Showing 1–20 of 579 results
Sideboard with four doors made with an original solid wood structure from the 50s, covered in colored glass and profiles, handles and feet in brass. Produced in Italy.
Medidas: W 188x D 35 x H 60 cm
Escritorio de roble americano y abedul con sobre de mármol rosa portugues.
Medidas: W 150 x D 80 x H 80 cm
VAT NOT INCLUDED
“Rastro VIII”, 2008.
Fotografía a color digitalizada. Edición de 3.
Medidas: W 294 x H 130 cm
El proceso creativo de Concha Prada se mueve entorno a la interrelación entre lo fotográfico y lo pictórico. Desde la estricta utilización del lenguaje fotográfico desarrolla una reflexión sobre el espacio pictórico y la abstracción.
El ámbito temático de sus trabajos es el espacio doméstico, y el mecanismo que construye y sustenta sus fotografías es la instalación de un dispositivo pictórico en el seno de lo fotográfico.
Con este nuevo trabajo de fotogramas trata de llevar este mecanismo al limite.
Un fotograma es una fotografía sin cámara. Es la huella que deja un objeto o acción sobre el papel fotográfico impresionado por una fuente de luz. El proceso se realiza en oscuridad total, por lo que el resultado son fotografías a ciegas en las que el gesto y el azar juegan un papel fundamental.
Y es a través de este proceso, y utilizando un objeto del ámbito doméstico, una fregona, como desarrolla este nuevo trabajo, provocando un resultado que desdibuja los límites entre lo pictórico y lo fotográfico.
Pareja de butacas modelo Okay creadas por el diseñador industrial italiano Adriano Piazzesi. Compuesto por una estructura sencilla, con formas limpias y orgánicas, realizada en acero de alta calidad y el asiento tapizado en su piel original. La butaca modelo Okay es un claro ejemplo de la estética de mediados del siglo XX y del diseño italiano.
Adriano Piazzesi (1923-2009) was a Florentine designer, painter and sculptor, with revolutionary ideas about movement and relaxation.
Armchair dimensions: W104 x D 100 x H 39/76 cm
VAT NOT INCLUDED
Large format wall-hanging sculpture handmade of 100% raw agave cotton thread. It has naturally dyed thread details in different shades. It is a contemporary reinterpretation of traditional geometric motifs of the indigenous cultures of South America. The piece hangs from a black bar with black iron connectors.
Medidas: W 256 x D 15 x H 130 cm
VAT not included
Souvenir 58 A . Ed. 1/5 ,2013
Digital printing and resin on dibond
Medidas: W 150 x H 105 cm
The work of Cesar Delgado it could be compared to a scientific laboratory in which a world of tiny creatures is observed under a microscope. Meandering, twisted shapes intertwine in the fabric, delimiting paths with traces of coagulated liquid color. Like eels hatched in a tank of water, Delgado's signs vibrate with autonomous, independent life. Earthy browns mix with pure white and crawl through the space of the painting in twisted baroque convolutions. Suddenly, horizontal bands delimit and close the scene remembering that the scientific world is that of the artist where a precise, physically defined brushstroke takes us back to the world of the cold, impersonal and sharp brushstrokes of Lichtenstein.
It is the painting for the sake of painting, the abstraction for the abstraction, the work for the work. There is no pathos. Everything exists and can therefore be examined, studied like on an anatomy table. Delgado arranges the pieces of the painting for the autopsy of art history, acts as a paleontologist who breaks the stones so that fossil shells from the Jurassic period come to light. Spiral corneas, splintered bones, segments of foliaceous sheets vibrate in these slipped paintings of his own work in which a vague memory of Kandinsky merges with a problematic pop optic.
2012 «Informatismo», Tomás y Valiente Art Center, Fuenlabrada
«Informatism«, Space2. The Museum Gallery. Bogota Colombia
2010. «Informatismo», Fernando Pradilla Gallery, Madrid.
2009. Art Madrid Project Room
2007. “Derivados de Pintura”, Fernando Pradilla Gallery, Madrid.
2005. "Taxidermias", Fernando Pradilla Gallery, Madrid,.
2003. Dahl Gallery of Contemporary Art, Lucerne.
2002. Les filles du Calvaire Gallery, Paris.
1999 . Gallery Ars Vivendi, Munich.
1998. Valle Quintana Gallery, Madrid.
1997. Barrio y Valle Quintana Gallery, Madrid.
1994. MW Gallery, Madrid.
1993. Sala Pradillo, Madrid.
1988. Athenaeum of Madrid.
Hand-carved oak wood sideboard with five folding doors and interior central shelf. Top made of 3 cm thick travertine marble. Robust recessed socket.
Measurements: W 260 x D 49 x H 77
Set of 6 148_S series chairs designed by Progetti Tecno, pieces from the 1980s, inspired by Eugenio Gerli's S142, with bouclé upholstery.
Measurements: W 60 x D 55 x H 80/45 cm
Pair of chairs designed by Warren Platner and published by Knoll. Structure with a sculptural shape made of steel wire. Upholstered in bouclé fabric. USA 60s.
