certain curiosity, he decides in 2010 to travel the world once his studies in landscape design are completed. He will spend 10 years "globe trotting", passing through Latin America, Africa, Southeast Asia where he will settle several years and develop his artistic career both in pictorial and musical level. Another major influence in his life is music; Funk and Hip-hop essentially, which will lead him to become a DJ-Beat maker. Having a constant need for new challenges, to challenge the supports and the techniques, Allias passes easily and in music from the canvas to the mural, using brush, garden sprayer, roller, aerosol bomb... This jack-of-all-trades accumulates influences and mixes calligraphy, pop art and graffiti through their purest vitality and spontaneity. He gives birth to two universes that he names "Mécanic Calligraphic" and "Hybrid Graffiti". He succeeds in the tour de force of marrying abstraction and figurative, with the neo-classical representation of busts and bodies of ancient statuary that he represents in a fragmented or broken way, evoking a certain fragility and precariousness of human existence. The whole is worked in a careful balance of movements, forms, bright colors and textures. His painting is raw and instinctive, ALLIAS invites us to feel inside the essence and the inspiration of his works: the street.

220 EUR

Crush - Stamped for Life, 2012, Watercolor on canson paper 310 gsm, silkscreen background, 76 X 57 CM. The leading street artist of the United States, exhibited all over the world, Crash defines himself above all as a Graffiti artist. For the Wallworks gallery, the artist created a specific series of works on paper produced using two ancestral modes of expression: screen printing and watercolor. Each unique piece was enhanced with watercolor, India ink, acrylics or collages.  Inspired by the American comics and Pop Art, the universe of Crash mixes multiple personal references, street art (lettering, golden chains...), the codes of comics from the 60s and 70s (representations of shock and explosions...), and Pop Art (the colored points and the reference to the work «Whaam!» painted by Roy Lichtenstein in 1963). The name of the series - Stamped for Life - evokes for the artist the fact that nothing erases, that he feels marked for life by what inspires him and what he is: “I have been stamped for life ”. Born in 1961 in New York City, John Matos took the name Crash in the mid-1970s and began to put graffiti on Bronx subway lines at the age of 13. In 1979, he joined the artists Kel, Daze, Zephyr, Dondi and Futura in Studio Graffiti, a project funded by collector Sam Esses, which allowed them to move to the canvas. Everyone then frequents the mythical Fashion Moda, created in 1978 by Stefan Eins, a cult place of the New York scene where, among others, Keith Haring, Jenny Holzer and many graffiti artists meet. In 1980, Crash organizes an exhibition at Fashion Moda called “GAS: Graffiti Art Success”. The success was so big that the same year, the New Museum of Contemporary Art in Manhattan reimagines the exhibition, now entitled "Events, Fashion Moda". The exhibitions presented at Fashion Moda then attracted the attention of American and then European galleries, contributing to the rise of the graffiti movement. From 1983, and for nearly ten years, Crash was represented by the Sydney Janis Gallery in New York, sharing the space with Keith Haring and Jean-Michel Basquiat. In the end of 1984, he was invited to participate in the exhibition “5/5 Figuration Libre, France / USA” at the Museum of Modern Art of Paris, alongside Rémi Blanchard, François Boisrond, Robert Combas, Hervé and Richard Di Rosa, Louis Jammes, Jean-Michel Basquiat, Keith Haring, Tseng Kwong Chi and Kenny Scharf. His works have been exhibited across the United States, as well as in Spain, France and the Netherlands. His recognizable style combines lettering specific to graffiti with portraits inspired by comics, Pop Art or even the Roy Lichtenstein’s Ben-Day process. Alongside his exhibitions, Crash also created several projects for major brands, such as the Dutch Peter Stuyvesant foundation in 1988, the British American Tabacco company or the Lucky Strike collection in 1995. In 1996, he customized an electric guitar - the Stratocaster model of the Fender brand - for Eric Clapton, that the singer then used during his tour in 2001. Crash also created a visual for Absolut Vodka and in 2011, colaborated with the brand TUMI for their luggage line Tumi-Tag. Crash's works have been acquired by an impressive number of public and private collections around the world such as the Brooklyn Museum and MoMA in New York, NOMA in New Orleans, the Cornell Museum in Florida, the Rubell Collection in Miami, the Frederick R. Weisman Foundation in Los Angeles, the Dakis Joannou Foundation in Athens, the Mambo in Bologna, the Groninger Museum in Groningen, the Boijmans Van Beuningen Museum in Rotterdam, the Stedelijk Museum in Amsterdam ...

