Christ Carrying the Cross
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 63 X 52 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ Carrying the Cross
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 46 X 37 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 64 X 54 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 65 X 51 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 75 X 62 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Father and Son
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 58 X 47 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 58 X 48 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
St. Anthony and Infant Jesus?
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 60 X 49 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
?????????
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 41 X 46 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 47 X 42 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 53 X 43 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
St. Bartolome
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 46 X 37 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Father and Son
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 45 X 36 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
?????????????
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 46 X 38 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 45 X 37 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ Carrying The Cross
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 41 X 33 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Divine Shepardess
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 35 X 30 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
St. Raphael
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 35 X 28 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Father and Son
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 36 X 29 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 59 X 48 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ in Chains
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 59 X 47 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
??????????
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 56 X 48 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
??????????
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 57 X 45 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ Carrying The Cross
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 59 X 48 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Father and Son
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 59 X 47 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Crucified Christ Guarded by Roman Soldiers
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 59 X 48 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
??????????
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 58 X 48 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
???????????
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 61 X 52 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 60 X 48 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 59 X 47 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Father and Son
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 57 X 45 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 60 X 48 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 60 X 49 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 59 X 49 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 58 X 47 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
St. Augustin and The Infant Jesus
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 60 X 50 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
???????????
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 58 X 49 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Holy Family
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 59 X 48 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Father and Son
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 61 X 50 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
St. Augustin and The Infant
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPAN22OLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 62 X 51 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 61 X 59 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 66 X 54 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ with Cross
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 63 X 52 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ with Cross
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 66 X 55 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Sacred Heart
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 65 X 55 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ on Cross
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 65 X 54 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Coronation of the Virgin
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 62 X 52 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 62 X 52 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin and Christ
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 55 X 54 cm.
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
The Virgin
This glass painting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 58 X 55 cm.
Comments: this glass painting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
Christ
This glasspainting probably formed part of the GALLERIE GAVEAU exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961.
Size: 62 X 52 cm
Comments: this glasspainting has been exhibited.
If you can help provide information about this painting, your assistance would be appreciated.
My father, Andrés Laszlo Senior, compiled two collections of "popular Spanish folk art," which he exhibited for the last time in 1969. He died 15 years later, and I (Andres Laszlo Junior) inherited them. Apart from ensuring they do not fall to pieces, I have done nothing with them. While the other collection (wooden sculptures) has been authenticated by experts, the glass paintings are more a case of "what you see is what you get." Since these were all collected in the 1940s-1950s (and possibly also the 1960s), there is no reason to suspect foul play. As I unpacked them, I broke a few; some have a bit of paint missing, and some might not have original or very old frames. However, I can say with certainty that these pictures are well-chosen and represent "the best of the best" of what my father had found. There is a catalogue, but I cannot say to what extent these paintings are included in it.
This painting probably formed part of the Gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
Virgen Maria, Reina del Cielo y la
Tierra
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
This glasspainting probably formed part of the gallerie Gaveau Exhibition: LES NAÏVFS ESPANOLS des XVIIe, XVIIIe et debut de XIX siecles, reassembés par Andrès Laszlo 1961. Information
Wisi forensibus mnesarchum in cum. Per id impetus abhorreant, his no magna definiebas, inani rationibus in quo. Ut vidisse dolores est, ut quis nominavi mel. Ad pri quod apeirian concludaturque, id timeam iudicabit rationibus pri. Erant putant luptatum ex sit, error euismod ad qui, meliore voluptatum complectitur an vix. Clita persius sed et, vix vidit consulatu complectitur ex. Per nonummy postulant assentior an, mea audiam fabellas deserunt id.
At cum soleat disputationi, quo veri admodum vituperata ad. Ea vix ceteros complectitur, vel cu nihil nullam. Nam placerat oporteat molestiae ei, an putant albucius qui. Oblique menandri ei his, mei te mazim oportere comprehensam.
No his munere interesset. At soluta accusam gloriatur eos, ferri commodo sed id, ei tollit legere nec. Eum et iudico graecis, cu zzril instructior per, usu at augue epicurei. Saepe scaevola takimata vix id. Errem dictas posidonium id vis, ne modo affert incorrupte eos.
Expetenda tincidunt in sed, ex partem placerat sea, porro commodo ex eam. His putant aeterno interesset at. Usu ea mundi tincidunt, omnium virtute aliquando ius ex. Ea aperiri sententiae duo. Usu nullam dolorum quaestio ei, sit vidit facilisis ea. Per ne impedit iracundia neglegentur. Consetetur neglegentur eum ut, vis animal legimus inimicus id.
Meis vocent signiferumque pri et. Facilis corpora recusabo ne quo, eum ne eruditi blandit suscipiantur. Mazim sapientem sed id, sea debet commune iracundia in. Eius falli propriae te usu. In usu nonummy volumus expetenda, sint quando facilisis ei per, delectus constituto sea te.
