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Lot 573
Achille Castiglione (Mailand 1918 - Mailand 2002). Stehlampe 'Arco Led'. Flos, Italien. Entwurf 1962, Ausführung wohl um 1990. Stahl und Aluminiumguss, Sockel aus Carrara-Marmor. H. 240 cm. Min. Gebrauchsspuren. Ausziehbarer Schaft aus satiniertem Stahl, verstellbarer und höhenregulierbarer Reflektor aus poliertem Aluminiumguß - Ital. Architekt und Designer, bis 1980 Professor an der Fakultät für Architektur in Turin und bis 1993 Professor für Industriedesign in Mailand, ausgezeichnet mit 9 Compasso d‘Oro Awards
Lot 770
Mestre dos Textos das Vanitas (ativo em Madrid, c. 1650) Still Life Oil on canvasDepicting peonies and other flowers in a gilded vase, surrounded by books, an inkwell with a quill, a cheese box, an hourglass, and a candle on a tableInscribed “OVASI FLOS CONTEN[…]” (upper right, on the cartellino) and “Vita” (lower center, on the book spine), with another indistinct inscription “[…]soro del[…]” (on the spine, lower left corner) 92x75,5 cm
Lot 1024
ACHILLE & PIER GIACOMO CASTIGLIONIMailand 1918 - 2002 ibid. - Mailand 1913 - 1968 ibid.STEHLEUCHTE MODELL 'ARCO' Italien, Flos, Entwurf 1962 Marmor poliert, Edelstahl matt, Aluminium zaponiert, 1-flg. elektrifiziert. H. max. ca. 230 cm, B. ca. 180 cm, Reflektor: D. 3. Herstelleretikett. Leichte Gebrauchsspuren, es fehlt das mittlere Bogenelement aus Edelstahl. Provenienz: Privatbesitz Bergisches Land.
Lot 283
Phillippe Starck (French 1949-) for Flos, Italy "Ara" Table Lamp Designed 1988, constructed in zamak alloy with polished chrome-plated finish, the shade adjustable to point up or down, retaining original label to base and repeated stamp Flos - Ara - 1988 to rubber foot.53cm highNot tested, generally light surface wear, would benefit from a light polish and clean.
Lot 219
Justinus, (M. J.).: Historiae Philippicae. Curante A. Gronovio. Editio secunda. Leiden, Luchtmans, 1760. Mit gest. Front. u. gest. Titelvign. 23 Bll., XLII, 1034 S., 86 Bll. Ldr. d. Zt. mit Rsch. u. Rvg. (Berieben, Vorderdeckel mit Schabstelle). Schweiger II, 493. (29). Schwach gebräunt. - ╔Dabei: Pomey,F.╗ Flos latinitatis, ex auctorum latinae linguae principum monumentis excerptus... Prag 1755. 352 S. - ╔Angebunden:╗ Latinitatis ars brevicula seu syntaxis ornata... Prag 1753. 1 Bl., 265 S. Ldr. d. Zt. (Gelenke etw. beschäd.). - Vgl. De Backer-S. II, 2063. - Etw. wasserrandig, N.a.T.u.V. - ╔Heyne,C.G.╗ Ad Apollodori Atheniensis Bibliothecam notae... Tle. 1-2 (von 3) in 1 Bd. Göttingen, Dieterich 1783. - ╔Vechner,D.╗ Hellenolexias sive parallelismi graecolatini libri duo. Gotha, Reyher (1733).
Lot 1905
Vintage Bogenlampe "Arco"von Achille & Pier Giacomo Castiglioni1-flg.; Weißer, hellgrau gemaserter Marmor sowie Metall, verchromt. Über hochrechteckigem Podestsockel mit runder Aussparung schlanker, weit ausschwingender, gekanteter Schaft als Träger für Leuchtmittel in Form eines runden Lampenschirms. Herstellerzeichen. Elektrifiziert. Entw. Achille & Pier Giacomo Castiglioni, 1960er Jahre. H. 250 cm.An Italian large Vintage floorlamp "Arco" by Achille & Pier Giacomo Castiglioni. Manufacturer's mark.Italien. Flos. 2. Hälfte 20. Jh.
Lot 2315
ANTONIO CITTERIO & OLIVER LÖW, Pendelleuchte "Lastra 6" Hergestellt von Flos, Italien, getöntes Glas und Aluminium, verstellbare Glühbirnen, LxB: 168/22 cm. Normale Alters-und Gebrauchsspuren, es fehlen Befestigungselemente zum Aufhängen der Lampe.| ANTONIO CITTERIO & OLIVER LÖW, "Lastra 6" pendant lightMade by Flos, Italy, tinted glass and aluminium, adjustable light bulbs, LxW: 168/22 cm. Normal signs of age and wear, the anchoring parts for hanging the lamp are missing.
Lot 426
Designer Papillona Stehlampe von Tobia & Afra Scarpa für "Flos", Italien, 1970ertrichterförmiger Deckenfluter mit zwei Glas Einsätzen (einer davon gebrochen), schwarz lackierter Metall Fuß mit schlankem Schaft. R7s Fassung. Langes original Kabel mit Fußschalter. H. 191cm. Funktionsfähig. Mid-Century Designklassiker der 70er Jahre.
Lot 6
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.
Lot 1274a
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
Lot 650
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
Lot 1347
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).
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