1,000 EUR

Chontal - ‎ ‎ CHONTAL - Personnage‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎  ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎  Personnage debout - CHONTAL - Mexique - Influence Teotihuacan – GUERRERO - 350 - 100 AV. J.-C.. - Précolombien Hauteur : 22,2 cm Largeur : 8 cm Epaisseur : 4,5 cm Diorite vert olive Documents (originaux) remis à l’acquéreur : - Certificat d’authenticité de la Galerie Mermoz, Santo Micali, Expert, (CNE) Compagnie Nationale des Experts - Certificat Art Loss Register - Passeport de libre circulation - Rapport de microanalyses - Facture Ce personnage debout, sculpté dans une diorite verte rehaussée de cinabre, est une merveilleuse synthèse de l’art Chontal, né dans les montagnes du Guerrero sur la côte pacifique du Mexique, et de l’art de la brillante Cité de Teotihuacán, installée sur les hauts plateaux, qui a rayonné pendant plus de huit siècles. Ce métissage est visible à travers le naturalisme du visage attribué aux œuvres Chontal, et le hiératisme du corps, reflet des conventions en vigueur à Teotihuacán. Il tend à confirmer les contacts établis entre les deux cultures et leur influence réciproque. En cela, cette œuvre est un très beau témoignage de ce qu’est l’identité mésoaméricaine, une constellation de peuples dispersés mais enracinés dans le même système de pensée, qui n’ont cessé de se rencontrer et de s’imprégner sur près de trois mille ans. Ce personnage marque la montée en puissance de Teotihuacán, qui sans effacer les particularismes locaux, a progressivement imposé ses standards sur une vaste partie de la Mésoamérique. Le haut de la tête est plat. Les arcades sourcilières légèrement arquées rejoignent la racine du nez. Une perforation se situe au milieu de la base du nez. Le nez est plat et les narines sont bien dessinées. Les yeux sont creusés. Les pommettes sont saillantes. La bouche est creusée et les lèvres sont en relief. Les oreilles sont saillantes et rectilignes.  Le cou est large et la tête est enfoncée sur les épaules.  Les épaules sont larges. Le torse est sculpté. Les bras sont courts et tenus le long du corps. Les jambes sont courtes et séparées.

