• Home Slideshow Header 1
  • Home Slideshow Header 3

    Laszlo & Laszlo

51-GP-5148Christ 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: 63 X 52 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

50-GP-5147

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: 46 X 37 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

49-GP-5146

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: 64 X 54 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

48-GP-5145

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: 65 X 51 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

47-GP-2026

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: 75 X 62 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

46-GP-2070

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.

45-GP-2031

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 48 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

44-GP-2036

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.

43-GP-13149

?????????

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.

42-GP-13144

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.

41-GP-13102

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: 53 X 43 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

40-GP-12133

St. Bartolome

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 37 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

39-GP-12107

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.

38-GP-12134

?????????????

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.

37-GP-12108

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.

36-GP-3142

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.

35-GP-3106

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.

34-GP-3143

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.

33-GP-3105

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.

32-GP-4141

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.

31-GP-4101

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.

30-GP-4104

??????????

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.

29-GP-4103

??????????

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.

28-GP-8135

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.

27-GP-8072

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.

26-GP-8138

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.

25-GP-8071

??????????

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.

24-GP-9028???????????

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.

23-GP-9029

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.

22-GP-9032

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.

21-GP-9033

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.

20-GP-6

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.

19-GP-6157

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.

18-GP-6100

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 49 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

17-GP-6069

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.

16-GP-7035

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.

15-GP-7068

???????????

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.

14-GP-7067

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.

13-GP-7034

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.

12-GP-11065

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.

11-GP-11030

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.

10-GP-11027

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.

9-GP-11066

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.

8-GP-10136

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.

7-GP-10063

Sacred Heart

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: 65 X 55 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

6-GP-10098Christ on 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: 65 X 54 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

5-GP-10062

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.

4-GP-1025

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.

3-GP-1097

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.

2-GP-1064

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 55 cm.

Comments: this glasspainting has been exhibited.

If you can help provide information about this painting, your assistance would be appreciated.

1-GP-1061

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, Andres Laszlo Senior put together two collections of "popular Spanish art", and he exhibited them for the last time in 1969 (I think). As he died 15 years later, I (Andres Laszlo Junior) inherited them, and apart from making sure that they do not fall to pieces (deteriorate more than necessary), I have done nothing with them. Whereas the other collection (wooden sculptures) has been authenticated by the best, the glass paintings are more a case of "what you see is what you get" but as these were all collected in the 1940s-1950s (maybe also 1960s) there is no reason to suspect foul play. As I unpacked them, I have broken a few, some have a bit of paint missing, and some might not have an original/very old frame. However, what I can say with certainty is that these pictures are well-chosen, and sort of "the best of the best" of what my father came across (because the rest he sold). There is a catalog but to what extent these paintings occur in these, I cannot tell.

 

Glasspainting 1

 

1. Saint John Nepomuk/San Juan de

Nepomuceno

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

 
1-GP-1061
 

 

Glasspainting 2

 

Our Lady of Sorrows/Virgen Mari, La

 

Dolorosa 

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

 
2-GP-1064
 

 

Glasspainting 3

Pietà?/La Piedad

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

 
3-GP-1097
 

 

Glasspainting 4

 

Christ Tied to the Column/Jesús Atado

a la Columna

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

4-GP-1025
 

 

Glasspainting 5

Coronation of the Virgin in/Coronación

 

de la Virgen

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

 
5-GP-10062
 

 

Glasspainting 6

Crucifixion of Jesus/Crucificacion

 

de Jesús

 

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

 

6-GP-10098
 

 

 Glasspainting 7

Sacred Heart/Sagrado Corazón de

Jesús

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

 

7-GP-10063
 

 

Glasspainting 8

 

 

Christ Carrying the Cross/Jesús en el

 

Camino del Calvario

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

 

8-GP-10136
 

 

Glasspainting 9

 

Christ Carrying the Cross/Jesús en el

 

Camino del Calvario

 

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

 

9-GP-11066
 

 

Glasspainting 10

 

Crown of Thorns/Corona de Espinas

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

 

