Gerald Berghammer

Wine Press House in the wheat field, Austria, Fine Art photography, landscape

2021

© Gerald Berghammer - Limited edition of 7. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm whi...

Limited edition of 7. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm white border. 19.75 x 25....

© Gerald Berghammer - Limited edition of 7. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm whi...

© Gerald Berghammer - Limited edition of 7. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm whi...

© Gerald Berghammer - Limited edition of 7. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm whit...

© Gerald Berghammer - Limited edition of 8. Archival fine art pigment print. Signed, titled, dated and numbered by artist. Certificate of authenticity included. Printed with 4cm whit...

Edward Fields has been creating bespoke luxury floor coverings in New York since 1930. His carpets are known for their unparalleled design, quality and craftsmanship. Among it's many prestigious commissions there is a carpet installed in the Diplomatic Reception Room in the White House, under specifications of First Lady's Jacqueline Kennedy's interior designer. Marion V. Dorn (1899-1964) was originally trained as a painter and this led her to develop her skills as a textile designer. During her formative years she worked in Paris and New York, and it was at the 1925 'Exposition Internationale des Arts Décoratifs et Industriels Modernes' in Paris that she first encountered the modernist rug designs of Ivan da Silva Bruhns and Maurice Dufrene. By 1930 she began her association with the Wilton Royal Carpet...

Pair of armchairs, having a black lacquered frame, each with a fielded bowed crestrail, centered by silver-gilt decoration of laureling, over shaped tufted backrest, out-scrolled uph...

An exceptional two part highboy in burled walnut veneer, the upper case featuring a molded cornice with hidden drawer surmounting a center shell carved deep drawer flanked by two fitted small drawers on either side, and four graduated long drawers, all with crossbanded herringbone veneered borders and period, possibly original brasses, over a lower case with a single long drawer over three deep drawers, the center of which repeating the shell carving seen above, unusual for a highboy from this period. The carved skirt features two nicely turned drops, all supported by four slender cabriole legs terminating with pad feet. Massachusetts in origin, probably Boston, dating to the 1730’s, in very good overall condition, with minor veneer shrinkage cracks, minor restorations, minor losses, and light wear commensurate with age and use. Provenance: Purchased from Shreve, Crump & Low in NY, with a copy of a 1947 letter acknowledging the Boston area origin and commission of this piece by the Pratt Family and reads as follows: “The known history of ownership of the walnut highboy dates from the 18th century and Lt. Samuel Pratt and his wife, Elizabeth Pratt, who lived in Chelsea in the section known at that time as Prattville. The Pratt family, for whom the area was named, had been in this country since the 17th century. Mr. Mather, while President of Harvard College, stayed at the Pratt home in Chelsea in 1688 while on the way to see King James II of England for the purpose of bringing back into power the theocratic democracy of the Church of England. During the Revolution, part of Washington’s forces stayed in Prattville, and Washington stayed at the Pratt home. It is known that he ate some of his meals there. Once the British broke into the Pratt house and looted some things, including a scarce bowl which was hidden in the wall of the fireplace. The son of Lt. Samuel Pratt was also a lieutenant in the American forces and named Samuel. During the Revolution, he was in charge of the stock of arms and ammunition, which each town kept on hand for any emergency; and he carried hay to Boston, where is was used to reduce the noise of the Boston Tea Party...

Chest of drawers model CS49 with four frontal drawers and four doors revealing inner shelves with structure in black lacquered wood and top upholstered with black skai or faux leather. Designed by Vico Magistretti and produced by Poggi in 1970s Ludovico Magistretti was born in Milan on 6 October 1920. He went to Parini High School and in autumn 1939 enrolled in the Faculty of Architecture at the Royal Polytechnic in Milan. After 8 September 1943, to avoid being deported to Germany, he left Italy during his military service and moved to Switzerland, where he took some academic courses at the Champ Universitaire Italien in Lausanne, taught at the local university. During his stay in the Swiss city he met Ernesto Nathan Rogers, the founder of the BBPR firm who had taken refuge in Switzerland after racist laws were passed in Italy. This was a key encounter in Magistretti’s intellectual and professional development, since the architect from Trieste turned out to be his maestro. He returned to Milan in 1945, where he graduated in Architecture at the Polytechnic on 2 August. He then immediately began his career working with the architect Paolo Chessa at the firm owned and run by his father, who died prematurely that same year. Here, in his father’s small firm, he spent his entire career in partnership with Franco Montella. During reconstruction operations in Milan from 1949-59, Magistretti designed and constructed about 14 projects for INA-Casa in conjunction with other architects. He was involved with Mario Tedeschi in the joint project for the QT8 neighbourhood, designing houses for veterans from the African campaign and also Santa Maria Nascente Church. In 1946 he participated in the R.I.M.A. exhibition (Italian Assembly for Furniture Exhibitions), held at the Palazzo dell’Arte, designing some small almost self-made pieces of furniture and then, in 1947 and 1948, he took part together with Castiglioni, Zanuso, Gardella, Albini and others in the exhibitions organized by Fede Cheti, a furniture fabric maker, held at her own workshop. The young architect was involved in plenty of activities and came up with lots of new ideas and proposals in the 1950s. Over the following years he also designed a number of other important projects, including the Towers in piazzale Aquileia (1961-64), Bassetti House in Azzate (1960-62), Cassina House in Carimate (1964-65), and the house in via Conservatorio in Milan (1963-66). In 1956 he was one of the founding members of the ADI, Industrial Design Association, and during the same year he was a member of the panel of judges for the Golden Compass Award for the first time. His work as an architect was almost totally focused on the issue of housing and living from the 1960s onwards, as he developed his own extremely expressive idiom, which, even though it was heavily criticised at times, made a real impression on the architectural scene in Lombardy during that period, making him one of its leading figures. This is the context in which he took part in the CIAM Congress (International Modern Architecture Congress) held in Otterlo in the Netherlands in 1959, during which the Italians presented Velasca Tower designed by the BBPR, the Olivetti canteen designed by Ignazio Gardella, Arosio house designed by Vico Magistretti (1956-59), and the houses in Matera designed by Giancarlo De Carli...

