Null MODEST URGELL. Vue rurale. Dessin au crayon et à l'encre sur papier
Signé
2…

Description

MODEST URGELL. Vue rurale. Dessin au crayon et à l'encre sur papier Signé 25.8x19 cm. Rousseurs. Cadre en bois doré. Non examiné sans le cadre.

630

MODEST URGELL. Vue rurale. Dessin au crayon et à l'encre sur papier Signé 25.8x19 cm. Rousseurs. Cadre en bois doré. Non examiné sans le cadre.

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Estim. 5 500 - 6 500 EUR

Dresser/chest of drawers and 2 bedside tables. Italy, 1950s. Wood. Measurements: 35 x 60 x 37 cm (bedside tables); 70 x 124 x 41 cm (dresser). Very special set of chest of drawers with dressing table function and pair of bedside tables, Italian design of the fifties. Made entirely in wood, they combine two tones, darker for the drawers. All three pieces have a transparent glass top shelf. The drawers have a flap with an original design that saves the handle. The curved lines outline the cabinet, drawing a harmonious whole between its blunt angles and diagonal sections. The legs, narrower at the base, trace stylized stipes that lighten the already light and refined structure. Italian furniture design of the 1950s, known as Mid-Century Modern, is known for its combination of elegance, functionality and modernity, characteristics that are echoed in this set.

Estim. 4 000 - 5 000 EUR

BØRGE MOGENSEN (Denmark, 1914 - 1972). Three-seater sofa model 2212, 1970s. Beech wood legs and brown leather upholstery. Upholstery with wear and some missing parts. It shows marks of use and wear. Needs to be reworked. Measurements: 76 x 221 x 80 cm. Sofa 2212 by Børge Mogensen combines Danish design with a modest aesthetic of remarkable sophistication. Originally, the sofas designed by Børge Mogensen were intended to furnish his own home, but soon became an icon of 20th century design. The generous proportions and cushions upholstered in fabric or leather provide exceptional comfort for the user. The armrests, meanwhile, feature a distinctive shape, characteristic of the 22 collection, reflected in a slight curve, higher at the back and giving the sofa a modern, timeless look. The seat, back and side cushions are completely detachable from the frame. Børge Mogensen was one of the most prominent representatives of the generation of designers who gave birth to the Danish design concept that is now known worldwide. He began his career as a cabinetmaker in 1934, and two years later began his studies at the Copenhagen School of Arts and Crafts, where he was taught by Kaare Klint. He then entered the Royal Academy of Fine Arts, graduating as an architect in 1942. That same year he began working as design director for FDB, finally setting up on his own in 1950. Functional is the word that best describes Mogensen's design; most of his creations were conceived for industrial production, and are characterized by solid, simple lines, studied almost scientifically to be as functional as possible. His clean and highly functional aesthetic resulted in affordable and practical designs, his favorite material being wood. His client portfolio includes Fredericia Stolefabrik, Fritz Hansen and Søborg Møbelfabrik, among others. Notable projects include Spokeback Sofa (1945) and Spanish Chair (1959), as well as a variety of shelving and storage designs. He was honored with the Eckersberg Medal in 1950, the Copenhagen Joinery Guild's annual award in 1953 and the C.F. Hansen Medal in 1972.

Estim. 1 300 - 1 600 EUR

HARRY BERTOIA (Italy, 1915 - USA, 1978). Set of four "Side Bertoia" chairs, ca. 1960. Steel rods. Measurements: 74 x 46 x 56 cm. Drawing on his experience as head of the Experimental Department at the Eames Studio, Harry Bertoia designed the Side chair for Knoll International in 1952. A single piece of steel rod forms the seat and back, joined to a lightweight steel frame that forms the base. The visible structure of the Side model suggests that the chairs were objects in space, and as Bertoia said, "space passes through them". A painter, graphic artist, sculptor, university professor and furniture designer, Harry Bertoia emigrated to the United States at the age of fifteen, and it was there that he developed his training and career. He studied at the Detroit Society of Arts and Crafts and later at the Cranbrook Academy of Art in Bloomfield, Michigan, where he later became a teacher and created the department of metalwork. During these years he began to experiment with the forms of jewelry, and to explore ideas that would later emerge in his sculpture and designs. In 1943 he began his collaboration with designer Charles Eames, with whom he worked until 1946. After a period working for Point Loma Navel Electronics as a creator of equipment manuals, in 1949 he joined Hans Knoll at Knoll Associates. His first sculpture exhibition took place at the Knoll Showroom in New York in 1951, and the following year Knoll would patent his most famous furniture design, the welded rod "Diamond" chair. Bertoia's designs are now in the collections of major design and contemporary art museums, including MoMA in New York and many others.

Estim. 1 500 - 1 600 EUR

PAUL TUTTLE (Missouri, USA, 1934 - California, USA, 2002) for Strässle International. Nonna" rocking chair, 1970s. Tubular chrome, ebonized bentwood, beige canvas and Swiss cowhide. The seat and backrest consist of a thick canvas that is attached to the frame with a large buckle and a strap to which cowhide is sewn. The chrome is bright, pitted-free and the black ebonized bentwood frame is splinter-free. The thick leather upholstery is soft, worn and free of rips or tears. Overall it is in very good condition, with appreciable wear in the images, which does not interfere with the overall view of the set. Measurements: 100 x 90 x 55 cm; 40 cm (seat height). This iconic piece of furniture is the epitome of mid-century modern design, with clean lines, smooth curves and a classic black lacquered wood frame that is as durable as it is elegant. Paul Tuttle was an American interior and furniture designer known for his sleek, modern pieces. He combined materials such as leather, metal, chrome and glass. He started in the 1950s with his mentor Alvin Lustig, from whom he drew inspiration. In his work he always sought the purest form of function.

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