Null DOMENICO BECCAFUMI. Two naked men in a landscape. Print
Signed on plate. On…

Description

DOMENICO BECCAFUMI. Two naked men in a landscape. Print Signed on plate. On the back, inscription in pencil: "École de Sienne. Beccafumi detto il mecarino". Laid paper with an M-shaped watermark, not identified. 27x17 cm. Stains and rust. On the back, remains of paper adhered on a side.

520

DOMENICO BECCAFUMI. Two naked men in a landscape. Print Signed on plate. On the back, inscription in pencil: "École de Sienne. Beccafumi detto il mecarino". Laid paper with an M-shaped watermark, not identified. 27x17 cm. Stains and rust. On the back, remains of paper adhered on a side.

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Estim. 3 500 - 3 400 EUR

ALDO TURA (Italy, 1909 - 1963). Cabinet bar, 1960s. Rosewood, red lacquered goatskin and mirror lined interior. Measurements: 155 x 80 x 44 cm. This cabinet bar, designed by Aldo Tura around 1960, consists of a structure in macassar wood, with bronze hardware and upholstery in goatskin parchment. Raised on a pedestal of classical inspiration, formed by a prismatic base and a baluster, it consists of a prismatic body with two front doors of beautiful grain, with long hinges imitating those of the Gothic period and two arched handles also historicist. Inside it has a space entirely covered with mirror, divided by two glass shelves. Aldo Tura began his career in experimental furniture design in the 1930s. After the marked and angular forms of Art Deco, in these years wood began to be used in free forms, full of curves, and Tura saw in this new taste a new direction for furniture design. His work is a significant combination of free and uninhibited forms, sometimes exceptionally ironic. His designs are also examples of the highest craftsmanship, often being produced in limited edition series, and even just a prototype. In the 1950s, Tura discovered the evocative charm of furniture painted with Venetian architectural views, and also began to experiment with various materials, such as eggshell, parchment, goatskin or wood veneers.

Estim. 500 - 550 EUR

SUSANNE PROTZMANN (Greifswald, Germany, 1963). Set of three bowls. Polychrome ceramic. Measurements: 17 x 30 x 30 cm; 12,5 x 26 x 26 cm and 11 x 24 x 24 cm. Susanne Protzmann trained in ceramics in Bürgel and at the University of Art and Design Burg Giebichenstein in Halle/S. Since 1995 she has had solo exhibitions in Dresden, Pulsnitz, Gutenberg, Wernigerode, Magdeburg, Neustrelitz, Berlin, GroßNeuendorf, Gera and Lübeck. Since 1986 he has participated in exhibitions in Halle/S., Linz, Munich, S'hertogenbosch, Dresden, Koblenz, Komatsu, Altranft, Rheinsberg, Prerow, Gera, Dornburg, Höhr-Grenzhausen and Berlin. Since 2003 he has realized clay playground construction projects in Berlin and Brandenburg. Since 2012 he has been working part-time in the conservation of landscape monuments and gardens.

Starting price 5 EUR

[STORY] COLLECTIVE. Kin P'ing Mei or the wonderful story of Hsi-Men and his six wives. Published by Guy Le Prat in 1979. In-8 format, illustrated softcover. Good condition.

Estim. 1 500 EUR

JOHN MICHELE GRANERI The dissipation of the prodigal son Oil on canvas, 49.5x84 cm The painting depicts a theme that achieved great success in Piedmont in the 18th century: that of the vicissitudes of the Prodigal Son. The Gospel story, exemplary on a moral level, also lent itself very well to cues for genre painters. The canvas are the work of one of the most important painters in the field, Giovanni Michele Graneri. The artist was among the most significant representatives of genre and bambocciata painting, which flourished in Piedmont during the 18th century. He was formed in the wake of the great bambocciante painter Pietro Domenico Ollivero but, from his early works, he appears clearly distinguishable, with a marked personal style, less refined and less prone to meditation, rich in a realism with a popular feel, with a taste for the anecdotal, the minute episode the picaresque accents. His lively, ironic, icastic painting met the taste of court personalities, private bourgeois and nobles, for whom he painted a large number of pictures, now partly dispersed on the market. In this case Graneri, as Ollivero had already done makes a cast, skilfully and with precise variations, from engravings, part of a series of 5 sheets representing the parable of the prodigal son with subjects of invention by Cornelis De Wael. (A, Cifani, F. Monetti, The Pleasures and Graces. Collecting, genre and landscape painting between the seventeenth and eighteenth centuries in Piedmont, Turin 1993, tome one and two; A.Cifani, F. Monetti, Giovanni Michele Graneri. in : The Secret Kingdom. Sardinia-Piedmont: a postcolonial vision, Nuoro 2020, pp. 38-41)

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