Price on request

RARE SUITE DE DEUX FAUTEUILS ET DEUX CHAISES D'ÉPOQUE LOUIS XVI, PAR JACOB, LIVRÉE AU CHÂTEAU DE MAISONS POUR LE COMTE D'ARTOIS - In white lacquered walnut wood, the armchairs with round seats rest on cambered legs with flutes, the armrests with cuffs rest on scrolled consoles. The chairs have seats and backs called "horseshoe". Decorated with rosettes in the dices of connections. Green velvet upholstery. Bears the iron marks of the Garde-Meuble of the Count of Artois ("AT / GM"). Traces of old labels. Traces of stamp "G. IACOB" of Georges JACOB (1739-1814), received master in Paris on September 4, 1765. Louis XVI period, circa 1777. Chairs : H. 91,5 x W. 49,5 x D. 48 cm. Armchairs : H. 91 x W. 60 x D. 52 cm. Provenance - Charles-Philippe de France (1757-1836), Count of Artois, brother of King Louis XVI, at the Château de Maisons (Maisons-Laffitte). - French private collection. History Delivered by Georges Jacob for the dining room of the Comte d'Artois at the Château de Maisons between 1777 and 1779, this set bears witness to the iconic model of the master cabinetmaker, the fluted console leg, which he seems to have created at the beginning of the reign of Louis XVI. The year 1777 was rich in acquisitions for the Count of Artois, who bought, among others, the Château de Maisons. He undertook numerous works that he entrusted to his favorite architect, François-Joseph Bélanger, who notably created a dining room with a coffered ceiling and ornaments, still in place at the château. The dining room was a brand new creation at the end of the 18th century, responding to the Anglomania spread by the Duke of Chartres (Philippe Egalité) and the Count of Artois. To complete the furnishings in place, the Count of Artois orders to G. Jacob, through Pierre-Thomas Jubault, of a set of furniture updated from the existing one. Although elegant and of high quality, and coming from the best workshops, the furniture of Maisons is however rather sober, far from the luxury of the other residences of the Prince, such as Versailles, the Temple or Bagatelle. The furniture in Maisons is more simple, indicating that the château was intended primarily for informal receptions for the Prince's entourage and for hunting. It should be remembered that the purchase of Maisons was motivated by the Prince's desire to join it to Saint-Germain in order to have a large hunting ground. Among this furniture, we find an order for 30 chairs, divided between the salon, the billiard room and the dining room, and 12 cane chairs, one of which is on display at the château (Mémoires de G. Jacob pour le service de Monseigneur le Comte d'Artois, 1777, Arch. Nat., R 1315). Our two chairs correspond to the model described in the order to G. Jacob of 1777, of thirty chairs for the living room and the dining room "in wood of drowning, ceintrées in plan and elevation, the files débillardés and dug in inside, decorated with double profiles of mouldings, the feet in consollés, of the rosettes in all the boxes, to 24 livres part". We also learn that they were upholstered with horsehair and covered with blue damask, with drawings of birds' nests, decorated with crests of blue and white silk. We also know that the wood was painted with oil and varnish, as we know from the report of Sieur Plou, painter for the service of the Garde-Meuble of Mgr. le Comte d'Artois at the Château de Maisons (Arch. Nat., R 1314): "thirty wood chairs painted with oil and varnish: 3 livres/piece". In 1778 and 1779, Jacob provided other seats, including "10 armchairs with the queen made with the antique of a new form decorated and profiled of double mouldings, the armrests in boats adjusted and notched in the amounts reigning together, leaves of ornament on the face of the consoles, an astragal above with triglyphs, feet turned in sheath and fluted, rosettes in the boxes", a bergère, 2 chairs and 6 chairs in cabriolet, the whole matched with the ten armchairs. Our seats were, like many others, stripped by the vagaries of time, to meet the fashion of wood in the natural, then relaquered white identical to the time of the Count of Artois. On closer examination of the crossbeams, however, traces of the old lacquer remain, and above all, marks of old labels, which unfortunately disappeared when the old lacquer was stripped. We know that Jacob used to stick a label with the name of the recipient and the location of the seat in ink. The only tangible information are the iron marks of the Count of Artois, letters in cursive AT for ArTois, and GM in print for Garde-Meuble. The fate of these seats was then determined by the revolutionary decrees of 1792 concerning the property of emigrants, which involved emptying the castles of their contents for sale. Thus, the announcement of the sale of the furniture of Maisons took place on 25