His audiam deserunt in, eum ubique voluptatibus te. In reque dicta usu. Ne rebum dissentiet eam, vim omnis deseruisse id. Ullum deleniti vituperata at quo, insolens complectitur te eos, ea pri dico munere propriae. Vel ferri facilis ut, qui paulo ridens praesent ad. Possim alterum qui cu. Accusamus consulatu ius te, cu decore soleat appareat usu.
Has maiorum habemus detraxit at. Timeam fabulas splendide et his. Facilisi aliquando sea ad, vel ne consetetur adversarium. Integre admodum et his, nominavi urbanitas et per, alii reprehendunt et qui. His ei meis legere nostro, eu kasd fabellas definiebas mei, in sea augue iriure.
WOODEN SCULPTURE
ST ANTHONY OF PADUA
HIGHT: 57 CM
COMMENTS: MADE OUT OF ONE SOLID BLOCK OF WOOD (APART FROM STAFF)
THIS WOODEN SCULPTURE WAS BOUGHT BY ANDRES LASZLO SR. IN SPAIN OR THE AMERICAS, WHILE HE WAS PUTTING TOGETHER HIS COLLECTION IN THE 1940S AND 1950S
ST ANTHONY OF PADUA HAS BEEN EXHIBITED IN CANADA, U.S.A., SWITZERLAND, GERMANY, FRANCE, ETC., SOMETIMES TOGETHER WITH A COLLECTION OF SPANISH GLASS PAINTINGS (LE NAIFS ESPAGNOLS) AND/OR A COLLECTION OF GOYA ENGRAVINGS.
THIS SCULPTURE WAS EXHIBITED AS PART OF "COLLECTION ANDRES LASZLO" AT "GALLERIE JEAN FRANCOISAPESTEGUY" DEUVILLE, PARIS IN 1969 UNDER THE TITLE "1000 AND DE SCULPTURE PRIMITIVES ESPAGNOLES." SINCE THEN IT HAS BEEN IN STORAGE.
IN THE CATALOGUE THIS PIECE HAD NUMBER 55, AND THE TEXT READ: 55. SAINT ANTOINE DE PADOUE PAMPELUNE XVIIe - H. : 0.54 ART POPULAIRE
WOODEN SCULPTURE
MOSES
HIGHT: 57 CM
COMMENTS: HANDS ARE MISSING
THIS WOODEN SCULPTURE WAS BOUGHT BY ANDRES LASZLO SR. IN SPAIN OR THE AMERICAS, WHILE HE WAS PUTTING TOGETHER HIS COLLECTION IN THE 1940S AND 1950S
MOSES HAS BEEN EXHIBITED IN CANADA, U.S.A., SWITZERLAND, GERMANY, FRANCE, ETC., SOMETIMES TOGETHER WITH A COLLECTION OF SPANISH GLASS PAINTINGS (LE NAIFS ESPAGNOLS) AND/OR A COLLECTION OF GOYA ENGRAVINGS.
THIS SCULPTURE WAS EXHIBITED AS PART OF "COLLECTION ANDRES LASZLO" AT "GALLERIE JEAN FRANCOISAPESTEGUY" DEUVILLE, PARIS IN 1969 UNDER THE TITLE "1000 AND DE SCULPTURE PRIMITIVES ESPAGNOLES." SINCE THEN IT HAS BEEN IN STORAGE.
IN THE CATALOGUE THIS PIECE HAD NUMBER 73, AND THE TEXT READ: 73: TRES RARE REPRESENTATION ICONOGRAPHIQUEDE CE PERSONAGE DE l'ANCIENT TESTAMENT XVIIIe - H. : 0.43
I began collecting Swedish art glass as a means to achieve financial independence, allowing me to undertake a project that encompassed everything a person should have done. However, halfway through my collecting, I was captivated by the beauty of Swedish Crystal, leading me to write a book about it (Svenskt Konstglas).
It was exciting when I tried to challenge Birgitta, the biggest player in the market, by passionately pursuing my desire to create an outstanding Orrefors collection during the 1980s. Of course, I ultimately failed—she was a billionaire, and I was a pauper, at least relatively speaking—but I still managed to assemble an ok collection. Nonetheless, I felt a twinge of sadness the day I realized that I would likely never be able to afford to complete my collection, donate it to Moderna Museet, and perhaps get an “Andres Laszlo, Jr., Collection room” named after me; something I believe my father would have approved of and appreciated (and even been a wee bit jealous of). While I adore Swedish art glass, particularly Orrefors from 1920 to 1940, I have started to sell off my collection.
