Null AUREL (1963)
Lost Dog
Crystal- Explosion of faith, 2015
Polished bronze and…

Description

AUREL (1963) Lost Dog Crystal- Explosion of faith, 2015 Polished bronze and rock crystal Signed, numbered 1/1 and dated 2015 52 x 34 x 70 cm

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AUREL (1963) Lost Dog Crystal- Explosion of faith, 2015 Polished bronze and rock crystal Signed, numbered 1/1 and dated 2015 52 x 34 x 70 cm

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Estim. 500 - 600 EUR

ELEONORA STOL (Leiden, The Netherlands, 1946). Untitled, 2016. Oil on canvas. Signed and dated in the lower right corner. The canvas is detached from the stretcher frame. Measurements: 135 x 143 cm (stretcher frame). Passion is the main theme of Eleonora Stol's work, which she develops with her vibrant colors, full of life and light. The artist herself affirms "With my pictorial eagerness I experience a restless world". She continues "I take the risks of slips, of scratches and outlandish contours, of smudged mascara and scars on pitifully wrinkled canvases, but it is a scream an explosion, I open my briefcase of dreams and its pointer that directs the smudges and chalk chips and impossible streaks in my tuft of paint. As I hope, ending in beauty." Throughout his career as an artist, Stol has exhibited in numerous national and international galleries, both individually (Exhibition Italy 2014 / 2013, Bell'Italia, Rome, Poli d'Arte, Inaugurazione, Prof Luca Filipponi / 2012, Rome Triomphale, Galleria Bell'Italia. / 2011, Palazzo delle Prigioni, Castello 4209 Venezia, Abbraccando la Vita con grande passione. Circolo Artisticoo di Venezia April / maggio 2011 exhibition / 2010, Apothoki Gallery, installation 12m. x 12m., painting made in the Gallery during the exhibition. Open Ateliers Amsterdam, Hotel Arena /2009, Tales of Happiness with curator Marco Antonio Teobaldo Loods 6 Bagagehal Amsterdam, Apothiki Gallery Paros Sweet memories till august 2009 / 2008, Art Angels Singel Amsterdam The Netherlands, Artist on Residence Amsterdam The Netherlands in coop. With Apothiki Gallery Paros and China) as a collective.

Estim. 10 000 - 15 000 EUR

CÉSAR Bread Head - 1973-96 Bronze with patina Signed, dated twice and numbered on the base "César, 1973, 7/8, 1996". Landowski cast iron H : 55.0 cm, W : 19.5 cm, D : 24.0 cm Exhibitions : Zurich, Galerie Semiha Huber, "César", October 1973 (a similar example) Cannes, La Malmaison, "César, du silence à l'éternité : l'oeuvre de bronze", July-October 2002, reproduced in color on p. 67 (a similar copy) Rabat, Musée Mohammed VI d'Art Moderne et Contemporain, "César, une histoire méditerranéenne", December 2015-March 2016 (a similar copy) Paris, Galerie Almine Rech, "César & César & César...", June-July 2021 (a similar copy) This work is registered in the Archives of Madame Denyse Durand-Ruel under n°1758. h: 55.0 cm, w: 19.5 cm, d: 24.0 cm CÉSAR H : 55.0 cm, W : 19.5 cm, D : 24.0 cm h: 55.0 cm, w: 19.5 cm, d: 24.0 cm Bronze with patina; signed, dated and numbered on the base

Estim. 8 000 - 10 000 EUR

Walter Valentini

Estim. 400 - 600 EUR

French or Italian school of the 19th century. "Bust of Lucius Verus. Bronze. Measurements: 23 x 11 x 10 cm. The luxuriant beard and the curly hair show that we are in front of a bust of Lucius Verus, Roman co-emperor together with Marcus Aurelius, from the year 161 until the time of his death in 169. Lucius Verus and Marcus Aurelius were adopted sons of Antoninus Pius by order of Hadrian and the first two who reigned together in the history of Rome. This is a sculpture made during the "Grand Tour", a term that first appeared in "Le Voyage d'Italie" by Richard Lassels, was used to define the long journey through Europe, especially Italy, that young British aristocrats used to undertake from the seventeenth century onwards, but especially throughout the eighteenth and nineteenth centuries. The aim of the trip was for the young men to get to know the art and culture of France and Italy mainly, to admire classical art at first hand, to learn or improve their language skills, and to establish contacts and relationships with the cultural and political elites of these countries. Often, travelers were looking for pieces with which to start their own art collections, objects to take back to their places of residence as souvenirs. For this reason, workshops specialized in replicating Roman pieces, both in bronze and marble, sprang up, some of which acquired a great reputation.

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