Null Tano Festa, Untitled

1974

Acrylic and enamel on canvas

H110 x L60 cm …

Description

Tano Festa, Untitled 1974 Acrylic and enamel on canvas H110 x L60 cm (H43.31 x L23.62 in ), Signature and date on the reverse Provenienza Private collection, Milan Certificato The work is accompanied by a certificate of authenticity issued by Studio Soligo, Rome, Archiviazione Opere Tano Festa, dated 22 October 2021. Archive No. RMS 741160102421

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Tano Festa, Untitled 1974 Acrylic and enamel on canvas H110 x L60 cm (H43.31 x L23.62 in ), Signature and date on the reverse Provenienza Private collection, Milan Certificato The work is accompanied by a certificate of authenticity issued by Studio Soligo, Rome, Archiviazione Opere Tano Festa, dated 22 October 2021. Archive No. RMS 741160102421

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Estim. 4 000 - 5 000 EUR

Glass. NERI. L'arte vetraria distinta in libri sette. 4to, mm. 200x140. Stiff vellum, handwritten title on spine. Pages [8], 114, [6]. Woodcut printer's device on title, numerous woodcut initials, some historiated. Slight spread foxing and some dampstains, fine copy. First edition of the first book devoted to glass, its manufacture and coloring. Honeyman: "Many of the secrets of glassmaking are here recorded for the first time. Neri is believed to have learned the art of glassmaking at Murano, near Venice." D.S.B.: "Neri is remembered for L'arte vetraria, 1612, a little book in which many, although by no means all, of the closely guarded secrets of glassmaking were printed for the first time. He recommended that glass be made from rocchetta, a fairly pure sodium sesquicarbonate from the Near East, and tarso, which he described as a kind of marble but which must have been some form of silica. He did not indicate the source of the necessary proportion of lime. The main part of the text deals with the coloring of glass with metallic oxides to give not only clear and uniform colors but also various veined effects. There are chapters on making lead glass of high refractive index and enamel, opaque, glass by the addition of tin oxide." Singer: "The greater part of the book is devoted to the coloration of glass, both to imitate gemstones and for the use of enamellers." Edition quoted by Crusca, see Camerini.

Estim. 500 - 600 EUR

BOULLAIRE. Tre lettere autografe firmate. Three sheets in 8vo. 208x145 mm (1974, 1975); 208x132 (1972). Text on one page of each sheet. Handwriting in clear cursive, blue ink (1972, 1974) and black ink (1975). Date in text of letters, signature 'J. Boullaire' at end. Insignificant tear in 1972 letter. Good condition. Letters addressed to 'Chers amis' in which the artist, 1893-1976, who devoted much of his work to Tahiti, the island where his wife was born and where he often stayed, refers to his main activity as an engraver.

Estim. 80 000 - 120 000 EUR

EXCEPTIONAL TABLEAU "NEW YORK" by Georges MATHIEU (1921-2012) Framed oil on canvas, signed and dated "54" lower left. Bears a glued label: "Elaine Graham Weitzen / Fine Arts in New York) with address and painting attribute on "Autor - Georges Mathieu, Oil on canvas, title : NY (New York), date : 1954, dimension :19,68in - 39,37in (measurements in inch = 50 x 100 in cm). On the central wooden frame on the back of the painting, there is an inscription in oil by the author (English: NY). Appraisal certificate enclosed. Provenance: Private collection. Size: 50 x 100 cm Two small holes in the lower right corner and a tiny bump in the upper right corner. Georges Mathieu is a French artist of the Tachisme school. Mathieu is one of the leading exponents of Art Informel (the French version of Abstract Expressionism) and is best known for his sharp abstract paintings in a calligraphic style, characterized by broad gestures, with a lyrical abstraction style, but also with tachism. Mathieu's expressive art combined with a natural talent for self-promotion earned him an international reputation in the 1950s. It's curious that Mathieu doesn't see himself as a practitioner of non-objective art, but rather as a historical artist using abstract forms. Be that as it may, his distinctive style has made him one of the most recognizable artists of the twentieth century in the language of Art Informel. In 1967, Air France commissioned him to paint fourteen pictures to be used as advertisements for the company. The basis for these paintings was (New York) 1954. Mathieu's gestural style was influenced by many people, including Taschist Hans Hartung (1904-89), American Jackson Pollock (1912-56), the inventor of action painting, and members of Japan's Gutai Artists Association (1954-72). A natural self-promoter, Mathieu painted many of his pictures at public appearances, usually applying the paint directly from the tube onto the canvas. At the height of his career, Mathieu was one of France's most successful artists and, in 1974, appeared in the documentary film Georges Mathieu, ou la fureur de l'être. Regarding the gallery's owner, Elaine Graham Weitzen (1920-2017) was a private New York art dealer and committed philanthropist whose keen eye and interest in new and emerging artists helped create an eclectic and personal collection. Inspired by her mother's passion for music and art, Mrs. Weitzen began collecting art in the 1950s and quickly forged friendships with artists Mark Tobey, Charles Seliger, George Rickey and Arnold Newman, among others. A dedicated member of the Sculpture Center's Board of Trustees, Elaine G. Weitzen's collection is rich in sculpture and champions the work of both young and established sculptors. It includes works by George Rickey, Jean Arp, Ronald Bladen, Menashe Kadishman and José de Rivera. Seeing herself as a bridge between the art world and the artists themselves, Ms. Weitzen understood the challenges artists face when trying to create their art and earn a living. Ms. Weitzen's passion for the arts and her commitment to young emerging artists are supported by the Elaine G. Weitzen Foundation for the Fine Arts.

Estim. 2 000 - 3 000 EUR

18TH CENTURY ARTIST. . Still life with flowers, fruits and wild game. . Oil on canvas. . 90x123 cm. .

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