25,000 EUR

Jana & Js - SANS TITRE (STREETSIGN 14), Ø 60cm, ink, spraypaint and stencil vintage street sign, 2022  Austrian and French street artists Jana & Js are painting together since 2006.The pair create polychromed stencil murals widely ranging in size. Based primarily on their personal photographic work, the stencils seem to respond and interact with their surroundings. Mostly inspired by the city and people living in, their paintings merge urban landscape or architecture details with portrait, questioning the place of human being in the modern cities. Inspired by the place where they put their work they now focus on nostalgie, melancholy. After spending some time in Madrid, Spain where they met and living a couple of years in Paris, Jana & Js are now settled in Laufen (Germany) a small bavarian town close to the austrian border. To display their works, they choose old materials that are showcasing the passing of physical time and history. They have made their art in unexpected spaces by printing stencils on public infrastructure or on the semi-finished/dismantled products/spaces such as the train tracks, old buildings, poles, pieces of concrete, old trucks, wood piles... They are deeply inspired by every place they travel to, deciphering the social meaning in unforeseen aspects of urban landscapes. But what is the most striking part in their works are not panoramas themselves, but people with their existential uneasiness. They have the unique way of relating people, their emotions, desires and concerns with their environment. Their urban interventions merge their subjects with the environment, provoking thoughts and engaging the viewers in an artistic dialogue.

1,900 EUR

Nebay - Peace has no colors, 2014, acrylic and spray ink on 4L tailgate, 100 x 95 x 10 cm Customized urban furniture and graffitied and reinterpreted public transport objects invaded the basement space of the Wallworks gallery for the unusual exhibition "ESPACE PUBLIC EN SOUS-SOL". The exhibition is accessed via a staircase covered with tags and graffiti. Pieces found or recently acquired at the RATP sale, the artists take over all types of urban and public transport elements: telephone booths, traffic lights, street lamps, enamelled street signs, iron curtains, letterboxes, Paris, Moscow and New York subway signs, bus stop cow heads, road and railroad signs, SNCF washbasins, RATP seats and other car spare parts... Seven pieces presented at the opening are still blank - including the emblematic yellow plastic M, enamel plates and a subway door - and are destined to be customized by new artists and finalized during future artistic performances. 36 American, European, South Asian and Russian artists from the graffiti or urban art movement give a new life to all these everyday objects in a big, colorful, graffitied mess. This new group show follows the principle of the previous collective exhibitions gathering about fifty street artists - "Ne Pas Effacer" (2012), "Intérieur Rue" (2013), "Pièces détachées" (2014), "Morceaux de rue" (2015) and "Dehors Dedans" (2016) - of which Claude Kunetz has the secret. Adapting the know-how of his initial profession as a film producer to the mounting of exhibitions, he hunts for vintage urban furniture that he entrusts to artists so that they can customize it. Recently acquired at the RATP auction for the benefit of the Recueil Social, the emblematic yellow plastic M - backlit by neon - and enamelled iron metro signs, as well as the circular seats "A Kiko" - initially conceived according to their designers and creators as "resistant to burns, scratches, graffiti (sic) and mechanical stress" - are presented as they are from the opening. They will then be entrusted to new artists who will customize them, giving them the final touch during artistic performances that will be held throughout the exhibition. Alongside some older pieces from previous exhibitions, two large enamelled plaques bearing the names of the Trocadero and Strasbourg Saint-Denis stations, respectively created by COLORZ and PSYCKOZE, complete this ensemble of public transport and urban furniture elements, all freely and artistically reinterpreted.

