The Plaisance gallery is a specialist in 20th century decorative art and design. You can also discover exceptional pieces from all periods. Since 1992.
La Galerie Plaisance dénommée « Le Vendeur » accepte de vendre le ou les œuvres à l'acquéreur dénommé « L'Acheteur » sous réserve des conditions suivantes :
L'oeuvre est vendue par Le Vendeur dans l'état où elle se trouve pendant la vente. Les informations relatives à son état seront mentionnées dans les détails descriptifs de l'oeuvre.
Toutes demandes de restaurations doit être faites au préalable auprès du Vendeur.
L'Acheteur à la responsabilité d'examiner l'oeuvre et de demander des informations quant à son état et aux éventuelles restaurations déjà effectuées.
Toute réclamation post achat ne peut faire l'objet d'une contestation au regard des éléments fournis par Le Vendeur.
Les œuvres demeurent l'entière propriété du Vendeur jusqu'au complet encaissement du prix final.
Le paiement s'effectue en Euros par virement bancaire ou carte bleue au sein de la galerie. Pour toute demande d'un autre moyen de paiement, L'Acheteur doit contacter Le Vendeur, préalablement, pour convenir d'une solution.
Si L'Acheteur souhaite une livraison, un devis devra être demandé préalablement au Vendeur afin que celui-ci puisse faire les démarches à cet effet.
Le contrat est conclu lors de la confirmation du règlement par la banque ou Le Vendeur.
Rare "latimo" and "pulegoso" blown glass floral suspension composed of a central bowl and sixteen palms.
Circa 1932-1934
Dim. Diam: 70 cm
Perfect condition.
Bibliography: Several variations are reproduced in the monograph dedicated to Tomaso Buzzi (see images).
Biography:
After graduating in architecture from the former Regio Istituto Tecnico Superiore, now the Politecnico di Milano, in 1927 he joined the association for the dissemination of modern figurative art "Il Labirinto", the Italian answer to the Wiener Werkstätte, along with Paolo Venini, Michele Marelli, Gio Ponti, Carla Visconti di Modrone, Emilio Lancia and Pietro Chiesa.
In the 1920s and 1930s, especially during the Deco period, Buzzi was a renowned designer and one of the preferred architects of Milan's elite bourgeoisie.
In 1932, when the Venini glass company lost the design services of sculptor Napoleone Martinuzzi, who left to set up his own factory, Tomaso Buzzi became the factory's artistic director. He designed a series of classically shaped vases, obtained through the elaboration of traditional techniques. The young architect's meticulous study of lighting design and love of experimentation led to major innovations in Murano glass luminaires. The shapes of his objects are inspired by ancient sources as diverse as Persian urns and Etruscan animal-shaped jugs. Buzzi has perfected a complex method of glass layering that produces deep, luminous pastel colors ranging from pink and peach to sea green and slate blue.
The applied arts were one of Buzzi's favorite fields of creative imagination, with designs for furniture, ceramics, lace, lamps, clocks and all manner of furnishings. A tireless draughtsman, connoisseur and collector of works of art, he has always accompanied this culture with particular attention to the world of craftsmanship and workshop practice.
As a collaborator of Gio Ponti, he was involved in the organization of several national and international applied arts events (Milan Triennale, Enapi pavilions, Amsterdam International Exhibition, National Sports Exhibition, etc.).
In 1956, having voluntarily reduced his professional commitments, he bought La Scarzuola in Umbria, in the province of Terni, a former Franciscan convent with adjoining land, which he transformed into his personal residence, thus realizing his lifelong dream of a fantastic architectural complex with strong esoteric values, halfway between a park and a sapiential acropolis, with eloquent titles: the Boat of Souls, the Stone Whale, the Tower of Despair, the Ladder of Life, the Temple of Eros, the Well of Meditation, the Theater of the Bees, the Termite Mound.
On the one hand, Buzzi created a place of worship for St. Francis himself (which is therefore one of the most important places linked to the Assisi saint) and, on the other, he created his own "ideal city" in the surrounding park, drawing on the theme of artistic madness, the theatrical stage and ruin, which acts as a profane counterpart to the sacred world of the convent. Conceived by Buzzi as a rethink of his entire artistic and intellectual career, the Scarzuola remains unique in the panorama of contemporary Italian and European art and architecture, just as the architect's work and figure are surprising in their originality and inventiveness, the importance of which has yet to be sufficiently disseminated and promoted.
Galerie Plaisance
110 Rue des rosiers - Marché Paul Bert Stand 409 Allée 7
93400 Saint-Ouen
We use cookies to provide you with a better browsing experience, perform site traffic analysis, and deliver content and advertisements most relevant to your interests.
Cookie management:
By allowing these cookies, you agree to the deposit, reading and use of tracking technologies necessary for their proper functioning. Read more about our privacy policy.