View of theatrical scene from behind the stage
Watercolour on paperboard
Mid XX century
The chiaroscuro effect almost recalls the technique of use of light of German Expressionist cinema
Dauphin Petit Amable (called Amable-Petit)
(Rouen, 1846 – Paris, 1917)
Theatrical décor draft
china, watercolour and gouache on paper mm.
Signed on the lower right: Amable
cm. 44 x 74
Which scene does this magnificent painting of Amable dipict, and who is the main character? A correct answer would require a deep analysis of the theatrical world gravitating around the Opéra of Paris in the late nineteenth century and beyond, since the artist was one of the greatest drama decorators of the period, the author of hundreds of décors and backdrops never entirely cataloged. Son of actor André Amable, the young artist debuted as a mime at the Théâtre des Funambules in Boulevard du Temple, where he worked until 1862. There he met the great Italian decorator Enrico Robecchi and soon became his closest collaborator and, since 1885, his copartner. With master Robecchi and a few other artists (Auguste Rubé, Philippe Chaperon, Marcel Jambon, Alfred Lemeunier) Amable created most of the scenarios of Paris, working for the Opéra Garnier, but also for the Opéra Comique, the Comédie Française, the Odéon, the Théâtre de la Porte Saint-Martin, the Théâtre du Châtelet, the Théâtre de la Renaissance, Théâtre de l’Athenée, and, at the beginning of the twentieth century, the Théâtre Antoine, the Théâtre Sarah Bernhardt and the Théâtre du Palais-Royal. The décors he executed for a vast dramatic repertoire, ranging from Swan Lake to Tosca, from Siegfried to Tannhäuser from Theodora to Salammbô, reflect the eclectic and fable taste theorized by Viollet-le-Duc: the creation of beautiful environments by reviewing forms and styles of the Western art tradition.
Photo of two British army officers on camels posing in front of the Great Sphinx of Giza and the Pyramid of Cheops or Great Pyramid.
Photographer unknown (1890 – 1910 ca.)
29 x 20
Beneath the photo the hand signature of who made this particular copy: the “T. Bolland Studio” in Uxbridge Road in Hanwell, London. They were “Photographers to the Queen”, as they claim on the Reverse of one of their cabinet cards. Behind the Officers the Great Sphinx can be seen before the major restorations of the XX century.