Italian Mid-Century Modernism

Set of Two

Diminutive Reclining Armchairs

Lacquered Wood

Circa 1950s

DIMENSIONS

Height: 28.5 inches (72.39 cm) Width: 22 inches (55.88 cm) Depth: 26 inches (66.04 cm)

ABOUT ARMCHAIRS

This exquisite pair of Italian Mid-Century Modern armchairs exemplifies the sleek and functional design aesthetic of the 1950s. Each chair features a refined lacquered wood frame that showcases the craftsmanship of the era. Their compact size and versatile design make them ideal for various living spaces. These armchairs are not only visually striking but also practical, as they transition seamlessly from an upright position to a reclining one, allowing for customizable comfort. The original upholstery, which remains in remarkable condition, complements the elegant wood structure, enhancing the chairs' timeless appeal. Made in Italy, this pair captures the essence of mid-century modern design with its blend of style and innovation.

$2,500

MID-CENTURY FOLK ART

Antoni Rzasa

CHAIR

Carved Wood

Poland, 1958-1959

DIMENSIONS

Height: 25.5 in (64.77 cm) Width: 16 in (40.64 cm) Depth: 19 in (48.26 cm) Seat Height: 13 in (33.02 cm)

DETAILS

The chair is in its original condition i.e. no modifications or restoration, original patina. The bottom of the seat features a 'made in Poland' stamp and the artist's carved signature, country of origin, and date of fabrication ('1958-1959').

ABOUT CHAIR

Polish Folk Art is beautifully exemplified in this intricately carved and sculpted wood chair crafted by the esteemed Polish artist and sculptor, Antoni Rzasa. Renowned for his mastery in woodwork, Rzasa's chair is not merely a functional piece but a testament to his artistic vision and cultural heritage.

The chair's back is adorned with a stunning depiction of a nude woman, meticulously carved to capture both the grace and strength of the female form. Each detail, from the flowing curves to the delicate facial features, speaks volumes about Rzasa's skill and dedication to his craft. The sculptural elements bring life to the wood, transforming it into a canvas that tells a story of tradition and craftsmanship passed down through generations.

Through Rzasa's artistry, this chair becomes more than just furniture. The combination of folk motifs with the artist's personal style creates a piece that is both timeless and contemporary, bridging the past with the present. This chair not only serves as a functional item but also as a conversation piece and a work of art that invites admiration and contemplation. It stands as a testament to the the enduring legacy of artists like Antoni Rzasa, whose passion and creativity continue to inspire and captivate audiences worldwide.

ABOUT ARTIST

ANTONI RZASA (1919-1980) stands as a pivotal figure in 20th-century Polish art, celebrated for his profound wood sculpting that sparked considerable debate. His works, deeply rooted in the traditions of the Subcarpathian region where he was born, blend practical craftsmanship with spiritual depth, a tradition cultivated since the 19th century.

Educated at the School of Wood Industry in Zakopane, Rząsa's studies were interrupted by World War II. Returning to Zakopane in 1948, he found mentorship under Antoni Kenar and established connections with the Academy of Fine Arts in Warsaw. Despite his travels to Warsaw, Italy, and Russia, he remained devoted to Zakopane and his native village of Futoma, where he drew inspiration from both modernity and tradition.

Rząsa's sculptures, renowned for their simplistic forms and distinctive Folk Art style, traverse themes of suffering, faith, and humor with a provocative avant-garde flair. His iconic depictions, such as Crucified Christs and weeping Marys, are imbued with gestures that captivate viewers through their profound ambiguity.

In 1974, Rząsa and his family began constructing their home in Zakopane, which would later serve as a gallery showcasing his sculptures. His legacy continues through his works housed in prestigious collections worldwide, including the National Museums in Warsaw, Kraków, and Poznan, as well as the Polish Army Museum and numerous private collections across Europe and the United States. Antoni Rząsa's artistry transcends borders, leaving an indelible mark on the world of sculpture and the hearts of those touched by his creations.