“The Paper Weight Fish Graal” is somewhat of a conundrum for two reasons. [1] Fishgraals were typically made as spherical or drop-shaped vases, occasionally as ashtrays, and very rarely as dishes; this represents a unique or at least extremely rare shape. [2] In 1944, when this Graal was allegedly made, 1499 other thick Graals had been created before it, and the technique had “improved” so it relatively easy to produce much clearer and sharper contours than this. This Graal appears to have been crafted among the first hundred or so. Why? Look at these fish. The contour is so vague, lacking all the sharpness that was now (in 1944) so easily achieved. Is it because the material was thicker than normal? Is it due to the use of an old "ämne"/"cartridge"? Or was it the result of an attempt to imitate “the technique of yesteryear's”? More
This is probably the most attractive Fishgraal ever made. The shape, size, and mass, along with the wonderful way the fish swim, make this vase stand out not only among its relatives but also among its contemporaries. The Fishgraal was eventually to freeze into the shapes of “drop” and “ball,” but this was made "long before that"; in the late 1930s, each Thick Graal was a unique piece of art, and much as 1939 was "the year of the Ariel," 1937 was "the year of the thick Graal." Thick Graals from this time should thus be seen as exactly that - Thick Graals - and not Fishgraals, which carry negative connotations of technical over perfection and mass-production. This piece shows fish that really do swim. More
This huge "double" Ravenna speaks for itself, and you are probably tired of listening to someone who is not even an art major describe their work (sorry, artifacts). I have been extremely lucky to acquire these four great Ravennas, and trying to go "one better" and show even more exuberance about this piece would simply be beyond my vocabulary and reflect on me as an even greater admirer of Swedish art glass than I would like to appear. When it came to object numbers like 999, etc., Orrefors often took an old "ämne"/"cartridge," and this could well be an example of this practice. More
Hald has designed so many Fishgraals that when someone sees a Graal piece signed “Hald” with seaweed “in it,” one automatically assumes it’s a Fishgraal. However, this piece is not a Fishgraal; it is a Thick Graal, and while it may be considered a predecessor to the Fishgraal, let's take a closer look. [1] It dates back to the first year of thick Graal making [1937] and is technically excellent. [2] The glass is frosted [it has been dipped in acid], which is very unusual. [3] Graal colours varied widely, true, but orange and lilac/blue... unheard of! [4] The shape of the vase is, if not unique, quite unusual. [5] Hald wasn’t often inclined to put air in his Graals; this is a rare exception, and it could well have been signed "Ariel." More
“The Modernist Ravenna” from 1953 represents a deviation from the traditional Ravenna pattern and form. This design is modernistic rather than traditional, and the opaque layer of white glass is, if not unique, very rare. In terms of shape, it is sleeker, smoother, and more “internationally modernistic” than what was common at the time in Sweden; it significantly departs from the traditional Swedish "form language" of the early 1950s, doing so in exciting ways. This boat shape was common among the earliest Ravennas, and it may be in these early boat shapes—a semi-figurative motif with a clear base and a matching rim—that Ravennas reached their highest level. The opaque outer layer is quite unusual; note the rim of clear glass, which appears orange as it reflects the colour of the background. When I discuss in my book Svenskt Konstglas the best Ravennas that combine technique and artistry to read like world-class, this is the sort of object I think of. More
This Thick Graal from 1948, if "it" really is from 1948, represents one of the few times someone managed to sneak a design past Edward Hald and into the “Graal studio.” However, since this piece (i) was purchased together with two Ariel vases from 1939 and (ii) resembles something from before the war rather than after, it is likely one of the few "cartridges"/"ämnen" that survived the war to later be transformed into something. In other words, this is probably a pre-war design completed (or signed) in 1948. Strangely, Öhrström was much more likely to have been inspired by Picasso in his very limited Graal designs than in his far more numerous Ariel designs—maybe he used Thick Graal for experimentation... In this Thick Graal, Öhrström undoubtedly got things right, and had it only been a size or two larger, it would most definitely have been a best-Graal contender. More
This boat shape was typical among the earliest Ravennas, and it is perhaps in these early designs—often featuring semi-figurative motifs, a clear base, a matching rim, and a double layer of glass plates—that Ravenna reaches its highest level. When I discuss the best Ravennas in my book, which combine technique and artistry to achieve world-class status, this is the type of object I am referring to. In later Ravennas, the colour powder was often overlooked or considered an unnecessary nuisance. However, in the early Ravennas, the colour powder was a crucial ingredient, and this very early Ravenna illustrates this point well. Having the rim in a different colour from the background, especially when it matched the motif, was common for the early Ravennas. We all know that Sven Palmqvist was a great technician—allegedly the inventor of Ravenna, Kraka, Fuga, Selena, and others—but few, if any, realized that, as this piece demonstrates, he was contemplating the invention of the internet. More
