Null ATTRIBUTED TO THE MAGDALENE MASTER MANSI (Active in the Netherlands, in the…

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ATTRIBUTED TO THE MAGDALENE MASTER MANSI (Active in the Netherlands, in the first quarter of the 16th century) "Christ the Redeemer embracing the Cross" Oil on panel. This important Flemish panel depicting Christ the Redeemer, embracing the cross and carrying the skull of Adam in his right hand, can be attributed due to its formal characteristics to the enigmatic painter known as the Master of the Magdalena Mansi. This receives its name from a Saint Mary Magdalene that is preserved in the Gemäldegalerie in Berlin, from the collection of the Marquis Giambattista Mansi of Lucca, but other works have also been awarded to it such as: the Salvator Mundi from the Philadelphia Museum and a Lamentation of Christ from the collection of the Norton Simon Museum in Pasadena. The activity of this artist takes place in the Netherlands, in the first quarter of the 16th century and in his style the numerous stylistic dependencies with the work of Metsys stand out. Measurements: 88 x 73 cm.

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ATTRIBUTED TO THE MAGDALENE MASTER MANSI (Active in the Netherlands, in the first quarter of the 16th century) "Christ the Redeemer embracing the Cross" Oil on panel. This important Flemish panel depicting Christ the Redeemer, embracing the cross and carrying the skull of Adam in his right hand, can be attributed due to its formal characteristics to the enigmatic painter known as the Master of the Magdalena Mansi. This receives its name from a Saint Mary Magdalene that is preserved in the Gemäldegalerie in Berlin, from the collection of the Marquis Giambattista Mansi of Lucca, but other works have also been awarded to it such as: the Salvator Mundi from the Philadelphia Museum and a Lamentation of Christ from the collection of the Norton Simon Museum in Pasadena. The activity of this artist takes place in the Netherlands, in the first quarter of the 16th century and in his style the numerous stylistic dependencies with the work of Metsys stand out. Measurements: 88 x 73 cm.

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Estim. 500 - 550 EUR

ROSS LOVEGROVE (Wales, 1958) for ARTEMIDE. Table lamp "Aqua Cil tavolo", 2007. Die-cast aluminum base and structure. Steel shaft. Diffuser in hydroformed and mirror-treated aluminum. Measurements: 40 x 30 x 30 cm. The "Aqua Cil" series is distinguished by its wavy lampshade simulating the swaying of water, which contrasts with the sobriety of the die-cast aluminum shaft. It reflects the light to the outside in a wide but soft way. This series was presented at Euroluce 2007 in Milan. The designer Ross Lovegrove studied industrial design at Manchester Polytechnic, and later took a master's degree in design at the Royal College of Art in London, completing his training in 1983. From then on he worked for Frog Design in Germany, on products such as Walkmans for Sony, computers for Apple, etc. He then moved to Paris to work for Knoll International, where he was the author of the successful Alessandri office system. Later he was invited to participate in the Atelier de Nimes with Jean Nouvel and Philippe Stark, advising, among others, Cacharel, Louis Vuitton, Hermès and Dupont. He returned to London in 1986, and completed projects for Airbus Industries, Kartell, Ceccotti, Cappellini, Idee, Moroso, Luceplan, Dirade, Peugeot, Apple, Issey Miyake, Vitra, Alias, Tag Heuer and others, as well as for Japan Airlines and Tokyo Ito Architects in Japan. Throughout his career, Ross Lovegrove has won major international awards, and his work has been widely published, and exhibited in such prominent venues as MoMA and the Guggenheim in New York, the Axis Center in Japan, the Pompidou in Paris or the Design Museum in London, where since 1993 he has had his first permanent collection.

Estim. 3 500 - 4 000 EUR

VITTORIO DASSI (Italy, 1893-1973). Dining table, 1950s. Calacatta marble and mahogany wood. In good condition according to its age and use. Measurements: 77 x 134 x 91 cm. Spectacular table designed by Vittorio Dassi, prestigious Italian designer active in the middle of the last century. Made of mahogany wood with an oval-shaped calacatta marble top. Simple structure, with a single foot that supports, in the central area, the top. This tulip foot is made of carved and lacquered mahogany, which gives it great sumptuousness. Its shape is flared towards the floor, emphasized by the grooves. It rests on an oval-shaped marble base that matches the top. Underneath the top, the structure is again made of wood. With its unique features and meticulous attention to detail, this table is a testament to Vittorio Dassi's innovative vision and artistic sensibility. Vittorio Dassi's furniture, made in the 1940s and 1950s, is distinguished by the choice of fine woods such as rosewood, cherry, ash and walnut, often decorated with inlaid panels and glass signed by great master glassmakers. Elegant in design without losing functional quality, his furniture can be compared to the refined style of Gio Ponti, to whom Vittorio was linked by important collaborations after taking over from his father at Dassi Mobili Moderni in Lissone. One of the factory's most important projects was the creation of furniture for the rooms of the Hotel Royal in Naples, designed by Ponti in the mid-1950s, a period that marked Dassi's turn towards more schematic forms and teak wood for the production of modular furniture.

Estim. 300 - 350 EUR

CARLO MORETTI (active from 1958). Vase, 1960s. Glass. Measurements: 31 x 15 x 15 cm. Carlo Moretti is a "factory of originals" founded in 1958 by Carlo and Giovanni Moretti, combining innovation and continuous research. The company itself defines its work as "Unique pieces, numbered and signed with its recognizable style, in stylistic key in constant search of new, clean and essential lines, supported by technical innovation. The exploration of new styles and their continuous experimentation with shapes and materials over the centuries confirms the ancient "know-how" of the Murano master glassmakers combining two contradictory cores, solid and liquid. A highly qualified know-how without forgetting their concrete responsibility to express contemporaneity while respecting the Venice Lagoon thanks to their sustainable behavior towards the environment".

Estim. 4 500 - 6 500 EUR

Dutch School of Rembrandt from the 17th century, attributed to Jourdeville, Isaac de (1612 in Leiden – 1645 in Amsterdam) 81 x 66 cm, no frame attached. Important and decorative portrait of a Turbaned Knight, possibly a wealthy Dutch merchant. Work markedly connected with the Dutch school of Rembrandt of the 17th century, specifically in the style of his best disciple, Isaac de Jourdeville, who, born an orphan, soon became Rembrandt's student in November 1629 and traveled with him to Amsterdam in 1631 There are still documents related to their learning written by their tutors. He returned to Leiden to marry Maria le Febure (1619-1653) in 1636 and moved to Deventer in 1641. He lived in Deventer for only a few years; In 1643 he was back in Amsterdam, where he died young in 1645. His widow Maria married the glassmaker Pieter de Melder in 1648 and his daughter Mariecke later married the painter Frederik de Moucheron. Following the death of Maria le Febure, her second husband declared himself unable to support her first husband's three children, along with her own two children, although she offered to raise Jacob Jouderville until the age of 18. By then De Melder He acted as an art dealer, and the liquidation of his wife's estate shows an interesting list of artists to whom his estate owed money or who owed money to his estate. Provenance: private collection, Barcelona.

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