Null Hans Slatmak Barma, 1903 Vienna - 1978, Alpenglow near Plattkofel, on the b…

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Hans Slatmak Barma, 1903 Vienna - 1978, Alpenglow near Plattkofel, on the back inscribed Sassolungo and Plattkofel (Dolomites), difficult to read, oil/canvas, signed, snowy winter landscape, approx. 60 x 89 cm, matching frame minor at the corners, approx. 75x105cm

6084

Hans Slatmak Barma, 1903 Vienna - 1978, Alpenglow near Plattkofel, on the back inscribed Sassolungo and Plattkofel (Dolomites), difficult to read, oil/canvas, signed, snowy winter landscape, approx. 60 x 89 cm, matching frame minor at the corners, approx. 75x105cm

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Estim. 15 000 - 18 000 EUR

Italian school; first half of the seventeenth century. "Expiring Christ". Silver plated bronze. Measurements: 29 x 28 x 5 cm; 38 cm (base). The Crucifix, of great executive quality, is part of the group of bronzes of this type of the Giambolo-Gnesco circle, datable between the late sixteenth and early seventeenth century. The work proposed here presents similarities with well-known examples such as: two crucifixes in the Convent of the Santissima Annunziata, Florence; the one in the Smith College Museum of Art, Northampton; another in a private collection, Siena (reproduced in P. Torriti, fig. 77); another in a private collection, Siena (reproduced in P. Torriti, fig. 77); and another in the Smith College Museum of Art, Northampton. Torriti, fig. 77); three other examples in private collections (Exhibition catalog: "Giambologna 1529-1608", 1978, nos. 99, 100, 101); also the hybrid variant of the "semi-living Christ" in the Municipal Museum of Douai. Because of the linearity of the folds of the loincloth, it is revealed as a work of the generation after Giambologna, who preferred flat fabric surfaces. It is distinguished from the examples cited above by its vigorous anatomical articulation and the refined and detailed execution of the features of the beautiful face and hair. While in the examples we have mentioned Christ turns his head upwards and to the right, the Christ we are examining is the only example in which the head is reclined to the left. head is reclined to the left, in accordance with the graphic archetype from which the living Christ of Giambologna's sculpture derives, that is, the Crucifix designed by Michelangelo for Vittoria Colonna around 1540 (London, British Museum, inv. 1895-9-15-504r). Cf. Giambologna 1529- 1608. Sculptor to the Medici, exhibition catalog Edinburgh, London, Vienna, edited by C. Avery, A. Radcliffe, London 1978, nos. 98-104, pp.140-142. (K.J. Watson); P. Torriti, Pietro Tacca da Carrara, Genoa, 1984; M. Tommasi, Pietro Tacca, Pisa, 1995; E. D. Schmidt, Scultura sacra nella Toscana del Cinquecento, in Storia delle arti in Toscana: il Cinquecento, edited by R. P. Ciardi, Florence, 2000, pp. 231-254, in particular p.248 with note 83. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the fourth century. It is one of the most recurring themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with open eyes and erect body; the patiens is represented dead, with the will totally emptied (kenosis), the head bowed, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth.

Estim. 14 000 - 15 000 EUR

HANNAH COLLINS (United Kingdom, 1956). "Kitchen. La Laboral Gijón". 2006 Digital print on canvas. Diptych. With Joan Prats gallery stamp on the back. Provenance: Joan Prats Gallery. Barcelona. Measurements: 192 x 274 cm. This photograph was part of the solo exhibition "A future Life", held in 2006 at the Joan Prats gallery in Barcelona. Hannah Collins' photographic work is a reflection on the passage of time and the presence of the human trace in different environments. Her photographs of interior spaces reveal an implicit, latent social history. For the artist, fleeting glimpses of cities do not provide a full understanding of their existence. Far from the documentary character, her scenes consciously mix that reality with a fiction that gives them a new meaning. The dreary, institutional "Kitchen" shown in this photograph is part of the artist's research on migrant lives and memory. It is worth linking it to a later series she would present at LABoral Centro de Arte y Creación Industrial in Gijón (2017), entitled "The Fragile Feast", which focused on kitchen photography, and opened a dialogue between culinary art and photographic art. A British artist and filmmaker, Hannah Collins studied at the Slade School of Fine Arts in London, and later extended her training in the United States thanks to a Fullbright scholarship (1978-79). Throughout her career she has held important solo exhibitions in leading art galleries and art centers in Europe and America, and has participated in group exhibitions held at the Victoria & Albert Museum in London (1987, 1989, 1989, 1989). Albert Museum in London (1987, 1989, 1989, 1995, 2002), the Centre National des Arts Plastiques in Paris (1989), the Museum of Modern Art in Kyoto (1990), the Fundació Joan Miró in Barcelona (1992, 1998), the Museo Español de Arte Moderno in Madrid (1994, 2008), the Saatchi Gallery in London (1994), the Helga de Alvear Gallery in Madrid (1999), the Tate Modern in London (2000), the Centre Georges Pompidou in Paris (2006) and the Kulturhaus in Vienna (2011), among others. Based between London and Barcelona, in 1993 she was nominated for the Turner Prize, in 1991 she won the European Photography Award and in 2004 the Olympus Award. She is currently represented at the Tate Modern in London, the Centre Georges Pompidou in Paris, the MNCA Reina Sofía in Madrid, the MACBA in Barcelona and other public and private collections in Europe and America.

Starting price 300 EUR

Thoma u.a., HansSammlung von 5 Werken in 6 Bänden. Thoma u.a., Hans Sammlung von 5 Werken in 6 Bänden. Enthält: Henry Thode. Hans Thoma. Gemälde. Mappe I u. II (von 6). Frankfurt a.M., Keller 1900. Folio. OLwd.-Mappen mit Titel in Schwarzdruck (gebrauchsspurig). Durchgehend etwas stockfleckig. - Hans Thoma. Achtzehn Photogravuren nach den Originalen des Meisters. München, Hanfstaengel, o.J. Folio. OHLdr. (mit starken Defekten). Durchgehend wasserrandig. - Henry Thode. Hans Thoma: Betrachtungen über die Gesetzmässigkeit seines Stiles. Heidelberg, Winter, 1905. Gr.-8°. OBroschur. - Max Dvorak. Pierre Bruegel L'Ancien: Trente-Sept Chromophototypographies d'après ses Principales Oeuvres a Vienne. Wien, Staatsdruckerei, o.J. Folio. OHLdr.-Mappe (mit sehr großen Defekten). Einige Tafeln beschnitten. - Aus Daniel Chodowiecki's Künstlermappe. 98 Handzeichnungen und Aquarelle in Facsimiledruck. Nach den Originalen im Besitze des Herrn J. C. D. Hebich in Hamburg. Berlin, Amsler & Ruthardt, 1885. Folio. OLwd.-Mappe mit DIllustration (fleckig und berieben). - Nicht eingehend kollationiert, augenscheinlich komplett. Collection of 5 works in 6 volumes. - Contains: see above. - Bindings partly with large defects. Not thoroughly collated, seemingly complete.

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