This boat shape was typical among the earliest Ravennas, and it may be in these early boat shapes—often featuring semi-figurative motifs, a clear base, a matching rim, and a double layer of glass plates—that the Ravenna reaches its pinnacle. When I discuss the best Ravennas in my book, combining technique and artistry to achieve world-class standards, this is the type of object I am referring to. In later Ravennas, the colour powder was often overlooked or considered an unnecessary nuisance. In the early Ravennas, however, the colour powder was an essential ingredient, and this very early Ravenna illustrates this point well. It was not unusual for the early Ravennas to have a rim in a different colour than the background, particularly if it matched the motif. More
When two colours were combined in an Ariel piece, they were usually in contrast; I have never seen two colours harmonize so beautifully, blending into one another like this. “The Blue & Red Rider” is - in my opinion, taken all in all - the most attractive Ariel I have ever seen (beware, the photos do not do the piece justice). This is likely also true for Gustaf Berqvist, as he was the one to select it, and I bought it from his grandsonThese photos do not bring out the beauty of the vase. I have not seen an Ariel that can compete with this. More
Read the books written about Orref, which is arguably the best piece of Swedish glass ever to have reached the market. The dish is of a later date and does not match that quality (actually, I threw away the dish). More
The first properly signed Thick Graal, Orrefors, is not believed to have been produced until 1937. Before that—before Thin Graal was transformed into Thick Graal—some experimentation had taken place. Such transitional pieces were not signed “Graal.” This is one such piece. More
Gate Portrait
This portrait of an unknown man was created from a drawing by Simon Gate. Both Simon Gate and Edward Hald are known to have made such portraits, though their numbers are extremely limited (try to enter Orrefors, Gate, engraved, portrait on Google). Their primary purpose was as exclusive gifts, given as presents by Orrefors, the Swedish government, or the artists themselves. An engraving like this offers the engraver an excellent opportunity, quite possibly the best, to showcase his skill. Gösta Elgström—Simon Gate's favourite engraver—upon seeing this portrait, claimed responsibility for the engraving; a portrait like this tests the engraver's skill like nothing else, be it a “Heaven and Hell,” “The Paris Goblet,” or “The Bacchus Bowl,” said Gösta Elgström to me. However, although Gösta Elgström recalled having made the engraving, he did not remember who the depicted man was. When this piece was exhibited at Orrefors' showrooms in Malmö, considerable effort was made to identify this man, and although none succeeded, there were several suggestions, ranging from a Norwegian king to a taxi driver with whom Gate ran up a big tab. More
This “Aqva Graal” in the shape of a pear is one of the few relatively pleasant-looking objects made using a technique that combines elements of Thick Graal, Ariel, and Ravenna. The pear shape was occasionally used in the creation of “Slipgraals,” and the Aqva-Graal's closest living relative is indeed said to be the “Slipgraal.” However, this piece features a pattern reminiscent of a Ravenna, the thickness characteristic of a Thick Graal, the air bubbles typical of an Ariel, the shape of an unusual Slipgraal, and the appearance of a thick Graal: a strange piece. More
THE CATALOGUE'S INTRODUCTION
C’est insensé, et si cela ne brise pas notre logique, cela provoque au moins une désagréable dissonance. Et cependant c’est cette convention arbitraire qui nous fournit, paradoxalement, notre titre, car le caractère du « Primitif » est de ne dire que l’essentiel, sans rechercher les effets de perspective, de construction, de réalisme anatomique, etc...
La Renaissance, dans sa plénitude, n’a jamais atteint l’Espagne. A part la peinture, son influence dans la pensée, l’architecture et surtout dans la sculpture est restée très limitée. Le baroque est venu, presque sans transition, succéder aux arts médiévaux. Voilà pourquoi les auteurs de cette collection, artisans, sculpteurs anonymes, bergers, religieux et religieuses, restèrent primitifs esthétiquement parlant pendent un millénaire.
On peut constater les différentes influences subies pendant ces siècles, y compris même celles de la lointaine Flandre. Mais la véritable base, la source, restera et reste la conception primitive aussi bien au sens spirituel qu’historique.
Qu’il nous soit pardonne se, pour certaines pièces, il se trouve quelque erreur dans l’appréciation de l’époque. Ave l’aide de Maria Luisa Gomez Moreno, la plus haute autorité espagnole en ce domaine que nous tenons à remercier pour son aide si précieuse, nous avons fait pour les mieux. Mais certaines pièces, notamment celles de Galice, ou, au XVIe encore, le style roman dominait toujours l’esprit de plusieurs sculpteurs, nous laissent dans l’expectative, d’autant plus qu’elles furent repeintes au cours des deux derniers siècles.
*
My father, Andres Laszlo Sr., was an avid collector. However, unlike me, he had the good sense to exhibit his collections and occasionally sell a piece or two, something I have failed miserably at, resulting in my no longer being able to afford to keep them. The pieces displayed below are all listed in the last exhibition, "1000 ans de sculpture primitive Espagnole/collection A. Laszlo," held at Galerie Jean-Francois Apesteguy in Deauville in 1969 and later in Paris.
