534325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenArtist James Preston,Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by the beauty and the light of the surrounding Derbyshire countryside. Original oil on canvas, Squirrel size 50cm H x 60cm W
Artist James Preston Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by the beauty and the light of the surrounding Derbyshire countryside. Original oil on board St. Davids size 35cm H X 35cm W
Artist James Preston,Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by the beauty and the light of the surrounding Derbyshire countryside. Original oil on board November Sunset size 30cm H X 40cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by the beauty and the light of the surrounding Derbyshire countryside. Original oil on board Gurnards Head size 30cm H X 40cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by beauty and the light of the surrounding Derbyshire countryside. Original oil on canvas Lazy river size 40cm H x 50cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by the beauty and the light of the surrounding Derbyshire countryside. Original oil on board, Sailing stormy seas size 74cm H x 46cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by the beauty and the light of the surrounding Derbyshire countryside. Original oil on board , Swarkestone Reservoir size 28cm H x 28cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by the beauty and the light of the surrounding Derbyshire countryside. Original oil on board , Bunker Hill, Quarndon, Derbyshire,size 30cm H x 25cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by beauty and the light of the surrounding Derbyshire countryside. Original oil on board , Rattan chair size 25cm H x 35cm w
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by beauty and the light of the surrounding Derbyshire countryside. Original oil on board , In the shade size 30cm H x 30cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by beauty and the light of the surrounding Derbyshire countryside. Original oil on canvas, Ducks on the river size 50 cm H x 50 cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by beauty and the light of the surrounding Derbyshire countryside. Original oil on canvas, Castle stalker size 60 cm H x 60 cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by the beauty and the light of the surrounding Derbyshire countryside. Original oil on canvas, Three Fishermen size 36cm H x 46cm W
Artist James Preston, Born in Birmingham and moved to Derbyshire as a teenager. He studied history of art at Derby art collage. His work is recognised internationally and his compositions are inspired by beauty and the light of the surrounding Derbyshire countryside. Original oil on board , Small lily pads size 45 cm H x 35 cm W
Manner of Michelangelo (1475-1564),An artist at work on a Madonna And Child,Oil on shaped gilt edged panel (possibly part of an altar screen),Unsigned,18.5cm x 25cm (max) overall,Unframed (at fault)CR; Painted surface shows vertical cracks running through the arm, extending through the panel, some evidence of previous repair/re-attachment (see pictures). Craquelure throughout. Small areas of paint loss throughout, most concentrated around the foot of the subject (see pictures). Several surface reaching cracks to the panel. Heavy scratching and wear to the gilt, some chips and losses to the corners. Minor signs of historic worm. Piece would benefit from professional cleaning. Inspection under UV light reveals no obvious signs of restoration. See additional pictures for illustration.
* A Japanese three-fold room screen, the four silkwork panels decorated with wading and in flight cranes, each panel lined and within an ebonised frame, each panel 143cm H x 38cm WCondition reportGeneral rubbing, scuffs and minor paint chips to frame.7cm compressed tear to LH panel from the frame inwards, below a second 20cm vertical tear running down the border.Second panel from the left has a further 5cm compressed tear below the crane wing, along with light stains and fading to all panels. The reverse of the screen has a heavy stain and a 4cm compression tear (see image). The opposite end panel has an 8cm tear with overall fading and light stainsBackground colour is black
A silver coloured swing-handled sugar basket, the oval body upon spreading base, with beaded borders and foliate swag decoration, engraved cartouche to each side, marks to base for Samuel Wood, London 1784, (bowl possibly later), 16cm high, 5.67ozt (at fault)CR; Solder repair where the base meets the bowl. Base is hallmarked, bowl and handle show no marks. Denting around the base of the bowl, with possible later solder repair. Some piercing around the rim. Possible repair around the hinges of the handle. Light denting, general scratching and wear to the piece overall. Please see additional pictures for illustration.
* A Derby figural group naturalistically modelled as a young girl riding a large dog, 19th century, painted maker's mark to base, 16cm high, with a Dresden sugar caster, early 20th century, of baluster form, the body with enamelled floral reserves against cascading ribbons set between vertical gilt bands, the threaded pierced cover with fir cone finial, painted 'SP' mark to base, 14cm high (2) (at fault) CR; Derby figure: Heavy crazing throughout the dog figure, lighter patches of crazing to the female figure. Possible signs of restoration around the ears, tail and hat. The figure is lacking reigns. Heavy scratching and wear, loss to the gilt and colour on some of the highpoints. Some chips and losses to the flowers, and around the edge of the base.Dresden caster: No chips or losses. hairline crack around the neck. Decoration appears to be in good order, some loss and wear to the gilt highlights, mostly concentrated around the rims, pierced holes and finial. General scratching and wear commensurate with age and light use.
