Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven. As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work.
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Große Tischlampe, Entwurf Achille und Pier Giacomo Castiglioni für Flos, Italien, 20.Jh. Metall/Glas/Kunststoff, Modell "Taccia", auf rundem, flachen Stand, breiter, kannelierter Schaft, aufgelegter, halbkugelförmiger Glasschirm mit aufgestecktem Metalldiffuser, HxD ca. 64x50cm, Alters- u. Gebrauchsspuren, Funktion ungeprüft
Mouseman - circa. 1930s set of six (4+2) oak dining chairs, panelled back carved with the Bagshawe family crest, the moto 'Forma Flos Fama Flatus' over an arm grasping a bugle-horn with ribbon tie and Yorkshire rose motif, adzed frame, leather lattice strap seat, on octagonal supports united by stretchers, two carvers and four side chairs, each carved with mouse signature, by Robert Thompson of Kilburn Provenance: Owned since manufacture by the Bagshawe family, descendants of the Staithes Group Artist Joseph Richard Bagshawe RBA (1870-1909).
ACHILLE CASTIGLIONE FOR FLOS TACCIA, TABLE LAMP, DESIGNED IN 1962 blackened and chromed metal, with clear glass and white enamelled shade, unmarkedthe shade - 48cm diameterCondition generally good. Would benefit from clean. Wear as per use and age, including some minor scuffs. Electricity works at time of testing. additional images now available.
A group of three Baccarat 'Flos Tech/ Harcourt Our Fire' candlesticks, designed by Philippe Starck in 2009, each modelled as a table lamp, with a faceted column and partially mirrored shade, two acid marked,each 33cm high (3)Condition ReportOne of the tealight holders is with a crack. Each of the tealight and candle holders with surface scratches, where they fit together. Please see additional images.
THREE TALL FLOS 'STYLOS' FLOOR LAMPS Designed by Achille Castiglioni, silver powder-coated steel base, opaque perspex shades; tested and working 197.5cm high, 35cm diameter of base Condition: Condition Report There are some occasional scratches to the paint on the bases of all three, the wire on one example has come slightly loose from the floor switch (not broken). This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Achille Castiglioni (Italian, 1918-2002) and Pier Giacomo Castiglioni (Italian, 1913-1968), an Italian 'Viscontea' pendant light, designed in 1960 for Flos, the cocoon resin shade suspended on a shaped metal frame, 70cm diameter50cm high excluding suspensionCondition ReportThe bottom of the shade with a tear to the cocoon. With some stretched areas over the frame where the integrity of the cocoon appears slightly weak. With a small hole to the top half of the cocoon. The frame with some rusting in areas. The shade with some stains in areas. Additional images uploaded.Pat Test Passed.
Philippe Starck (b. 1949) for Flos - 'KTribe Floor 2' standard lamp, the base, rod support, and diffuser support in die-cast, polished, and chrome-plated Zamak alloy, with an inner frosted diffuser and an outer fabric shade, equipped with an electronic dimmer switchDimensions: Height: 186cm
Mouseman - circa. 1930s set of six (4+2) oak dining chairs, panelled back carved with the Bagshawe family crest, the moto 'Forma Flos Fama Flatus' over an arm grasping a bugle-horn with ribbon tie and Yorkshire rose motif, adzed frame, leather lattice strap seat, on octagonal supports united by stretchers, two carvers and four side chairs, each carved with mouse signature, by Robert Thompson of Kilburn Provenance - the chairs were owned by Edward Bagshawe, the eldest son of the Staithes Group artist J.R. Bagshawe. On the death of Edward they were passed to the vendor. They have been in the family for almost 95 years.
Philippe Starck (b. 1949) for Flos - 'KTribe Floor 2' standard lamp, the base, rod support, and diffuser support in die-cast, polished, and chrome-plated Zamak alloy, with an inner frosted diffuser and an outer fabric shade, equipped with an electronic dimmer switchDimensions: Height: 186cm
SEBASTIAN WRONG1971 LondonTISCHLEUCHTE MODELL 'SPUN LIGHT TABLE 1' Italien, Flos, Entwurf 2003 Metall farbig lackiert, Pressglas sat., Kunststoff, 1-flg. elektrifiziert, ausgestattet m. Dimmer. H. ca. 58 cm, D. max. 39 cm. Unterseitig bez.. Sehr leichte Gebrauchsspuren, Lack- u. Kunststoffoberflächen part. vergilbt,. Provenienz: Privatbesitz Ruhrgebiet.
ACHILLE & PIER GIACOMO CASTIGLIONIMailand 1918 - 2002 ibid. - Mailand 1913 - 1968 ibid.STEHLEUCHTE MODELL 'ARCO' Italien, Flos, Entwurf 1962 Marmor poliert, Edelstahl matt, Aluminiumschirm zaponiert, 1-flg. elektrifiziert. H. 240 cm, B. max. 220 cm, Reflektor: D. 32 cm. Reste d. Herstelleretiketts. Gebrauchsspuren, Zaponlack d. Reflektors gold-gelb verfärbt. Provenienz: Privatbesitz Ruhrgebiet.