To the best of my knowledge, this was the last time the collection was publicly displayed. I know for sure that they have been exhibited in New York, Anesi (France), and Paris, i.e., on three continents, but as it was once my father's primary source of income, there must have been many other places. There are copies of the 1969 catalog and two old catalogs. You can download the French catalog here.
In the catalog, you can find information about height, age, and where the piece was bought (i.e., not necessarily from where it originates). Below you can see slideshows of some of the most interesting pieces:
Time has, unfortunately, had its way with this charming old sculpture. It has number "2" in the exhibition catalog" 1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. Images It could well be that this piece, which had number "3" in the 1969 catalog, has been incorrectly attributed, I believe, and many have suggested that this is an early "Virgin en Majesté". Whether or not, this exquisite old piece had number "2" in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. Images Okay, so it might not be totally free from blemishes, but then several of the apostles are said to have been seriously badly treated, which I hope shall make this sort of ok. This seriously hard-done-by apostle had number "7" in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. Images This is an absolutely amazing sculpture. It's in an absolutely unbelievably good state. Of course, I cannot say that it was never, like for instance in the 15th century, restored. However, I can tell you that it looks absolutely fantastic and the horse is definitely out of this world. This rider had number "9" in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris where this piece is depicted on page 8. Images Saint Jaques had number "10" in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris where this piece is depicted on page 8. This piece has been totally restored. Images This sculpture, that has the number 12 (or possibly 17) in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris where it was the (joint) priciest at $10,000. It is my favorite piece and to me so appealing that a line from the New Testament comes to mind: "Almost thou persuadest me to be a Christian". Images This sculpture, which has the number 46 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. Images This sculpture, which has the number 47 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. Images This sculpture, that has the number 123 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The painting is excellent. Images This sculpture, which has an early number in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. In the catalog, this has been described as St. Magdalen but others have suggested that it is the Virgin. Images This sculpture, which has the number 21 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. This Saint Sebastian is not in very good shape and made from very lightweight wood. Maybe Southamerican, despite the "Spanish" shorts... Images This sculpture, which has the number 24 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a lovely depiction of a Saint. He has beautiful long hair, so maybe it is actually a Madonna. It is beautifully carved and has a beautiful Patina. He is a typical example of Spanish Gothic Sculptures and dates back to circa 1320-1380. The figure was most likely carved in Catalonia in Spain. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated it. Images This sculpture, which has the number 19 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a superb depiction of Saint Sebastian. As most often he is shown standing constrained on a tree with his hands tied behind his back while wearing only a small cloth around his hip. He has beautiful long golden hair and has been carved out of a single piece of hardwood. While the Carving is conducted magnificently, his Polychrome finish is simply stunning. The figure is a typical example of French / Spanish Gothic Sculptures with an early Italian Renaissance influence. The sculpture dates back to circa 1420-1470. The figure was most likely carved in Southern France or Catalonia. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated the Sebastian (this is one of the most attractive pieces of the collection but unfortunately the photos don't do it justice). Images This sculpture, which has the number 24? in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. This "St. Michael" is hard to describe: its composition is excellent, and it comes across as quite dark. Images This sculpture, which has the number 19 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. This polychrome "Virgin and Child" is the oldest polychrome (well, traces of paint can be found on older). Images This sculpture, which has the number 32 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. One of my favorites. Images This sculpture, which has the number 91 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a beautiful depiction of a Bishop. Most likely St. Blaise or St. Nicholas is holding an episcopal crozier in his one hand. He is beautifully carved, has striking glass eyes and a stunning Polychrome finish. A very typical representation of Spanish / Italian High Baroque sculptures dating to the first half of the 18th Century. The figure was most likely carved in Spain or Italy. About 50 years ago - when this sculpture was displayed amongst the former owners' gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated it. Images This sculpture, which has the number 22 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a lovely depiction of Madonna - Jesus' Mother - during the Annunciation to the Blessed Virgin Mary. She wears the typical red and blue clothes while the ark angel Gabriel announces to her that she would conceive and become the mother of Jesus, the Son of God. Mary has a surprised look on her face and holds her right hand on her chest. She is beautifully carved and has a stunning Polychrome finish. She is a typical example of Spanish Naive Renaissance Sculptures with late Gothic influences and dated back to circa 1430-1490. The figure was most likely carved in Castile in Spain. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated the Virgin. Images This sculpture, which has the number 55 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a typical Spanish Folk Art depiction of Saint Anthony of Padua / Anthony of Lisbon. While holding a stick in his right hand Antonio is holding a Bible and the Christ Child in his right hand. Both figures are beautifully carved and have a stunning Polychrome finish. A very typical representation of Spanish Folk Art sculptures dating to circa 1620-1660. The figure was most likely carved in Nothern Spain. