ILUSTRAÇÃO PORTUGUESA, 1914 Revista semanal pelo jornal O Século. II série nºs 4…

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ILUSTRAÇÃO PORTUGUESA, 1914 Revista semanal pelo jornal O Século. II série nºs 411 (5-1-1914) a 434 (15-6-1914). Editor José Joubert Chaves. Dim. 30x20 cm. # Encadernação em tela sobre cartão com alguns defeitos, miolo com pequenas falhas

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ILUSTRAÇÃO PORTUGUESA, 1914 Revista semanal pelo jornal O Século. II série nºs 411 (5-1-1914) a 434 (15-6-1914). Editor José Joubert Chaves. Dim. 30x20 cm. # Encadernação em tela sobre cartão com alguns defeitos, miolo com pequenas falhas

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Estim. 300 - 450 EUR

Photo of a study with Riemerschmid furniture View into a bourgeois study of the 1920s in the furnishing style around 1910 with bookshelves and desk and the famous music room chairs designed in 1898/99 by Richard Riemerschmid (1868-1957) at the round table in the foreground, bottom right embossed stamp of Fotografische Kunstanstalt Rehse & Co. Munich, monochrome silver bromide print of the period, inconspicuous scratch and other slight traces of age, dimensions approx. 29 x 36 cm. Artist information Richard Riemerschmid: important German artist. German representative of the reform movement and Art Nouveau, architect, craftsman and painter (1868 Munich - 1957 Munich), studied from 1888 at the Munich academy under Gabriel Hackl and Ludwig von Löfftz, 1897 co-founder of the "Münchner Werkstätten für Handwerkskunst" and 1907 co-founder of the Deutscher Werkbund, 1912-24 director of the Kunstgewerbeschule München, 1926-31 professor and director of the Kölner Werkschulen, participation in the "Deutsche Werkstätten Dresden-Hellerau", received numerous honours, a. o. 1914 appointment to the "Deutsche Werkstätten Dresden-Hellerau". including appointment as Royal Bavarian Privy Councillor in 1914, Privy Government Councillor in 1924, Grand Federal Cross of Merit in 1952 and honorary doctorate in 1955, member of the Reichsverband Bildender Künstler Deutschlands, Bund Deutscher Architekten, Deutscher Künstlerbund and the Munich Secession, active in Munich, source: Thieme-Becker, Vollmer, Dressler, matriculation records of the Munich Academy and Internet, among others.

Estim. 1 800 - 2 000 EUR

HANS J. WEGNER (Denmark, 1914 - 2007) for ANDREAS TUCK. Table model "at10", 1960s. Teak and oak wood. Measurements: 50 x 160 x 50 cm. Low table made of teak and oak, except for the lower shelf, openwork, in grille. It is a light design, with geometric roots and clean straight lines, softened by curved angles, typical of Danish design of the fifties and sixties. It consists of a rectangular tabletop molded on its outer perimeter and four cylindrical legs. Hans J. Wegner was a leading figure in furniture design, whose ideas contributed to the international popularity of Danish design in the mid-20th century. His work belongs to the modern school, characterized by a special emphasis on functionality. He began his training at a very young age, as an apprentice to the cabinetmaker H. F. Stahlberg. He soon discovered a special taste for the use of wood, and his work in the cabinetmaking workshop allowed him to experiment with different types and designs. At the age of seventeen he completed his apprenticeship, although he remained in the workshop for another three years, until he joined the army. After his military service he entered a technical school, and then the Danmarks Designskole, where he was taught by O. Mølgaard Nielsen, and the Academy of Architecture in Copenhagen. In the Danish capital he came into contact with the Furniture Exhibitions of the Carpenters' Guild, where he began to show his creations in 1927. During these years Wegner collaborated with master cabinetmakers such as J. Hansen, L. Pontoppidan, N. Vodder, J. Kjaer, A. J. Iversen, Moos and R. Rasmussen, as well as with the most prominent Danish architects of the time, among them K. Klint, V. Lauritzen and V. Lauritzen. Klint, V. Lauritzen. O. Wanscher and M. Voltelen. The annual exhibitions would give the young cabinetmaker experience of what could be achieved with the combination of design and craftsmanship, which led him to devote himself fully to design. Already in his early pieces, Wegner showed his interest in the concept of "stripping antique chairs of their outer style and showing them in their pure structure." Throughout his career, the designer was awarded prizes such as the Lunning Prize in 1951, the Grand Prix de Milan at the Milan Triennale of the same year, the Prince Eugene Medal in Sweden and the Danish Exkersberg Medal. In 1959 he was appointed honorary royal designer for industry by the Royal Society of Arts in London. Currently his designs are present in collections such as the MoMA in New York or Die Neue Samlung in Munich.

Estim. 400 - 600 EUR

Henry Williamson Ltd Art Deco table clock with enamels Birmingham, 1913 Height x width x depth: 7.7 x 7.7 x 2.7 cm. Weight: 146.6 g. Circular case in 925/1000 silver with guilloché enamel in shades of purple and blue, white enamel dial with Arabic numerals, black hour markers, and seconds at 6 o'clock. Key-wound and time set. Fully hallmarked Birmingham 1913-1914, silversmith Henry Williamson Ltd. Henry Williamson Ltd. was established in Birmingham, England, in 1855. Renowned for its high-quality silverware, the company was a prominent silversmith during the late 19th and early 20th centuries. It is noted for its craftsmanship and detailed design work. Item condition grading: **** good. The case of the clock is in a good state of preservation with the normal wear and defects commensurate with its age and use over time. The watch movement is currently working but may require a technical service.

Estim. 100 - 200 EUR

ATHAYDE LOPES (n.1934) "Casario" ATHAYDE LOPES (n.1934) "Casario" Pintura a óleo sobre tela, representação "Casario". Assinado e datado 03. Emoldurado. Dim. Mancha: 49,5x69 cm. Dim. Moldura: 71,5x91,5x3 cm. # Athayde Lopes (n.1934). Nasceu em Santos, cidade praiana do Estado de São Paulo (Brasil) aos 16 de janeiro de 1934. Seu primeiro contato com a pintura foi aos 14 anos, através do talentoso pintor e professor italiano, José Roncoleto (Lubra), com quem teve aulas durante 4 anos. A base do seu aprendizado foi estruturada nos princípios da Escola Impressionista, pintava ao ar livre em companhia de outros jovens aprendizes.Muitos locais desta região litorânea foram visitados pelo grupo. O cheiro do mato, da chuva, o calor da terra, a brisa, tudo tinha que ser colocado na tela, porém a tenra idade os impedia de compreender tal exigência, todavia esforçavam-se para isto. Esse modo de trabalhar o mesmo tema ao lado dos colegas fazia com que se sentissem menos isolados e individualistas, permitindo a troca de preciosas informações técnicas. Nem mesmo o exercício da profissão de publicitário impediu Athayde Lopes de realizar esses passeios artísticos, buscando agora outras fontes de pesquisa. Tiveram o privilégio de suas visitas, as cidades litorâneas de Ubatuba, Itanhaém, Guarujá e Bertioga; e, as cidades serranas de Monte Alegre do Sul e Serra Negra. As imediações do Porto de Santos também não escaparam do seu minucioso olhar. Todavia, o local que permitiu o encontro com a sua verdadeira arte foi a região de Minas Gerais, as cidades históricas de Ouro Preto, Congonhas do Campo, Sabará, Mariana e São João Del Rei, que também foram palco das emoções do famoso escultor, Antonio Francisco Lisboa ("O Aleijadinho"), cuja obra imortal encontra-se espalhada por estas cidades.

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