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Gilbert Poillerat (1902-1988) Eleven Etchings and Mezzotints, 1975-1981
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Details
Each sheet signed ‘G. Poillerat’ in pencil, most dated and inscribed ‘E.A.’ or ‘Épreuve d’artiste’ with the edition number; one sheet dedicated ‘à Jacques & Germaine Bonjean, petit témoignage d’une affectueuse amitié, Gilbert’.
Sizes:
Frame: 26 × 26.5 cm (10.2 × 10.4 in) and 26.5 × 25 cm (10.4 × 9.8 in) (the two frames with paired plates); 33.5 × 26.5 cm (13.2 × 10.4 in), 33.5 × 26.5 cm (13.2 × 10.4 in) and 33.5 × 26 cm (13.2 × 10.2 in) (the three single plates); 38 × 26 cm (15 × 10.2 in) (the frame with three plates)
Artwork: Eleven prints in six frames, from 26.5 × 25 cm (10.4 × 9.8 in) to 38 × 26 cm (15 × 10.2 in) with frames
Eleven small prints by the great French ironworker in six black frames, the private side of a public artist. Two are mezzotints of 1975 in the velvet blacks of the technique, ‘Le Verre de Venise’, a Venetian goblet with a rose and a quince, and ‘Les Pinceaux japonais’, a pot of Japanese brushes beside a mask; the rest are etchings made as New Year’s cards and gifts for friends: a cat asleep on an hourglass for 1977, the hourglass again inside the zodiac, an acrobat juggling a twenty-sided die for 1979, a harlequin on a tightrope for 1976, four cats curled into the figures of 1981, a hand holding a key with the monogram GP, a sprig of lilies in a bottle, and a pair of Japanese masks. The sheets are artist’s proofs or numbered impressions from editions of 10 to 100, signed and dated in pencil, and the zodiac sheet is dedicated by hand to the Paris dealers Jacques and Germaine Bonjean.
Gilbert Poillerat (1902–1988), trained as an engraver at the École Boulle before he became the master of wrought iron of the Art Deco and neoclassical decades, returned to the burin and the copper plate in his seventies; these cards, witty, precise and affectionate, show the hand that drew the scrolls of his gates and consoles at its most intimate.
Provenance
Jacques and Germaine Bonjean, Paris (one sheet dedicated to them by the artist).
Private Collection, Alicante, Spain.
Condition Report
Etchings and mezzotints on wove paper, mounted and framed under glass in six modern black frames; the sheets lightly toned, with some foxing and tape stains visible to the mounts and backboards; not examined out of the frames. Please contact us to request a detailed Condition Report.
Shipping
Packed as size XS (up to 40 × 30 cm) · 26.5 × 26 cm framed
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- Made-to-measure wooden crate (works over 20,000 €)
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We coordinate packing and shipping on your behalf, with insurance available if you’d like it — or you’re welcome to arrange your own. Please see our Shipping Information page for full details before completing your purchase.
Authenticity & Buyer Information
This lot is catalogued under the artist’s name without qualification. Provenance, dating and condition are described to the best of our knowledge; the sale is governed by our Conditions of Sale.
Buyers should review the catalogue carefully and raise any questions before bidding; additional information is not ordinarily provided after the auction.
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What it costs
Bidding on this site, the buyer’s premium is 25%, Spanish IVA included. There is no VAT on the hammer price and no card fee.
| Starting price | Low estimate | High estimate | |
|---|---|---|---|
| Hammer price | €800 | €950 | €1,620 |
| Buyer’s premium 25% (IVA included) | €200 | €238 | €405 |
| Total on auroraathena.com | €1,000 | €1,188 | €2,025 |
| Total through a bidding platform (30%) | €1,040 | €1,235 | €2,106 |
Through LiveAuctioneers, Invaluable, Drouot or Bidspirit the premium is 30%: the same hammer of €1,620 costs €2,106 there against €2,025 here. Shipping and insurance are quoted separately; the estimator below gives the figure for your country. Buyers outside the EU pay no Spanish tax on the lot; the destination’s import rules apply (United States: original paintings and drawings enter duty-free; United Kingdom: 5% import VAT on art). Card payments are accepted up to €10,000; larger amounts by bank transfer.
