1 / 3

Description

Boljka, Janez (Subotica Serbia 1931 - 2013 Ljubljana Slovenia), modern bronze sculpture, artist's signature to the side, on rectangular dark granite base, h 14 cm, base dimensions 20 x 14.5 cm, 4351 - 0017

Automatically translated by DeepL. The original version is the only legally valid version.
To see the original version, click here.

420007 
Go to lot
<
>

Boljka, Janez (Subotica Serbia 1931 - 2013 Ljubljana Slovenia), modern bronze sculpture, artist's signature to the side, on rectangular dark granite base, h 14 cm, base dimensions 20 x 14.5 cm, 4351 - 0017

Estimate 80 EUR
Starting price 80 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 29.75 %
Leave bid
Register

For sale on Saturday 13 Jul : 10:09 (CEST)
saarbrucken, Germany
Auktionshaus Saarbrücken
+4968195809366
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.

You may also like

ALESSANDRO MENDINI (Milan, 1931-2019) for Alessi. Bombonera "La Tavola di Babele", "Peyrano" Collection. 1990. Stainless steel. In original box. Measurements: 12 x 28 x 18 cm. Alessandro Mendini is one of the main personalities of the Italian Radical design movement, as well as an important planner, designer and critic of the Italian panorama. Trained at the Polytechnic of Madrid in 1959, his activity was not limited only to architecture, but also excelled in the field of design. His theoretical work was also very important, both with the famous Studio Alchimia and with his brother Francesco, also an architect, with whom he founded the Atelier Mendini (1989). He was director of Casabella (1970-1976) and Domus (1980-1985 and 2010-2011), and founder of the magazines Modo (1977) and Ollo (1988). Mendini collaborated with renowned international brands such as Alessi, Bisazza, Cartier, Hermès, Philips, Swatch and Venini, for which he designed collections of household items, objects and furniture. Also worth mentioning are the Anna G. corkscrew for Alessi (1994) and, in the new century, the luxurious column for Cartier (2002), the Magis Proust armchair for Magis (2011) and the Amuleto lamp (2013) for Ramun. At the architectural level, his creations include the Alessi factory in Omegna, the Byblos Art Hotel-Villa Amistà in Verona and the multifunctional complex (including the municipal theater) in Arezzo, among other buildings. Outside Italy, the Paradiso Tower in Hiroshima (Japan), a neighborhood in Lugano (Switzerland), the Madsack headquarters in Hannover and a commercial building in Lörrach (Germany), as well as numerous buildings in Europe, the United States and Asia. His numerous awards include two Compasso d'Oro design awards (1979 and 1981). He also received the New York Architectural League Award, the honorary degree from the Milan Polytechnic and the Ecole Normale Supérieure de Cachan (France), and the 2015 European Architecture Prize.

ALESSANDRO MENDINI (Milan, 1931-2019), DIETER SIEGER (Munich, 1938) and MASSIMO GIACON (Padua, 1961). Four crystal glasses. For Ritzenhoff, 1997. 1 beer glass, 1 shot glass, designed by Alessandro Mendini. 1 shot glass, designed by Dieter Sieger. 1 beer glass, designed by Massimo Giacon. With 5 coasters for each glass. All in its original box except one beer glass by Mendini. Measurements: 25 x 7,5 cm; 11,5 x 1 x 1 x 1 cm; 11,5 x 4 x 4 x 4 cm. Alessandro Mendini is one of the main personalities of the Italian Radical design movement, as well as an important planner, designer and critic on the Italian scene. Trained at the Polytechnic of Madrid in 1959, his activity was not limited only to architecture, but also excelled in the field of design. His theoretical work was also very important, both with the famous Studio Alchimia and with his brother Francesco, also an architect, with whom he founded the Atelier Mendini (1989). He was director of Casabella (1970-1976) and Domus (1980-1985 and 2010-2011), and founder of the magazines Modo (1977) and Ollo (1988). Mendini collaborated with renowned international brands such as Alessi, Bisazza, Cartier, Hermès, Philips, Swatch and Venini, for which he designed collections of household items, objects and furniture. Also worth mentioning are the Anna G. corkscrew for Alessi (1994) and, in the new century, the luxurious column for Cartier (2002), the Magis Proust armchair for Magis (2011) and the Amuleto lamp (2013) for Ramun. Dieter Sieger studied architecture at the Werkkunstschule Dortmund and founded, after his examination in 1964, his own architectural office. At first he designed houses, later he created the interiors of sailing and motor yachts, and from 1980 he started his third career with product and stand designs. In 1987 he designed the Giamo bathroom series for Duravit. Sieger optimized the new design concept by using the distinctive shape of the ceramics and the perfectly matched bathroom furniture. In the following years, other successful bathroom series such as Dellarco, Laviellette or Darling were created. Dieter Sieger is one of the most innovative and successful designers in the bathroom segment. In 2003, his two sons took over the company: Michael, the creative director (born 1968) studied industrial design at the University of Essen and product design at the University of Münster. Together with his brother Christian (b. 1965), the director, they continue to develop successful bathroom concepts for Duravit: 2nd floor, Darling New, X-Large and Happy D.2. Sieger Design also creates products for companies such as Arzberg, Dornbracht, Sony or WMF.

