Glisenti-Bodeo Mod. 1889
Cal. 10,4mmItalOrd, SN. 6512, matching numbers. Rough …

Description

Glisenti-Bodeo Mod. 1889 Cal. 10,4mmItalOrd, SN. 6512, matching numbers. Rough octagonal barrel, length 115 mm. Six-shot. German proof mark 1971. Manufactured 1917, manufacturer illegible due to rebluing. On right front of frame "RP" in oval and crown/"R.E.", on left side of frame "Hege". Reworked, reblued. Dark wooden grip panels. Tang ring. WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealer - more info here Condition: III

12385

Glisenti-Bodeo Mod. 1889

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Estim. 2 400 - 3 600 EUR

Hannah Höch, "Katzen" fantastic, slightly abstract depiction of a group of four cats looking at the viewer, typical work of the artist, mixed media (watercolour and opaque colours) on paper, monogrammed lower left "H. H." and dated in pencil "1932" (instead of 1937), signed "Höch" and dated "(19)37" in lead on the reverse, as well as stamp "Hannah Höch/Nachlass Sammlung/König Höch", mounted in passepartout and estate stamp with monogram in lead "GK", titled and dated again on the reverse cardboard and labelled "Japan Kat. No. 103", this probably refers to the exhibition "Das künstlerische Schaffen einer Malerin des DADA", National Museum of Modern Art, Kyoto, Japan 1974, and furthermore "K 37" in pencil, dimensions and estate stamp, mounted in passepartout and framed behind glass, sheet dimensions approx. 20.5 x 16 cm. Artist information: also Hoech, actually Anna Therese Johanne Höch, German painter, collage artist. Painter, collage artist, photographer and graphic artist (1889 Gotha - 1978 West Berlin), representative of Dadaism, studied 1912-14 at the Kunstgewerbeschule Berlin-Charlottenburg under Harold Bengen, 1915 student at the Kunstanstalt am Kunstgewerbemuseum Berlin under Emil Orlik in Berlin, 1916-26 worked for Ullsteinverlag, 1919 co-founder of "Dada-Berlin", from 1920 member of the November Group, 1924 stay in Paris, 1926-29 stay in Holland and member of the "Onafhankelijken (The Independents)", 1932 moved to Berlin, 1933-45 ostracised as "degenerate" and banned from exhibiting, 1965 member of the Akademie der Künste Berlin, 1976 honorary professorship of the City of Berlin, source: Vollmer, Dressler, files of the Reichskammer der Bildenden Künste Berlin, "Wege zu Gabriele Münter und Käthe Kollwitz" and Wikipedia.

Starting price 250 EUR

ROUSSEAU (Jean-Jacques). Œuvres posthumes, ou Recueil de pièces manuscrites, pour servir de Supplément aux Éditions publiées pendant sa Vie. Genève, sn (Société typographique), 1781-1782. 9 volumes in-8, marbled basane, smooth spine decorated, tan and green marbled title pages (period binding). Covers and corners worn, gnawing at tail of first volume, spotting in places. One folding table. First 9 volumes of the Œuvres posthumes collection (complete in 15 volumes for the 2 supplements), containing one of the first editions of the first part of the Confessions (volumes VIII and IX) and the first edition of the Rêveries du Promeneur solitaire (volume IX). The original edition of the Confessions has been the subject of controversy according to various bibliographers, between the separate "large print" edition and volumes X (for the in-4 edition), XIX and XX (for the in-8 edition), XX and XXI (for the in-12 edition) of the Œuvres complètes collection, and volumes VIII and IX of the Œuvres posthumes, all dated 1782 in Geneva. Recent research, based on comments published in the June 1782 issue of the Journal Helvétique, tends to consider the separate edition of the first part of the Confessions to be the original. (Dufour 340; Rousseau, Œuvres complètes, T. I, Bibliothèque de la Pléiade, Gallimard p. 1889; Tchemerzine X, 62-63).

