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Subasta Octubre 2019
Subasta Octubre 2019 MITTWOCH 9 OKTOBER 2019 KL. 16:00 CEST (1 - 481) 1. LOMBARD SCHOOL. Gold reliquary medallion, late 16th 9. Jewellery set consisting of a brooch and earrings in gold, first Century - early 17th Century. half of the 19th Century. 18K gold, black enamel and central medallion depicting the Adoration of 14K gold, gilt metal and oval, round and square cut garnets, 1.80 cts the Shepherds on the front and the Flight to Egypt on the back, in approx. Brooch: 5.4x4.5 cm. Earrings: 4.3 cm. 20.5 gr. reverse-glass painting and églomisé. 4.8 x 3.8 cm. 31.8 gr. Schätzwert: 750 EUR Schätzwert: 550 EUR Endpreis: - Endpreis: 1.800 EUR 10. Catalan silver long earrings, 19th Century. 2. Two reliquary pendants, 17th-18th centuries. Silver, probably oval, cushion and pear cut topazes, 2.85 cts and rose One of them in the shape of Jerusalem Cross in silver and wood with cut diamonds, 0.25 cts approx. Original case included. 5.8 x 1.4 cm. mother of pearl inlays; and the other one as a medallion depicting Our 13.9 gr. Lady of Sorrows with the attributes of passion on the front and Saint Schätzwert: 300 EUR Margaret in an illuminated engraving on the back. 7.5x4.8 cm and 7x4.7 Endpreis: 650 EUR cm. 56.3 gr. Schätzwert: 550 EUR 11. Coral long earrings and bracelet, 19th Century. Endpreis: - 14K and 18K gold, coral beads, two flower-shaped coral beads, carved coral beads and coral cameo with the representation of a male bust. -
Henri Labrouste: Structure Brought to Light Is the Condensed Result of Several Years of Research, Goers Are Plunged
HENRI LABROUSTE STRUCTURE BROUGHT TO LIGHT With essays by Martin Bressani, Marc Grignon, Marie-Hélène de La Mure, Neil Levine, Bertrand Lemoine, Sigrid de Jong, David Van Zanten, and Gérard Uniack The Museum of Modern Art, New York In association with the Cité de l’architecture & du patrimoine et the Bibliothèque nationale de France, with the special participation of the Académie d’architecture and the Bibliothèque Sainte-Geneviève. This exhibition, the first the Cité de l’Architecture et du Patrimoine has devoted to Since its foundation eighty years ago, MoMA’s Department of Architecture (today the a nineteenth-century architect, is part of a larger series of monographs dedicated Department of Architecture and Design) has shared the Museum’s linked missions of to renowned architects, from Jacques Androuet du Cerceau to Claude Parent and showcasing cutting-edge artistic work in all media and exploring the longer prehistory of Christian de Portzamparc. the artistic present. In 1932, for instance, no sooner had Philip Johnson, Henry-Russell Presenting Henri Labrouste at the Cité de l’Architecture et du Patrimoine carries with Hitchcock, and Alfred H. Barr, Jr., installed the Department’s legendary inaugural show, it its very own significance, given that his name and ideas crossed paths with our insti- Modern Architecture: International Exhibition, than plans were afoot for a show the following tution’s history, and his works are a testament to the values he defended. In 1858, he year on the commercial architecture of late-nineteenth-century Chicago, intended as the even sketched out a plan for reconstructing the Ecole Polytechnique on Chaillot hill, first in a series of shows tracing key episodes in the development of modern architecture though it would never be followed through. -
National Architectures in Europe
The Monument National Architectures in Europe Fabienne CHEVALLIER ABSTRACT The concept of a national architecture was born in the eighteenth century in England, where the Neo-Gothic emerged as a symbol of the kingdom’s influence and would soon been reoriented by the Arts and Crafts movement towards the vernacular. In Germany, the completion of Cologne Cathedral gave the movement an ultra-romantic appearance, which competed with the Rundbogenstil. In France, the Neo-Gothic, which was theorized by rationalist architects close to Viollet-le-Duc, competed with the more regionalist Neo-Romanesque movement. National architectures then proliferated in Europe from 1880 to 1920. The primary ingredients of this architectural recycling of the past