Null JOSEP BOFILL (1942). "WOMAN READING".
Bronze sur socle en marbre. 
Signé.
H…
Descripción

JOSEP BOFILL (1942). "WOMAN READING". Bronze sur socle en marbre. Signé. Hauteur 28 cm (avec socle).

460 

JOSEP BOFILL (1942). "WOMAN READING". Bronze sur socle en marbre. Signé. Hauteur 28 cm (avec socle).

Las pujas estan cerradas para este lote. Ver los resultados

Podría interesarle

VITTORIO DASSI (Italy, 1893-1973). Dining table, 1950s. Calacatta marble and mahogany wood. In good condition according to its age and use. Measurements: 77 x 134 x 91 cm. Spectacular table designed by Vittorio Dassi, prestigious Italian designer active in the middle of the last century. Made of mahogany wood with an oval-shaped calacatta marble top. Simple structure, with a single foot that supports, in the central area, the top. This tulip foot is made of carved and lacquered mahogany, which gives it great sumptuousness. Its shape is flared towards the floor, emphasized by the grooves. It rests on an oval-shaped marble base that matches the top. Underneath the top, the structure is again made of wood. With its unique features and meticulous attention to detail, this table is a testament to Vittorio Dassi's innovative vision and artistic sensibility. Vittorio Dassi's furniture, made in the 1940s and 1950s, is distinguished by the choice of fine woods such as rosewood, cherry, ash and walnut, often decorated with inlaid panels and glass signed by great master glassmakers. Elegant in design without losing functional quality, his furniture can be compared to the refined style of Gio Ponti, to whom Vittorio was linked by important collaborations after taking over from his father at Dassi Mobili Moderni in Lissone. One of the factory's most important projects was the creation of furniture for the rooms of the Hotel Royal in Naples, designed by Ponti in the mid-1950s, a period that marked Dassi's turn towards more schematic forms and teak wood for the production of modular furniture.

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.

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.

Jean DUNAND (1877-1942) "Échassiers" dénommé aussi "Oiseaux" Rare paravent présentant quatre panneaux rectangulaires articulés en bois laqué à décor finement incisé rehaussé de polychromie sur fond doré à la feuille Signé en bas à droite "JEAN DUNAND" Modèle créé en 1933, pièce unique H : 180 L : 200 cm Provenance : Collection privée, sud de la France Bibliographie : "Jean Dunand", par Félix et Amélie Marcilhac, Norma Éditions, Paris, 2020, paravent documenté en noir et blanc page 212 sous le numéro 169. Exposition : Galerie Georges Petit à Paris, 1933, n7 Note : On connaît un projet de gouache sur papier de paravent à quatre feuilles à décor quasi identique au nôtre, titré La nichée et datant de 1933-1935. Celui-ci avait été réalisé pour un projet de paravent commandé par Valentine Brun et non réalisé semble t'il. Jean DUNAND Né en 1877 en Suisse, celui qui deviendra Jean Dunand, en francisant son prénom, se spécialise dans le travail du métal à l'École des Arts Industriels de Genève dès l'âge de 14 ans. Diplôme en poche, il s'installe à Paris en 1897, travaillant comme ouvrier ciseleur tout en étudiant à l'École Nationale des Arts Décoratifs dans l'atelier du sculpteur Jean Dampt. Son initiation aux subtilités de la dinanderie auprès d'un artisan chaudronnier genevois lors de ses vacances en Suisse, ainsi que son engagement pour l'Association des Artistes Suisses à Paris qu'il fonde en 1899, témoignent de son lien profond avec son pays natal. En 1900, Dunand reçoit une médaille d'or à l'Exposition Universelle de Paris pour une sculpture. Sa première exposition de dinanderies au Salon de la Société nationale des Beaux-Arts en 1904 le pousse à s'orienter définitivement vers les arts décoratifs. Résolu à produire des pièces uniques, il délaisse les procédés de tournage et d'estampage au profit du martelage et de la ciselure manuelle, intégrant des incrustations d'or ou d'argent, des patines, des laques ou des émaux. Après un premier succès international à l'Exposition internationale de Milan en 1906, Dunand découvre les bronzes chinois et japonais, influençant son style vers une ornementation plus réaliste. En 1912, il approfondit sa connaissance de la laque auprès du maître japonais Seizo Sugawara, technique qui deviendra centrale dans son oeuvre. Bien que la Grande Guerre interrompe son activité, il reste en France, s'engageant comme conducteur d'ambulance et imaginant un casque de combat pour les soldats français. Après la guerre, Dunand se consacre intensément à la laque, technique qui le fascine, et réalise des oeuvres qui intègrent métal et laque. Son travail attire l'attention lors de l'Exposition internationale des Arts Décoratifs et industriels modernes de 1925 où il est consacré comme un maître de la laque et du métal. Dans les années 1930, il réalise des commandes prestigieuses, notamment pour les paquebots l'Atlantique et le Normandie. Collaborant avec son fils Bernard, Jean Dunand continue de perfectionner son art jusqu'à sa mort en 1942. Son travail, alliant technicité et créativité, fait de lui une icône des Arts Décoratifs, symbolisant l'esprit des Années Folles.