After Guillaume Coustou, a pair of patinated bronze Marly horses, naturalistically modelled rearing with grooms to the side, signature to bases, set octagonal marble plinths, later converted into table lamps, 28.5cm high (at fault) (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items. CONDITION REPORT:The horse and groom facing left show a break to the reins at the horse's mouth. The groom's torso is a separate casting, and this is loose where it inserts into the loin cloth. The horse and groom facing right are lacking their reins. Both groups show chips to the edges of the marble plinths and extensive glue residue where the brass rods supporting the light fittings have been inserted into the bases. Both are dirty and would benefit from cleaning.
An early 16th century carved oak and pierced tracery panel, circa 1500, the rectangular panel flanked by spiral carved pilasters, with central ogee arch, 74.5cm x 34cmCondition reportFour metal brackets applied to the rear of panel, evidence of light historic worm to the back of the panel and the frame.Two repairs, both approx. 5cm square at the base of the pilasters, evidence of historic worm to the front of the panel, slight separation in the frame joints, minor cracks and chips to tracery detail, general wear commensurate with age
A pair of walnut beam ends, in the 16th century manner, one modelled as a jester the other a musician 33.5cm high x 23cm wide x 29cm deep (2)Condition reportThe jester has a hairline crack 4cm long just below his wrist on his left arm, light historic wood worm with evidence throughout the body.The musician similarly with light historic worm to both arms, and a 5cm chip to the top rim and a very minor chip to his chin
A set of 18th/19th century naïve carved oak bellows, designed with a snake consuming a frog in foliate surround and the other side with tradesmen and furnace, 60cm longCondition report10cm split to the leather side with further rubbing and wear at the folds, light rubbing to the carvings on both sides, loss of one leaf above the frog, also frog is missing rear leg, minor split/chip to the snakes tale which is on the handle, possible loss of leaf in the same place, possible other minor chips and losses, very slight bend in brass nozzle
A George I cross banded walnut dressing table mirror, the arched Dutch style swing mirror above a fall front opening to a fitted interior, raised upon ogee bracket feet, 65cm H x 33cm W (at fault)Condition reportBack board to mirror has been disturbed at some point indicating the mirrored plate is later, light signs of historic worm to the rear of the mirror.Mirror frame moulding has been repaired but still has some slight separation in the joints, the interior skiver has been replaced, feet are later.Overall general wear with rubbing, scratches and minor chips, commensurate with age and use
* A George III oak cased eight day longcase clock by Johnson of Dudley, the flat top hood with freestanding reeded pilasters flanking the 33cm break arch silvered dial with painted moon phase above a subsidiary second dial and date aperture, the dial centred with the makers name and enclosing the two train four pillar movement striking on a saucer bell, the trunk with a shaped and cross banded door flanked by conforming pilasters applied with brass capitals, above moulded brick effect detail, the Dutch bombe style lower part of the case with conforming chequered banding and brick detail, raised upon a plinth base, 215cm high, two weights and pendulumCondition reportSome loss of blind fretwork to the hood, pilasters on the hood are possibly later.Movement appears well maintained but no guarantee of working condition, extensions added to the back board behind the hood, dial has some stains and rubbing, with evidence of small brass patches it may have been later silvered.Base have the clock appears lighter than the rest of the trunk, and may indicate that it is associated (see image of rear panels)Other light general wear commensurate with age and use, overall the clock appears in solid condition although there is evidence of alterations and restoration throughout
An early 18th century and later, figured walnut bachelors chest, the rectangular quarter veneered and feather banded top with a moulded edge, over four conforming graduated oak lined long drawers, each applied with shaped brass back plates, swing handles and matching escutcheons, raised upon bracket feet, 74cm H x 79cm W x 52cm D (at fault)Condition reportMultiple light scratches and marks to the top, along with a 6cm repair to the veneer.Full height repaired joint splits to both sides of the chest, drawers have associated handles and missing two locks.Drawers have been restored and run on later rail runners. Rails and blocks added to the underside of the chest, general wear commensurate with age and use