SOLD

Italian Mid-Century Modern

Plant Stand

Manufactured by Palladio

Wrought & Gilt Iron and Brass

Circa 1950s

DIMENSIONS

Height: 28.5 in (72.39 cm)

Diameter: 16 in (40.64 cm)

MARKINGS

‘PALLADIO Made in Italy”

ABOUT

Crafted in mid-20th-century Italy, this exquisite tripod plant stand embodies the essence of Italian Mid-Century Modern design, characterized by its elegant blend of wrought iron and partially gilt accents. The stand features a meticulously crafted gilt brass planter, adding a touch of luxurious warmth to its minimalist form. Created by Palladio, a renowned artisan of the era, this piece bears the distinct maker's mark discreetly placed on its base, attesting to its authenticity and craftsmanship. Reflecting the era's penchant for sleek lines and functional beauty, this plant stand stands as a testament to both artistic innovation and timeless appeal.

$4,250

SCANDINAVIAN

Mid-Century Modernism

Coffee|Side|Occasional Table

Abstract Marquetry

Sweden, ca. 1950s

ABOUT

Swedish mid-century occasional | side | coffee table with abstract marquetry in variety of wood species. The table top has an irregular contour of a triangle with rounded corners. Hand executed. Made in Sweden, circa 1950’s. Creator unknown.

DIMENSIONS

Height: 15.5 inches Width: 22 inches Depth: 22 inches

$3,200

After Pablo Picasso

Three Musicians (1921)

Mid-Century Modern Wool Rug

Ca. 1965

Signed: P.P. (for Pablo Picasso) in the lower right corner.

Height: 47.5” Width: 60”

A Mid-Century Modern rug featuring an image of Pablo Picasso's work "Three Musicians" (1921). Made in Europe, ca. 1965, the rug has a wool face and cotton back. A short fringe (approximately measuring 1 inch) is on the top and the bottom of the rug.

The original Three Musicians painting (1921) is a large painting measuring more than 2 meters wide and high. This celebrated work, now in the New York Museum of Modern Art, is part of series painted while was with his young family in the Fontaineblueau in the summer of 1921. It marks a return to high Synthetic Cubism and his enduring Commedia dellArte imaginary, commenced in the early days in Paris. His continuing association with the refined world of ballet, through his wife and through his work designing sets and costumes for Diaghilev, is evident throughout. It is painted in the style of Synthetic Cubism and gives the appearance of cut paper.

Picasso paints three musicians made of flat, brightly colored, abstract shapes in a shallow, boxlike room. On the left is a clarinet player, in the middle a guitar player, and on the right a singer holding sheets of music. They are dressed as familiar figures: Pierrot, wearing a blue and white suit; Harlequinn, in an orange and yellow diamond-pattered custome; and, at right, a friar in a black robe.

In front of Pierrot stands a table with a pipe and other objects, while beneath him is a dog, whose belly, legs, and tail peep out behind the musician's legs. Like the boxy brown stage on which the three musicians perform, everything in this painting is made up of flat shapes. Behind each musician, the light brown floor is in a different place, extending much farther toward the left than the right. Framing the picture, the floor and the flat walls make the room lopsided, but the musicians seem steady. Music Makers in Harmony; It is hard to tell where one musician starts and another stops, because the shapes that create them intersect and overlap, as if they were paper cutouts.

Pierrot, the figure in blue and white, holds a clarinet in his hands; one hand connected to a long, thin, black arm, while the other hand lacks an arm. Three Musicians emphasizes lively colors, angular shapes, and flat patterns. Picasso said he was delighted when "Gertrude Stein joyfully announced... that she had at last understood what... the three musicians was meant to be. It was a still life!"

To many art historian, Three Musicians may be seen as Picasso's belated reply to The Piano Lesson, the huge music-making scene Henri Matisse painted in the summer of 1916. Picasso's desire to win back the initiative from Matisse in the exploitation of the decorative potential of the synthetic Cubist style emerges in this painting in the boldest possible manner.

Three Musicians is a perfect example of Picasso's Cubist style. In Cubism, the subject of the artwork is transformed into a sequence of planes, lines, and arcs. Cubism has been described as an intellectual style because the artists analyzed the shapes of their subjects and reinvented them on the canvas. The viewer must reconstruct the subject and space of the work by comparing the different shapes and forms to determine what each one represents. Through this process, the viewer participates with the artist in making the artwork make sense.