Painting Femme Fatale - Deconamic - Recent Added Items

Art Deco set of 12 animal knife-rests.

Silver 1880-1940, Art Nouveau & Art Deco, Annelies Krekels Aalberse, Arnoldsche. Dictionnaire des poinçons, Orfèvrerie.

Art Deco bronze panther sculpture.

Art Deco sculpture by Victor Arwas, Academy. Statuettes of the Art Deco period by Alberto Shayo. Bronzes, sculptors and founders by H. Berman, Abage, Art deco and other figures by Brian Catley, Antique collectors club. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs by E. Benezit. Gründ. Dictionnaire illustré des sculpteurs animaliers & fondeurs de l’antiquité à nos jours by Jean Charles Hachet. Argus Valentine

Art Deco blue ceramic vase with dancers.

Art Deco sculpture of a dancer Jeu.

This sculpture is illustrated in: Max le Verrier, un esprit Art Déco. Bénédicte Wattel & Damien Blanchet Le Verrier. Editions Louvre Victoire. Art Deco sculpture, Alistair Duncan. Art Deco sculpture, Victor Arwas, Academy. Art Deco and other figures, Brian Catley, Antique collectors club. Art Deco a guide for collectors, Katherine Morrison McClinton. Statuettes of the Art Deco period, Alberto Shayo. Bronzes, sculptors and founders, H. Berman, Abage. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, E. Benezit, Gründ. The dictionary of sculptors in bronze, James Mackay, Antique Collectors Club. Dictionnaire illustré des sculpteurs animaliers & fondeurs de l’antiquité à nos jours, Jean Charles Hachet, Argus Valentines.

Art Deco silver plated cutlery set AMERICA 117 pc.

Metalkunst vom Jugendstil zur Moderne, Karl H. Bröhan, Bröhan Museum Berlin. 150 ans d’orfèvrerie Christofle, Chêne, Hachette.

Au But, Antique bronze sculpture of 3 nude runners L. 69 cm.

This bronze is illustrated in the following books: Bronzes, sculptors and founders, H. Berman, Abage. The dictionary of sculptors in bronze, James Mackay. Antique collectors club. Les bronzes de XIXe siècle, Pierre Kjellberg, Les editions des amateurs. Art Bronzes, Michael Forrest. General information. Dictionnaire illustré des sculpteurs animaliers & fondeurs de l’antiquité à nos jours, Jean Charles Hachet. Argus Valentines.

Art Deco lamp with semi-nude lady.

Statuettes of the Art Deco period, Alberto Shayo. Bronzes, sculptors and founders, H. Berman, Abage. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, E. Benezit. Gründ. The dictionary of sculptors in bronze, James Mackay. Antique collectors club.

Pair of Art Deco sconces with stylized birds.

Max le Verrier, un esprit Art Déco. Bénédicte Wattel & Damien Blanchet Le Verrier. Editions Louvre Victoire. General information Art Deco sculpture, Alistair Duncan. Art Deco sculpture, Victor Arwas, Academy. Art Deco and other figures, Brian Catley, Antique collectors club. Art Deco a guide for collectors, Katherine Morrison McClinton. Statuettes of the Art Deco period, Alberto Shayo. Bronzes, sculptors and founders, H. Berman, Abage. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, E. Benezit, Gründ. The dictionary of sculptors in bronze, James Mackay, Antique Collectors Club. Dictionnaire illustré des sculpteurs animaliers & fondeurs de l’antiquité à nos jours, Jean Charles Hachet, Argus Valentines.

Art Deco style panther sculpture OUGANDA

This sculpture is illustrated in: Max le Verrier, un esprit Art Déco. Bénédicte Wattel & Damien Blanchet Le Verrier. Editions Louvre Victoire. Information on the artist: Art Deco sculpture, Alistair Duncan. Art Deco sculpture, Victor Arwas, Academy. Art Deco and other figures, Brian Catley, Antique collectors club. Art Deco a guide for collectors, Katherine Morrison McClinton. Statuettes of the Art Deco period, Alberto Shayo. Bronzes, sculptors and founders, H. Berman, Abage. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, E. Benezit, Gründ. The dictionary of sculptors in bronze, James Mackay, Antique Collectors Club. Dictionnaire illustré des sculpteurs animaliers & fondeurs de l’antiquité à nos jours, Jean Charles Hachet, Argus Valen

Painting Pour un soir.