A carved oak chest of drawers, 17th century and later constructed, the three board top with incised initials 'H R', above four graduated drawers each carved with an individual scrolled or geometric design, applied with brass teardrop handles and raised upon stile feet, 99cm H x 98cm w x 59cm D (at fault)Condition reportTwo full width splits to chest top, a third split culminating in a 10cm patch repair.Later drawer construction with thick liners and rail runners, drawers run smoothly if a little loose.Evidence of light historic worm to feet with some minor losses.Chest appears to be later constructed from early timber, some play in the chest joints
An 18th century oak coffer of cottage proportions, the rectangular moulded top above twin panels each centred with a carved lozenge, raised upon stile feet, 53cm H x 90cm W x 46cm D (at fault)Condition reportA full width joint split to the top, some signs of light historic worm to the underside and rear feet, which also show signs of wear, a later bar applied to the underside between the two rear legs. General wear and marks commensurate with age and use
* A harlequin set of eight ash, elm and alder Lancashire spindle back chairs, 19th century, each with two rows of turned spindles over an envelope rush seat, raised upon turned front legs, to include two carver chairs each with three rows of spindles, heights 110cm and 100cm (8)Copndition reportThree of the chairs have had spliced repairs to the feet, raising the seat height to 47cm, each of the chairs have very slight 'sagging' in the rush seats, otherwise the joints are firm with little or no play and general wear commensurate with age and use.Both carvers have seats at 45cm, one has a replaced arm, the other with light wear to the arms, the rush seats have been re -worked and therefore have little or no wear, general wear and marks commensurate with age and use, little or no play in the joints.Of the other three chairs, two have had historic worm with some minor chips and losses due to the worm and possible further repairs hidden by stain, although both chairs appear firm with little or no play, both chairs with re worked seats, the third chair with slight play in the joints but otherwise general commensurate wear only, seat height 45cm
* A Victorian mahogany extending dining table, the rectangular top with rounded corners and a moulded edge, above a plain frieze, raised upon lobed baluster shaped legs terminating in brass cups and castors, with two extra leaves, 72cm H x 120cm extending to 200cm W x 120cm DCondition reportGeneral marks, scratches and chips to the table top along with very minor hairline cracks, 19cm length of moulding missing from the edge of one leaf, very slight 'sag' in the middle of the table when both leaves are in, light wear and water marks to the legs, table 'pulls' out rather than winds out
* A Yamaha G1 baby grand piano, registration number F5140649, circa 1990's, finished in high gloss mahogany, stamped Yamaha corporation, Hamamatsu Japan, raised upon legs of tapering square section terminating in polished brass castors, 101cm H x 145cm W x 160cm D, complete with piano stoolCondition reportSome light fading caused by the sun to the right hand side of the piano, along with some light rippling to the veneer around the curves on the same side, overall very light minor rubbing and scratches commensurate with age and use, no visible splits or cracks to the soundboard, from a private estate Working condition of the piano can not be guaranteed and may need professional tuning
An 1803 pattern infantry officer's sword, the brass hilt with pierced guard, GR royal cypher, lion's mask pommel and knurled ivory grip, 91cm long overall, stuck in a brass mounted leather scabbard (at fault), with a 1796 pattern light cavalry sabre, the 76cm single edged curved fullered steel blade with bayonet tip, the brass stirrup hilt with langets to each side and wire bound leather grip, 87cm long overall, in associated brass mounted leather scabbard (2) (at fault) CONDITION REPORT:The 1803 pattern infantry officer's sword is firmly wedged in the scabbard and the blade therefore cannot be inspected. All elements of the hilt including the guard and pommel are loose. The highpoints of the knurled grip are worn and the grip shows some staining and ingrained dirt. The brass mounts of the scabbard show various dents and splits, and the leather is worn and cracked throughout. All brass elements of the sword and scabbard show tarnishing.The 1796 pattern light cavalry sabre shows wear to the blade which has removed almost all etched or engraved detail. The blade also shows tarnishing and pitting across the surface. The langets show some dents and distortion. The stirrup hilt reinforcing insert at the top of the knuckle bar may be a later replacement. The brass back of the grip is standing away from the grip itself. The leather of the grip shows wear throughout and the wire binding shows ingrained dirt and tarnish. The brass mounts of the scabbard show various dents and splits, and the leather is worn and cracked throughout, with the seam largely open. All brass elements of the sword and scabbard show tarnishing.
