Null MASTER OF HUESCA (Active in the Kingdom of Aragon at the end of the 15th ce…

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MASTER OF HUESCA (Active in the Kingdom of Aragon at the end of the 15th century and beginning of the 16th century) "Saint Blaise in prison" Öl auf Platte. Herkunft: - Madrid, ehemalige Sammlung Raimundo Ruiz; - Madrid, Privatsammlung. Bibliographie: Post, Chandler Rathfon, "The schools of Aragon and Navarra in the Early Renaissance", A History of Spanish Painting, Bd. XIII, 1966, S. 28, Abb. 10. Diese Tafel aus einem zerfallenen Altarbild, das dem Heiligen Blasius gewidmet ist, wurde von Post einem unbekannten Maler zugeschrieben, der als Meister von Huesca identifiziert wurde. Dieser Autor zeigt den Einfluss von Miguel Ximenez (dokumentiert zwischen 1462 und 1505), obwohl es noch zahlreiche Anklänge an den flämischen Geschmack aufweist, was sich in der dekorativen Akribie und in der Art der gebrochenen Falten zeigt, die Merkmale einer beginnenden Renaissance in der volumetrischen Behandlung der Figuren und in bestimmten dekorativen Details widerspiegeln. Maße: 84 x 66 cm.

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MASTER OF HUESCA (Active in the Kingdom of Aragon at the end of the 15th century and beginning of the 16th century) "Saint Blaise in prison" Öl auf Platte. Herkunft: - Madrid, ehemalige Sammlung Raimundo Ruiz; - Madrid, Privatsammlung. Bibliographie: Post, Chandler Rathfon, "The schools of Aragon and Navarra in the Early Renaissance", A History of Spanish Painting, Bd. XIII, 1966, S. 28, Abb. 10. Diese Tafel aus einem zerfallenen Altarbild, das dem Heiligen Blasius gewidmet ist, wurde von Post einem unbekannten Maler zugeschrieben, der als Meister von Huesca identifiziert wurde. Dieser Autor zeigt den Einfluss von Miguel Ximenez (dokumentiert zwischen 1462 und 1505), obwohl es noch zahlreiche Anklänge an den flämischen Geschmack aufweist, was sich in der dekorativen Akribie und in der Art der gebrochenen Falten zeigt, die Merkmale einer beginnenden Renaissance in der volumetrischen Behandlung der Figuren und in bestimmten dekorativen Details widerspiegeln. Maße: 84 x 66 cm.

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Schätzw. 3 000 - 4 000 EUR

Pair of JACOB & JOSEF KOHN rockers. Austria, second half of the 19th century. Walnut wood. With marks of use. Active xylophages. With remains of labels. Measurements: 105 x 55 x 92 cm. The legs and armrests of this pair of rocking chairs are made up of a single curved structure of organic inspiration. The backrests, for their part, are based on a play of straight and openwork shapes. They were manufactured by the company J & J Kohn, founded by Jacob Kohn (1791-1868) and his son Josef (1814-1884) in 1867 in Wsetin (Moravia), in the territory of the Austro-Hungarian Empire. Kohn challenged the privilege of exclusive production of bent furniture held by Thonet, its creator, since 1856; a privilege which, in view of a negative ruling by the authorities, Thonet did not attempt to renew. Kohn soon became a strong competitor in the bent beech wood sector, in which it is a historical benchmark alongside the Thonet brothers. The company's early prominence was demonstrated by its highly acclaimed participation in the Vienna World Exhibition in 1873. From then on, Jacob &Josef Kohn exhibited at the expositions in Philadelphia (1876), Paris (1878, silver medal), Barcelona (1888), Glasgow (1901), Turin (1902), St. Louis (1904), Milan, London and Bucharest (1906) and Buenos Aires and Munich (1910). She was also awarded the Grand Prix at the Universal Exhibition in Paris in 1900. Kohn teamed up with renowned architects and designers of the day, with Otto Wagner, Josef Hoffmann, Koloman Moser and Hans Prutscher producing designs for her. After an initial phase dedicated to the production of curved chairs in the Thonet line, the company developed, during the eighties, an extensive historicist production. With the turn of the century came the stylistic evolution, focusing since then on the new trends in the decorative arts. In this sense, the chair that Adolf Loos (1870-1933) designed for Kohn in 1899, destined for the Café Museum in Vienna, stands out as the main reference point. Today, works by Jacob & Josef Kohn can be found in museums and institutions all over the world, such as the Museum of Modern Art in New York and the Orsay Museum in Paris.

Schätzw. 5 000 - 5 500 EUR

MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Original leather with signs of wear due to age. Measurements: 73 x 170 x 85 cm; 42 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Schätzw. 5 000 - 5 500 EUR

MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Original leather with signs of wear due to age. Measurements: 73 x 170 x 85 cm; 42 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Schätzw. 300 - 350 EUR

CARLO MORETTI (active from 1958). Vase, 1960s. Glass. Measurements: 31 x 15 x 15 cm. Carlo Moretti is a "factory of originals" founded in 1958 by Carlo and Giovanni Moretti, combining innovation and continuous research. The company itself defines its work as "Unique pieces, numbered and signed with its recognizable style, in stylistic key in constant search of new, clean and essential lines, supported by technical innovation. The exploration of new styles and their continuous experimentation with shapes and materials over the centuries confirms the ancient "know-how" of the Murano master glassmakers combining two contradictory cores, solid and liquid. A highly qualified know-how without forgetting their concrete responsibility to express contemporaneity while respecting the Venice Lagoon thanks to their sustainable behavior towards the environment".

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