Null RAFAEL ESTRANY. Urban view (d) Oil on wood
Signed
100x73 cm. Slight defects…

Descrizione

RAFAEL ESTRANY. Urban view (d) Oil on wood Signed 100x73 cm. Slight defects. Aged varnish. Painted wood frame, with defects.

671

RAFAEL ESTRANY. Urban view (d) Oil on wood Signed 100x73 cm. Slight defects. Aged varnish. Painted wood frame, with defects.

Le offerte sono terminate per questo lotto. Visualizza i risultati

Forse ti piacerebbe anche

Stima 3 500 - 4 000 EUR

VITTORIO DASSI (Italy, 1893-1973). Dining table, 1950s. Calacatta marble and mahogany wood. In good condition according to its age and use. Measurements: 77 x 134 x 91 cm. Spectacular table designed by Vittorio Dassi, prestigious Italian designer active in the middle of the last century. Made of mahogany wood with an oval-shaped calacatta marble top. Simple structure, with a single foot that supports, in the central area, the top. This tulip foot is made of carved and lacquered mahogany, which gives it great sumptuousness. Its shape is flared towards the floor, emphasized by the grooves. It rests on an oval-shaped marble base that matches the top. Underneath the top, the structure is again made of wood. With its unique features and meticulous attention to detail, this table is a testament to Vittorio Dassi's innovative vision and artistic sensibility. Vittorio Dassi's furniture, made in the 1940s and 1950s, is distinguished by the choice of fine woods such as rosewood, cherry, ash and walnut, often decorated with inlaid panels and glass signed by great master glassmakers. Elegant in design without losing functional quality, his furniture can be compared to the refined style of Gio Ponti, to whom Vittorio was linked by important collaborations after taking over from his father at Dassi Mobili Moderni in Lissone. One of the factory's most important projects was the creation of furniture for the rooms of the Hotel Royal in Naples, designed by Ponti in the mid-1950s, a period that marked Dassi's turn towards more schematic forms and teak wood for the production of modular furniture.

Stima 3 000 - 4 000 EUR

Pair of JACOB & JOSEF KOHN rockers. Austria, second half of the 19th century. Walnut wood. With marks of use. Active xylophages. With remains of labels. Measurements: 105 x 55 x 92 cm. The legs and armrests of this pair of rocking chairs are made up of a single curved structure of organic inspiration. The backrests, for their part, are based on a play of straight and openwork shapes. They were manufactured by the company J & J Kohn, founded by Jacob Kohn (1791-1868) and his son Josef (1814-1884) in 1867 in Wsetin (Moravia), in the territory of the Austro-Hungarian Empire. Kohn challenged the privilege of exclusive production of bent furniture held by Thonet, its creator, since 1856; a privilege which, in view of a negative ruling by the authorities, Thonet did not attempt to renew. Kohn soon became a strong competitor in the bent beech wood sector, in which it is a historical benchmark alongside the Thonet brothers. The company's early prominence was demonstrated by its highly acclaimed participation in the Vienna World Exhibition in 1873. From then on, Jacob &Josef Kohn exhibited at the expositions in Philadelphia (1876), Paris (1878, silver medal), Barcelona (1888), Glasgow (1901), Turin (1902), St. Louis (1904), Milan, London and Bucharest (1906) and Buenos Aires and Munich (1910). She was also awarded the Grand Prix at the Universal Exhibition in Paris in 1900. Kohn teamed up with renowned architects and designers of the day, with Otto Wagner, Josef Hoffmann, Koloman Moser and Hans Prutscher producing designs for her. After an initial phase dedicated to the production of curved chairs in the Thonet line, the company developed, during the eighties, an extensive historicist production. With the turn of the century came the stylistic evolution, focusing since then on the new trends in the decorative arts. In this sense, the chair that Adolf Loos (1870-1933) designed for Kohn in 1899, destined for the Café Museum in Vienna, stands out as the main reference point. Today, works by Jacob & Josef Kohn can be found in museums and institutions all over the world, such as the Museum of Modern Art in New York and the Orsay Museum in Paris.

