Null CENEK VOSMIK (Austria, 1860-1944)
St. Ludmila of Bohemia educating her gran…

Description

CENEK VOSMIK (Austria, 1860-1944) St. Ludmila of Bohemia educating her grandson Prince Wenceslas . Sculpture . Sculpture in bluing bronze signed. With foundry stamp "Fec. Anyz" (Franta Anyz). Measures: 32 x 16 x 20 cm

1455

CENEK VOSMIK (Austria, 1860-1944) St. Ludmila of Bohemia educating her grandson Prince Wenceslas . Sculpture . Sculpture in bluing bronze signed. With foundry stamp "Fec. Anyz" (Franta Anyz). Measures: 32 x 16 x 20 cm

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Estim. 100 - 250 EUR

Set of 4 volumes from the L'UNIVERS PITTORESQUE collection on Germany: 1. ROUX DE ROCHELLE (Jean-Bapt.-Gaspard): Villes anséatiques. Paris, Firmin Didot Frères, 1844. One volume. 14 by 22 cm. (8)-398 pp. + 22 plates + 1 folding map. Paperback, printed cover, uncut. Bottom cover slightly stained. Light spotting in the margins of half the pages, and in the margins of the engravings, and some foxing. 2. LE BAS (Ph.): Allemagne. Paris, Firmin Didot, 1839. 2 volumes. 13.5 by 21.5 cm. (4)-495 pages + 100 plates h.t. and (4)-480 pages + 100 plates h.t. + 2 folding maps h.t. Modern bradel boards, covers preserved. Light spotting in the lower margin of half the pages of Volume 1, a few brown spots, otherwise a very good copy. Very well illustrated with 200 plates. 3. LE BAS (Ph.): États de la Confédération germanique pour faire suite à l'histoire générale de l'Allemagne. Paris, Firmin Didot, s.d. [1842]. One volume. 13.5 by 21.5 cm. Multiple pagination + 76 plates h.t. Modern bradel boards, cover boards preserved. Scattered foxing. This work is divided into 8 parts: 1) Austria, 2) Bohemia, 3) Hungary, 4) Saxony, 5) Prussia, 6) Bavaria, 7) Württemberg, 8) Grand Duchy of Baden, Hessian states, states of the House of Brunswick, and small sovereign principalities of the German Confederation. A beautiful set.

Estim. 250 - 300 EUR

MARINO AMAYA (Astorga, León, 1927-Andalusia, 2014). Untitled. Patinated bronze. Signed in burin at the bottom of the back. Measurements: 12 x 5 x 5 x 5 cm (figure); 3 x 5.5 x 5.5 x 5.5 cm (base). Born in Astorga, Marino Amaya was in his early years shepherd, carpenter and weaver, although with only fifteen years he obtained his first commission as a sculptor, a statue of Santiago Apostle carved in stone. He began his artistic training at the School of Arts and Crafts in Salamanca, where he obtained a scholarship to travel to Madrid in 1945, in order to further his education. Four years later, in 1949, he began a long study trip that took him to France, Italy, Austria, Holland, Denmark, Norway, Sweden, Germany, Greece and, outside Europe, Egypt and Palestine. In 1950 Amaya returned to Spain and participated in the National Exhibition of Fine Arts in Madrid, being awarded a silver medal. This success earned him in 1951 an important commission from the bishopric of León, a grandiose monument dedicated to the Immaculate Conception. The following year he held his first exhibition, which took place at the Association of Writers and Artists of Madrid, and in 1954 he was presented for the first time in León, in an exhibition organized by the Provincial Council. Still in this decade he held exhibitions at the Ateneo de Santander (1956) and the Romantic Museum of Madrid (1957). In the sixties he worked intensely, also holding exhibitions in various Spanish capitals, in centers such as the Círculo de Bellas Artes in Madrid (1962). Also during these years he made the international leap, appearing in 1961 in Rio de Janeiro. He will continue with his exhibition career in the seventies, and in 1974 he is named favorite son of Astorga, a town where a street will also be dedicated to him. In 1981 he held an outstanding exhibition at the Zoma Gallery in New York, where fifteen of his works were acquired by the Rockefeller Foundation. That same year he moved to Marbella, the city where he would live and work from then on, in conjunction with his studio in Madrid. In 1985 Pope John Paul II granted him an interview to see his work "The Right to Life", which was blessed by the Holy Father and is now part of the Vatican collection. This sculpture will initiate the creation of a series of works that Amaya dedicates to the life of children. Also very present in his work are animal figures, especially dogs and cats. He is a sculptor very committed to public sculpture, and today we can find works by his hand in public places all over Spain, as well as in the Mateo Hernández Museum in Béjar and other public and private collections.

Estim. 1 400 - 1 600 EUR

Spanish or Novo-Hispanic school; second half of the 18th century. "Saint Anthony of Padua and Saint Christopher". Oil on canvas. Relined. It has a frame of the nineteenth century, c. 1860. Measurements: 66 x 59 cm; 83 x 73 cm (frame). During the baroque and in a more consolidated way in later times, scenes were popularized where several saints starred in images together with a didactic purpose, since they represented analogous concepts. In this particular case it is the representation of St. Anthony of Padua holding Jesus in his hands and next to him we recognize the legend of St. Christopher, that giant who carried on his shoulders a child he did not know, only out of kindness, to help him cross a river. That child turned out to be Christ, which made him the patron saint of travelers. The two monumental and placed figures cover the entire scene that develops in an open landscape, in whose distance another religious figure can be appreciated, located in the right zone of the composition. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.

Estim. 1 000 - 1 200 EUR

CARLES RIART (Barcelona, 1944) for Santa&Cole. Suspension lamp "Estelar". 1999. Gilded metal. Measurements: 30 cm x 60 cm x 60 cm. Suspension lamp designed by Carles Riart and produced by Santa&Cole in 1999. A great hemispherical screen of golden metal projects multiple points of light by its orifices so that in the ceiling it simulates a starry sky, of there its name "Stellar". In the lower, open part, there is a methacrylate plate that allows a warmer light to be projected downwards. Futuristic design and great personality, a hallmark of Riart's designs since its inception. Carles Riart is a renowned Catalan designer and interior designer. Trained as a designer at the Eina school, his knowledge of the cabinetmaker's trade has allowed him to create designs with techniques more typical of craftsmanship than of industry, often working with very limited series or even with unique pieces, and with traditional procedures. However, some of her work has been included in the catalogs of companies such as Muebles Casas, Disform, Mirexsa, Mobles 114, Santa & Cole, Tramo and Knoll International.

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