3,200 EUR

Katre - Action May 68, 2018, Mixed media on the original cover of "Action" magazine, 54 × 37 cm 42 urban art artists express themselves on original front covers of Action newspaper activist of May 68. Founded in Paris by Claude Kunetz in 2011, the Wallworks Gallery has quickly made a place for itself on the graffiti art scene with solo shows dedicated to French (Nebay, Tilt) or American (Rime, Haze) graffiti artists and group shows for which artists are invited to customize urban furniture. Originally a film producer, Claude Kunetz adapts his production know-how to the mounting of exhibitions by gathering vintage urban furniture that he entrusts as creative supports to artists from the graffiti and urban art movement. With "Ne Pas Effacer" (2012), "Intérieur Rue" (2013), "Pièces détachées" (2014), "Morceaux de rue" (2015) and "Dehors Dedans" (2016), he has made a specialty of these exhibitions for which many graffiti artists and street-artists intervene on all types of urban furniture: telephone booths, mailboxes, traffic lights, illuminated signs, street lamps, subway plates, enameled street signs, iron curtains, bus stops, road and railroad signs, train benches, car parts... On the occasion of the 50th anniversary of May 68, he renews the experience by entrusting this time to artists original copies of the newspaper Action. Created by the journalist Jean Schalit, Action released its first issue on May 7, 1968. It serves as a relay for the demands of several student movements and high school action committees. The pages of Action were opened to numerous cartoonists such as Siné, Topor or Wolinski. All these documents have been kept for 50 years and were collected by Claude Kunetz when he was a pre-teen living with his parents on rue Gay-Lussac. Impressed by the effervescence of the barricades that he observed from his window, he began to collect these documents methodically. The exhibition also presents a selection of leaflets and documents of the time.

1,500 EUR

Haze - One Way Haze, 2015, acrylic on U.S. Department of Transportation metal panel, 46 x 122 cm Customized street furniture and graffitied and reinterpreted public transportation objects invaded the basement space of Wallworks Gallery for the unusual exhibition "PUBLIC SPACE IN THE BASEMENT." The exhibition is accessed via a staircase covered with tags and graffiti. Pieces found or recently acquired at the RATP sale, the artists take over all types of urban and public transport elements: telephone booths, traffic lights, street lamps, enamelled street signs, iron curtains, letterboxes, Paris, Moscow and New York subway signs, bus stop cow heads, road and railroad signs, SNCF washbasins, RATP seats and other car spare parts... Seven pieces presented at the opening are still blank - including the emblematic yellow plastic M, enamel plates and a subway door - and are destined to be customized by new artists and finalized during future artistic performances. 36 American, European, South Asian and Russian artists from the graffiti or urban art movement give a new life to all these everyday objects in a big, colorful, graffitied mess. This new group show follows the principle of the previous collective exhibitions gathering about fifty street artists - "Ne Pas Effacer" (2012), "Intérieur Rue" (2013), "Pièces détachées" (2014), "Morceaux de rue" (2015) and "Dehors Dedans" (2016) - of which Claude Kunetz has the secret. Adapting the know-how of his initial profession as a film producer to the mounting of exhibitions, he hunts for vintage urban furniture that he entrusts to artists so that they can customize it. Recently acquired at the RATP auction for the benefit of the Recueil Social, the emblematic yellow plastic M - backlit by neon - and enamelled iron metro signs, as well as the circular seats "A Kiko" - initially conceived according to their designers and creators as "resistant to burns, scratches, graffiti (sic) and mechanical stress" - are presented as they are from the opening. They will then be entrusted to new artists who will customize them, giving them the final touch during artistic performances that will be held throughout the exhibition. Alongside some older pieces from previous exhibitions, two large enamelled plaques bearing the names of the Trocadero and Strasbourg Saint-Denis stations, respectively created by COLORZ and PSYCKOZE, complete this ensemble of public transport and urban furniture elements, all freely and artistically reinterpreted.