included popular culture (Hungary), the mythical roots of territories (Finland, Catalonia), and the natural beauty of local materials (Sweden). Stockholm's city hall, facade on the lake Mälar. Arch. Ragnar ÖSTBERG (1911-1923). J. ROOSVAL dir., Stockholms Stadshus, Stockholm, Gunnar Tisells tekniska förlag, 1923. Paris, Bib. Nordique. The movement of national architectures, whose matrix was the Neo-Gothic, was born during the eighteenth century in England, and spread to Germany, France, and later to numerous centres in Europe. It ended during the 1920s. The picturesque English world—the melancholy of ruins, the sublime, Christian piety, idealization of the Middle Ages—prepared the way for romanticism, which was consubstantial with national architectures. From the early eighteenth century, the Gothic—which was used during the reign of Elizabeth I (1558-1603) in an approach explicitly linked to strengthening the kingdom and English identity—became the style of the picturesque movement. -
Sitio Oficial De Turismo De La Ciudad De Buen
de 1910 comenzó a cantar canciones camperas y milongas; años después sería el pionero del tango cantado. Es, seguramente, el artista más popular que dio el país, tanto local como internacionalmente. Murió en un Abasto accidente de aviación en Medellín, Colombia, en 1935. 9. Casa natal de Aníbal Troilo Cabrera entre Anchorena y Agüero El bandoneonista nació aquí en 1914. Músico precoz, Pichuco debutó tocando a los 12 años en un cine de barrio, a una cuadra de esta casa. Troilo fue uno de los tangueros más influyentes, tanto por su forma de tocar el bandoneón como por sus composiciones. Escribió la música de 60 tangos; la mayoría hoy son clásicos. 1 Mercado de Abasto 2 Bar El Progreso 3 Pasaje Carlos Gardel 4 Viejo Bar Chanta Cuatro – Esquina Av. de Mayo Carlos Gardel 5 Vivienda de Luca Prodan 6 Pasaje Zelaya 7 Paseo del fileteado 8 Museo Casa Carlos 1 Gardel Sede del Gobierno de la Ciudad de Buenos 9 Casa natal de Aníbal Aires Troilo 2 Casa de la Cultura (Ex edificio del diario La Prensa) 3 El Cabildo 4 Pasaje Roverano 5 Estación Perú de subterráneo 1. Mercado de Abasto 6 Confitería London City Corrientes 3200 7 Palacio Urquiza Anchorena En la década de 1890 se estableció en la zona una feria de carros que vendían frutas y verduras (la venta de carne estaba expresamente prohibida). En 1934 se inauguró el edificio actual; el mercado (el más grande de 8 Palacio Vera la ciudad) permaneció en funcionamiento hasta 1984; en 1998 reabrió como centro comercial. 9 Café Tortoni 2. -
MORTEN F. RØNNOW Francisco Girelli
Anales del Instituto de Arte Americano e Investigaciones Estéticas “Mario J. Buschiazzo” n MORTEN F. RØNNOW Francisco Girelli CÓMO CITAR ESTE ARTÍCULO: Girelli, F. (2019). Morten F. Rønnow. Anales del IAA, 49(1), pp. 125-140. Recuperado de: http://www.iaa.fadu.uba.ar/ojs/index.php/ anales/article/view/307/523 Anales es una revista periódica arbitrada que surgió en el año Anales is a peer refereed periodical which first appeared in 1948 dentro del Instituto de Arte Americano e Investigaciones 1948 in the IAA. The journal publishes original papers about Estéticas “Mario J. Buschiazzo” (IAA). Publica trabajos origi- the history of disciplines such as urban planning, architecture nales vinculados a la historia de disciplinas como el urbanis- and graphic and industrial design, preferably related to Latin mo, la arquitectura y el diseño gráfico e industrial y, preferen- America. temente, referidos a América Latina. Contact: [email protected] Contacto: [email protected] * This journal uses Open Journal Systems 2.4.0.0, which * Esta revista usa Open Journal Systems 2.4.0.0, un soft ware is free software for management and magazine publishing libre para la gestión y la publicación de revistas desarrollado, developed, supported, and freely distributed by the Public soportado, y libremente distribuido por el Public Knowledge Knowledge Project under the GNU General Public License. Project bajo Licencia Pública General GNU. Anales del IAA, 49(1): 125-140, 2019. Puesto en línea: 28 de junio de 2019. ISSN 2362-2024. http://www.iaa.fadu.uba.ar/ojs/index.php/anales/article/view/307/523 Francisco Girelli MORTEN F. -