10-GP-11027
 

 

Glasspainting 11

 

Our Lady of Sorrows/Virgen Mari, La

 

Dolorosa 

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

 

11-GP-11030
 

 

Glasspainting 12

 

St. Anthony and the Infant Jesus/San

Antonio y el Niño Jesús

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

 

12-GP-11065
 

 

Glasspainting 13

 

Saint Joseph and the Infant Jesus/San

José con el Niño Jesús

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

 

13-GP-7034
 

 

Glasspainting 14

 

The Resurrection of Lazarus/La

Resurección de Lazarus 

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

 

14-GP-7067
 

 

Glasspainting 15

 

The Pontiff/El Ponticife

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

 

15-GP-7068
 

 

Glasspainting 16

 

St. Anthony and the Infant Jesus/San

Antonio y el Niño Jesús

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

 

16-GP-7035
 

 

Glasspainting 17

 

Our Lady of Sorrows/Virgen Mari, La

 

Dolorosa 

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

 

17-GP-6069
 

 

Glasspainting 18

 

Our Lady of Sorrows/Virgen Mari, La

 

Dolorosa 

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

 

18-GP-6100
 

 

Glasspainting 19

 

Christ and the Crown of Thorns/ 

Jesús

y Corona de Espina

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

 

19-GP-6157
 

 

Glasspainting 20

 

Our Lady of Sorrows/Virgen Mari, La

 

Dolorosa 

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

 

20-GP-6
 

 

Glasspainting 21

 

St. Anthony and the Infant Jesus/San

Antonio y el Niño Jesús

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

 

21-GP-9033
 

 

Glasspainting 22

 

Sacred Heart/Sagrado Corazón de

Jesús

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

 

22-GP-9032
 

 

Glasspainting 23

 

Our Lady of Sorrows/Virgen Mari, La

 

Dolorosa 

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

 

23-GP-9029
 

 

Glasspainting 24

 

Saint Thérèse of the Child Jesus/Santa

Teresa de Jesús

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

 

24-GP-9028
 

 

Glasspainting 25

 

Saint John Nepomuk/San Juan de

Nepomuceno

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

 

25-GP-8071
 

 

Glasspainting 26

 

Penitent of Lying Jesus/Jesús de

Yacente

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

 

26-GP-8138
 

 

Glasspainting 27

 

Saint Joseph and the Infant Jesus/San

José con el Niño Jesús

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

 

27-GP-8072
 

 

Glasspainting 28

 

Christ Carrying the Cross/Jesús en el

 

Camino del Calvario

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

 

28-GP-8135
 

 

Glasspainting 29

 

Saint Peter /San Pedro

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

 

29-GP-4103
 

 

Glasspainting 30

 

Saint Francis of Assisi /San Fransisco

de Asís

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

 

30-GP-4104
 

 

Glasspainting 31

 

Christ in Chains/Jesús Atado

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

 

31-GP-4101
 

 

Glasspainting 32

 

What is this 4?

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

 

32-GP-4141
 

 

Glasspainting 33

 

Trinity/La Trinidad

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

 

33-GP-3105
 

 

Glasspainting 34

 

Saint Raphael/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. Information

 

34-GP-3143
 

 

Glasspainting 35

 

The Divine Shepherdess/La Divina

Pastora

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

 

35-GP-3106
 

 

Glasspainting 36

 

Road to the Calvary/Camino de

 

Calvario

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

 

36-GP-3142
 

 

Glasspainting 37

 

Our Lady, Queen of Heaven and Earth/

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

 

37-GP-12108
 

 

Glasspainting 38

 

Sacred Heart/Sagrado Corazón de

Jesús

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

 

38-GP-12134
 

 

Glasspainting 39

 

St. Joseph and the Infant Jesus/San

Jose y el Niño Jesús

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

 

39-GP-12107
 

 

Glasspainting 40

 

Saint Bartolome/Sant Bartolome

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

 

40-GP-12133
 

 

Glasspainting 41

 

Our Lady of Sorrows/Virgen Mari, La

 