Questions about this lot
How does the estimate compare with the artist’s recent auction results?
The estimate of €950–€1,620 is our opinion of the range this work should reach; the starting price of €800 is the lowest bid we accept. We have not published comparable results for this lot; ask us before the sale and we will send the results we based the estimate on.
What will this lot cost in total?
Bidding on this site, the buyer’s premium is 25%, Spanish IVA included, and there is no VAT on the hammer price and no card fee: at the starting price of €800 the total is €1,000; at the low estimate of €950 the total is €1,188; at the high estimate of €1,620 the total is €2,025.
Through LiveAuctioneers, Invaluable, Drouot or Bidspirit the premium is 30%, so the same hammer of €1,620 costs €2,106 there. Shipping and insurance are quoted separately; the estimator on this page gives the figure for your country. Buyers outside the EU pay no Spanish tax on the lot; the destination’s import rules apply (United States: original paintings and drawings enter duty-free; United Kingdom: 5% import VAT on art). Card payments are accepted up to €10,000; larger amounts by bank transfer.
How is this lot catalogued?
Under the artist’s name without qualification. Provenance, dating, condition and value are described to the best of our knowledge; the sale is governed by the Conditions of Sale.
Can I see the condition report, more photographs or the work itself?
A condition report with ultraviolet photographs is prepared on request, normally within two working days; the condition summary on this page is examined in-house and is not a conservator’s report. Further photographs of any detail, the reverse or the frame are sent on request. The work can be examined in our Barcelona showroom by appointment before the sale, and you are welcome to send your own conservator or specialist.
How does bidding work, and can a maximum bid make me overpay?
You can leave a maximum bid before the sale (the sale is on Saturday, November 28th - 17:00 (CET)) or bid live in our online room. A maximum bid is executed by the auctioneer only as much as is needed to stay ahead of other bidders, in the sale’s increments, never above your maximum.
Where a reserve exists it never exceeds the low estimate; a lot without a reserve sells to the highest bid at or above the starting price of €800.
Is there a limit on how much I can bid?
Every account is approved for bidding as soon as the e-mail address is confirmed, with a limit of €5,000 per bid until the identity is verified. The limit applies everywhere: in the live room, on the lot page and to maximum bids. To bid without a limit, verify your identity in your account on this site: it takes about three minutes on a phone, is done once, and the limit is lifted automatically as soon as the check is complete. Please do it at least an hour before the sale.
Gilbert Poillerat
Gilbert Poillerat was born at Mer, in the Loir-et-Cher, in 1902 and trained at the École Boulle in Paris as an engraver and chaser, graduating in 1921. He went straight to the workshops of Edgar Brandt, the leading ironworker of the Art Deco years, where he spent six years as a designer and model-maker, and in 1927 took charge of the ironwork department of the building firm Baudet, Donon et Roussel. From there came the work that made his name: gates, balustrades, consoles, screens and lighting in wrought and gilded iron for the liner Normandie, the Palais de l’Élysée, the Ministry of Finance, the Mobilier National and the great private houses of the 1930s and 1940s.
His manner, calligraphic scrolls and arabesques in the 1930s, a lighter neoclassicism after the war, defined French decorative ironwork for three decades, and his furniture is today among the most sought-after of the period.
Poillerat was also a painter, a designer of jewellery and medals and, in his last years, a printmaker: etchings and mezzotints of still lifes, cats, masks and hourglasses, many of them made as New Year’s cards for friends and signed and dated in pencil. He taught at the École nationale supérieure des Arts décoratifs and was made an Officier of the Légion d’honneur. He died in Paris in 1988; the monograph ‘Gilbert Poillerat, maître ferronnier’ by François Baudot appeared in 1998.
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