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated the Statue. Images This sculpture, which has the number 126 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a typical Spanish Folk Art depiction of Saint Roch. While wearing the traditional clothes and stick of a Pilgrim, Roch's thigh is wounded. The wound stands for the Saints plague wound and the dog to his side came to him to supply him with bread and lick his wounds. Both figures are beautifully carved and have a stunning Polychrome finish. A very typical representation of Spanish Folk Art sculptures dating to circa 1820-1860. The figure was most likely carved in Central Spain. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated the Statue. Images This sculpture, which has the number 93 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. Images This sculpture, which has the number 95-96 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. Christ on the cross, The Virgin and Mary Magdalen mourning, together with two angels. Images This sculpture, which has a late number in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a typical Naive Spanish baroque depiction of Jesus' foster father with the Infant Jesus. While holding a stick in his right hand Joseph is holding the Christ Child in his left hand. Both figures are beautifully carved and have a nice Polychrome finish. A very typical representation of Spanish Naive Baroque sculptures dating to circa 1730-1770. The figure was most likely carved in Galicia, Spain. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated the Statue. Images This sculpture, which has a late number in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a typical Spanish depiction of Mary with the Infant Jesus. While two Angels are kneeling in front of her she is holding the Christ Child in her arm and a scepter in her other hand. She is beautifully carved and has a stunning Polychrome finish. A very typical representation of Spanish Baroque sculptures dating to circa 1720-1760. The figure was most likely carved in Navarra in the North of Spain. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated "The Crowned Virgin". Images This sculpture, which has a late number in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a typical Spanish baroque depiction of Jesus' foster father with the Infant Jesus. While holding a stick in his left hand Joseph is holding his right-hand shielding above the Christ Child who is standing to his right side. Both figures are beautifully carved and have a stunning Polychrome finish. A very typical representation of Spanish Naive Baroque sculptures dating to circa 1660-1730. The figure was most likely carved in Central Spain but could be from South America as well since there was an extensive trade between South America and Spain during Baroque times and the statues carved in the colonies were almost identical to the Spanish. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated the Statue. Images This sculpture, which has the number 112 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a typical Spanish Folk Art depiction of Saint Roch. While wearing the traditional clothes and stick of a Pilgrim, Roccos points to his thigh. Even though it doesn't show his typical wound (due to a restoration of the polychrome finish) it stands for the Saints plague wound and the dog in front of him came to supply him with bread and lick his wounds. Both figures are beautifully carved and have a bold Polychrome finish. A very typical representation of Spanish Folk Art sculptures dating to circa 1730-1760. The figure was most likely carved in Galicia Spain. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated the Statue. Images This sculpture, which has the number 15 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a lovely depiction of Spains National Saint - Santiago de Compostela or St. Jacob / James the Great. He is holding a bible in his right hand and wears the typical Pilgrims Cloak. He is beautifully carved and has some remains of a stunning Polychrome finish. He is a typical example of Spanish Gothic Sculptures and dates back to circa 1330-1390. The figure was most likely carved in Old Castile in Spain and had most likely once a pilgrim's staff. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated it. Images
SPANISH SCULPTURES - PART I
Saint Anne, the Virgin, and the Baby Jesus
"Christ Aux Outrages"
Apostle
Saint Martin (from tours)
Saint Jacques Le Majeur
Gothic Christ
Nativity
The Three Kings
St. Joseph
SPANISH SCULPTURES - PART II
Polychrome Virgin or Mary Magdalen
"Indian" Saint Sebastian
14th Century Sculpture of a Saint - Gothic Wood Carved Polychrome Figure from Spain
Superb 15th Century Sculpture of St. Sebastian - Gothic Wood Carved Polychrome Figure of Martyr Sebastian from Catalonia
Arch Angel (St. Raphael?)
Old Huge Virgin/Grande Virgen Vieja
Saint Vincent
18th Century Sculpture of Bishop - Wood Carved Polychrome Baroque Figure from Spain / Italy
15th Century Sculpture of Virgin Annunciate - Renaissance Wood Carved Polychrome Figure of Mary / Madonna from Spain
Rare 18th Century Sculpture of Moses - Wood Carved Polychrome Baroque Figure from Spain
This sculpture, which has the number 73 in the exhibition catalog "1000 ans de sculpture primitive Espagnole/collection A. Laszlo when it was last exhibited at Galerie Jean-Francois Apesteguy, Deauville, 1969 in Paris. The Handcarved Wooden Figure is a very rare iconographic depiction of Moses - the famous leader and lawgiver of the Old Testament. The Recipient of the Ten Commandments sits on a throne with one of the stone tablets to his right. He is beautifully carved, has striking glass eyes and a stunning Polychrome finish. A very typical representation of Spanish Baroque sculptures (wide Italian influence) dating to the first half of the 18th Century. The figure was most likely carved in Old Castile in Spain. About 50 years ago - when this sculpture was displayed amongst the former owner's gallery exhibits - the late Spanish Art History Specialist Maria Luisa Gomez Moreno validated "Moses". Images
SPANISH SCULPTURES - PART III
17th Century Sculpture of Saint Anthony of Padua - Wood Carved Polychrome Folk Art Figure from Spain
19th Century Sculpture of Saint Roch / Rock - Wood Carved Polychrome Folk Art Figure of St Rocco from Spain
Gold/Blue Joseph and the Child
Crucifixion Group
18th Century Sculpture of St. Joseph with Jesus Child - Wood Carved Polychrome Baroque Figure from Spain
18th Century Sculpture of The Crowned Virgin - Wood Carved Polychrome Baroque Figure of Madonna and Jesus Child from Spain
17th - 18th Century Sculpture of St. Joseph with Jesus Child - Wood Carved Polychrome Baroque Figure from Spain
18th Century Sculpture of Saint Roch / Rock - Wood Carved Polychrome Folk Art Figure of St Rocco from Spain
14th Century Sculpture of St. Jacob / James the Great - Gothic Wood Carved Polychrome Figure of Santiago de Compostela from Spain
175 snails, and yet not four! He will become a collector.
