Null RAMIRO LORENZALE ROGENT (1859-1917). "WOMAN'S PORTRAIT", 1900.
纸上水彩画。
已签名并注…
描述

RAMIRO LORENZALE ROGENT (1859-1917). "WOMAN'S PORTRAIT", 1900. 纸上水彩画。 已签名并注明日期。 17 x 10.5 厘米;29 x 22.5 厘米(有框)。

953 

RAMIRO LORENZALE ROGENT (1859-1917). "WOMAN'S PORTRAIT", 1900. 纸上水彩画。 已签名并注明日期。 17 x 10.5 厘米;29 x 22.5 厘米(有框)。

该拍品的拍卖已经结束 查看结果

您可能同样喜欢

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.

In the style of JOSEF HOFFMANN (Brtnice, Czech Republic, 1870 - Vienna, 1956). Pair of armchairs. Walnut wood. Fabric upholstery with floral decoration. With signs of wear and tear. With xylophages. The wood needs to be reworked. Measurements: 73 x 55 x 47 cm. Pair of armchairs of Central European style, framed within the Viennese Secession, with structure in walnut wood with structure of parallel bands, functional and of refined volumes. An architect and industrial designer, Josef Hoffmann studied at the Academy of Applied Arts in Vienna, where he was a disciple of Carl Freiherr von Hasenauer and Otto Wagner, whose theories of functional, modern architecture would profoundly influence his work. He won the Prix de Rome in 1895, and the following year he joined Wagner's office, collaborating with Olbrich on some projects for the Metropolitan. He established his own office in 1898, and taught at the School of Decorative Arts in Vienna between 1899 and 1936. He was also a founding member of the Viennese Secession. In 1900 he travelled to London, where he came into contact with the English school and discovered Mackintosh. On his return, he set up a workshop for the production of objects based on designs by Secession artists, and the Wiener Werkstätte was born, a workshop which had a great influence on 20th-century industrial design. By 1903, production began on an international scale. In the course of his life, Hoffmann produced a variety of projects for buildings and furnishings, and exhibited his creations all over the world. He is currently represented in the MAK and the Leopold Museum in Vienna, the Metropolitan and MoMA in New York, the Brohan in Berlin, the Courtauld Institute in London and the Victoria & Albert in London, among many others.

Kunz Meyer-Waldeck,神秘的湖畔 岩石景观中清澈的森林池塘边的夏日景色,在岸边的洞穴前,一个稚气未脱的小精灵凝视着翡翠绿深湖中两条美人鱼的嬉戏,这幅上釉、部分略有浮雕的神话画作有着非常美丽的光线和细腻的色彩,布面油画,约 1900 年,左下方有签名和落款 "Kunz Meyer München",担架背面有残缺的标签,上面有大部分难以辨认的手写补充"...艺术品的建立和发送中心...艺术家昆兹-迈耶的名字...... "以及品牌印章 "Gallerie [sic.] Arthur v.Franquet (mit Krone und steigendem Braunschweiger Löwen)",出处:来自不伦瑞克制造商、艺术收藏家和赞助人保罗-弗里德里希-阿瑟-冯-弗兰凯(1854-1931 年,不伦瑞克)的遗产,他是爱德华-蒙克等人的朋友,曾多次为他购买艺术品提供支持。艺术家信息:实际上是康拉丁-卡尔-费迪南德-迈耶(Conradin Karl Ferdinand Meyer),自 1914 年起被称为 Kunz Meyer,署名为 "Meyer-Waldeck",波罗的海德国画家、插图画家、雕塑家和教育家(1859 年在米陶(Mitau/Kurland)至 1953 年在诺伊堡(Schloss Neuburg/Inn)),童年在圣彼得堡,1874 年搬到圣彼得堡,1874 年搬到诺伊堡(Neuburg/Inn.1879-87 年就读于慕尼黑学院,师从 Alexander Strähuber 和 Johann Leonhard Raab,是 Wilhelm von Lindenschmit the Younger 的硕士生,1885-86 年游历意大利、1888 年起在慕尼黑从事自由职业,1891-92 年在不来梅工作,19 世纪 90 年代在葡萄牙度过,1908-10 年担任达拉斯德克萨斯艺术联盟艺术学校校长,1910 年返回德国并被任命为皇家教授,曾在阿姆斯特丹和圣路易斯世界博览会以及 1888-1931 年阿姆斯特丹和圣路易斯博览会上展出。Louis 以及 1888 年至 1931 年在慕尼黑 Glaspalast 举办的展览和 1937 年在慕尼黑德国艺术之家举办的德国艺术大展,并获得各种荣誉,如 1895 年慕尼黑金奖、1904 年圣路易斯世界博览会铜奖、巴伐利亚圣米迦勒四级勋章、巴伐利亚圣米迦勒四级勋章和巴伐利亚圣米迦勒四级勋章。Michaelsorden 四级骑士勋章、萨克森阿尔布莱希特一级骑士十字勋章、奥兰治-拿骚骑士十字勋章,1917 年获萨尔茨堡大金州奖章,Luitpold 集团和慕尼黑艺术家合作社成员,活跃于慕尼黑,资料来源:Thieme-Becker,Vol:资料来源:Thieme-Becker、Vollmer、Dressler、Boetticher、慕尼黑学院登记册、Bruckmann "Münchner Maler des 19./20. Jh."、Saur 和互联网。

[音乐 - 卢利(让-巴蒂斯特)和基努尔特(菲利普)]。Alceste ou le triomphe d'Alcide.On la vendée à Paris, à l'entrée de la Porte de l'Académie Royale de Musique au Palais-Royal, Imprimée aux despens de ladite Académie par René Baudry, imprimeur, 1675. 四开 [1] 封面插图,[4] 页,共 76 页。象牙色半牛皮纸,光滑书脊,标题和日期为黑色字体(约 1890-1900 年)。F. Chauveau 创作的精美雕版正面插图。有一些褪色。书名上有 "Monogram "字样的前出借人印章。 让-巴蒂斯特-吕利继《卡德摩斯与赫敏》(Cadmus et Hermione)之后的第二部抒情悲剧的罕见版本(原版由巴拉德于1674年出版)。 阿尔塞斯特》从排练开始就在凡尔赛宫廷引起了极大的反响,但1674年1月19日在巴黎皇家剧院首演时,反响却小得多:卢利的敌人(自从他获得歌剧院的特权后,他们对他更加不满)聚集在观众席上,因此首演没有获得掌声,次日的评论也几乎没有褒奖之词。尽管如此,随后的演出还是获得了巨大成功,作品的价值得到了体现,评论家们也不再发表意见。 这部歌剧分为序幕和五幕,是抒情悲剧雏形的结晶。这种体裁的所有元素在此都有体现:序幕描绘了宫廷中当前的政治事件;朗诵比意大利歌剧更具旋律性,为情节的戏剧性服务;娱乐性咏叹调,继承了轻松愉快的宫廷芭蕾舞剧的传统。 阿尔西德(赫拉克勒斯的别名)爱上了阿尔塞斯特,后者被许配给塞萨利国王阿德梅特。阿德梅特斯在战斗中受伤。命运之神同意饶他一命,条件是必须有人代替他牺牲。阿尔塞斯蒂斯同意了。阿尔塞德答应阿德梅特把阿尔塞斯特从冥界接回来,条件是她必须是他的妻子。从冥界回来后,夫妻俩依依惜别,阿尔塞德放弃了阿尔塞斯特,把她留给了阿德梅特。阿尔西德的胜利在于他成功地在这对恩爱夫妻面前让位(资料来源:维基百科)。