Architectural Interiors I Prepared Especially for Home Study
r 720 (07) 157 v. 6 Federal Housing Acbnmistration Library)^ ^ J. pC~. -=rv J J. m J J n%A MMfaHNK,** ■ ' • ^•SiSfcK.iS iiii&j*t&Mis 53«*« International Correspondence Schools, Scranton, Pa. ! | Architectural Interiors I Prepared Especially for Home Study By DAVID T. JONES, B. Arch. Director, School of Architecture and Building Construction International Correspondence Schools Member, American Institute of Architects 641 l-l Edition 2 International Correspondence Schools, Scranton, Pennsylvania International Correspondence Schools, Canadian, Ltd., Montreal, Canada i j 1 ;i ! i Architectural Interiors ■ vY- ! '‘I And m Lite ihai most atlairs thu» require suriou* handling arc distasteful, For this reason, 1 have By always believed that the successiul man has the hardest battle with nimtelf rather than with the other fellow DAVID T. JONES, B. Arch. To bring ones ielf to a frame of mind and to the proper energy to accomplish tnings that require plain Director, School of Architecture hard work continuously is the one big battle tbtu and Building Construction I everyone has. When this battle is woo for all time, International Correspondence Schools then everything is eas).” —Thomas A Buckner Member, American Institute of Architects l i- f 33 Serial 6411-1 ! I : i ;■! © 1962, 1958 by INTERNATIONAL TEXTBOOK COMPANY Printed in United States of America :1 :i •! : !r International Correspondence Schools j Scranton, Pennsylvania / ICS International Correspondence Schools Canadian, Ltd, Montreal, Canada L 710^ (p i? inv-£ fFTiat T/iis Text Covers • . 1. Development of Interior Design Pages 1 to 6 The relation between architecture and interior design and decora- ration is explained. -
Turismo Basado En Art Nouveau En La Ciudad De La Plata
Turismo Basado en Art Nouveau en la ciudad de La Plata El patrimonio arquitectónico como recurso diversificador de la oferta turística ARIADNA HERNÁNDEZ DIRECTOR: Alfredo Conti Tesis de grado - Licenciatura en Turismo 2019 Agradecimientos A mi familia, por apoyarme en cada paso. A mis amigas, por emocionarse por mis logros. A Renata, por brindarme todo su profesionalismo y su amistad en este proceso. A Leandro, por ser un tutor dedicado y un amigo incondicional. A Agustín, por ser paciente y atento. A mi Director, Alfredo, por guiarme. 1 Índice Resumen ..................................................................................................................................... 3 Introducción ............................................................................................................................... 4 1. CAPÍTULO: Marco teórico .............................................................................................. 8 1.1. El concepto de patrimonio cultural y patrimonio arquitectónico................................. 8 1.2. El patrimonio arquitectónico como atractivo turístico. .............................................. 12 1.3. El Art Nouveau: características, surgimiento, adopción en Argentina. ...................... 14 1.4. Las revistas especializadas, las exposiciones y su rol en la difusión. .......................... 23 1.5. La declinación del Art Nouveau. .................................................................................. 24 1.6. Adopción del movimiento en Argentina. ................................................................... -
The Walls of the Confessions: Neo-Romanesque Architecture, Nationalism, and Religious Identity in the Kaiserreich by Annah Krieg
The Walls of the Confessions: Neo-Romanesque Architecture, Nationalism, and Religious Identity in the Kaiserreich by Annah Krieg B.A., Lawrence University, 2001 M.A., University of Pittsburgh, 2004 Submitted to the Graduate Faculty of The School of Art and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Annah Krieg It was defended on April 2, 2010 and approved by Christopher Drew Armstrong, Director of Architectural Studies and Assistant Professor, History of Art and Architecture Paul Jaskot, Professor, Art History , DePaul University Kirk Savage, Professor and Chair, History of Art and Architecture Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, History of Art and Architecture