An Andrea [Andrew] Ferrara type sword, possibly 18th century Scottish, the 80cm double edged part-fullered blade indistinctly stamped 'A... FE...A...A' in the fuller, set in an associated basket guard hilt with knuckle bow, wire grip and flat pierced pommel, 99cm long overall, lacking scabbard (at fault)Condition reportGeneral light speckled tarnishing and pitting to the blade, several minor nicks to the top the blade, the associated guard doesn't sit flush with the blade and has overall tarnishing with some light soldering to the bottom tip, the pommel later applied with evidence of glue, extensive wear to the makers name, see further images
An 1803 pattern infantry officer's sword, the 80cm curved fullered steel blade with bayonet tip, the brass hilt with pierced guard, GR royal cypher, lion's mask pommel and ribbed ivory grip, 93cm long overall, in associated brass mounted leather scabbard, the top mount inscribed 'Goldney's, Late Neild, St. James Street. London, Cutlers to his Royal Highness, Prince of Wales', with a 1796 pattern light cavalry sword, the 85cm single edged curved fullered steel blade with bayonet tip, the steel stirrup hilt with ribbed ivory grip, 98.5cm long overall, lacking scabbard (2) (at fault) CONDITION REPORT:The 1803 pattern infantry officer's sword shows wear to the blade which has removed almost all etched or engraved detail. The blade also shows tarnishing and pitting across the surface. The hilt shows polish build up in all crevices, and the brass areas show tarnishing throughout. The grip shows cracking and staining throughout, and an area of damage under the lion's mask. The blade appears firm in the hilt. The lower and upper brass mounts of the scabbard are detached from the leather, and may not be a matching set. All the brass mounts show dents, splits and tarnishing. The leather is very dry and worn, with an open seam running the full length, and may not be original. The fit of the scabbard at the hilt suggests that the scabbard may be associated with, rather than original to, the sword.The 1796 pattern light cavalry sword shows wear to the blade which has removed almost all etched or engraved detail. The blade also shows tarnishing and pitting across the surface, and the tip appears to have snapped off (or possibly rusted away). The blade appears to be secured in the hilt by two nails or similar. The grip is loose in the hilt, and shows cracking, wear, staining and ingrained dirt, and an area of damage under the pommel. The stirrup hilt reinforcing insert at the top of the knuckle bar which may be a later replacement.
W.A.S. BENSON (1854-1924) PAIR OF THREE-LIGHT CANDLESTICKS, CIRCA 1900 no. 22A, silver-plated copper and patinated brass(35.6cm (14in) high)Provenance: With The Fine Art Society, London John MinoprioFootnote: Exhibited: London, The Fine Art Society, 'Summer 2008' Literature: Hamerton, I. (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, Appendix 1A, p. 248, pl. 397 where similar pair of three-light candlesticks in brass and copper are illustrated
DAVID VIMAR (1988, Madrid)"Light blue", Telón series. 2020Mixed media, velvet on panel.Unique piece.Signed on the back.Enclosed certificate issued by the artist.Measurements: 71'5 cmDavid Vimar is a self-taught artist who currently lives and works between Madrid and Toledo. Since his beginnings he combines different materials and techniques that form a plastic and conceptual balance in his work. The sum of his pieces encompasses a single joint work that aims to expose his vision of human relationships. In a world in which communication has been radically transformed, we relate to each other from our social self or tangential self, but not from our deep over-entire self. The incongruence between person and character leads to an unreflective transformation of our own reality to the point of complete estrangement from ourselves. Last exhibitions: 2021 Individual "Entre silencios" Galería Ar+51 Toledo; 2021 Collective "Muchas gracias Madrid" Centro Cultural Matadero in Madrid; 2021 Collective in Casa Vincens de Gaudi in Barcelona; 2021 Collective in MonbullCorner 1ªEdición BarrioDecor in Madrid; 2021 Collective exhibition in Sala de arte "el Brocense" in Cáceres; 2021 Collective exhibition in LAB36 - Galería Senda in Barcelona; 2021 Collective exhibition in Museo el Pósito in Ciudad Real; 2021 Collective exhibition in Galería BelleHouse in Madrid; 2021 Collective exhibition "Orden/Desorden" Museo Valenciano de la Ilustración y Modernidad in Valencia.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on Velin paper, 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Loading...
![An Andrea [Andrew] Ferrara type sword, possibly 18th century Scottish, the 80cm double edged part-fullered blade indistinctly](https://cdn.globalauctionplatform.com/b1f752fb-0b8e-4c58-9314-adfe00b8bf27/e1b968ec-3c02-4971-aac0-ae0100e6043a/468x382.jpg)
