Null XEREMÍA MALLORQUINA. JORDI AIXALÀ-YONA VAKS
Traditional instrument from the…

Description

XEREMÍA MALLORQUINA. JORDI AIXALÀ-YONA VAKS Traditional instrument from the Balearic Islands. Made by the luthier Jordi Aixalà, in cocobolo wood, brass, cane, stainless steel and embroidery on velvet fabric signed by Yona Vaks. Bull's head with restoration on a horn, with case.

1076

XEREMÍA MALLORQUINA. JORDI AIXALÀ-YONA VAKS Traditional instrument from the Balearic Islands. Made by the luthier Jordi Aixalà, in cocobolo wood, brass, cane, stainless steel and embroidery on velvet fabric signed by Yona Vaks. Bull's head with restoration on a horn, with case.

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Estim. 1 000 - 1 500 EUR

FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, Girona, 1976). "Female nude". Oil on tablex. Presents sketch on the back. Signed in the lower right corner. Measurements: 60 x 83 cm; 74 x 97 cm (frame). Painter and draftsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he passed fleetingly through the School of La Lonja in Barcelona, he is basically a self-taught author. He had his first exhibition in 1932, at the Sala Parés in Barcelona, and participated in the Salones de Primavera between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute of Pittsburgh, United States. He continued to hold individual exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was especially influenced by his favorite theme, the feminine. Sporadically he also tackled other themes, such as the urban landscape, of which the series of Paris, presented in 1951, is worth mentioning. Likewise, with his portraits of the lead mine he approached the sensitive realism of Ingres. He won several awards, including the Sant Jordi of Barcelona (1953) and the first medals at the National Exhibitions of Madrid (1957) and Barcelona (1960). He collected several unpublished drawings under the title "Dibujos de Serra" (1973), with a prologue by Santos Torroella. Determined defender of realism in art and of traditional figuration against the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a prologue by Rafael Benet. He is represented in the Museums of Modern Art of Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.

Estim. 500 - 1 000 EUR

AN ARCHITECTURAL BRACKET DEPICTING A MOTHER GODDESS, GUJARAT, 18TH-19TH CENTURY AN ARCHITECTURAL BRACKET DEPICTING A MOTHER GODDESS, GUJARAT, 18TH-19TH CENTURY Western India. Carved an ploychromed wood. Dressed in flowing robes and adorned with two bell chains, a sash around her shoulders, holding a disc shaped instrument in her right hand, with wings stretched back, and four children playing at her back, the face with almond shaped eyes and surmounted by a crown, flanked by pendulous earrings, and painted in polychrome pigments. Provenance: A private collection in Vienna, Austria, acquired c. 1990-1995 in the local trade. Condition: Extensive wear, signs of weathering and erosion, natural age cracks, splits, losses, few nicks, and old repairs. Weight: 9.5 kg Dimensions: Height 82 cm Wood carving is the ancestral occupation of the Hindu Suthar community and is practiced in the districts of Patan and Ahmedabad. The legacy of exquisite wood carving is visible in the traditional havelis (mansions) in all districts of Gujarat, the earliest of which date back to the 16th century. Haveli structures from Patan are characterized by their eclectic use of geometric or floral patterns as well as motifs inspired by European and West Asian decorative elements on the woodwork of the balconies and ceilings. Whereas, the wooden architecture of Ahmedabad, acquires its distinctive aesthetic through the use of patterns borrowed from block printing and textiles. Literature comparison: Compare a related polychrome wood sculpture of a goddess, dated 17 th century, Gujarat, 90 cm high, in the Museum Rietberg, inventory number RVI 401.

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