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Napoleon collection sells at auction for $10 mn

Napoleon collection sells at auction for $10 mn

eNCA3 days ago

PARIS - A massive trove of artwork and curios linked to Napoleon Bonaparte, including one of his iconic bicorne hats, has sold for more than $10 million in Paris, an auction house said.
Sotheby's said it had originally estimated the more than 110 items of Napoleonic memorabilia that it sold on Wednesday at around $7 million.
Famous paintings of the 19th-century French emperor, gilded imperial furniture and a copy of the marriage certificate between Napoleon and his wife Josephine were among the items up for auction.
AFP | BERTRAND GUAY
Relics linked to Napoleon regularly come up for sale at auction in France in a flourishing trade marked by intense interest from collectors.
The vast collection also included Napoleon's first will written while in exile on the Atlantic island of Saint Helena, and the sword and staff used for his coronation at Paris' famed Notre Dame Cathedral in 1804.
Napoleon was exiled to Saint Helena in 1815 after his defeat by the British at the Battle of Waterloo. He died there six years later.
French collector Pierre-Jean Chalencon, a former star of a French antiques television show who dubs himself "Napoleon's press officer", assembled the collection over four decades.
AFP | BERTRAND GUAY
Born in a Parisian suburb, Chalencon started his collection at the age of 13 and accumulated more than 1,000 objects, including a coronation ring and a piece of the emperor's coffin.
At a different Parisian auction in late May, one of Napoleon's sabres sold for 4.6 million euros, coming close to a new record price for a Napoleonic artefact.

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Rihanna radiates at Brussels premiere of 'The Smurfs Movie'
Rihanna radiates at Brussels premiere of 'The Smurfs Movie'

The South African

time9 hours ago

  • The South African

Rihanna radiates at Brussels premiere of 'The Smurfs Movie'

Rihanna, 37, proudly displayed her growing baby bump in a stunning light turquoise mesh gown as she attended the global premiere of The Smurfs Movie in Brussels. The pregnant singer and actress, who is expecting her third child, looked radiant and joyful on the red carpet. The star arrived in Paris on Friday to support her partner, rapper A$AP Rocky, 36, at the Dior show during Paris Fashion Week. The couple then made their way to Belgium for the premiere, celebrating Rihanna's much-anticipated role as Smurfette in the new animated film. Rihanna, a mother of two, chose a floor-length mesh gown that accentuated her baby bump beautifully. She was all smiles as she posed alongside a Smurfette character. A$AP Rocky, whose real name is Rakim Mayers, linked arms with Rihanna as they entered the venue together. The couple has been in a relationship since late 2019 and is eagerly awaiting the arrival of their third child. The premiere also featured other celebrities, including British comedian James Corden, 46, who stars alongside Rihanna in the film. Though details about his character remain under wraps, Corden appeared in high spirits, dressed smartly in a shirt and jeans. Rihanna's public appearances come shortly after the tragic revelation of her father, Ronald Fenty's, cause of death. He passed away on 30 May at the age of 70 from a combination of acute respiratory failure, pancreatic cancer, and aspiration pneumonia. Additional complications included severe kidney damage. An insider shared with DailyM ail, 'Robyn has had a very difficult relationship with her father over the years, but his death has hit her like a ton of bricks. Being pregnant and dealing with A$AP's legal woes have been an emotional roller coaster for her over the last few months. On top of that, her dad was getting sick, and it became too much.' The source added, 'As much as you realise something like this is happening, it is still completely heartbreaking. That is where she is right now.' Rihanna's voice as Smurfette was first heard last year, with footage unveiled at the Annecy Animation Festival. The film is directed by Chris Miller and produced by Paramount and Nickelodeon Animation, with Ramsey Naito as president. As a global icon of music, fashion, and now animation, she continues to inspire. Her ability to balance personal trials with professional achievements is a powerful message for women everywhere. Despite facing personal loss and the pressures of pregnancy, Rihanna shines brightly. Her appearance at the Smurfs premiere shows her strength and dedication to her craft. Let us know by leaving a comment below, or send a WhatsApp to 060 011 021 1. Subscribe to The South African website's newsletters and follow us on WhatsApp, Facebook, X and Bluesky for the latest news.

La Ronde: Seduction, sex and ennui as a comedy merry-go-round
La Ronde: Seduction, sex and ennui as a comedy merry-go-round

