This beautiful piece of art is part of a sculpture that can be found in one of the sculptures. She représente a woman, sans doute the issue of the family royal or the noblesse, as the suggère is an important coronne.
The sculptor of this place oeuvre a choice of travailer of the calculator pierre, pierre très tendre and dont the use est répandu in France au XIVe Siècle. This is in the best conservation sense, the face has not been accidented and does not have a trace of restoration, such as the exposure of the rouge pigment present in the contact of the figure. This sculpture presents more traces of the original polychromy. It's been around for a while now, around the country.
This coronne is the most important car that allows us to identify the figure. This is a certain reason, it is better to remove the wounds and other things that last this long. It's hard to eat people who have pierced the tails on the cabochon and on the facette. In the center of the cell, a group of people who live in the middle of the city. This coronne of ours rappels the cell portée by Jeanne II of Auvergne that Jeanne of Boulogne placed on the chemistry of the palais of Duc de Berry à Poitiers. More expensive items on the market include: a premier conservatory at the Louvre Museum and a collection at the city of architecture and patrimoine in Paris.
Jeanne II d'Auvergne (1378-1424) created the title of Auvergne and Boulogne with succession paternelle. File de Jean II comes from the Auvergne dit the Mauvais Ménager, elle se fait extorquer son éritage de le duc de Berry. When the money arrives from the beginning of Charles V, from Jean de Berry, he finds a solution when the new generation fills the areas of Auvergne and Bourgogne. Jeanne is the opposite of the duc and deviant, à ce titre, duchesse of Berry and d’Auvergne. On January 23, 1393, part of the Bal des Ardents, a cérémonie in the history of the beginning of the day opened by the french of Charles VI, Louis d’Orléans, which transformed the invitations into the human torche. Quatre members of the noblesse périssent in the incendie. Suite at the mort of Mary's son in 1416, she was remarried by Georges of Trémoille and loved by Guînes. In the end of this life, Jeanne of Boulogne is ruined, Jean sans the father of Bourgogne is a permanent place in the terrestrials of her son Mary. She is placed in the bathroom on the floor of the car. Jeanne is attached to the fausse-monnaie tap. It came in 1424 and was in the Cathedral of Bourges at the côté of the first son, Mary, Jean de Berry.
During the times of Jeanne de Boulogne and the lands of Charles V and Charles VI, the art of the tombs is of certain importance, since most of the great sculptors of the Epoque are called “faiseurs of tombs”. Please do not hesitate to receive the corps of defective illustrations, which may also help you remember which people are recovering. The sculptures contain many of the characters that we see in our sculpture: the images are calm and arranged in a lighter space.
These beautiful sculptures of beautiful women in home cells, such as the Portrait of Jeanne de Bourbon from 1370, proven by the Quinze-Vingt Hospital and displayed in the Louvre Museum.
At the same time, these commemorative sculptures are located on the islands and are still there. Toutefois, the chefs and the places of the vegetables are replaced as if the different people are there for you. It is possible that our sculpture can be found at a glance: the carriage of the car has left traces of its exterior, before the sculptor travels to this part.
There are no pictures on the front of the head. This element of our laisse penser qu’elle était peut-être alongée and donc qu’il s’agit d’un élément de gist.
It is also possible that the sculpture will appear at the entry point
important. In effect, the portraits of benefactors include sculptures and portailles of églises and chapelles. In all of these houses, these statues of the rois, princes or comtes are empreints of a certain naturalism and possess similar characters that say that the pommettes saillantes and a series of characters.
This tendance au naturalism characteristic of this production is moins
Frappante au milieu du XIVe Siècle, with artists such as Jean Pépin de Huy and other children who represent the statues of Philippe Bel and other files. This production is more intensive than other sculptures by artists from this era that prefers a more ideal model: contrasting with other works’ designs in the une petite bouche. Moreover, the people do not respond with a vivid character, but their surfaces also have a neutral expression, dignified from the bottom.
The sculptor of our world came to visit Jeanne de Boulogne in her noble son of the comtesse. It is important to know that the importer of his son and his possessions are related to it. With these ideal traits, they are written in the French sculpture production in the XIV Siècle.
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Please note that packing and shipping costs are not included in the price of the objects which are quoted ex shop.
Final amount including packing and shipment to be discussed with Galerie Alexandre Piatti.