ALESSANDRO MENDINI (Milan, 1931-2019) for Tendentse. Vivo Wall vase. Porcelain. Measurements: 8 x 16 x 23 cm. Alessandro Mendini is one of the main personalities of the Italian Radical design movement, as well as an important planner, designer and critic of the Italian panorama. Trained at the Polytechnic of Madrid in 1959, his activity was not limited only to architecture, but also excelled in the field of design. His theoretical work was also very important, both with the famous Studio Alchimia and with his brother Francesco, also an architect, with whom he founded the Atelier Mendini (1989). He was director of Casabella (1970-1976) and Domus (1980-1985 and 2010-2011), and founder of the magazines Modo (1977) and Ollo (1988). Mendini collaborated with renowned international brands such as Alessi, Bisazza, Cartier, Hermès, Philips, Swatch and Venini, for which he designed collections of household items, objects and furniture. Also worth mentioning are the Anna G. corkscrew for Alessi (1994) and, in the new century, the luxurious column for Cartier (2002), the Magis Proust armchair for Magis (2011) and the Amuleto lamp (2013) for Ramun. At the architectural level, his creations include the Alessi factory in Omegna, the Byblos Art Hotel-Villa Amistà in Verona and the multifunctional complex (including the municipal theater) in Arezzo, among other buildings. Outside Italy, the Paradiso Tower in Hiroshima (Japan), a neighborhood in Lugano (Switzerland), the Madsack headquarters in Hannover and a commercial building in Lörrach (Germany), as well as numerous buildings in Europe, the United States and Asia. His numerous awards include two Compasso d'Oro design awards (1979 and 1981). He also received the New York Architectural League Award, the honorary degree from the Milan Polytechnic and the Ecole Normale Supérieure de Cachan (France), and the 2015 European Architecture Prize.

JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005). "Still life", 1969. Oil on canvas. With Sala Gaspar label on the back. Measurements: 46 x 55,5 cm; 48 x 57 cm (frame). In this work Hernández Pijuan takes the classic genre of the still life and gives it an apparently figurative treatment. However, he essentializes the theme and spiritualizes it, giving it a metaphysical cadence. The two eggs seem to float in the void, despite the shelf on which they sit, slightly darker in color than the background. Pijuan echoes here the symbolic charge of baroque still lifes. The eggs could represent the cycle of life and death. Because of their fragility they are a metaphor for the fragility of life. They also symbolize perfection, but also the duality of human nature. The painting could also be seen as a commentary on the nature of art and its power. This work can be related to "Espai marró amb ou" (1970) from the Reina Sofía Museum Collection. Joan Hernández Pijuan began his training in Barcelona, attending the Schools of La Lonja and Fine Arts of Sant Jordi, and then completed his training at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a singular position among the Spanish artists of the last decades. The strength of his creative individuality places him at the margin of the successive dominant trends and fashions, but does not prevent us from recognizing in his work a profound identification with the aesthetic concerns of his time. Hernández Pijuan began his career practicing a tragic expressionism of great social charge, and in these times he formed, together with the rest of the members of the Sílex Group, the so-called Barcelona School. In the seventies he simplified his expression to the point of adopting a geometric figuration, a style that he left behind in the following decade to focus on informalism. In fact, the interest and fascination for the career of this painter continues more than ever, and is the subject of new exhibitions and public displays of his work. During his lifetime he exhibited individually in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 an important retrospective exhibition was dedicated to him at the MACBA in Barcelona, which was later shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museum of Spanish Abstract Art in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed academician of the Real Academia de San Fernando in Madrid. In 1981 he received the National Prize for Plastic Arts, in 1985 the Sant Jordi Cross and, in 2004, the City of Barcelona Award. He was also awarded the Prize of the General Directorate of Fine Arts at the National Exhibition of Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Biennial of Engraving in Ljubljana (1965), the International Biennial of Engraving in Krakow (1966) and the prize of the editorial office "Vijesnik u Srijedu" in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museum of Spanish Abstract Art in Cuenca, the Reina Sofía in Madrid, the Patio Herreriano Museum in Valladolid and the Basque Museum of Contemporary Art, as well as in foreign centers such as the Guggenheim Museum in New York, the Liaunig (Austria), those of Contemporary Art of Helsinki and Luxembourg, the Kulturstiftung of Bad Homburg (Austria), the Yamaguchi Gallery of Osaka (Japan), the Palace of Fine Arts of Brussels, the National Gallery of Montreal, the Museum of Modern Art of Buenos Aires and the Sztuki Museum of Lodz (Poland).