Null MARIE ANTOINETTE BOULLARD-DEVÉ. Sans titre. Huile sur panneau dur
54x73 cm.…

Description

MARIE ANTOINETTE BOULLARD-DEVÉ. Sans titre. Huile sur panneau dur 54x73 cm. Légers dommages.

490

MARIE ANTOINETTE BOULLARD-DEVÉ. Sans titre. Huile sur panneau dur 54x73 cm. Légers dommages.

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Estim. 800 - 1 000 EUR

Table lamp; Fase President model by GEI (Gabinete de Estudios Industriales), 1960s. Metal and wood. Electrified. In working order. In good condition. With signature on the base. Measurements: 44 x 60 x 30 cm. Spanish lighting manufacturer Fase was founded in Madrid in 1964 by industrial designer Pedro Martín. Martín sold his self-produced lamps first in markets, before successfully establishing a factory in Torrejón de Ardoz, on the outskirts of 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.

Estim. 5 000 - 5 500 EUR

MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Original leather with signs of wear due to age. Measurements: 73 x 170 x 85 cm; 42 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Estim. 5 000 - 5 500 EUR

MARIO BELLINI (Milan, 1935) for B&B Italia. 2-seater sofa "Le Bambole", designed in the 70s. Original leather with signs of wear due to age. Measurements: 73 x 170 x 85 cm; 42 cm (seat height). The Bambole armchair, with large, soft cushions, is an icon of Italian design of the 1970s, winner of the Compasso d'Oro in 1979. It was a revolutionary model, reflected as a series of large upholstered cushions placed together almost randomly, in response to the transformations of life underway in the early part of that decade. The innovation of the design led photographer Oliviero Toscani to photograph Donna Jordan (a model he met at Warhol's Factory) lying bare-breasted on it. These images were first censored, but later went around the world in magazines and design manuals. Trained as an architect at the Polytechnic University of Milan, Mario Bellini founded his studio in 1987, winning with his brand the Gold Medal of the Chartered Society of Designers in the United Kingdom. He has also received the Compasso d'Oro 8 times and 25 of his works are in the permanent design exhibition at MoMA in New York. His profession goes beyond architecture and urban planning, as his passion for decoration has led him to become a furniture designer collaborating with internationally recognized brands such as Cassina, Kartell, Rosenthal, Venini, Vitra, Driade or Natuzzi. The impact and influence of Bellini, has led him to be present in major projects such as The Museum of Islamic Arts at Louvre Museum in 2012, or in the extension of the National Gallery of Victoria in Melbourne in 2003.

Estim. 16 000 - 18 000 EUR

[MARIE-THERESE, infante d’Espagne et dauphine de France ]. Coffre de voyage aux armes. Sl, sd (c. 1745). Superbe objet historique aux armes de la dauphine Marie-Thérèse-Antoinette d'Espagne, première épouse de Louis de France, fils ainé de Louis XV. Coffre de voyage en maroquin rouge aux armes. H 23 x L 57,5 x l 29,7 cm. Pièce exceptionnelle par sa rareté, sa qualité et son origine princière, ce coffre a été confectionné en France par le maroquinier (ou coffretier-gaineur selon le terme en usage sous l'ancien Régime) L . Lecoq, dont la marque parlante est poussée sur la face postérieure (emblème de coq entourée de son chiffre L L) au fer doré sur le maroquin. Les Lecoq étaient une famille et une véritable dynastie de maroquiniers au savoir-faire transmis qui seront de fidèles fournisseurs de la cour de Versailles tout au long du XVIIIe siècle. Marie-Thérèse Antoinette Raphaëlle de Bourbon, infante d’Espagne et dauphine de France, née en 1726 à Madrid et morte en 1746 à Versailles est une princesse espagnole, fille de Philippe V et d’Élisabeth Farnèse qui fut mariée au dauphin Louis de France, ainé de Louis XV et futur père de Louis XVI (il ne régnera jamais) en 1745 afin de réconcilier la France et l'Espagne (parallèlement au mariage de Madame Première avec l'infant Philippe). Ce type de mobilier de voyage est un rare témoin du train que suivait toute princesse de France lors de ses déplacements. Ces petites malles pouvaient être destinées au rangement d'accessoires, de vaisselles, d'ouvrages divers... Les destinations peuvent etre multiples. (OHR, 2525). Le coffre est dans un très bon état de conservation. Petites marques d'usure d'usage du maroquin, discrètes salissures (poussière noircie aux garnitures ou face inférieure) et petites restaurations (face inférieure et cordons d'ouverture posés postérieurement, sans doute à la place d'équerres souvent du même métal que les garnitures extérieures sur ce type d'objet). Dorure légèrement obscurcie ou oxydée sur l'ensemble des fers poussés.

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