Estim. 12 000 - 14 000 EUR

RAMON CASAS CARBÓ (Barcelona, 1866 - 1932). "Seated lady". Mixed media (pastel and charcoal) on paper. Signed in the lower right corner. With "Pèl i Ploma" stamp in the lower right corner. This drawing was conceived as a gift for the subscribers of the magazine. Measurements: 32 x 25 cm; 48 x 41 cm (frame). Drawing made by Ramon Casas for the artistic and literary magazine "Pèl i Ploma", of which 100 issues were published between 1899 and 1903. Casas himself financed its edition and was its artistic director and main illustrator, while Miquel Utrillo was in charge of the literary section and Emilio Galcerán was in charge of the administrative part. It was one of the most representative magazines of Catalan modernism, a driving force of this movement and a platform for the dissemination of modern art. In this work Casas represents an elegant lady dressed according to the bourgeois fashion of the beginning of the century. It is an image charged with instantaneity, typical of the feminine representations of the Catalan school of the late 19th century. It combines the formal sensuality of the sinuous and expressive line, typically modernist, with the great realism with which a strictly contemporary image has been captured. It is a work closely linked to the graphic design of the time; the expressive linearity, the sobriety of the colors and the attention to current themes, coincide with the features of the posters and illustrations for magazines. An outstanding painter and draftsman, Casas began painting as a disciple of Joan Vicens. In 1881 he made his first trip to Paris, where he completed his training at the Carolus Duran and Gervex academies. The following year he participated for the first time in an exhibition at the Sala Parés in Barcelona, and in 1883 he presented a self-portrait at the Salon des Champs Elysées in Paris, which earned him an invitation to become a member of the Salon de la Societé d'Artistes Françaises. He spent the following years traveling and painting between Paris, Barcelona, Madrid and Granada. In 1886, suffering from tuberculosis, he settled in Barcelona to recover. There he came into contact with Santiago Rusiñol, Eugène Carrière and Ignacio Zuloaga. After a trip through Catalonia with Rusiñol in 1889, Casas returned to Paris with his friend. The following year he took part in a group exhibition at the Sala Parés, together with Rusiñol and Clarasó, and in fact the three of them continued to hold joint exhibitions there until Rusiñol's death in 1931. His works at this time are halfway between academicism and French impressionism, in a sort of germ of what would later become Catalan modernism. His fame continued to spread throughout Europe, and he held successful exhibitions in Madrid and Berlin, as well as participating in the Chicago World's Fair of 1893. Casas settled permanently in Barcelona, immersed in the modernist environment, although he continued to travel to Paris for the annual salons. He financed the premises that would become a point of reference for the modernists, the café Els Quatre Gats, inaugurated in 1897. Two years later he organized his first individual exhibition at the Sala Parés. While his fame as a painter grew, Casas began to work as a graphic designer, adopting the Art Nouveau style that came to define Catalan Modernism. In the following years his successes followed: he presented two works at the Universal Exhibition in Paris in 1900, won a prize in Munich in 1901, several of his works were included in the permanent exhibition of the Círculo del Liceo, had several international exhibitions and, in 1904, won first prize at the General Exhibition in Madrid. He is represented in the Prado Museum, the National Museum of Art of Catalonia, the Reina Sofia National Museum, the Thyssen-Bornemisza Museum, the Museum of Montserrat, the Cau Ferrat in Sitges, the Camón Aznar Museum in Zaragoza and the Contemporary Art Museums of Barcelona and Seville, among many others.

Starting price 150 EUR

G. LORING (1814-1889), View of Olevano, 1880, George Loring Loring (1814 - 1889 ): View of Olevano and the surrounding countryside, 1880, Etching Technique: Etching on Paper Date: 1880 Description: Olevano, near Rome. In front with staffage figures. Behind it, a wide panoramic landscape opens up with the towers and roofs of the city in the distance Source: American Art Review, No. 1880/81 | Magazine, Science, Fashion Keywords: Olevano, Olevanno Romano, place of longing, longing for Italy, Mediterranean, landscape panorama, journey, 19th century, Romanticism, Landscape, Italy, Size: Paper: 21,7 cm x 30,2 cm (8,5 x 11,9 in), Plate: 15,2 cm x 22,1 cm (6 x 8,7 in), Depiction: 13,2 cm x 19,8 cm (5,2 x 7,8 in) Condition: Rather good condition. The paper has discoloured slightly due to its age, particularly around the edges

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