Null ZOLTAN
Screen printing on canvas. Signed in the lower left corner. Numbered…

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ZOLTAN Screen printing on canvas. Signed in the lower left corner. Numbered (83/99) in the lower left corner. 66 x 85.5cm

131

ZOLTAN Screen printing on canvas. Signed in the lower left corner. Numbered (83/99) in the lower left corner. 66 x 85.5cm

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Valorac. 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.

Valorac. 1 500 - 1 600 EUR

POUL HENNINGSEN (Denmark, 1894 - 1967) for Louis Poulsen. Table lamp PH 2/2 "The Question mark". Limited edition. Shades in three-layer blown opaline glass, shiny on the outside, sandblasted on the inside. Top plate, base and stand in untreated brushed brass, mounted with brown textile cord. Adjustable with a handle in the center of the arm (can be tilted 45 degrees right and left). Delivered unassembled, in original box. Photos of the final model. In perfect condition. Measurements: 41 x 20 x 20 x 20 cm. The table lamp PH 2/2, with brass shaft in the shape of a question mark, was designed by Poul Henningsen for Louis Poulsen. It is a variant created from his 1958 PH Artichoke and, like the former, is characterized above all by the quality of a design that visibly contributes to beautifying the architectural space in which it is placed. The overlapping sheets of blown glass that make up its screen use the hallmarks of light to avoid glare and create an aesthetic effect of great beauty; they redirect and reflect light, resulting in a unique and distinctive illumination. Danish designer, architect and critic, Poul Henningsen was one of the key figures in the cultural life of Denmark in the interwar period. He studied architecture between 1911 and 1917, but never graduated, as he decided to become an inventor and painter. Nevertheless, he worked as an architect and became one of the most prominent advocates of functionalism. In his career as a designer, his most famous creation was the "PH Artichoke" lamp, a simple lamp that used hallmarks of light to avoid glare and create an aesthetic effect of great beauty. Its success enabled Henningsen to finance his later work. He is currently representing at the Danish Museum of Art and Design, the MoMA in New York and the Victoria & Albert in London, among many others.

Valorac. 1 300 - 1 500 EUR

ROGER CAPRON (France, 1922 - 2006). Vase, ca.1970's. Ceramic. Signed on the base. Measurements: 29 cm x 14 cm x 14 cm. Vase made by the French ceramist Roger Capron. Of rectangular structure, chiseled with a synthetic sunflower on one of its sides, it presents an attractive aesthetic of archaic inspiration. Interested in drawing since he was a child, the ceramist Roger Capron studied Applied Arts in Paris between 1939 and 1943, and from 1945 he combined his artistic activity with teaching. In 1946 he settled in Vallauris, where he created a workshop known as Atelier Callis, fundamental in the renaissance of the art of ceramics in this locality. A few years later, in 1952, Capron acquired an abandoned ceramics factory in Vallauris and reopened it with fifteen workers; by 1957 his factory was already enjoying considerable international prestige. In 1980, one hundred and twenty workers were working there, and at this time he began to produce unique pieces that were exhibited in different countries, although the economic crisis led to the closure of the factory in 1982. In 1982 Capron created a new workshop under his own name. Throughout his career, this artist was awarded a gold medal at the Milan Triennale (1954), a silver medal at Cannes (1955), a gold medal again at the Brussels Architectural Ceramics Exhibition on two occasions (1957 and 1958), the French Ministry of Culture prize (1970) and the Prix Spécial de l'Architecture (1980).

Valorac. 2 000 - 2 500 EUR

Sunset in the Park, Francisco Torrescassana (Barcelona, 1845-ibidem, 1918), 19th century Catalan school Signed and dated 1875, canvas measurements: 46 x 35 cm, framed measurements: 52 x 40 cm. Spanish painter, disciple of Ramón Martí Alsina. Works by Torrescassana are preserved, among others, in the National Museum of Art of Catalonia, the Víctor Balaguer Library Museum, or the Museum of Art of Gerona, and the collection of Banco Sabadell, with a painting dedicated to the vintage in which the traditional realism that characterized much of his painting, closely linked to the teachings received from Martí Alsina, opens up to new studies of light. As for portraits, also abundant in his artistic production, the University of Barcelona keeps the portrait of Pablo González Huebra in the rectoral gallery, as well as in the dining room of Antoni Gaudí's Casa Vicens. Bibliography: Alcolea, Santiago, Paintings of the University of Barcelona. Catalog, University of Barcelona, 1980, ISBN 84-852-5721-9

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