Jenny Aspinwall Bradley
Senior was a true collector, in that he enjoyed collecting for the sheer pleasure of it. He assembled collections of all four series of Goya's engravings—Los Caprichos, Los Desastres de la Guerra, Los Proverbios, and La Tauromaquia—as well as a collection titled "1000 Years of Naive Spanish Sculptures" and another of Spanish religious glass paintings, the latter two presented below. Collecting can be enjoyable, and Senior radiated joy as he recounted how he had been sneaking around Tangiers at night, pulling down bullfighting posters that were, in fact, engravings of La Tauromaquia. I derived a great deal of joy from collecting as well—Senior's literary agent remarked on this as Senior proudly announced that I had begun to collect snails—but when this passion for collecting threatened to overwhelm me, a friend told me, "Andres, you are becoming a crook!" and that jolted me back to reality.
The catalog (in translation) was titled "1000 Years of Primitive Spanish Sculptures"/The Andres Laszlo Collection" and can be viewed here. The collection has been "authenticated" by the then leading authority in the field, Maria Luisa Gomez Moreno (my father arranged that) and later by the chief antiquarian at the Louvre in Paris (I did that around 1990). There were other catalogs, but these have been lost, so if you have one, please make contact. An evaluation of the collection from 1969 is available. As you can see on this website, I am about to start promoting my and my father's texts, and I am eager to the collection in order to finance this. Read More
SPANISH SCULPTURES
The sculptures here presented were last shown to the public in 1969. I, Andres Laszlo Jr., inherited them in 1985 together with a collection of glass paintings. I have since then sold the collection off "from below," so that today I am left with the 30 or so most attractive pieces, apart from 4 medieval polychrome Virgins. The tallas have been exhibited all over Europe, in Canada, and in the United States. The photo shows my father explaining something about the glass paintings to Juan Miro. These (45 or so) glass-paintings from 17th/18th Century) also are included in the collection). In 1969 the collection (131 pieces) was exhibited on "Galeri Jean-Francois Apesteguy Deauville". Today I have sold "the 100 least attractive" on Alcala Auctions in Madrid, and I am looking for a way to sell the remaining (the quality-part) together with the glass paintings. Below most of them are presented.
SWEDISH CRYSTAL
I started collecting Swedish art glass as a way to become well-enough off to venture out on an all-the-things-a-man-should-have-done-project, but half way though the project, I was captured by the beauty of Swedish Crystal, and I even wrote a book about it (Svenskt Konstglas). It was fun when I tried to challenge Birgitta, the biggest actor on the market, by obsessively pursuing my desire to put together an excellent Orrefors collection during the 1980s. Of course, I failed – she was a billionaire, and I was a pauper, at least relatively speaking – but I still managed to put together a pretty good collection. However, I felt sad the day that I realized that I would probably never be able to afford to complete my collection, donate it to "Moderna Museet", and maybe get an “Andres Laszlo, Jr., Collection room” named after me; something I believe my father would have approved of and appreciated (and even have been a wee bit jealous of). Though I love Swedish art glass, especially Orrefors 1920 - 1940, I have started to sell off my collection, though I have so far managed to keep the best pieces. Read More
GLASSPAINTINGS
The art of painting glass paintings has probably existed for nearly as long as glass panes have existed, which in the case of Spain brings it back to and past the middle of the second millennia. It was a trade (or, at its best, maybe a profession) that more often than not would call for an artist/artisan with an itinerant spirit because the painting of glass-paintings was strongly associated with the traveling artisans, and the chosen motifs were equally associated not only with religion but also with the naive/popular tradition of art that for nearly a millennia (early on, especially as sculptures) existed alongside more the more "legitimate" traditions, aligning themselves with mainstream European art styles. Read More
The sculptures here presented were last shown to the public in 1969. I, Andres Laszlo Jr., inherited them in 1985 together with a collection of glass paintings. I have since then sold the collection off "from below," so that today I am left with the 30 or so most attractive pieces, apart from 4 medieval polychrome Virgins. They have been exhibited all over Europe and in the United States. The photo shows my father explaining something about the glass paintings to Juan Miro. These (35 or so) glass-paintings from 17th/18th Century) also are included in the collection). In 1969 the collection (131 pieces) was exhibited on "Galeri Jean-Francois Apesteguy Deauville 1969". Today I have sold "the least attractive" on Alcala Auctions in Madrid, and I am looking for a way to sell the remaining quality parts together with the glass paintings. Below some of them are presented. VIDEO
Data: Four Kraka pieces - "a maybe the best Kraka though not unique," "a maybe the best standard Kraka", "a maybe unique" and "an interesting early experiment" - that together could well make up the most complete "small" Kraka collection there is.