Dolorosa 

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

 

41-GP-13102
 

 

Glasspainting 42

 

Our Lady of Sorrows/Virgen Mari, La

 

Dolorosa 

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

 

42-GP-13144
 

 

Glasspainting 43

 

Road to Emmaus or Supper of

Emmaus/Cena de Emaús

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

 

43-GP-13149
 

 

Glasspainting 44

 

St. Anthony and the Infant Jesus/San

Antonio y el Niño Jesús

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

 

44-GP-2036
 

 

Glasspainting 45

 

The Assumption of Maria/La Asuncion

de Maria

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

 

45-GP-2031
 

 

Glasspainting 46

 

Saint Joseph and the Infant Jesus/San

José con el Niño Jesús

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

 

46-GP-2070
 

 

Glasspainting 47

 

Christ and the Crown of Thorns/

Jesús y Corona de Espina

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

 

47-GP-2026
 

 

Glasspainting 48

 

What is this 4?

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

 

48-GP-5145
 

 

Glasspainting 49

 

Our Lady of Mount Carmel/La Virgen

del Carmel

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

 

49-GP-5146
 

 

Glasspainting 50

 

Christ Carrying the Cross/Jesús en el

 

Camino del Calvario

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

 

50-GP-5147
 

 

Glasspainting 51

 

Christ Carrying the Cross/Jesús en el

 

Camino del Calvario

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

 

51-GP-5148
 

 

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 started collecting Swedish art glass as a way to become well-enough off to venture out on an all-the-things-a-ma-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 seriously 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 been a wee bit jealous of). Though I love Swedish art glass, especially Orrefors 1920 - 1940, I have started to sell off my collection.

 

 

Unique Fishgraal


“The Paper Weight Fish Graal” is a bit of a conundrum, and it is so for two reasons. [1] Fishgraals were normally made as spherical or drop-shaped vases, occasionally as ashtrays, and, very rarely, as dishes; this is a unique or at least extremely rare shape. [2] In 1944, when this Graal allegedly was made, 1499 other thick Graals had been made before it, and the technique had “improved” so it was then quite easy to produce much clearer/sharper contours than this. This Graal looks as if it had been made among the first hundred or so. Why? Look at these fish. The contour is so vague, lacking all the sharpness that now (in 1944) was so easily achieved. Is it because the material was thicker than normal? Is it because they had used an old "ämne"/"cartridge"? or was it The result of an attempt to imitate “the technique of yesteryearʼs”? More
 
unusualfish
 

 

Kraka Collection
 
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. More
kraka
 

 

Super Fish Graal

This is probably the most attractive Fishgraal ever made. The shape, the size, the mass, and the wonderful way that the fish really swim, makes this vase quite stand out not only from its relatives but even from 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 with all its negative connotations to technical over perfection & mass-production. This piece shows fish that really do swim.  More
fish1
 

 

Stunning Ravenna​

This huge "double" Ravenna speaks for itself, and you are probably tired of listening to somebody, one who is not even an art major, describing his stuff (sorry, artefacts). I have been extremely lucky to be able to acquire these four great Ravennas, and to try to go "one better" and show even more exuberance about this piece would simply be beyond my vocabulary and show me off as an even greater admirer of Swedish art glass than I would like to be seen as. When they 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
vas01
 

 

Early Orange Hald Graal

Hald has designed so many Fishgraals, that when seeing a Graal-piece signed “Hald” and with seaweed “in it”, one more or less automatically assumes “a Fishgraal.” However, this piece is not a Fishgraal. It is a Thick Graal, and though it might well be seen as a predecessor to the Fishgraal... Letʼs take a closer look; [1] Itʼs from the first year of thick Graal making [1937], and technically excellent. [2] The glass is frosted [it has been dipped in acid] which is very unusual. [3] Graal colours varied a lot, true, but orange and lilac/blue... Unheard of! [4] The shape of the vase is, if not unique, yet rather unusual. [5] Hald wasnʼt much given to put air in his Graals; this is a very rare exception, and it could well have been signed "Ariel". More
orange
 

