Null T.佩雷斯,追随巴托洛梅-埃斯特班-穆里略,《圣母子》,又名《拿餐巾的圣母》。布面油画 
签名,地点:塞维利亚,日期:1939 年
46x47 厘米。…
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T.佩雷斯,追随巴托洛梅-埃斯特班-穆里略,《圣母子》,又名《拿餐巾的圣母》。布面油画 签名,地点:塞维利亚,日期:1939 年 46x47 厘米。镀金木框。画幅间隙。

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T.佩雷斯,追随巴托洛梅-埃斯特班-穆里略,《圣母子》,又名《拿餐巾的圣母》。布面油画 签名,地点:塞维利亚,日期:1939 年 46x47 厘米。镀金木框。画幅间隙。

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Lounge Chair in the style of GIO PONTI (Milan, 1891 - 1979). Brass structure. Upholstery in blue and gray velvet. New upholstery in very good condition. Measurements: 96 x 72 x 80 cm. Armchair with brass tube feet and upper structure of angular shapes that embrace the user. It is a design halfway between the design tradition of the twentieth century and futuristic fantasy, dominated by a bichrome that avoids the stridencies and characterized by the play of planes and volumes. Architect, designer and academic, Gio Ponti is, along with Ettore Sottsass, the leader of the most sought-after Italian designers of the 20th century by collectors. In addition to the elegance of his furniture, sensitive to functionality, yet original at the same time, Ponti is recognized for his volcanic creativity, which led him to produce and design until the 1970s. His ability to give voice to new trends made him the "inventor" of the Made in Italy design concept. Ponti studied architecture at the Politecnico. After World War I, in which he had to serve, he worked as artistic director for the respected ceramic manufacturing company Richard-Ginori. Between 1923 and 1927 he partnered with architects Mino Fiocchi and Emilio Lancia, opening his own studio in 1928, and founded the famous design magazine Domus, through whose pages (and those of Lo Stile, a magazine he would found and edit in the 1940s) Ponti influenced international taste in design for more than fifty years. By 1933, Ponti partnered with engineers Antonio Fornaroli and Eugenio Soncini to create the Ponti-Fornaroli-Soncini studio, which firmly embraced the modernist aesthetic and worked until 1945. In 1950, Ponti was awarded the commission for what would become one of the iconic buildings of the 20th century, the 32-story Pirelli Tower in Milan. Throughout his career, Ponti played many different roles: architect, industrial designer, craftsman, teacher, painter, editor and journalist.

埃斯特班-维森特-佩雷斯(1903 年出生于塞戈维亚的图雷加诺,2001 年出生于纽约)。 无题》,1967 年。 纸上水墨。 已签名。 展览:马德里,Elvira González 画廊,"Esteban Vicente.黑与白",2000 年 3 月 17 日至 4 月 14 日,第 33 页(复制件)。巴塞罗那,Alejandro Sales 画廊,"Esteban Vicente",2006 年 11 月(再版)。 尺寸:48 x 70 厘米;70 x 90 厘米:48 x 70 厘米;70 x 90 厘米(画框)。 1921 年,埃斯特万-维森特进入马德里圣费尔南多美术学院学习,当时的目标是成为一名雕塑家,但很快他就决定投身绘画创作。1928 年,他举办了自己的首次画展,之后前往巴黎,在那里一直待到 1930 年。内战爆发后,他隐居在首都周围的山区工作。然而,就在 1936 年,他决定前往妻子的家乡纽约。1937 年,他在那里的 Kleeman 画廊首次举办了画展。四年后,他获得了美国国籍,因为他是共和党的支持者,决定不再返回西班牙。在随后的几年里,他接受了许多委托并举办了许多展览,1947 年至 1947 年期间,他在波多黎各大学担任绘画教授。回到美国后,他与新生的纽约画派建立了联系,参加了他在库茨画廊(1950 年)、第九街艺术展(1951 年)以及西德尼-詹尼斯和伊根画廊举办的展览。他是纽约工作室学校的创始成员之一,在那里任教长达 36 年。从八十年代起,他的作品开始在西班牙为人所知,西班牙为他举办了回顾展(Banco Exterior,1987 年;Museo Reina Sofía,1997 年),并授予他美术金奖(1990 年)和阿方索十世大十字奖章(1999 年)。1998 年,埃斯特万-维森特当代艺术博物馆在塞戈维亚落成,他的大部分作品保存至今。维森特的作品被收藏在世界各地的主要当代艺术博物馆中,如纽约大都会博物馆、古根海姆博物馆和现代艺术博物馆、马德里索菲亚王后国家博物馆、华盛顿特区史密森尼博物馆、威斯尼美国艺术博物馆或印第安纳波利斯艺术博物馆等。