![* Besler (Basilius). Flos Solis maior (from the Hortus Eystettensis), Eichstatt [1713], engraving with fine early hand-colour](https://cdn.globalauctionplatform.com/dd84a124-1580-49ca-a704-b13201270f77/bd1fcf68-7ecc-4a50-8c2b-b16200a8dfe7/468x382.jpg)
* Besler (Basilius). Flos Solis maior (from the Hortus Eystettensis), Eichstatt [1713], engraving with fine early hand-colouring, slight toning and marginal fraying, 490 x 410 mm, overall size 570 x 445 mm, Latin text on versoQTY: (1)NOTE:Nissen 158.Originally published in the Hortus Eystettensis (The Garden of Eichstatt), the sunflower is widely regarded as the finest and most impressive of the 367 botanical prints that make up this outstanding florilegium of the 17th century. What makes the Hortus so unique is that instead of portraying medicinal or culinary plants, the emphasis was on garden flowers, herbs, vegetables and exotic plants. First published in 1613, only 300 copies were printed and there were two subsequent editions, published in 1640 and 1713.
Sammlung: von 4 Schriften, 17.-Anfang 18. Jh. 12°-Kl.8°. Versch. Einbde. ╔Enthält:╗ Erasmus Roterodamus,D. De utraque verborum ac rerum copia lib. II. Amsterdam, Janssonius 1645. Mit Kupfertitel. - Buchanan,G. Poemata quae extant. Amsterdam, Waesberg 1665. Mit Kupfertitel. - Pomey,F. Flos latinitatis ex auctorum latinae linguae... Dillingen, Bencard 1707. Titelbl. u. Front. in Kopie. - Statius,P.P. Opera... I.F. Gronovius. Venedig, Pezzana 1712. Mit Kupfertitel.
Johannes Carthusiensis. De immensa charitate dei. Teil III (von 5). 11 (von 12) nn. Bl. (ohne das erste w. Bl.). 26 Zeilen. Rom. Typ. Schriftraum: 14,4 x 8,9 cm. Format: 21,1 x 14 cm. Mit Initialspatien. Modernes Pergament im modernem Papp-Schuber. Venedig, Nicolaus Jenson, 7. Juli 1580 (recte 1480).Hain-Copinger-Reichling 9389. Copinger-Reichling 3357. GW 13476.3. Goff J-274. Proctor 4127. Pellechet 6557. Oates 1646. BMC V, 181. BSB-Ink I-338. CIBN J-175. IBE 3209. IBP 3110. IGI 4311. ISTC ij00274000. - Dritter Teil der erste Ausgabe der unter dem Titel "Nosce te" versammelten Traktate des auch Johannes Gallicus genannten Karthäusermönchs Johannes Carthusiensis (1415-1474 ), mit dem Titel "De immensa charitate dei". Die Offizin von Nicolaus Jenson druckte die Reihe von fünf Traktaten zwischen dem 28. Juni und dem 19. Juli 1480 zusammen als ein Werk. Sie besitzen jeweils eine eigene Überschrift: "Nosce te", "Corona senum", "De immensa charitate dei", "De humilitate interiori: & pacientia vera", "Libellus in praeparatione infirmorum: & in dispositione morientium: qui flos vitae interpretatur". - Es fehlt das erste weiße Blatt. Das Erscheinungsdatum ist falsch gedruckt worden, anstatt "mcccclxxx" steht auf dem letzen Blatt "mccccclxxx". Kaum fleckig, wenige Randausbesserungen, winziges, teils geschlossenes Wurmlöchlein, teils im Steg verstärkt, vereinzelte hs. Annotationen der Zeit. Insgesamt sehr schönes, bemerkenswert breitrandiges Exemplar.
DIONYSIUS THE CARTHUSIAN. Opus Commentariorum in Psalmos Omnes Davidicos. Eng. title vignette, wood eng. illus. to reverse of title (representing Dionysius at the feet of the Virgin with Child) & eng. opening capital. 790pp (conforms to Adams D562), text in double column. Large engraved rebus bookplate of Monasterii Murensis (Benedictine Abbey at Muri in Switzerland). Old stamp & erased inscription to title (the latter showing through). Folio. Early embossed vellum covered brds. with clasps, top brd. detached but present. Cologne, Heirs of Ioannis Quentelii & Geruinum Calenium, 1558 (Calend Septembribus). To the front free endpaper is a rubricated manuscript scribal verse of 7 lines, commencing "Virginitas flos et Virginis aurea dos". Below the engraved bookplate is a manuscript gift inscription to "Johannes Mason Neale", Anglican Priest & Scholar & writer of hymns including "Good King Wenceslas".Condition report:Staining and cracking to velum cover with signs of worm across cover. Front board seperated from spine. Annotations in Latin to end paper and fifth page. Title page yellowed with library stamp to top-left corner. Pages yellowed through-out and wormholes present (although mostly de-fined to margins)
Sarfatti, GinoVenedig 1912 - 1985 Gravedona, 1939 eröffnete er die Beleuchtungsfirma Arteluce, welche 1973 von der Firma Flos übernommen wurde. 16-flammiger Kronleuchter, Entwurf: wohl um 1958, Ausführung Flos, 1980er Jahre, zentral ein verchromter Zylinder mit 16 verschraubten, stabförmigen Leuchterarmen in 2 verschiedenen Höhen für je 1 Leuchtkörper, röhrenförmige Aufhängung mit zylindrischem Deckenbaldachin, HxD: 109/68 cm. Funktionstüchtig. Gebrauchter Zustand.
Achille Castiglioni and Pio Manzu for Flos Pair of 'Parentesi' adjustable suspension lamps, circa 1970 Lacquered steel, steel wire, rubber, plastic Each with manufacturer's label to ceiling rose Approximately 324cm in length Literature Giuliana Gramigna, 'Repertorio del Design Italiano1950-2000', Allemandi, 2011, p.184 It is the buyer's responsibility to ensure that electrical items are professionally rewired for use
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483 item(s)/page