Sn5220 Edwardian mahogany tall chest of drawers by Maples, having figured top with moulded edge above five, mahogany lined, fielded and graduat...

Solid oak side cabinet with polished ebony tinted clear resin set within ebonised oak. The top is finished with a white oil. Bespoke version...

Antique print titled 'Afbeelding van de Persiaansche Huizen'. Old print of Persian houses. This print originates from 'Hedendaagsche Historie, of tegenwoordige staat van alle volkeren (..)', published by Isaak Tirion, Amsterdam, 1732. Artists and Engravers: Engraved by J.C. Philips. Jan Caspar Philips (ca. 1700-after 1773) was a Dutch engraver and draughtsman. Condition: Very good, please study image carefully. Date: 1732 Overall size: 21 x 20 cm. Image size: 0.001 x 19 x 17 cm. We also offer thousands of antique prints covering fields of interest as diverse as architecture, natural history, religion, ethnology and many more. Antique prints have long been appreciated for both their aesthetic and investment value. They were the product of engraved, etched or lithographed plates. These plates were handmade out of wood or metal, which required an incredible level of skill, patience and craftsmanship. Whether you have a house with Victorian furniture or more contemporary decor an old engraving...

Edward Fields vintage wall tapestry/carpet, sculptured wool, artist signed, Burt Groedel, 1970’s Pollenaise is the title of this fabulous wor...

English oak dining table commissioned for a private client's lakeside house in the Cotswolds, England. Made from several slabs of live edge...

The “Court Series” rugs are hand tufted with blended wool and viscose material dyed in hyper-saturated colors, with tennis court-like geometries re...

Bright Lights, Big City, 2018 by Roberta Fineberg is a 24" x 18" signed archival pigment print in an edition of 5. A contemporary color photograph which captures the electric energy ...

A contemporary color photograph by Roberta Fineberg of a classical Greco-Roman statue in Ostia Antica, the old port of Ancient Rome. The landscape in modern-style neon captures the s...

A contemporary color landscape photograph that is a nod to photo secessionist Edward Steichen, this night photography is of a celebrated Central Park West building (the San Remo) and...

Mist and Ice, Greenland, 2019 by JM Voge is a contemporary color landscape photograph sized 17" x 24", a diptych in an edition of 5. The archival pigment print is signed, titled, and...

A contemporary color photograph of a Greco-Roman statue in Ostia Antica, former Old Port of Rome, the sepia Pictorialist-like landscape photograph captures the spirit of Ancient Rome. In the Cities series by the photographer, Italy is one of the artist's favorite countries. Roman God...

Full Moon, Chrysler Building, New York City, 2012 by Roberta Fineberg is a 24" x 18" signed archival pigment print in an edition of 5 and 2 artist proofs (a/p I, a/p II). The contemporary color landscape photograph was shot on 42nd St and captures the art-deco Chrysler Building -- one of New York City's beloved buildings -- beneath a full moon. Available: 2/5 Provenance: RF Archive *** Artist's Bio: As a photographer and interdisciplinary artist, Roberta Fineberg (RF) focuses on the themes of serendipity, inventiveness, and development of ideas for her photography, video, installation pieces, works on paper, and painting. Drawn to experimentation, she explores diverse mediums and subjects such as the ephemeral (butterfly series), stolen moments (documentary work), play, timelessness, the enduring, and significance of matter. Selected exhibitions: Time Gallery New York (2022), Phyllis Harriman Gallery New York studio shows (2022; 2020), CADAF online art fair (2020), Gallery122 New York pop-up group...