 

Modernist Ravenna

“The Modernist Ravenna” from 1953 represents a deviation from traditional Ravenna pattern and form. In a pattern, it is modernistic rather than of the time/traditional, and the opaque layer of white glass is, if not unique, very rare. In shape itʼs slicker and smoother and more “internationally modernistic” than what was common at the time, especially in Sweden; it very much depart from the traditional Swedish "form language" of the early 50s, and it thus so in very interesting ways. This boat-shape was common among the earliest Ravennas, and itʼs maybe in these early boat-shapes - semi-figurative motif, with a clear base and a matching rim - that Ravennas reaches itʼs highest level. The opaque outer layer is very unusual, note the rim of clear glass that appears orange as it reflects the colour of the background. When I - in my books - talk about the best Ravennas combining technique and artistry to read world class, this is the sort of object Iʼm thinking of.  More

vas2
 

 

Öhrström Picasso Graal

This Thick Graal from 1948, if "it" really is from 1948, represents one of the few times somebody managed to sneak a design past Edward Hald and into the “Graal studio”. However, as this piece (i) Was purchased together with two Ariel vases from 1939 and (ii) Looks much more like something from before the war than after, it is likely to be one of rather few "cartridges"/"ämnen" that survived the war so as later to be blown into something. I.e., this is probably a pre-war design completed (or signed) in 1948. Strangely, Öhrström was much more likely to be inspired by Picasso in his very limited Graal-designs, than in his much more numerous Ariel-designs - maybe he used Thick Graal for experimentation... In this Thick Graal, Öhrström most certainly got things right and had it only been a size or two larger, it would most definitely have been a best-Graal contender. More

picasso-horse
 

 

The @ Ravenna

This boat-shape was common among the earliest Ravennas, and itʼs maybe in these early boat-shapes - often with semi-figurative motifs, a clear base, a matching rim and a double layer of glass plates - that the Ravenna reaches itʼs highest level. When I - in my book - talk about the best Ravennas combining technique and artistry to reach world class, this is the sort of object Iʼm referring to. In later Ravennas the colour-powder was often forgotten or seen as an unnecessary nuisance. In the early Ravennas however, the colour-powder was an important ingredient, and this very early Ravenna illustrates this very well. Having the rim in a different colour than the background, particularly in the same colour as the motif, was not unusual for the early Ravennas. We all know that Sven Palmqvist was a great technician - that he allegedly invented Ravenna, Kraka, Fuga, Selena, etc. - but few, if any had realized that, as this piece proves, he was thinking about inventing the internet. More
vas3
 

 

Autumn Leafs Ravenna

This boat-shape was common among the earliest Ravennas, and itʼs maybe in these early boat-shapes - often with semi-figurative motifs, a clear base, a matching rim and a double layer of glass plates - that the Ravenna reaches itʼs highest level. When I - in my book - talk about the best Ravennas combining technique and artistry to reach world class, this is the sort of object Iʼm referring to. In later Ravennas the colour-powder was often forgotten or seen as an unnecessary nuisance. In the early Ravennas however, the colour-powder was an important ingredient, and this very early Ravenna illustrates this very well. Having the rim in a different colour than the background, particularly in the same colour as the motif, was not unusual for the early Ravennas. More
vas6
 

 

Blue & Red Rider

When two colours were combined in an Ariel piece, they were normally contrasted; never have I seen two colours so harmonizing, melting into one another like this. “The Blue & Red Rider” is - in my opinion, taken for all in all - the most attractive Ariel I have ever seen (beware, the photos does not make the piece justice). More
bluereader-2
 

 

Hald Ariel

Read the books written on Orrefors and its history [including mine], and you will learn that Gate and Hald stayed away from Ariel-making, sort of leaving this “new technique” to the two new guys on the block [Lindstrand & Öhrström]. This little bowl proves us all wrong. This, a not all that beautiful a bowl that carries the name of Edward Hald is, as far as I know, the only Ariel by Hald ever to reach the market and possibly the only ever made. The bowl, in the base, has an uncoloured line right across it, something that can hardly have been put there intentionally. More
oditty
 