Daily Maverick

time10 hours ago

  • Daily Maverick

La Ronde: Seduction, sex and ennui as a comedy merry-go-round

At the Baxter in Cape Town, a young, energetic cast puts a fresh spin on a play that once caused riots. The result is a hot, funny take on sex as a commodity in the never-ending game of human intercourse. Director Leila Henriques' 2025 revisitation of Arthur Schnitzler's Reigen opens with a bang, although not the kind you'd anticipate from a play that is basically a series of sexual trysts, each one prologued by some or other power game involving seduction, coercion, insistence or out-and-out trickery. While there is plenty of sex throughout this play about how playing the game is often far more entertaining than actually scoring, it's actually the opening dance scene that feels closest to a full-blown human orgy. Tempered by astute choreography and performed with intense sauciness by the ensemble, this joyous, energising romp made me want to jump out of my seat and join the giddy, propulsive spectacle. It was in many ways the biggest seduction scene of them all, and I certainly wanted in on whatever was coming next. There's so much heat in that opening scene, in fact, you wonder where the cast's stamina for the ensuing vignettes of sexually motivated power games will come from. But it's more than a mere attention-grabber. The throbbing music combined with the manner in which these fine actors dance and jive not only sets the scene, but says plenty about the moment we're in. This club's beats-per-minute are sky-high and given the rapturous state of the dancers, they're presumably high too. There's a sense of them being caught up, that they're in step with a beat so fast, so furious, so motivated by what's coming next that there's unlikely to be a pause to appreciate the moment. It's as if the human souls that dwell within these flesh-and-blood characters are not entirely home. Whether they're high on drugs, hormones, lust, competitive spirit or simply high on life is neither here nor there. It's said that we live in an age of distraction, and yet here's a cast of laser-focused actors determined to hold the attention of an audience for whom sitting still and paying attention is anathema, runs counter to the prevailing obsession with more, more, more. Playing at the Baxter until 12 July, La Ronde, which shares its name with the beautifully dreamy Max Ophüls French film version of Schnitzler's play made in 1950, has been reimagined for a younger generation, one that – thanks to the pervasiveness of information these days – means there's very little you can do or say that's likely to shock or surprise. Communal contemplation Except that, when you do in fact do or say or show certain things, those young people do in fact gasp and titter and loudly suck in their breaths. Theatre's power is in the ritual of the shared space, the communal contemplation of ideas and thoughts and experiences, and there is something in the candidness of actually uttering ideas out loud that still has the power to infiltrate even the most blasé imaginations and seen-it-all-before minds. Henriques has dragged Schnitzler's original German-language play happily and bawdily into 2025, and she has found relevant touchpoints for a generation of know-it-alls, transforming a play from a buttoned-up Victorian era into an energised romp that is both accessible and entertaining. And pretty steamy, too. In the process of having Schnitzler's 1897 text leapfrog into 2025, it bypasses much of what has happened in the intervening century-and-a-quarter, though. When Schnitzler first wrote it, the mere idea of openly expressing lustful longing or talking publicly about sexual hook-ups was scandalous. When, in Berlin in 1920, the play was officially performed for the first time (there'd been an earlier unofficial performance in Budapest), a riot ensued. A show in Vienna in 1921 did not go down well at all; Schnitzler was compelled to ban his own play after he was charged with obscenity, and he was subjected to all sorts of public abuse, shamed as a so-called 'Jewish pornographer'. And this in response to a play in which any scenes of actual sex are entirely left to the imagination. Not so in Henriques' version. These days, the merry-go-round ride of sexual dalliances, far from bothering with innuendo and euphemism, is replaced by blunt and blatant tableaux of various forms of intercourse, oral sex and other bedroom pleasures and predilections, fetishes and misadventures that leave little to the imagination. We get, in fact, just enough of a hint of something borderline explicit without edging into the pornographic. If anything, these brief vignettes take on a comic energy, as if the audience is expected to subconsciously measure the distance between what's happening on stage and some altogether more graphic version of it that's already been witnessed elsewhere (an online meme, a film, a photo, actual porn). In other words, part of what gets a giggle or guffaw from the audience is that moment of shared awkwardness in response to seeing images from our over-represented private world reproduced by actors who are merely simulating a sex scene already witnessed elsewhere. It means that while La Ronde is a work of entertainment and a provocation for us to pay attention, it is also living evidence that we are no longer in uptight Europe of the 1920s, or even in an Ophüls movie from the middle of the last century. At the same time, it's perhaps a reminder that we are just as repressed as ever, trapped by our inexplicable obsession with sex. And that while such charged-up depictions of sex aren't likely to cause a riot or evoke scandal, they still speak volumes about our secret desires, our quietly repressed fantasies, our capacity to judge others in their chosen moments of bliss. The difficulty of doing this play effectively today links back to that opening dance scene, which instantly signals that we're not in Europe circa-1897 but in a contemporary world in which multitudes of sexual partners can be sourced via the swipe of a finger across a tiny screen. Casual sex today is so ordinary, so matter of fact, that the play's only truly shocking scene is an evocation of date rape, one which feels remarkably like a public service announcement, as though the depiction of some older 'gentleman' adding a drug to his victim's drink comes across as a kind of warning or reminder to the audience to 'be careful'. It's a crazy moment of near-documentary-style playmaking that's so different from, from example, Ophüls' 1950 film version in which the 'victim' completely turns the tables on the older gentleman, downing as much Champagne as possible so that she can, she says after the fact, blame her sexual indiscretion on the booze rather than on her willingness to be seduced. Not only has the moral centre shifted, but our world today is also one in which the HIV pandemic decades ago affected how people choose to sleep around and with whom. A major undercurrent in Schnitzler's play was that the carousel of sexual partners was effectively about venereal disease, that each of the encounters meant whatever STD the prostitute in scene one is carrying will almost certainly get passed along the daisy chain of romantic liaisons. That sort of warning nowadays seems almost old-fashioned. We are so familiar with every kind of proclivity, fixation and fetish, every sexual compulsion, all the possible genres of erotic desire and fascination, not to mention strategies of seduction, that the challenge for this show is to find newness where, quite frankly, there is barely anything left to excavate or scavenge. Is it weird that, more often than not, it was the non-sexual antics that I found a turn-on? Flipping the lid Moments such as that opening dance scene, with its compelling, compulsive, impulse-firing choreography? Or the outfit worn by Lyle October as he performed a gender-fluid character who flips the lid on Schnitzler's too-heteronormative original ('they' would have been 'she' if they'd stuck with the original)? And there was the clever comedy of the gloriously weird game of domestic ennui that Aidan Scott (as a student in sweatpants that seem destined to come off – spoiler: they do) and Nolufefe Ntshuntshe (as a maid who upends the power dynamic so charmingly and effectively) play off of each other in a scene that smartly, sweetly and hilariously topples all assumptions about who holds the reins of sexual control. Ultimately, what's wonderful about this rendition of the play is its unravelling of perceptions, its demonstration that each of us has a unique and potentially very specific sexual composition, that our fetishes and desires vary from person to person, day to day, even one scene to the next. Therein lies the thrill: that each of us is unique, wants and yearns for something else, is turned on by different things. Leaving the theatre after the show's opening performance, the friend I'd been watching with told me she found the play 'messy'. I initially thought this was a criticism, that – yes – the strands linking each of the scenes could be cleaned up, tamed, better ordered and organised. But, upon further reflection, I think it's the messiness of it all that I liked best about this play. The sweat, the randomness, the wild costumes, the DJ who is there but (unlike the narrator in the Ophüls film) has no purpose other than to witness and hand out props, the mysteriousness of what it is that attracts one person to another, or makes them desire or lust or wish to dominate, humiliate, control, toss aside. It's the sadness in the eyes of the prostitute (played with such grace by Berenice Barbier), the banality of the overly-wordy speeches of the husband (played by Carlo Daniels), and the heartless self-gratification of Lyle October's soldier who, 24-hour pass in hand, is on a mission to screw as much as possible before he must return to barracks. Humans are messy, sex is messy, but nothing is messier than trying to make sense of it. Without the mess and the muck, we'd have no stories, no merry-go-round tales, and probably no reason to spend time in a theatre. DM

