Null Ron English
Polaroid 600 Ron English, 2022
Sculpture : object
Numbered and …

Beschreibung

Ron English Polaroid 600 Ron English, 2022 Sculpture : object Numbered and limited to 400 copies. In original box. Brand new and unopened. Edition out of print. 15 x 12 x 10 cm

242

Ron English Polaroid 600 Ron English, 2022 Sculpture : object Numbered and limited to 400 copies. In original box. Brand new and unopened. Edition out of print. 15 x 12 x 10 cm

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Schätzw. 2 000 - 3 000 EUR

A SPECIAL-ORDER .45-75 WINCHESTER MODEL 1876 LEVER-ACTION SPORTING RIFLE, serial no. 26017, for 1882, second model, with octagonal 28in. barrel signed by the maker on the top-flat and with retailer's marking 'PETRUS CLAASEN INKRUHPERFONTEIN' to the left upper side-flat, engine matting to the sighting plane, block and dove-tailed blade fore-sight, 'Africa' rear-sight comprising a ladder together with six graduated folding leaves, each with platinum line and a further standing notch rear-sight, the breech end of barrel with Birmingham period proofs and marked 'ENGLISH PROVED' behind the retailers mark, slab-sided receiver, the sliding dust-cover running on an applied mount, replacement extractor-claw, exposed hammer, the top-tank marked in script 'WINCHESTER MODEL 1876', walnut straight-hand butt-stock, crescent heel-plate with central trapdoor, single-set trigger (set not functioning), walnut fore-end and full-length under-barrel tubular magazine. Sold as an exempt item under Section 58 (2) of the 1968 Firearms Act, to be held as a curiosity or ornament * Please note this item is subject to 5% VAT on the hammer price (UK Buyers only).

Schätzw. 1 500 - 1 800 EUR

PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Harlequin's Head", 1928. Drypoint on laid paper, copy 9/12. Signed in plate: PG 28. With hand-painted period frame. Presents some lack of polychrome. Some stains on the paper. Measurements: 18 x 13 cm (plate); 22 x 17 cm (paper); 43 x 37 cm (frame). Rare print by the artist. Only one edition of 12 numbered copies was made of this work. The Pablo Gargallo Museum has the original plates of the only four drypoint engravings by Gargallo (Self-Portrait, Harlequin's Head, Female Nude and Ballerina). Pablo Gargallo is considered the precursor of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training, in the workshop of the sculptor Eusebio Arnau and in the School of La Lonja, with Venancio Vallmitjana as his main teacher. At the height of Modernism in Barcelona, Gargallo frequented the gatherings of "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. That is why his first works are influenced by Modernism, as is the case of the decoration of Barcelona buildings that he made in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Cruz y San Pablo or the Palau de la Música. In 1903 Gargallo obtained a scholarship that allowed him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, his trips there would be frequent. In this city he found the aesthetic formulations of cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, trying to find the authentic three-dimensional expression of the cubist postulates. During these years he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he made his first masks, pieces of great simplification made with cut sheet metal, linked to the cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and exalt the voids through the penetration of light into the interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From this moment on his style acquires a very personal dimension, derived from his interpretation of cubism, based on the search for a formal synthesis of the figure in geometric planes always fluid, replacing conventional materials with wrought iron sheets, and introducing a new sculptural language by introducing the void as volume and giving his figures a great expressive dramatism. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofia in Madrid, among many others.

Schätzw. 200 - 300 EUR

ACISCLO MANZANO FREIRE (Orense, 1940). "Face". Sculpture in patinated bronze, copy 2/34. Marble base. Signed on the base and numbered on one side. Measurements: 6 x 5 x 7 cm; 5 x 5,5 x 6,5 cm (base). Acisclo Manzano is a Galician sculptor who studied at the Escola de Formación Profesional Acelerada and at the Escola de Artes e Oficios de Santiago de Compostela, expanding his knowledge with a period in the workshop of Francisco Asorey. Together with Xaime Quessada and Xosé Luís de Dios, he was part of the group "O volter", and of the group "Siete Artistas Galegos" with Nanuel Buciños, Arturo Baltar, Virxilio Fernández Cañedo and Xavier Pousa Carrera. He began following a style close to expressionism, characterized by an extraordinary strength, to later move towards vaguely figurative forms, with a marked air of reclusion. It is necessary to emphasize the so-called "Ibizan stage", directly inspired by the reliefs of the Phidias of the Parthenon of Athens. He has shown his work in numerous exhibitions (both in Spain and abroad), and it is kept in several public places (Santiago de Compostela, Lalín...) and in various collections (MusarqOurense, Afundación, Real Academia Galega de Bellas Artes de Nuestra Señora del Rosario, etc.).

Schätzw. 3 000 - 4 000 EUR

Spanish-Filipino school; late 18th century. "Crucifixion". Carved ivory and ebony and tortoiseshell cross. Attached Cites and certificate of the Association of Antique Dealers. Measurements: 17 x 15 x 4 cm; 73 x 24 x 14 x 14 cm (cross). The realization of the figure of Christ in ivory has a long tradition in the history of art. On the one hand, it is a noble material, of beautiful appearance, with a light tone very appropriate for imitating flesh tones. On the other hand, its color and texture make it similar to marble, a material that, due to its weight and properties, cannot be used for the figure of the crucified, which must be nailed to a cross. This piece was made entirely from a single piece of ivory, with the exception of the arms, which, due to the limitations of the shape of the elephant's tusk, were worked separately and then assembled. Through the maritime commercial routes, the appreciated oriental products arrived in Spain, which satisfied the great demand for luxurious and exotic objects. Ivory, a material of luxury and high esteem, meant prestige, economic and social power for its owner, and religious imagery made of this material was especially appreciated, designed for private devotion and often donated by the powerful to religious centers as a token of faith. This Hispano-Filipino Christ reveals a set of artistic influences that fills it with content. It is a work of art made under the Spanish influence, filtered through America, and carved in the Philippines by both local and Chinese artists settled in the archipelago. The Sangleyes or Chinese of the Philippines, urged by the demand for Christian religious works, attended the Spanish orders having as models sculptures, prints or engravings sent from the metropolis, but without forgetting the features of the oriental anatomy. For this reason, the eyes are slanted, with bulging eyelids made with a double flange, configuring a face with protruding cheekbones that departs from the classical ideal of contemporary Europe. The anatomy, on the other hand, shows a clear classical base combined with the baroque naturalism typical of this type of pieces since the 17th century, but nevertheless denotes an introspective and hieratic sense that we do not find in European pieces. In fact, all these different characteristics, typical of its oriental origin, were highly appreciated in the metropolis. Attached Cites and certificate of the Antique Dealers Association.

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