Data: Height 17 cm, width 22 cm. Signed: "Orrefors, Ravenna No 999, Sven Palmqvist. There is a small defect close to the rim.
Data: Signed; Orrefors, Sweden, Ravenna, Nr 530, Sven Palmqvist. Height; 12 cm, length 23 cm. An early somewhat boat-shaped Ravenna (I believe it is a "double Ravenna).
Data: Height 15 cm, width 22cm. Signed; “Orrefors, Sweden, Ravenna Nr 166 Sven Palmqvist. A boat-shaped piece with a decor of what seems a mix of @'s and what we Swedes call "löpande hund"/(leaping dogs?). I believe this is a double Ravenna.
Data: Signed Orrefors, Ravenna 151, Sven Palmqvist, Sweden”. Height; 16 cm.
Data: Signed; Orrefors, Ariel nr 2132 II, Hald”. The “II” probably stands for “inferior quality”, and if so, this is probably motivated by the line in the base.
Data: Signed; Orrefors, Hald, 1936. Height; 8.2cm. Birds in blue against a background of clear and red.
Data: Signed; "Aqvagraal, Edward Hald, Orrefors 1958”. Height; 18 cm. An unusual aqvagraal in the shape of a pear.
Data: Signed; Orrefors Sweden Graal nr 1500 Edward Hald. Height; 15 cm. A fishgraal that looks as if from 1937 in a possibly unique shape.
Data: Signed; Orrefors 37 Sweden Graal nr 96 Edward Hald. Height; 19.7cm. Motif; Fish and seaweed in various tones of green.
Data: Signed; Orrefors, 1937 Graal N 67, Edward Hald. Height; 16.5 cm. Motif: Blue/lilac on orange, seaweed, air bubbles, and frosted glass - a stunning and unique Hald-Graal.
Data: Signed; Orrefors, Sweden, Graal Nr. 1413B, E Öhrström. Height; 17 cm. Motif; Man on prancing "Picasso horse" and manʼs face.
Data: Signed; Orrefors, Ariel E. Ohrstrom, 1938. Height; 19 cm. Motif; Blue & Red Rider on Horse against a background of amorphous blobs/splendid vegetation.
Exhibited; (i) The piece may have been exhibited in Orrefors showrooms in Malmö, but if so, it was not photographed in the catalogue, (ii) Full-page photo in “Svenskt Konstglas” 1991, pp 74, (iii) A close-up of this vase features on the front and back cover of the book “Svenskt Konstglas”. On page 10 in "Svenskt Konstglas", this Ariel is depicted alongside two other pieces as an example of Swedish crystal at its best. Apart from this, as far as I know, this piece has never been exhibited or photographed. However, it will be showcased in my next book unless it is bought before publication, and if the buyer wishes, it shall not be depicted.
Provenance: This piece was purchased from a grandson of Gustaf Bergqvist—the man who, in all likelihood, invented the Ariel technique. There is a documented tale behind this Ariel. Gustav Bergqvist, the master blower who crafted this vase, was both the alleged inventor of the Ariel technique and Edvin Ohrstrom’s favourite blower. When he was given the opportunity to select an Ariel for himself, this was his choice. It was passed down from Gustav Bergqvist to his son, and from him to his grandson, from whom I acquired it.
The piece. When two colours are combined in an Ariel piece, they are commonly contrasted; I have never seen two colours so harmonising, melting into one another like this. “The Blue & Red Rider” is, in my opinion, the most attractive Ariel I have ever seen, all in all (beware, the photos do not do the piece justice).
Data: Height; 28.5cm. Diameter; 31cm. Signed; “Orrefors, 1928, S Gate, E.Weidlich No 333”. Also inscribed in the base; “To the right honourable lord mayor of London and the lady mayoress in memory of the Stockholm. Exhibition 1930.” Motif; Erupting forest-clad volcanos, a setting (or possibly rising) sun, angels, and creatures falling out of the sky.
Data: Diameter; 16cm. Motif; A portrait of an unknown gentleman. Signed; “Simon Gate”.