'Cezanne at home': show retraces artist's roots in southern France
'Cezanne at home': show retraces artist's roots in southern France

eNCA

time17 hours ago

  • eNCA

'Cezanne at home': show retraces artist's roots in southern France

A city in southern France is celebrating its most famous local painter Paul Cezanne with an exhibition showcasing his works inspired by the sun-drenched landscapes of the Provence region. Paintings by Cezanne, created in his hometown of Aix-en-Provence and at his family estate, went on display Saturday at the Granet Museum in the city for the over three-month exhibition, which is expected to draw hundreds of thousands of visitors. The theme of the exhibit is "Cezanne at home," said the city's mayor Sophie Joissains. The vivid southern French countryside provided most of the inspiration for Cezanne's works, composed mainly of still lifes and landscapes. But the artist, known as one of the fathers of modern art, was hated by critics and shunned by his native city during his life and even years after his death. "As long as I live, no Cezanne will enter the museum," then-conservator of the Granet Museum Henri Pontier promised after Cezanne died in 1906. For decades, "a modest copy of a classic male nude, made during his studies, was the only work of Cezanne's in the museum of his city," said Bruno Ely, current director of the museum and the exhibit's curator. AFP | Christophe SIMON The century-long rift between Cezanne and his native city came to an end in 2006 when the Granet Museum held its first exhibition of the artist's work. The city has since declared 2025 "Cezanne's Year," organising a series of events celebrating his work and leaving any historical estrangement firmly in the past. The "Cezanne au Jas de Bouffan" (Cezane at the Jas de Bouffan) exhibit displays 135 paintings, drawings and etchings, originating from museums and collectors from over a dozen different countries. AFP | Miguel MEDINA The evolution of Cezanne's painting style will be on display, from his earlier darker works featuring thick paint spread with a palette knife to impressionism to a pre-cubist style. Though the Provence region where Cezanne roamed was "tiny," it was "enough for him to reinvent painting", said Ely. The exhibition comes alongside major restoration efforts at the three-storey Jas de Bouffan manor home, where the Cezanne family lived in the late 19th century. Young Cezanne adorned the estate's living room with colourful frescos, perhaps with the intention of impressing his banker father, who had wanted his son to be a lawyer or a financer. The exhibition runs to October 12.

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