Galletti,J.G.A. Continuation of the general history of the world... 60th ed. Hal…
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Galletti,J.G.A.

Continuation of the general history of the world... 60th ed. Halle, Gebauer 1794. 4°. With eng. Front. and title vign. 2 pp., 572 p. Cloth with ribbed boards and bibl. label. (Partly rubbed, corners somewhat dampstained). From the contents: Imperial vicariate after the death of Joseph I, election and coronation of Carl VI, the last campaigns of the War of the Spanish Succession. The influence of the Northern War on Holstein and Mecklenburg. Carl VI wages an unfortunate war with the Turks... and much more. - Slightly stained in places, biblical inscription on the front and back.

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Galletti,J.G.A.

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EUDALD SERRA GÜELL (Barcelona, 1911-2002). Untitled. 1961 Stoneware sculpture. Exemplary 1/5. Marble base. Signed and numbered Measurements: 60 x 30 x 7 cm. In the fifties and sixties, Eudald Serra cultivated a non-figurative sculpture of organic nature, with curved surfaces and profusion of voids. The 1961 piece we show here belongs to that period, especially fruitful for this author. This stoneware sculpture is endowed with a great power of suggestion. It is inspired by prehistoric effigies and the ethnic sculpture of ancestral cultures, while dialoguing with artists of the modern movement such as Brancusi and Jean Arp. Sculptor and painter, Eudald Serra began his training as a disciple of Angel Ferrant, combining his studies at the Schools of La Llotja and Fine Arts in Barcelona. During his student days he also worked in a jewelry workshop and in a shipping company, which is perhaps the root of his passion for travel, which led him on his first tour of Europe in 1932. He made his individual debut in 1934, in the Busquets hall in Barcelona, and worked together with the ADLAN group. In 1935 he made a study trip to Japan, becoming fascinated by the local culture to the point of settling in the city of Kobe, where he lived for several years. During this period he devoted himself mainly to ceramics, holding exhibitions in Tokyo, Osaka and Kobe. In 1939 he won the prize at the Hyogo exhibition and, after a brief stay in the United States, he returned to Spain in 1948. Between the late fifties and early sixties he traveled extensively in Southeast Asia and the Middle East, and during the eighties he visited Central America, Australia, China and Morocco. His awards include the Grand Prize at the Alexandria Biennial, the Madrid Provincial Council Prize at the Hispano-American Biennial, the National Sculpture Prize and the Barcelona Jazz Salon Prize, among others. He was part of the Altamira group, and was a professor at the Massana School and the Fine Arts School of Barcelona. He is currently represented at the Centro Nacional de Arte Reina Sofía, the MACBA in Barcelona and the Museum of Alexandria, among others.

Denez, born 2000 - Collectif Eon Avel War an hent, 2024 Oil on wood, signed lower right. 120 x 60 cm (a staple is missing from the back top left) --- EON AVEL Collective - Denez and Breuuenn, born in 2000 Originally from Plovan and Plogonnec, Denez and Breuuenn created the Eon Avel collective in 2021, sharing their interest in the region and its culture. Moved by the work by the work of Seiz Breur and the music of Emglev, they dream of works imbued with Brittany, not to mimic it or to please, but of a present-day Brittany, deeply lived, in response to the redundancy and lack of renewal in so-called "Breton" products. Eon Avel is a quest for this damaged heritage, whose forms and meanings they are trying to grasp. For them, the spirituality that once comforted their ancestors has not been passed on, and through art they find a way to approach it. Denez and Breuuenn work with images, using a variety of techniques: wood, linoleum and metal engraving metal, painting, sculpture and lettering. Their themes are reverie, introspection, nature, the Breton imagination and the stories of the ancients, which they try to modernize and in which they find themselves. in which they find themselves. Their creations perpetuate the taste for motif and symbolism of ancient embroiderers and cabinet-makers, the forms of sacred architecture, the thousand-year-old history of the country and content with the force of the elements. The mystique of the landscapes in which they live out their adventures also infuses their work, as does the spiritual atmosphere emanating from the many places and shrines. Following on from the collective work of the Seiz Breur, they dream of a general, original and profound artistic renewal that would be part of both an artistic quest for beauty and a search for oneself as a baker. as Breton men and women. For them, the Ar Seiz Avel event represents the concrete expression of what this could all be about, and enables them to share their distinctive universe with a wider public.

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