Null RAMIRO LORENZALE ROGENT (1859-1917). "WOMAN'S PORTRAIT", 1900.
Watercolour …

Description

RAMIRO LORENZALE ROGENT (1859-1917). "WOMAN'S PORTRAIT", 1900. Watercolour on paper. Signed and dated. 17 x 10.5 cm; 29 x 22.5 cm (frame).

953

RAMIRO LORENZALE ROGENT (1859-1917). "WOMAN'S PORTRAIT", 1900. Watercolour on paper. Signed and dated. 17 x 10.5 cm; 29 x 22.5 cm (frame).

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Estim. 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.

Estim. 800 - 1 000 EUR

In the style of JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956). Pair of armchairs. Walnut wood. Fabric upholstery with floral decoration. With signs of wear and tear. With xylophages. The wood needs to be reworked. Measurements: 73 x 55 x 47 cm. Pair of armchairs of Central European style, framed within the Viennese Secession, with structure in walnut wood with structure of parallel bands, functional and of refined volumes. An architect and industrial designer, Josef Hoffmann studied at the Academy of Applied Arts in Vienna, where he was a disciple of Carl Freiherr von Hasenauer and Otto Wagner, whose theories of functional, modern architecture would profoundly influence his work. He won the Prix de Rome in 1895, and the following year he joined Wagner's office, collaborating with Olbrich on some projects for the Metropolitan. He established his own office in 1898, and taught at the School of Decorative Arts in Vienna between 1899 and 1936. He was also a founding member of the Viennese Secession. In 1900 he travelled to London, where he came into contact with the English school and discovered Mackintosh. On his return, he set up a workshop for the production of objects based on designs by Secession artists, and the Wiener Werkstätte was born, a workshop which had a great influence on 20th-century industrial design. By 1903, production began on an international scale. In the course of his life, Hoffmann produced a variety of projects for buildings and furnishings, and exhibited his creations all over the world. He is currently represented in the MAK and the Leopold Museum in Vienna, the Metropolitan and MoMA in New York, the Brohan in Berlin, the Courtauld Institute in London and the Victoria & Albert in London, among many others.

Estim. 2 400 - 3 600 EUR

Kunz Meyer-Waldeck, Mystisches Seeufer summer scene by a clear forest pond in a rocky landscape, in front of a cave on the shore a boyish faun gazes at the play of two mermaids in the deep emerald green lake, glazed, partly slightly impasto myth painting with very beautiful light and finely tuned colours, oil on canvas, c. 1900, signed and inscribed "Kunz Meyer München" at lower left, fragmentary label on the reverse of the stretcher with mostly illegible handwritten additions "... Establishment and dispatch centre for works of art ... Name of the artist Kunz Meyer ..." as well as the brand stamp "Gallerie [sic.] Arthur v. Franquet (mit Krone und steigendem Braunschweiger Löwen)", provenance: from the estate of the Brunswick manufacturer, art collector and patron Paul Friedrich Arthur von Franquet (1854 Brunswick to 1931 Brunswick), who was a friend of Edvard Munch, among others, and supported him with numerous purchases, minor craquelure, restored, framed in Art Nouveau gilt stucco moulding, folded dimensions approx. 88.5 x 61 cm. Artist information: actually Conradin Karl Ferdinand Meyer, called Kunz Meyer and signed as "Meyer-Waldeck" from 1914, Baltic German painter, illustrator, sculptor and pedagogue (1859 Mitau/Kurland until 1953 at Schloss Neuburg/Inn), childhood in St. Petersburg, 1874 moved to St. Petersburg, 1874 moved to Neuburg/Inn. Petersburg, moved to Heidelberg in 1874, later a pupil at Gotha grammar school until 1879, studied at the Munich Academy under Alexander Strähuber and Johann Leonhard Raab from 1879-87 and was a master student of Wilhelm von Lindenschmit the Younger, travelled through Italy in 1885-86, freelance in Munich from 1888, worked in Bremen from 1891-92, spent time in Portugal in the 1890s, director of the Texas Art League's art school in Dallas from 1908-10, returned to Germany in 1910 and was appointed royal professor, exhibited at the world exhibitions in Amsterdam and St. Louis as well as the 1888-1931 exhibitions in Amsterdam and St. Louis. Louis as well as the exhibitions in the Munich Glaspalast from 1888 to 1931 and the Great German Art Exhibition in the House of German Art in Munich in 1937, received various honours, such as the Munich Gold Medal in 1895, the bronze medal at the World Exhibition in St. Louis in 1904, the Bavarian Order of St. Michael 4th Class, the Bavarian Order of St. Michael 4th Class and the Bavarian Order of St. Michael 4th Class. Michaelsorden 4th class, the Knight's Cross 1st class of the Saxon Albrecht Order, the Knight's Cross of the Order of Orange-Nassau and in 1917 the Great Golden State Medal Salzburg, member of the Luitpold Group and the Munich Artists' Co-operative, active in Munich, sources: Thieme-Becker, Vollmer, Dressler, Boetticher, register of the Munich Academy, Bruckmann "Münchner Maler des 19./20. Jh.", Saur and Internet.

Estim. 180 - 200 EUR

[Music - LULLY (Jean-Baptiste) & QUINAULT (Philippe)]. Alceste ou le triomphe d'Alcide. On la vendée à Paris, à l'entrée de la Porte de l'Académie Royale de Musique au Palais-Royal, Imprimée aux despens de ladite Académie par René Baudry, imprimeur, 1675. In-4 of [1] frontispiece, [4] ff. 76 pp. Ivory half vellum, smooth spine, title and date in black lettering (rel. c. 1890-1900). Fine engraved frontispiece by F. Chauveau. Some foxing. Traces of an ex-libris monogram stamp on title. Rare edition of Jean-Baptiste Lully's second lyric tragedy after Cadmus et Hermione (the original edition was published by Ballard in 1674). Alceste aroused great enthusiasm at the court of Versailles right from the rehearsals, but was much less enthusiastic in Paris at its premiere on January 19, 1674 at the Théâtre du Palais-Royal: Lully's enemies (who had been even more upset with him since he obtained the privilege of the Opéra) had gathered in the auditorium, so the first performance received no applause, and the following day's reviews were scarcely eulogistic. Subsequent performances, however, proved a resounding success, silencing the critics. An opera in a prologue and five acts, this work crystallizes the nascent form of lyric tragedy. All the elements of this genre are present here: a prologue setting the scene for current political events at court; recitatives that are more melodic than in the Italians, serving the dramatic aspect of the plot; and airs de divertissements, in the tradition of the lighter ballets de cour. Alcide (another name for Heracles) is in love with Alceste, promised to Admète, King of Thessaly. Admetus is wounded in battle. The Fates agree to spare his life on condition that someone sacrifices himself in his place. Alcestis agrees. Alcide then promises Admète to fetch Alceste from the Underworld on condition that she is his. On their return from the Underworld, the couple's farewell is so moving that Alcide renounces Alceste and leaves her to Admète. Alcide's triumph is that he manages to step aside for the loving couple (source Wikipedia.)

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