Null 拉斐尔-埃斯特拉尼城市景观。
签名
100x73 厘米。略有瑕疵。老化清漆。涂漆木框，有瑕疵。

描述

拉斐尔-埃斯特拉尼城市景观。签名 100x73 厘米。略有瑕疵。老化清漆。涂漆木框，有瑕疵。

671

拉斐尔-埃斯特拉尼城市景观。签名 100x73 厘米。略有瑕疵。老化清漆。涂漆木框，有瑕疵。

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Estim. 3 500 - 4 000 EUR

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.

Estim. 3 000 - 4 000 EUR

Pair of JACOB & JOSEF KOHN rockers. Austria, second half of the 19th century. Walnut wood. With marks of use. Active xylophages. With remains of labels. Measurements: 105 x 55 x 92 cm. The legs and armrests of this pair of rocking chairs are made up of a single curved structure of organic inspiration. The backrests, for their part, are based on a play of straight and openwork shapes. They were manufactured by the company J & J Kohn, founded by Jacob Kohn (1791-1868) and his son Josef (1814-1884) in 1867 in Wsetin (Moravia), in the territory of the Austro-Hungarian Empire. Kohn challenged the privilege of exclusive production of bent furniture held by Thonet, its creator, since 1856; a privilege which, in view of a negative ruling by the authorities, Thonet did not attempt to renew. Kohn soon became a strong competitor in the bent beech wood sector, in which it is a historical benchmark alongside the Thonet brothers. The company's early prominence was demonstrated by its highly acclaimed participation in the Vienna World Exhibition in 1873. From then on, Jacob &Josef Kohn exhibited at the expositions in Philadelphia (1876), Paris (1878, silver medal), Barcelona (1888), Glasgow (1901), Turin (1902), St. Louis (1904), Milan, London and Bucharest (1906) and Buenos Aires and Munich (1910). She was also awarded the Grand Prix at the Universal Exhibition in Paris in 1900. Kohn teamed up with renowned architects and designers of the day, with Otto Wagner, Josef Hoffmann, Koloman Moser and Hans Prutscher producing designs for her. After an initial phase dedicated to the production of curved chairs in the Thonet line, the company developed, during the eighties, an extensive historicist production. With the turn of the century came the stylistic evolution, focusing since then on the new trends in the decorative arts. In this sense, the chair that Adolf Loos (1870-1933) designed for Kohn in 1899, destined for the Café Museum in Vienna, stands out as the main reference point. Today, works by Jacob & Josef Kohn can be found in museums and institutions all over the world, such as the Museum of Modern Art in New York and the Orsay Museum in Paris.

Estim. 3 000 - 3 500 EUR

MAGDA BOLUMAR CHERTÓ (Caldes d'Estrac, Barcelona, 1934). 无题》，1971 年。纸上混合媒介。左下角有签名、位置和日期。尺寸：35 x 50 厘米；38 x 53 厘米（画框）：35 x 50 厘米；38 x 53 厘米（画框）。 Magda Bolumar 于 1948 年进入画家拉斐尔-埃斯特拉尼（Rafael Estrany）的工作室，他是詹姆斯-恩索尔（James Ensor）的弟子，后来在马塔洛工艺美术学校学习。1954 年，她与 Dau al Set 小组的一些成员和雕刻家 Moisés Villelia（Arte Actual 小组的建筑师之一）取得联系，并与之结婚，开始共同研究艺术中的主要材料。Magda Bolumar 尤以 Xarpelleres 闻名，1960 年，她在巴塞罗那首次展出了 Xarpelleres。在 Xarpelleres 中，物质和质地具有特殊的重要性，这将这些作品与非正规主义联系在一起。然而，玛格达-博卢马尔的作品本质上具有建构主义的意义，因为在这些作品中，结构的主角来自于制作这些作品的线的张力。Cirici Pellicer 写道，与布里（Burri）或米拉雷斯（Millares）等非正规主义艺术家的作品不同，与戏剧性或谴责性不同，"在玛格达-博卢马尔的作品中，纺织品的作用是构建一个新的宇宙，它通过线的纬度表现出 "重新排列 "世界的需要"。1 Mª Luisa Borrás 写道，"这位艺术家华丽的'xarpelleres'展现了一种压倒性的力量解放，其中大部分是大脑的力量，最终形成经线与纬线、星空或平行线之间的张力，揭示了一种智慧的解放、独创性和建设性的严谨"。这位艺术家并不认为她的作品属于非正规主义，但将艺术家变成被历史正典视为唯一有效的伟大男性名字的追随者的需要，迫使物质-前卫关系的意义，使其在西班牙艺术的那一刻必然经历从非正规主义的解读"。正如琼-布罗萨（Joan Brossa）在一篇献给这位艺术家的画作的文章中所说的那样，玛格达-博卢马尔试图通过她的 "xarpelleres "刺绣作品诗意地接近生活，他在文章中强调了这些纺织品结构的抒情感："El marc/ fa de tambor/per a bordar el sac"（Brossa，1965 年）。

Estim. 8 000 - 10 000 EUR

MAGDA BOLUMAR CHERTÓ (Caldes d'Estrac, Barcelona, 1934). 无题》，1996 年。麻布上的混合媒介。右下角有签名和日期。背面有签名和日期。尺寸：82 x 122 厘米；85 x 125 厘米（画框）：82 x 122 厘米；85 x 125 厘米（画框）。 Magda Bolumar 于 1948 年进入画家拉斐尔-埃斯特拉尼（Rafael Estrany）的工作室，他是詹姆斯-恩索尔（James Ensor）的弟子，后来在马塔洛艺术和工艺学校学习。1954 年，她与 Dau al Set 小组的一些成员和雕刻家 Moisés Villelia（Arte Actual 小组的建筑师之一）取得联系，并与之结婚，开始共同研究艺术中的主要材料。Magda Bolumar 尤以 Xarpelleres 闻名，1960 年，她在巴塞罗那首次展出了 Xarpelleres。在 Xarpelleres 中，物质和质地具有特殊的重要性，这将这些作品与非正规主义联系在一起。然而，玛格达-博卢马尔的作品本质上具有建构主义的意义，因为在这些作品中，结构的主角来自于制作这些作品的线的张力。Cirici Pellicer 写道，与布里（Burri）或米拉雷斯（Millares）等非正规主义艺术家的作品不同，与戏剧性或谴责性不同，"在玛格达-博卢马尔的作品中，纺织品的作用是构建一个新的宇宙，它通过线的纬度表现出 "重新排列 "世界的需要"。1 Mª Luisa Borrás 写道，"这位艺术家华丽的'xarpelleres'展现了一种压倒性的力量解放，其中大部分是大脑的力量，最终形成经线与纬线、星空或平行线之间的张力，揭示了一种智慧的解放、独创性和建设性的严谨"。这位艺术家并不认为她的作品属于非正规主义，但将艺术家变成被历史正典视为唯一有效的伟大男性名字的追随者的需要，迫使物质-前卫关系的意义，使其在西班牙艺术的那一刻必然经历从非正规主义的解读"。正如琼-布罗萨（Joan Brossa）在一篇献给这位艺术家的画作的文章中所说的那样，玛格达-博卢马尔试图通过她的 "xarpelleres "刺绣作品诗意地接近生活，他在文章中强调了这些纺织品结构的抒情感："El marc/ fa de tambor/per a bordar el sac"（Brossa，1965 年）。

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