Dissertation Advisor: Barbara McCloskey, Associate Professor, History of Art and Architecture ii The Walls of the Confessions: Neo-Romanesque Architecture, Nationalism, and Religious Identity in the Kaiserreich Annah Krieg, PhD University of Pittsburgh, 2010 Scholars traditionally understand neo-Romanesque architecture as a stylistic manifestation of the homogenizing and nationalizing impulse of the Kaiserreich. Images of fortress-like office buildings and public halls with imposing facades of rusticated stone dominate our view of neo-Romanesque architecture from the Kaiserreich (1871-1918). The three religious buildings at the core of this study - Edwin Oppler’s New Synagogue in Breslau (1866-1872), Christoph Hehl’s Catholic Rosary Church in Berlin-Steglitz (1899-1900), and Friedrich Adler’s Protestant Church of the Redeemer in Jerusalem (1893-1898) – offer compelling counter- examples of the ways in which religious groups, especially those that were local minorities, adapted the dominant neo-Romanesque style to their own particular quest towards distinctive assimilation in an increasingly complex, national, modern society. -
READINGS: NEO-CLASSICISM Background: Neo-Classicism. Term Coined in the 1880S to Denote the Last Stage of the Classical Traditi
READINGS: NEO-CLASSICISM Background: Neo-classicism. Term coined in the 1880s to denote the last stage of the Classical tradition in architecture, sculpture, painting and the decorative arts. Neo-classicism was the successor to Rococo in the second half of the 18th century and was itself superseded by various historicist styles in the first half of the 19th century. It formed an integral part of THE ENLIGHTENMENT in its radical questioning of received notions of human endeavour. It was also deeply involved with the emergence of new historical attitudes towards the past -- non-Classical as well as Classical -- that were stimulated by an unprecedented range of archaeological discoveries, extending from southern Italy and the eastern Mediterranean to Egypt and the Near East, during the second half of the 18th century. The new awareness of the plurality of historical styles prompted the search for consciously new and contemporary forms of expression. This concept of modernity set Neo-classicism apart from past revivals of antiquity, to which it was, nevertheless, closely related. Almost paradoxically, the quest for a timeless mode of expression (the 'true style', as it was then called) involved strongly divergent approaches towards design that were strikingly focused on the Greco- Roman debate. On the one hand, there was a commitment to a radical severity of expression, associated with the Platonic Ideal, as well as to such criteria as the functional and the primitive, which were particularly identified with early Greek art and architecture. On the other hand, there were highly innovative exercises in eclecticism, inspired by late Imperial Rome, as well as subsequent periods of stylistic experiment with Mannerism and the Italian Baroque. -
Rascacielos Porteños
Temas de Patrimonio Cultural 17 Rascacielos Porteños Temas de Patrimonio Cultural 15 1 Temas de Patrimonio Cultural 15 Jefe de Gobierno Dr. Aníbal Ibarra Vicejefe de Gobierno Lic. Jorge Telerman Secretario de Cultura Dr. Gustavo López Subsecretaria de Patrimonio Cultural Arq. Silvia Fajre Subsecretaria de Gestión e Industrias Culturales Lic. Stella Puente Comisión para la Preservación del Patrimonio Histórico Cultural de la Ciudad de Buenos Aires Lic. Leticia Maronese 2 Rascacielos Porteños Leonel Contreras Temas de Patrimonio Cultural 15 RASCACIELOS PORTEÑOS Historia de la Edificación en altura en Buenos Aires (1580-2005) Comisión para la PRESERVACIÓN DEL PATRIMONIO HISTÓRICO CULTURAL de la Ciudad de Buenos Aires 3 Temas de Patrimonio Cultural 15 Coordinación de Edición: Lic. Leticia Maronese Corrección y Revisión Técnica: Arq. Néstor Zakim Diseño Gráfico: Débora Kapustiansky, Milton Contreras Impreso en Argentina Rascacielos porteños - 1a ed. - Buenos Aires : Gobierno de la Ciudad de Buenos Aires, 2005. 240 p. ; 15,7x22,8 cm. ISBN 987-1037-30-9 1. Patrimonio Cultural-Preservación. CDD 363.69 Fecha de catalogación: 25/11/2005 © Copyright 2005 by Leonel Contreras Todos los derechos reservados ISBN N° 987-1037-30-9 Queda hecho el depósito que marca la Ley 11.723 Este libro no puede reproducirse, total o parcialmente, por ningún método gráfico, elec- trónico, mecánico u oralmente, incluyendo los sistemas fotocopia, registro magnetofóni- co o de alimentación de datos, sin expreso consentimiento del autor. 4 Rascacielos Porteños Comisión para la Preservación del Patrimonio Histórico Cultural de la Ciudad de Buenos Aires Secretaria General Lic. Leticia Maronese Secretaria de Investigaciones Históricas Lic. Liliana Barela Secretaria de Investigaciones Museológicas Lic. -
