Null Paolo RIZZATTO and Alberto MEDA, Titania D17 edition Luce PLAN - A suspensi…

Description

Paolo RIZZATTO and Alberto MEDA, Titania D17 edition Luce PLAN - A suspension system. Adjustable in height by a system of counterweights. Two metal parts missing.

463

Paolo RIZZATTO and Alberto MEDA, Titania D17 edition Luce PLAN - A suspension system. Adjustable in height by a system of counterweights. Two metal parts missing.

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Mise à prix 7250 EUR

Paolo Venini (1895-1959) / Venini Murano Italia: Vase, "Tessuto mosaïco" model, year 1954, mouth-blown filigree glass, signed with an acid stamp under the base, H: 18.7, diameter: 14 cm

Estim. 7 000 - 7 500 EUR

FRANCESCA WOODMAN (Denver, Colorado, 1958-New York, 1981) Untitled, from "Angels series", Rome, 1977-1978. Gelatin silver print. Later printed by Igor Bakht, stamp on reverse. Signed by George and Betty Woodman, annotated n. 297 "For Igor Kind Ryards" in pencil. PE/FW credit stamp on verso. Provenance: Foster Glasgow private collection. Measurements: 15.5 x 15.5 cm (image); 26 x 21 cm (paper). This photograph belongs to Woodman's Roman period. The blurring of the body, the ghostly presences, the night and the specters make up a suggestive print in which the artist herself is the protagonist. Woodman delves into the hidden part of her own being, trying to make visible what is essentially invisible. In this series, the photographer employs long exposure techniques to capture movement, resulting in blurred figures that seem to fade or merge with their surroundings. This effect creates a sense of dynamism and evokes the idea of ethereal beings or ghosts. He made this series (Angels) in Rome. Between 1975 and 1979, while studying at Providence College of Fine Arts, where Francesca Woodman excelled in her artistic abilities, she was awarded an Honors Program scholarship that allowed her to live for a year in the school's facilities at Palazzo Cenci in Rome. She met and joined a group of artists linked to the Maldoror Gallery and Bookstore. Its owners Giuseppe Casetti and Paolo Missigoi were attracted to all those related to the avant-garde movements, more specifically, those related to futurism, surrealism and symbolism. It was the owners who managed to include Woodman in an exhibition of five young artists at the Ugo Ferranti Gallery, where she was the only American to participate. This became her first solo exhibition. It was in Rome that she produced some of her best known works to this day, such as "On Being an Angel", "Glove Series", "Self-deceit". Her photographs reformulate the image of women, Francesca Woodman was an American photographer known for her intimate black and white self-portraits. She graduated from the Rhode Island School of Design, the University of Fine Arts in Providence. Her photography is characterized primarily by the use of a single model, usually nude. It was usually her, but in various photographs she portrayed several of her friends. The body captured by the camera was usually in motion, due to long exposure times, or the image was not sharp. He also used other techniques, such as masking himself or trying to blend in with the objects or the environment itself. She was born into a family of artists. From an early age, together with her brother Charles Woodman, she was introduced to the art world by her parents, George Woodman and Betty Woodman, who were both fine artists. Today, they manage an archive of more than 800 images of their daughter, 120 of which have been exhibited or published. She belongs to the generation of avant-garde women of the 1970s who claimed their contribution and vision of the world, which also includes activist artists such as Cindy Sherman, Martha Rosler or Ana Mendieta.

Estim. 300 - 400 EUR

Paolo PIVA (1950 - 2017) Table basse modèle Alanda en métal laqué noir et plateau verre 34 x 120 x 70 cm.

Estim. 35 000 - 40 000 EUR

Marguerite LAVRILLIER-COSSACEANU (1893 - 1980) Female torso, 1945-1946 Numbered 2/8 (on the front of the right thigh) Green-brown patina bronze proof Posthumous lost-wax casting Coubertin Signed "Margaret Cossaceanu". Foundry stamp and date (on back of right thigh): 1993 Height: 114 cm; Width: 36 cm; Depth: 32 cm "Her science and great spontaneous gifts place her at the forefront of young modern statuary", wrote Antoine Bourdelle in 1928, of the woman who was his pupil at the Grande Chaumière academy from 1922 onwards, along with Germaine Richier and Alberto Giacometti, and then his collaborator until his death in 1929. At the same time, she became a pupil and practitioner of her Paris-based compatriot, Constantin Brancusi. Born in Bucharest to a mother who taught French and a father who was an engineer, the young woman had already made a name for herself at the fine arts school in her native city, first in the studio of the Symbolist sculptor Dimitrie Paciuera (1873-1932), then in Rome. It was in the Eternal City that she met the man who was to become her husband, André Lavrillier (1885-1958), who won the Grand Prix de Rome for medal engraving in 1914. Acclaimed by commissions and exhibitions, Marguerite Lavrillier-Cossaceanu's work is represented by some thirty works in public collections in France (Musée de la Marine, Musée d'Orsay, Musée de la Monnaie, Cité de la Musique, etc.) and abroad. This is one of the most important models in the work of Marguerite Lavrillier-Cossaceanu (1893-1980). It would appear that the plaster model of this Torso was exhibited at the 1946 Salon d'Automne (no. 812), and again at the 1962 Salon d'Automne (no. 414). The bronze proof acquired in 1955 (AMS 390), kept by the Musée d'Art Moderne de la Ville de Paris, was cast by Susse in 1949. It was shown at the Salon d'Automne in 1949 (no. 851) and at the exhibition organized by Galerie Bernheim-Jeune in 1952. Finally, the work appeared at the Biennale Formes Humaines held at the Musée Rodin in 1968.

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