Frédérique Tristant is a French artist born in Vannes in 1971, who lives and works in Brittany in Morbihan. In gallery since 2018, Frédérique TRISTANT is both a specialist in semiotics, holder of a doctorate from the University of Bordeaux, and a painter whose training has been validated by a CAPES. This dual training permeates her work, offering beyond its graphic aspect, a reflection on the nature of representation resulting from the university course on the image of bodies through the tools of reproduction (photographs, videos) and investigation scientific (radiology, scanner, MRI etc.). From this reflection, she seeks the limit, the tension between the physical reality of skins and bodies and the dreamlike vision offered by representation: subtle recreation of this reality in a two-dimensional space materialized by a few pictorial layers finer than the epidermis. She explains: “As in my research on the first photographic atlas of dermatology by Dr. Hardy and Montmeja in 1868, I retouch each portrait with watercolor and acrylic paint. I appropriate a physiognomy that I reshape and remake as I wish. I refine my masks which tell women's stories like the diary of our melancholy, our absences and our sensuality”

Painting Regarde moi.

Frédérique Tristant is a French artist born in Vannes in 1971, who lives and works in Brittany in Morbihan. In gallery since 2018, Frédérique TRISTANT is both a specialist in semiotics, holder of a doctorate from the University of Bordeaux, and a painter whose training has been validated by a CAPES. This dual training permeates her work, offering beyond its graphic aspect, a reflection on the nature of representation resulting from the university course on the image of bodies through the tools of reproduction (photographs, videos) and investigation scientific (radiology, scanner, MRI etc.). From this reflection, she seeks the limit, the tension between the physical reality of skins and bodies and the dreamlike vision offered by representation: subtle recreation of this reality in a two-dimensional space materialized by a few pictorial layers finer than the epidermis. She explains: “As in my research on the first photographic atlas of dermatology by Dr. Hardy and Montmeja in 1868, I retouch each portrait with watercolor and acrylic paint. I appropriate a physiognomy that I reshape and remake as I wish. I refine my masks which tell women's stories like the diary of our melancholy, our absences and our sensuality”

Painting Le plus beau jour.

Frédérique Tristant is a French artist born in Vannes in 1971, who lives and works in Brittany in Morbihan. In gallery since 2018, Frédérique TRISTANT is both a specialist in semiotics, holder of a doctorate from the University of Bordeaux, and a painter whose training has been validated by a CAPES. This dual training permeates her work, offering beyond its graphic aspect, a reflection on the nature of representation resulting from the university course on the image of bodies through the tools of reproduction (photographs, videos) and investigation scientific (radiology, scanner, MRI etc.). From this reflection, she seeks the limit, the tension between the physical reality of skins and bodies and the dreamlike vision offered by representation: subtle recreation of this reality in a two-dimensional space materialized by a few pictorial layers finer than the epidermis. She explains: “As in my research on the first photographic atlas of dermatology by Dr. Hardy and Montmeja in 1868, I retouch each portrait with watercolor and acrylic paint. I appropriate a physiognomy that I reshape and remake as I wish. I refine my masks which tell women's stories like the diary of our melancholy, our absences and our sensuality”


Frédérique Tristant is a French artist born in Vannes in 1971, who lives and works in Brittany in Morbihan. In gallery since 2018, Frédérique TRISTANT is both a specialist in semiotics, holder of a doctorate from the University of Bordeaux, and a painter whose training has been validated by a CAPES. This dual training permeates her work, offering beyond its graphic aspect, a reflection on the nature of representation resulting from the university course on the image of bodies through the tools of reproduction (photographs, videos) and investigation scientific (radiology, scanner, MRI etc.). From this reflection, she seeks the limit, the tension between the physical reality of skins and bodies and the dreamlike vision offered by representation: subtle recreation of this reality in a two-dimensional space materialized by a few pictorial layers finer than the epidermis. She explains: “As in my research on the first photographic atlas of dermatology by Dr. Hardy and Montmeja in 1868, I retouch each portrait with watercolor and acrylic paint. I appropriate a physiognomy that I reshape and remake as I wish. I refine my masks which tell women's stories like the diary of our melancholy, our absences and our sensuality”

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