Null PIETRO LINGERI
PAM leather goods display counter, Genoa, Italy. Enameled me…

Description

PIETRO LINGERI PAM leather goods display counter, Genoa, Italy. Enameled metal, laminated wood panelled in walnut burl, ground glass, brass. Italy 1930s. 85x200x61 cm. A COUNTER BY P. LINGERI Good condition. Scuffing, signs of wear, minor missing veneer, halo levi, minor oxidation. Lower drawer runners to be overhauled

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PIETRO LINGERI PAM leather goods display counter, Genoa, Italy. Enameled metal, laminated wood panelled in walnut burl, ground glass, brass. Italy 1930s. 85x200x61 cm. A COUNTER BY P. LINGERI Good condition. Scuffing, signs of wear, minor missing veneer, halo levi, minor oxidation. Lower drawer runners to be overhauled

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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. 6 500 - 7 500 EUR

Fine, long pair of Italian flintlock pommel pistols. Smooth round barrels, decorated halfway up the muzzles with chevrons and foliage, and with recessed grooves at the thunderbolts. signed "Lazarino Cominazzo". Silver sights. Gooseneck plates and dogs engraved and chased with foliage scrolls and flowers. Round iron basins. Beautiful cut-out iron fittings. Counterplates, thumb pieces, long-eared pommels and bridges; all engraved and worked on the sides. Light walnut mounts with carved shafts. Wooden rods with iron tips. Caliber: 14 mm, length: 47.5 cm. B.E. Circa 1670-1680. Lazarino Cominazo, Brescia, 1646-1680

Estim. 15 000 - 18 000 EUR

Italian school; first half of the seventeenth century. "Expiring Christ". Silver plated bronze. Measurements: 29 x 28 x 5 cm; 38 cm (base). The Crucifix, of great executive quality, is part of the group of bronzes of this type of the Giambolo-Gnesco circle, datable between the late sixteenth and early seventeenth century. The work proposed here presents similarities with well-known examples such as: two crucifixes in the Convent of the Santissima Annunziata, Florence; the one in the Smith College Museum of Art, Northampton; another in a private collection, Siena (reproduced in P. Torriti, fig. 77); another in a private collection, Siena (reproduced in P. Torriti, fig. 77); and another in the Smith College Museum of Art, Northampton. Torriti, fig. 77); three other examples in private collections (Exhibition catalog: "Giambologna 1529-1608", 1978, nos. 99, 100, 101); also the hybrid variant of the "semi-living Christ" in the Municipal Museum of Douai. Because of the linearity of the folds of the loincloth, it is revealed as a work of the generation after Giambologna, who preferred flat fabric surfaces. It is distinguished from the examples cited above by its vigorous anatomical articulation and the refined and detailed execution of the features of the beautiful face and hair. While in the examples we have mentioned Christ turns his head upwards and to the right, the Christ we are examining is the only example in which the head is reclined to the left. head is reclined to the left, in accordance with the graphic archetype from which the living Christ of Giambologna's sculpture derives, that is, the Crucifix designed by Michelangelo for Vittoria Colonna around 1540 (London, British Museum, inv. 1895-9-15-504r). Cf. Giambologna 1529- 1608. Sculptor to the Medici, exhibition catalog Edinburgh, London, Vienna, edited by C. Avery, A. Radcliffe, London 1978, nos. 98-104, pp.140-142. (K.J. Watson); P. Torriti, Pietro Tacca da Carrara, Genoa, 1984; M. Tommasi, Pietro Tacca, Pisa, 1995; E. D. Schmidt, Scultura sacra nella Toscana del Cinquecento, in Storia delle arti in Toscana: il Cinquecento, edited by R. P. Ciardi, Florence, 2000, pp. 231-254, in particular p.248 with note 83. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the fourth century. It is one of the most recurring themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with open eyes and erect body; the patiens is represented dead, with the will totally emptied (kenosis), the head bowed, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth.

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