3,000 EUR

Gilbert - Action May 68, 2018, Mixed media on the original cover of "Action" magazine, 54 × 37 cm 42 urban art artists express themselves on original front covers of Action newspaper activist of May 68. Founded in Paris by Claude Kunetz in 2011, the Wallworks Gallery has quickly made a place for itself on the graffiti art scene with solo shows dedicated to French (Nebay, Tilt) or American (Rime, Haze) graffiti artists and group shows for which artists are invited to customize urban furniture. Originally a film producer, Claude Kunetz adapts his production know-how to the mounting of exhibitions by gathering vintage urban furniture that he entrusts as creative supports to artists from the graffiti and urban art movement. With "Ne Pas Effacer" (2012), "Intérieur Rue" (2013), "Pièces détachées" (2014), "Morceaux de rue" (2015) and "Dehors Dedans" (2016), he has made a specialty of these exhibitions for which many graffiti artists and street-artists intervene on all types of urban furniture: telephone booths, mailboxes, traffic lights, illuminated signs, street lamps, subway plates, enameled street signs, iron curtains, bus stops, road and railroad signs, train benches, car parts... On the occasion of the 50th anniversary of May 68, he renews the experience by entrusting this time to artists original copies of the newspaper Action. Created by the journalist Jean Schalit, Action released its first issue on May 7, 1968. It serves as a relay for the demands of several student movements and high school action committees. The pages of Action were opened to numerous cartoonists such as Siné, Topor or Wolinski. All these documents have been kept for 50 years and were collected by Claude Kunetz when he was a pre-teen living with his parents on rue Gay-Lussac. Impressed by the effervescence of the barricades that he observed from his window, he began to collect these documents methodically. The exhibition also presents a selection of leaflets and documents of the time.

1,500 EUR

NASTY - Enamelled plate "Appel Work of NASTY on enamelled Parisian subway plate. Size : 32 x 23 cm. 2022 signed in the composition. The At Down gallery is at your disposal for more information on the acquisition of this work. Born in 1974 / PARIS NASTY started graffiti in 1988 in Paris. At the beginning of 1990, with a handful of other Graffiti-artists, he distinguishes himself by painting colorful frescoes on trains. His name can be found in the tunnels of the Rapture, on the banks of the Seine, along the railroad tracks and on the trains of the Parisian subway. His underground activity has made him a reference for current generations. At the same time, he has participated in numerous advertising projects (1664, Mercedes, Bnp Paribas, Burn, Bic, Nestlé...) or in the world of "artoys": Kidrobot and Toy2R in Hong-Kong. In his exhibitions, Nasty stages the famous enamel plates of the Paris metro, which he has been using for the past fifteen years. Thanks to his original supports, his work stands out at auctions dedicated to urban art, notably at Artcurial and Drouot. His career since 1988 has been retraced in a book published by Alternatives: "Nasty & Slice, Artistes en cavale". His works have been exhibited at the Palais de Chaillot, the Chapon Gallery, the Magda Danysz Gallery and he was part of the Gallizia collection exhibited at the Grand Palais in 2009. Since 2008, he is represented by the Bailly Contemporain gallery in Paris. More recently, Arte devoted a 26-minute documentary to him, in L'Art & la Manière.

2,000 EUR

Allias - Element 2 Original and signed work 75 x 69 X 0,5 cm Mixed media on cardboard Allias is a self-taught urban painter, born in Lille in 1989. Passionate about discovery, creativity, and driven by a certain curiosity, he decides in 2010 to travel the world once his studies in landscape design are completed. He will spend 10 years "globe trotting", passing through Latin America, Africa, Southeast Asia where he will settle several years and develop his artistic career both in pictorial and musical level. Another major influence in his life is music; Funk and Hip-hop essentially, which will lead him to become a DJ-Beat maker. Having a constant need for new challenges, to challenge the supports and the techniques, Allias passes easily and in music from the canvas to the mural, using brush, garden sprayer, roller, aerosol bomb... This jack-of-all-trades accumulates influences and mixes calligraphy, pop art and graffiti through their purest vitality and spontaneity. He gives birth to two universes that he names "Mécanic Calligraphic" and "Hybrid Graffiti". He succeeds in the tour de force of marrying abstraction and figurative, with the neo-classical representation of busts and bodies of ancient statuary that he represents in a fragmented or broken way, evoking a certain fragility and precariousness of human existence. The whole is worked in a careful balance of movements, forms, bright colors and textures. His painting is raw and instinctive, ALLIAS invites us to feel inside the essence and the inspiration of his works: the street.

240 EUR
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