Measurements: W 93 x D 79 x H 79 cm
«Reale» table designed by Carlo Mollino (1905 - 1973) made of solid cherry wood structure and lacquered in black. Edited by Zanotta. Italy 1950s.
Measurements: W 200 x D 200 cm
Carlo Mollino (1905-1973), born in Turin, Italy, was a notable and versatile character whose interests spanned various disciplines throughout his life. The son of an engineer, from a young age he was drawn to a wide range of fields, including architecture, furniture design, aeronautics and racing automobiles.
However, his curiosity was not limited to technical fields. Mollino also dedicated himself to photography, and is known for his series of polaroids of female nudes. Additionally, he participated in activities as diverse as skiing and the occult.
He began his career as an architect in 1930, designing a house in Forte dei Marmi that earned him the G.Pistono prize.
Mollino's work is characterized by sinuous, streamlined lines, as well as his modern approach to artisanal techniques.
His architectural style, influenced by figures such as Alvar Aalto and Erich Mendelsohn, has often been described as neo-baroque or neoliberty, as he avoided rationalism and its connotations, seeking a more organic and artistic expression in his work. His legacy continues to be influential in the world of design and architecture.
Bibliograpía: Poletti, Zanotta, Electa 2004, pag. 103
Pair of Bauhaus style chairs made in the 70's for Pizzi Arredamenti in Italy. Composed of a structure made of tube and steel plate with the seat and backrest reupholstered by hand in yellow cotton velvet
Measurements: W 54 x D 54 x H 70 cm
Center table attributed to Frank Stella with flower-shaped chrome metal structure and transparent glass top. USA 80's.
Measurements: W 140 x D 140 x H 35 cm
Eros console designed by Angelo Mangiarotti (Milán, 1921 – 2012) for Skipper. Stunning rosso sardo marble console with top fitted on two conical bases, Italy, 1971
Dimensions: W 180 x D 45 x H 72 cm
Angelo Mangiarotti (Milan, 1921-2012) graduated in Architecture from the Politecnico di Milano in 1948. In 1953 he traveled to the United States to work and met Frank Lloyd Wright, Walter Gropius, Mies van der Rohe and Konrad Wachsmann.
There, he opened an architecture firm together with Bruno Morassutti until 1960. While working as an architect, whose works are published in books, specialized magazines and newspapers, he has an intense didactic activity carried out in different Italian and foreign universities.
Mangiarotti, as a designer, gives a very important role to plastic research. The objective of his research, which is always carried out carefully respecting the characteristics of the material, is the definition of the shape of the object as a quality of the material.
VAT NOT INCLUDED
“Evidence” sculpture made by Alexandre Arrechea (Trinidad, Cuba 1970). Sculpture made of resin. Signed and numbered 8/35 dated 2006.
Includes lacquered wooden base and methacrylate urn.
Sculpture dimensions : Diameter 30 cm
Dimensions: W 40 x D 40 x H 140 cm
Circular coffee table made with steel plate structure and top with marquetry work with Indian green marble, emperor, Carrara and Portuguese rose.
Dimensions: Diameter 91 x H 36 cm.
Pair of PS142 chairs designed by Eugenio Gerli. Composed of a solid metal structure and upholstered in white bouclé wool fabric. Original seal of the Tecno publisher. Italy 60s.
Measurements: W 70 x D 64 x H 42/67 cm
Pair of sculptural chairs made of lacquered wood in two colors. Perforated seat and backrest. Italy 80's.
Measurements: W 40 x D 40 x H 40/80 cm
American airmchairs with sculptural character made by hand with a solid walnut wood structure and white wool bouclé upholstery.
Measurements: W 64 x D 95 x H 87 cm
Rare bookcase designed by Angelo Mangiarotti for Skipper. Structure made of Carrara marble.
The bookcase is part of the "Loico collection" for the Skipper factory Italy 1970s .
Composed of two cylindrical pieces and four shelfs that fits perfectly into the cylinder.
The Loico Shelf by Angelo Mangiarotti features a sleek and minimalist design, characterized by clean lines and refined angles. It is crafted with high-quality, durable materials to ensure longevity and reliability. The seamless integration of form and function makes this shelf a timeless addition to any space, effortlessly enhancing its aesthetic appeal.
Angelo Mangiarotti, a renowned architect and designer, has left an indelible mark on the world of design with his innovative approach and exceptional craftsmanship. Known for his meticulous attention to detail and his ability to seamlessly combine functionality with aesthetics, Mangiarotti has become an influential figure in the design industry. His works are celebrated for their timeless elegance and enduring appeal.
The Loico shelving unit, created by Angelo Mangiarotti, exemplifies his visionary approach, making it more than just a piece of furniture: it is a testament to the genius of an architectural icon. Owning a Mangiarotti design not only adds a touch of sophistication to your space, but also grants you the privilege of owning a true piece of design history.
Dimensions: W 218 x D 30 x H 150 cm
Domus n. 319, giugno 1956; D. Bona, Mangiarotti, p. 37, Il Palazzo di Cristallo, 1988; I. de Guttry, M. P. Maino, Il mobile italiano degli anni ‘40 e ‘50, p. 201, f. 10, Laterza, 199