Null SPANISH SCHOOL, FIRST THIRD 16TH CENTURY. FOLLOWER OF JUAN DE FLANDES. Desc…

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SPANISH SCHOOL, FIRST THIRD 16TH CENTURY. FOLLOWER OF JUAN DE FLANDES. Descent of Christ. Oil on wood 42x34 cm. Old restoration and defects. Varnish in poor condition. With an adapted 17th Century frame and a reverse side in ebonised wood from a later period.

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SPANISH SCHOOL, FIRST THIRD 16TH CENTURY. FOLLOWER OF JUAN DE FLANDES. Descent of Christ. Oil on wood 42x34 cm. Old restoration and defects. Varnish in poor condition. With an adapted 17th Century frame and a reverse side in ebonised wood from a later period.

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Valorac. 6 000 - 8 000 EUR

HANS J. WEGNER (Denmark, 1914 - 2007) for JOHANNES HANSEN. "Peacock chair, model JG-550, first period, 1970s. Solid ash frame and teak armrests. Wicker seat. In perfect condition. With publisher's stamp. Measurements: 106/36 cm. The Peacock chair was originally produced by Johannes Hansen (this being the case of the piece we are now bidding for, dating from the 1970s), but is currently produced by PP Møbler under model number PP550. It was never mass-produced during Wegner's lifetime and only a few were produced by Johannes Hansen. In terms of design, the Peacock chair borrows its morphology from the traditional English Windsor chair. When designer Finn Juhl first saw the chair's characteristic flat-axis backrest, it reminded him of a peacock's tail and he named it the Peacock Chair. Wegner also experimented with an upholstered version of the chair and exhibited it at the 1953 Cabinetmakers' Guild Exhibition. 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, characterised by a special emphasis on functionality. Throughout his career, this 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. His designs are currently included in collections such as those of the MoMA in New York and Die Neue Samlung in Munich.

Valorac. 900 - 1 000 EUR

LUIS PEREZ DE LA OLIVA (Spain, mid-20th century) for GRIN LUZ/FASE. Table lamp "Concorde/Tiburon", 1967. Lacquered metal and solid wood. Measurements: 55 x 31 x 42 cm. Concorde desk lamp with a tilting shade that offers different lighting angles. It rises on a circular base from which emerges the curved shaft in wood on which supports a metal structure. The tilting shade hangs from the latter. Fase lamps are distinguished by their impeccable design, functionality and quality of materials. A true emblem of Spanish manufacturing, Fase has exported its lighting to more than 32 countries in the last 30 years. Spanish lighting manufacturer Fase was founded in Madrid in 1964 by industrial designer Pedro Martín. Martín first sold his self-produced lamps in markets, before successfully establishing a factory in Torrejón de Ardoz, just outside Madrid. In the 1970s, Fase was a major player in the Spanish manufacturing industry, contributing to an economy struggling with oil crises and a difficult transition to democracy. Fase sold lighting for more than three decades to 32 different countries, with its largest markets being the United Kingdom, France, Italy, Germany, United Arab Emirates, Japan, Canada and the United States. Despite Fase's commercial success, information about the company and its history is scarce and sources often contradictory. Early Fase designs are considered modern, with original combinations of metals such as chrome and steel, with marble and wood, in a range of bright colors. Often, the fixtures could also be moved thanks to a sophisticated swivel system devised by early Fase designers, which soon became a trademark along with their glass diffusers. Important Fase designs include Boomerang 64, Boomerang 2000, 520, Faro and President, all of which are believed to have been designed in the 1960s. Beginning in the 1970s, Fase introduced modern Italian and Bauhaus-inspired designs to a Spanish public that, emerging from the Franco period, was unfamiliar with the most iconic styles of the 20th century. In addition to combining traditional materials such as wood with a modernist aesthetic, Fase created many lamps in a thoroughly modernist style. Lamps from this period include the Tharsis and the Babylon, both in chrome but with single and double lamps respectively, as well as the Harpoon and the stainless steel Impala (all from the 1970s). Fase's lighting designers and workers remain largely anonymous, resulting in many lamps being falsely advertised as being produced by the Spanish manufacturer, giving rise to a whole genre of "Fase-type" lighting, which can be seen in lamps produced by Madrid-based lighting manufacturers Lupela, GEI (Gabinete Estudios Industriales) and Ma-Of. Authentic Fase lamps can be identified by the company name or logo, usually found on the lamp base or socket. In the 1980s, Fase began manufacturing halogen lamps. Although these lamps were very popular and novel at the time, the break with tradition was unsuccessful and ultimately contributed to the company's demise.

Valorac. 300 - 400 EUR

NICOLAS MORIN (1959). Blown glass vase, 1997. Signed and dated on the base. Measurements: 14 x 16 x 16 cm. Nicolas Morin began working with glass in the family workshop in 1973. He traveled to Holland and Scandinavia in 1980, 81 and 82, where he had numerous contacts with glass artists (Wilhem Heessen, Sybren Valkema, Asa Brandt, Ulla Forsell, Ann Wolf, Wilke Adolfson, Monika Guggisberg and Philipp Baldwin, etc). He participated in the first International Symposium of Glass in France, in Sars Poteries, in 1982. He graduated from the School of Architecture of Marseille Luminy in 1984. He participated in the symposium "Art Verre Vin" in Saint Emilion 1984. He traveled to the United States in 1986. Exhibited at the "West Springfield Craft Fair". Collaborated with William Morris and Dale Chihuly in 1986. Held his first solo exhibition in Paris in 1987. He traveled to Scandinavia in 1992, where he visited in particular Finn Lingaard and Mikko Merikallio and Estonia to meet Vivii Ann Kerdo and Kaï Koppel, the first independent workshop in Eastern Europe. Participated in the International Symposium of blown glass in L'viv (UKR-1992) discovery of the Slavic part of the world of glass with the help of Catherine Sintès - Creation of a new line of sculptures with Catherine Sintès. Participated in the International Glassblowing Symposium of L'viv (UKR-1995). Participated in the Glass Symposium in Haapsalu (EST) in 2003, meetings with glass artists from the Baltic countries and the International Symposium of blown glass in L'viv (UKR-2004). He traveled to Japan with the presentation of Yoko Kuramoto and Makoto Ito in February 2005. He participated in the International Festival of Glass Stourbridge (UK, summer 2008).

Valorac. 2 000 - 2 200 EUR

PETER HVIDT (Denmark, 1916-1986) AND ORLA MØLGAARD-NIELSEN (Denmark, 1907-1993) for France & Daverkosen. Daybed with teak frame, upholstery in velour. Model FD-417. Produced by France & Daverkosen. Age-related trace of use. Measurements: 82 x 191 x 75 cm. Peter Hvidt was trained as an architect from the The Academy of Fine Arts' School of Architecture in Copenhagen in 1940. Orla Mølgaard-Nielsen had a background as a cabinetmaker and also in 1940 trained as an architect from the Academy of Fine Arts' School of Architecture. Peter Hvidt and Orla Mølgaard-Nielsen were pioneers of mid-century Danish design and in 1944 they founded the Copenhagen-based company Hvidt & Mølgaard, which they ran together until 1975 where both retired. Together they designed over 256 pieces of furniture together during their careers. The duo established a simple and precise aesthetic by designing countless pieces of furniture over the years, many of which became icons of the era. Today, their work is eexhibited at MoMA, the National Gallery of Melbourne and the Copenhagen Design Museum.

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