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MARIO BELLINI (b. 1935) sixties' design salon ensemble with two canapés - model "Amanta" (dd 1966) - in white plastic and brown leather, realized by C & B Italia marked

Estim. 500 - 1 500 EUR

Live in progress

Three-seater cream leather sofa (very dirty)

Estim. 60 - 80 EUR

Afra BIANCHIN (1937) & Tobia SCARPA (1935) - ITALY - Pair of Carlotta Chair – L 88 x W 80 x H 45 x H 70 cm – 1967 . Gallery certificate will be given to the buyer Shipping to Paris 150 eur. Afra Bianchin was born in Montebelluna, Italy in 1937 and Tobia Scarpa was born in Venice, Italy in 1935. The Carlotta Sofa is one of their iconic designs, created in 1967. It is a classic piece of Italian design, characterized by its elegant and timeless look. The sofa features a simple yet sophisticated design with clean lines, a low backrest, and plush cushions. The Carlotta Sofa is a testament to the Scarpa's ability to create furniture that is both stylish and comfortable, making it a sought-after piece for design enthusiasts. Awards Compasso d’Oro award in 1970 and 2008 Nerocon Merit Award in 1982 Primer Premio Nacional de Diseño Otorgado in 1978 Auszeichnung für hohe Designqualität in 1992 International Forum Design Hanover award in 1992 Afra and Tobia Scarpa are award winning postmodern Italian architects and designers. Their pieces can be found in museums across the United States and Europe, including collections in MoMA and the Louvre Museum. They have collaborated with companies such as B&B Italia, San Lorenzo Silver, and Knoll International. They have won a number of awards such as the Compasso d'Oro in 1969 to the International Forum Design in 1992. Their design work consists of architecture and everyday household items including, furniture, clothing, interior design, art glass. They focused on the technical and aesthetic possibilities of materials in their designs. The couple was greatly influenced by Tobia’s father, Carlo Scarpa, a Venetian architect and designer

Starting price  6500 EUR

Tue 14 May

A Roman bronze urn with epigram in sophisticated calligraphy, 1st - 2nd century Urn of exceptionally beautiful design. The conical base is beaded at the rim and widens somewhat like a funnel after the narrowest part. The egg-shaped body of the urn is soldered to this narrow base. A hollow groove above the shoulder, above which the lip of the rim, which is curved outwards and offset inwards to accommodate the lid. At the transition from the belly to the shoulder, two horizontally arranged handles with attachments in the form of openwork palmettes are soldered on opposite sides. The handles curving elegantly upwards, profiled in the center by three vertical bulges and on the sides by three horizontal flutes. Two turning grooves running around at the lower edge of the handles. The lid on the top divided from the outside to the inside by a wide bead, a concavity and a slight central bulge, the height of which is marked by three concentric, deeply carved circles. In the center, a vertical rectangular handle plate connected by a round pin to a disc under the lid. This device can be used to open or close a perforation on the side of the handle plate. The feeding of the dead was an integral part of the ancient culture of remembrance; at commemorative ceremonies the dead person was thought of and experienced as present, symbolically participating in the ceremony of the living at a funerary banquet through offerings of food or drink. The sealing mechanism could be interpreted as ensuring the immediate provision of the deceased with these offerings. Special attention should be paid to the evocative inscription on the shoulder of the urn, which aptly expresses the transience of all things in a two-line verse, known as an "elegiac distich": "QVANTVM EST IN VITA FAMAE VIRTVTIS HONORIS / ENAT QVAM PARVOS MORS REDIGIT CINERES.". A literal translation of the well-chosen words in Latin into English is cumbersome and only a freer paraphrase is able to lend fluency to the motto: "How much there is in life of glory, virtue and honor, is shown by how small a heap of ashes death makes of it.". The letters have been chiselled onto the outside of the urn, well-proportioned and precisely measured. Both the poet and the calligrapher demonstrated mastery of their craft in the execution. An eloquent document of Roman material and intellectual culture of great rarity. Surface with spotty patina with shades of green, blue and brown. Fragile areas due to mineralization and minimal chipping in the lower third of the urn, expertly restored and stabilized from the inside. Height with lid 46 cm. Provenance: South German private collection, taken from the collection of his grandfather, who died 30 years ago. Condition: II -

No estimate