Null SANS RESERVE
BAGUE JONC ELARGI
En or gris, pavée de diamants en torsade.
TD…

Description

SANS RESERVE BAGUE JONC ELARGI En or gris, pavée de diamants en torsade. TDD : 55 ; US : 7 1/2 (légèrement modifiable). A diamond and 18k gold ring. No reserve. RC : Poids brut : 18,7 g (18k - 750).

466

SANS RESERVE BAGUE JONC ELARGI En or gris, pavée de diamants en torsade. TDD : 55 ; US : 7 1/2 (légèrement modifiable). A diamond and 18k gold ring. No reserve. RC : Poids brut : 18,7 g (18k - 750).

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Estim. 200 - 400 EUR

Steve Jobs 1992 NeXTWORLD Expo 'Keynote Presentation' VHS Cassette Tape Uncommon VHS cassette tape of Steve Jobs’s historic keynote presentation at the inaugural NeXTWORLD Expo, which was held at San Francisco's Civic Auditorium and Brooks Hall on January 22-24, 1992. On the second day, Jobs thrilled attendees when he demoed NeXTSTEP Release 3, NeXT's modern operating system and developer platform, and introduced improved NeXTstation systems scheduled for release in 1992. The tape’s label reads: “Steve Jobs / Keynote Presentation / NeXTWORLD Expo, 1/23/92 / 1992 NeXT Computer, Inc. / All rights reserved / 1M4901 / 1:50:49.” Includes its original paper slipcase, which bears wear and stains. In fine condition. Having resigned from Apple in the fall of 1985, Jobs founded the innovative NeXT project, a computer and software company aimed at the markets of business and higher education. The first NeXT Computer was introduced in 1988, and then the smaller NeXTstation two years later. While computers encountered subpar sales, the NeXTSTEP operating system and development environment proved highly influential. Apple purchased NeXT in 1997 for $429 million and 1.5 million shares of Apple stock, with Jobs, as part of the agreement, returning to the company he had co-founded in 1976.

Estim. 1 500 - 1 600 EUR

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Bullring". Watercolor on paper. Measurements: 17 x 23 cm; 45 x 50 cm (frame). What we call immobility is nothing more than a limiting case of slowness in movement, an ideal limit that nature never achieves. This was written by the French philosopher Henri Bergson, and this same principle is materialized by these bullfighters of Manolo Hugué, whose postures translate the dense tension of the instant in the ring. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theorists such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.

Estim. 3 500 - 4 000 EUR

DANIEL VÁZQUEZ DÍAZ (Nerva, Huelva, 1882 - Madrid, 1969). "The bathers". Oil on canvas. Signed in the lower right margin. Measurements: 57,5 x 68,5 cm; 70 x 82 cm (frame). This painting belongs to the Parisian stage of Daniel Vázquez Díaz, initial period of his career in which he knows the main protagonists of the avant-garde. However, he remains faithful to himself. He seeks his own heartbeat in the reality that surrounds him. The joy of living, the sensuality of young bodies harmonizing with nature, are themes that interest him at that time because they express his own feelings. The bathers by the river of crystalline waters have been resolved with a precise drawing, conjugated with luminous ranges. Daniel Vázquez Díaz began to paint in his student years, after discovering the work of Zurbarán and El Greco. In 1903 he moved to Madrid to focus on painting and copy the masters of the Prado, and there he became friends with Juan Gris, Solana and Dario de Regoyos. Three years later he settled in Paris, where he worked with the sculptor Antoine Bourdelle and met Picasso, Braque, Modigliani and Max Jacob, among others, and assimilated a certain avant-garde spirit. During these years he began to develop his personal style, which mixed the constructive brushstrokes of Cézanne with the geometric structure and planes of cubism. Upon his return to Spain in 1918, he began teaching, first in his studio and later at the San Fernando School of Fine Arts, where he obtained the chair of mural painting in 1932. Through his classes, Vázquez Díaz will spread a cubism of architectural monumentality, and that serves as a bridge to the young artists with the trends that were developing in the rest of Europe. In addition to being an excellent landscape painter, Vázquez Díaz stood out as an illustrator and portraitist of some of the most important figures of his time. Among his mural works, it is worth mentioning those made for the monastery of La Rábida in Huelva, between 1927 and 1930, which consecrated him as a painter. In 1968, a year before his death, he was appointed member of the Academy of San Fernando. He is currently represented in the Reina Sofía National Museum, the museum that bears his name in Nerva, the Patio Herreriano in Valladolid, the Telefónica Foundation and the Fine Arts Museums of Bilbao and Seville, among others.

Estim. 300 - 600 EUR

A BLUE AND WHITE DECORATED CELADON-GROUND JARDINIERE, QING DYNASTY A BLUE AND WHITE DECORATED CELADON-GROUND JARDINIERE, QING DYNASTY China, 1644-1912. Heavily potted, the flared sides decorated in blue and white with three bands reserved against a celadon-glazed ground, enclosing a design of confronting kuilong in the center framed by ruyi heads below the rim and floral lappets above the base, the foot and base left unglazed. Provenance: French trade. Condition: Good condition with minor wear, traces of use to the interior, and firing irregularities including glaze recesses and kiln grit. Minor chips and light scratches. The aperture at the center of the base is inherent to manufacture. Weight: 7 kg Dimensions: Diameter 36.7 cm, Height 24.8 cm The base with a central aperture plugged by an old cork stopper. (2) Auction result comparison: Type: Related Auction: Bonhams San Francisco, 24 April 2006, lot 8260 Price: USD 5,975 or approx. EUR 8,200 converted and adjusted for inflation at the time of writing Description: A pair of blue and white porcelain vases with celadon glaze, 19 th century Expert remark: Compare the closely related blue and white decoration on a celadon-glazed ground with similar kuilong design. Note the different form, the size (31.5 cm), and that the lot comprises a pair.

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