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LOTE DE BISUTERÍA DE MEDIADOS S.XX

Different pieces made of metal.

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LOTE DE BISUTERÍA DE MEDIADOS S.XX

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Starting price 60 EUR

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For sale on Wednesday 10 Jul : 16:00 (CEST)
barcelone, Spain
Bonanova Subastas S.L
+34932121808
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Lucile VIAUD, born 1993 Untitled, 2024 Glaz 05 marine glass mesh bowl (microalgae and abalone shells), fused by Lucile Viaud, Unique, unsigned piece. Height 10 - Diameter 45 cm --- Lucile VIAUD, born 1993 Lucile Viaud explores the intimate link between landscape and matter, and creates her "geoverrerie", working to transform local co-products and neglected resources into natural glass. In 2014, she began her research at the Ecole Boulle as part of her diploma project "Le monde du silence", during which she experimented with different ways of adding value to Breton marine co-products: shells, carapaces, bones, seaweed. In the course of projects carried out in different regions, she highlights the influence of the raw materials' provenance on the nature of the glass obtained. Defending the idea that waste is a treasure waiting to be sublimated, she raises awareness of the need to preserve our natural resources and our heritage through a research-creation approach committed to Art-Science. Art-Science. Atelier Lucile Viaud offers collections for the home through its Ostraco brand, founded in 2016, and exceptional bespoke pieces for professionals and particularly committed Michelin-starred chefs. At the Institut des Sciences Chimiques de Rennes, she has been conducting various research projects since 2017 as part of the Verres & Céramiques team on both glass compositions and their future applications. The artist-researcher is a laureate of the Sophie Rochas, Banque Populaire, Remy Cointreau and Carasso foundations, and of various prizes such as the Grands prix de la ville de Paris (2018) or the Bettencourt Schueller Foundation's prize for the Intelligence of the Hand, Dialogues (2023). Today, Atelier Lucile Viaud develops its pieces and collections with a view to promoting artisanal know-how, heritage and natural resources.

Lucile VIAUD, born 1993 Untitled, 2023 Mesh painting in Glaz 05 marine glass (microalgae and abalone shells), fusing by Lucile Viaud. Unique, unsigned piece. 36 x 20 cm --- Lucile VIAUD, born 1993 Lucile Viaud explores the intimate link between landscape and matter, and creates her "geoverrerie", working to transform local co-products and neglected resources into natural glass. In 2014, she began her research at the Ecole Boulle as part of her diploma project "Le monde du silence", during which she experimented with different ways of adding value to Breton marine co-products: shells, carapaces, bones, seaweed. In the course of projects carried out in different regions, she highlights the influence of the raw materials' provenance on the nature of the glass obtained. Defending the idea that waste is a treasure waiting to be sublimated, she raises awareness of the need to preserve our natural resources and our heritage through a research-creation approach committed to Art-Science. Art-Science. Atelier Lucile Viaud offers collections for the home through its Ostraco brand, founded in 2016, and exceptional bespoke pieces for professionals and particularly committed Michelin-starred chefs. At the Institut des Sciences Chimiques de Rennes, she has been conducting various research projects since 2017 as part of the Verres & Céramiques team on both glass compositions and their future applications. The artist-researcher is a laureate of the Sophie Rochas, Banque Populaire, Remy Cointreau and Carasso foundations, and of various prizes such as the Grands prix de la ville de Paris (2018) or the Bettencourt Schueller Foundation's prize for the Intelligence of the Hand, Dialogues (2023). Today, Atelier Lucile Viaud develops its pieces and collections with a view to promoting artisanal know-how, heritage and natural resources.

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.