Stima 3 000 - 3 500 EUR

MAGDA BOLUMAR CHERTÓ (Caldes d'Estrac, Barcelona, 1934). Untitled, 1971. Mixed media on paper. Signed, located and dated in the lower left corner. Measurements: 35 x 50 cm; 38 x 53 cm (frame). Magda Bolumar entered in 1948 in the studio of the painter Rafael Estrany, disciple of James Ensor, later studying at the School of Arts and Crafts of Mataró. In 1954 she contacted some members of the group Dau al Set and the sculptor Moisés Villelia, one of the architects of the group Arte Actual, whom she married, initiating a joint investigation on the primary materials in art. Magda Bolumar was especially known for the Xarpelleres, which she exhibited for the first time in Barcelona in 1960. In the Xarpelleres, matter and texture have a special importance, which connects these works with Informalism. However, Magda Bolumar's works have an essentially constructivist sense, since the structure acquires in them the main protagonism from the tension of the threads with which they are made. Cirici Pellicer wrote that, unlike the works of informalist artists such as Burri or Millares, as opposed to dramatism or denunciation, "in Magda Bolumar's work, the textile serves for the construction of a new cosmos, it manifests the need to "reorder" the world through the weft of the threads".1 Mª Luisa Borrás wrote that "the magnificent "xarpelleres" of this artist manifest an overwhelming liberation of forces, cerebral in their majority, that end in tensions of warp in weft, starry or parallelisms revealing an intellectual liberation, of ingenuity and constructive rigor". Neither does the artist see her work within Informalism, but the need to turn artists into followers of the great male names, considered by canonical history as the only valid ones, has forced the meaning of the matter-avant-garde relationship, making it necessarily go through a reading from Informalism at that moment of Spanish art". With the embroidery of her "xarpelleres", Magda Bolumar seeks to approach life poetically, as Joan Brossa said in a text dedicated to one of the artist's paintings, in which he emphasized the lyrical sense of these textile structures: "El marc/ fa de tambor/per a bordar el sac" (Brossa, 1965).

Stima 8 000 - 10 000 EUR

MAGDA BOLUMAR CHERTÓ (Caldes d'Estrac, Barcelona, 1934). Untitled, 1996. Mixed media on burlap. Signed and dated in the lower right corner. Signed and dated on the back. Measurements: 82 x 122 cm; 85 x 125 cm (frame). Magda Bolumar entered in 1948 in the studio of the painter Rafael Estrany, disciple of James Ensor, later studying at the School of Arts and Crafts of Mataró. In 1954 she contacted some members of the group Dau al Set and the sculptor Moisés Villelia, one of the architects of the group Arte Actual, whom she married, initiating a joint investigation on the primary materials in art. Magda Bolumar was especially known for the Xarpelleres, which she exhibited for the first time in Barcelona in 1960. In the Xarpelleres, matter and texture have a special importance, which connects these works with Informalism. However, Magda Bolumar's works have an essentially constructivist sense, since the structure acquires in them the main protagonism from the tension of the threads with which they are made. Cirici Pellicer wrote that, unlike the works of informalist artists such as Burri or Millares, as opposed to dramatism or denunciation, "in Magda Bolumar's work, the textile serves for the construction of a new cosmos, it manifests the need to "reorder" the world through the weft of the threads".1 Mª Luisa Borrás wrote that "the magnificent "xarpelleres" of this artist manifest an overwhelming liberation of forces, cerebral in their majority, that end in tensions of warp in weft, starry or parallelisms revealing an intellectual liberation, of ingenuity and constructive rigor". Neither does the artist see her work within Informalism, but the need to turn artists into followers of the great male names, considered by canonical history as the only valid ones, has forced the meaning of the matter-avant-garde relationship, making it necessarily go through a reading from Informalism at that moment of Spanish art". With the embroidery of her "xarpelleres", Magda Bolumar seeks to approach life poetically, as Joan Brossa said in a text dedicated to one of the artist's paintings, in which he emphasized the lyrical sense of these textile structures: "El marc/ fa de tambor/per a bordar el sac" (Brossa, 1965).

I pagamenti online sono protetti da Ingenico e le transazioni sono criptate.

Ogni lotto è stato autentificato e sottoposto a perizia da una Casa d’aste.

Consulta l'aiuto o contattaci

Casa d'aste mitica, Drouot è la più grande casa d'aste in Francia. Aperta a tutti, l'istituzione è il luogo ideale per gli amanti dell'arte e della design. La piattaforma di aste online drouot.com vi permette di fare offerte a distanza, in qualsiasi luogo vi troviate, e di accedere al più grande catalogo di arte e oggetti decorativi dell'Europa continentale.

Il gruppo Drouot

CASE D'ASTA CERTIFICATE DROUOT

Contatti

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]

Visite e privatizzazioni