Part Three: Development of Conservation Theories
J. Jokilehto, A History of Architectural Conservation D. Phil Thesis, University of York, 1986 Part Three: Development of Conservation Theories Page 230 J. Jokilehto Chapter Thirteen Restoration of Classical Monuments 13.1 Principles created during the French Concorde, symbolized this attitude. Consequently, Revolution it was not until 1830s before mediaeval structures had gained a lasting appreciation and a more firmly The French Revolution became the moment established policy for their conservation. of synthesis to the various developments in the appreciation and conservation of cultural heritage. 13.2 Restoration of Classical Monuments Vandalism and destruction of historic monuments (concepts defined during the revolution) gave a in the Papal State ‘drastic contribution’ toward a new understanding In Italy, the home country of classical antiquity, where of the documentary, scientific and artistic values legislation for the protection of ancient monuments contained in this heritage, whcih so far had been had already been developed since the Renaissance closed away and forbidden to most people. Now for (or infact from the times of antiquity!), and where the the first time, ordinary citizens had the opportunity to position of a chief Conservator existed since the times come in contact with these unknown works of art. The of Raphael, patriotic expressions had often justified lessons of the past had to be learnt from these objects acts of preservation. During the revolutionary years, in order to keep France in the leading position even when the French troops occupied Italian states, and in the world of economy and sciences. It was also plundered or carried away major works of art, these conceived that this heritage had to be preserved in situ feelings were again reinforced. -
Yale School of Architecture Dean's Council
YALE SCHOOL OF ARCHITECTURE DEAN’S COUNCIL Buenos Aires, Argentina March 9–14, 2014 INTRODUCTION Buenos Aires, the heritage of a universal periphery “I suspect that the birth of Buenos Aires is just a story; I deem her to be as eternal as water and air”. Jorge Luis Borges The Mythical Foundation of Buenos Aires, 1929 Borges’s allusion to the eternal nature of Buenos Aires and his doubts about the origin of the city, are a fne refection of its timeless identity. Buenos Aires is surrounded by a minimalist geography of water and land which strengthens the role of architecture as the only multi-form and exuberant physical variable, thus transforming it into a natural rather than cultural heritage. The world of Buenos Aires’ buildings is made up of leftovers of historical layers, either juxtaposed or superimposed. The concentrated, four hundred-year-old physical universe of Buenos Aires is like an architectural library of Babel or a labyrinth of styles representative of the Western World. It is forever a collage of historical and geographic variables, decanted from various cultural world centers and innumerable peripheries. 2 What remains today of the original “Big Village” are parts of the strict foundational grid and the noblest Andalusian-infuenced pieces that chronologically followed a mud and straw town. The last corner of the Spanish Empire—an impossible port called Trinidad and a wayward city called Buenos Aires—arose from an ambiguous tradition that received the contribution of diverse civilian and religious communities. When the baroque movement took over the continent and fourished into a Hispanic-indigenous fusion of cultures, the city was able to abstain from excesses.