MORVAN Hervé (1917-1980) SATAM-PRESTCOLD REFRIGERATOR "DRINK FRESH...EAT HEALTHY…

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MORVAN Hervé (1917-1980)

SATAM-PRESTCOLD REFRIGERATOR "DRINK FRESH...EAT HEALTHY". Circa 1958 Établissements de La Vasselais, Paris (offset) - 160 x 118 cm - Uncoated, fair condition (writing, foxing, tears and creases) Bibliography: "Morvan Affichiste", Bibliothèque Forney, no. 327.

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MORVAN Hervé (1917-1980)

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Estim. 9 000 - 10 000 EUR

Italian school; 17th century. "The return of the prodigal son". Oil on canvas. Presents restorations. Attached export permit. Measurements: 156 x 144 cm; 160 x 147 cm (frame). Aesthetically the work belongs to the circle of Guercino, who was one of the most acclaimed Italian artists in the first half of the seventeenth century. The quality of the composition, the anatomical care especially noticeable in the body of the young man on the right, the rigor of the qualities and the representation of the ages of the characters reveal a great mastery of the hand of the artist. The present canvas represents the parable of the prodigal son which, together with that of the lost sheep and the lost coin, forms a trilogy traditionally called the parables of mercy. The Parable tells " A man had two sons; and the younger of them said to his father, "Father, give me the portion of the inheritance that is due to me." And he divided the inheritance to them. A few days later the younger son gathered it all together and went away to a far country where he squandered his inheritance living like a libertine. "When he had spent everything, an extreme famine came upon that country, and he began to be in need. So he went and made an adjustment with one of the citizens of that country, who sent him to his farms to graze pigs. And he wished to fill his belly with the carob that the pigs ate, but no one would give it to him. And coming to himself, he said: "How many of my father's hired servants have bread in abundance, while I am starving here! I will arise and go to my father and say to him, 'Father, I have sinned against heaven and before you. I no longer deserve to be called your son; treat me as one of your hired servants." And he arose and went to his father. "While he was still a long way off, his father saw him and, moved, ran to him, threw himself on his neck and kissed him warmly. The son said to him, "Father, I have sinned against heaven and before you; I no longer deserve to be called your son." But the father said to his servants, "Bring quickly the best robe and dress him, put a ring on his hand and sandals on his feet. Bring the fatted bullock, slaughter it, and let us eat and feast, for this my son was dead and is alive again; he was lost and is found." And they began the feast. His eldest son was in the field, and on his return, when he came near the house, he heard the music and the dancing; and he called one of the servants and asked him what it was. He said to him, "Your brother has returned, and your father has killed the fattened steer, for he has recovered him sound." He was irritated and would not go in. His father came out and begged him. But he replied to his father, "I have served you for so many years, and I have never failed to do a command of yours, but you have never given me a kid to have a feast with my friends; now that son of yours has come, who has devoured your inheritance with prostitutes, you have killed for him the fatted bullock!" But he said to him, "Son, thou art ever with me, and all that is mine is thine; but it was fitting to hold a feast and rejoice, because this brother of thine was dead, and is come to life again; he was lost, and is found." The main influences that shaped Guercino's style were the Bolognese; Ludovico Carracci, his cousin Hannibal Carracci and the Ferrarese Ippolito Scarsella. Apart from a two-year stay in Rome during the papacy of the Bolognese Gregorio XV Ludovisi, his activity developed in his hometown until 1642 when he moved to neighboring Bologna. He was about twenty-five years old when he came to the attention of his first important clients, among them Cardinal Alessandro Ludovisi, Archbishop of Bologna; Cardinal Jacopo Serra, papal legate in Ferrara; Grand Duke Cosimo II of Tuscany; and Duke Ferdinand Gonzaga of Mantua. By the mid-1620s he had turned down invitations to work outside Italy, from Charles I of England among others. He seems to have been reluctant to enter into direct competition with his Bolognese rivals, especially Guido Reni, who from about 1610 was the most celebrated painter in Italy. Most of his abundant output consists of altar and easel paintings, but in the first half of his career he also painted frescoes in Cento, Bologna, Rome (the Aurora on the ceiling of the Casino Ludovisi) and the cathedral of Piacenza (1626-1627). His first style, "tenebrist", is characterized by dramatic lighting, saturated colors and agitated compositions. His stay in Rome led him to gradually modify his style towards a much more idealized and classical language, with more calm and structured compositions, more elegant contours, a palette generally lighter and richer in pastels. It presents restorations. Attached export permit.

Starting price 160 EUR

BELLENGER J.LA JOIE DE BOIRE....SUD "SOFT DRINK". Circa 1955 Établissements de la Vasselais, Paris - 152 x 114 cm - Uncoated, good condition (small tears and missing margins) Bibliography: "Objets publicitaires des sodas et des jus de fruits Français", F.Elzingre, p.18

Estim. 2 800 - 3 000 EUR

Following models of ICO PARISI (1916, Palermo-1996, Como, Lombardy). Set of 6 dining chairs. Italy, 1960s. Rosewood. Measurements: 89 x 45 x 47 cm. The Italian design is evident in the visual slenderness of the set: the rounded legs, narrower towards the foot, visually lighten the structure, while the formal refinement of the openwork backrest imprints the characteristic European stamp. A subtle but marked curve defines the backrest at the top. The architect-designer Domenico "Ico" Parisi trained in the construction industry in Como between 1931 and 1935, and in 1936 he began working in the office of the rationalist architect Giuseppe Terragni in Como, which marked the beginning of his professional career, which was also briefly linked to the world of cinema in the late 1930s. Returning to his initial vocation, design, Parisi was one of the founding members of two architectural groups: Alta Quota and Gruppo Como. In 1947 he married fellow designer Luisa Aiani, a former student of Gio Ponti, also a member of Alta Quota, and the two founded their studio La Ruota in Como in April 1948. Between 1949 and 1952, Parisi studied architecture with Alberto Sartoris at the Athenaeum Institute in Lausanne (Switzerland). In 1952 he became a member of the Milan Art Club, and in 1956 of the Association of Industrial Design (ADI). Parisi designed many interiors, furniture (mainly wood and metal), glass, jewelry and architectural projects, both alone and with Luisa. His studio was a meeting point for collaborations between established artists and emerging designers. His clients included: Singer & Sons, Altamira , M.I.M. , Longhi , and Cassina. Ico, in collaboration with architects Silvio Longhi and Luigi Antonietti, designed the Living Room pavilion for the 10th Milan Triennale. The couple's collaboration with Cassina was very fruitful, resulting in many famous designs, such as the Model 691 (1955) and Model 839 chairs, both nominated for the Compasso d'Oro in 1955.

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