 

Heaven and Hell

“Heaven and Hell” was designed for the Paris Exhibition in 1925, and it is one of the few main engraved pieces that can actually be identified from the photos from the fair. Other examples of this model can be seen in “Simon Gate, Edward Hald” p 80, “LʼArt d ́écoratif modern en Suede” p 25 and in The Brilliance of Swedish Glass p 212. This piece is, as far as I know, the only example of “Heaven and Hell”, having reached the auction houses. Thus, if it is so, and if one holds Orreforsʼ engraved pieces above the coloured - and "Heaven and Hell" above the “Bacchus Bowl” and “Girls Playing Ball” - then this is arguably the best piece of Swedish glass ever having reached the market. The dish is of later date, and not of a corresponding quality. More
hevenhell
 

 

Early Graal Experiment

The first properly signed thick Graal, Orrefors is not believed have been produced until 1937. Before that - before Thin Graal was turned into Thick Graal - some experimenting had been done. Such transitional pieces were not signed “Graal”. This is such a piece. More
graal-experiment
 

 

Gate Portrait 

This portrait of an unknown man was made 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 main use was as exclusive presents, given as presents by Orrefors, the Swedish government or by the artists themselves. An engraving like this gives the engraver an opportunity an excellent opportunity, quite possibly the best, to show off his skill. Gösta Elgström - Simon Gate's favourite engraver, upon seeing this portrait - claimed responsibility for the engraving; A portrait like this tests the engraverʼs skill like nothing else, be it a “Heaven and Hell”, “The Paris Goblet” or “The Bacchus Bowl”, said Gösta Elgström to me. However, though Gösta Elgström recalled having made the engraving, he didnʼt remember who the depicted man was. When this piece was exhibited at Orreforsʼ showrooms in Malmö much effort was given to the task of identifying this man and though none succeeded, there were several suggestions, varying from a Norwegian king to a taxi driver with whom Gate run up a big tab. More
engraved-1
 

 

Aqva Graal

This “Aqva Graal” in the shape of a pear is one of rather few relatively pleasant-looking objects made in this technique that is sort of a mixture of Thick Graal, Ariel and Ravenna. The pear-shape was occasionally used when making “Slipgraals”, and the Aqva-Graalʼs closest living relative indeed is said to be the “Slipgraal”. Yet, this piece has a pattern resembling that of a Ravenna, the thickness of a Thick Graal, the air-bubbles of an Ariel, the shape of an unusual Slipgraal and the look of a thick graal: a strange piece indeed. More
akva
 

 

 

 

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 in, resulting in that I now can no longer afford to keep them. The pieces displayed below are all listed in the last exhibition - 1000 ans de sculpture primitive Espagnole/collection A. Laszlo - at Galerie Jean-Francois Apesteguy, Deauville 1969 in Paris.

This, as far as I know, was the last time the collection was shown to the public. I know for certain 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 main income, there must have been many other places. There are copies of the 1969 catalogue and two old catalogs. You can download the French catalog here.

In the catalog, you can find information about height, age, 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:

  • SPANISH SCULPTURES - PART I

    Saint Anne, the Virgin, and the Baby Jesus

    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

     

     

    "Christ Aux Outrages"

    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

     

     

    Apostle

    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

     

     

    Saint Martin (from tours)

    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 Jacques Le Majeur

    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

     

     

    Gothic Christ

    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

     

     

    Nativity

    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

     

     

    The Three Kings

    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

     

     

    St. Joseph

    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

     

     

  • SPANISH SCULPTURES - PART II

    Polychrome Virgin or Mary Magdalen

    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

     

     

    "Indian" Saint Sebastian

    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

     

     

    14th Century Sculpture of a Saint - Gothic Wood Carved Polychrome Figure from Spain

    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

     

     

    Superb 15th Century Sculpture of St. Sebastian - Gothic Wood Carved Polychrome Figure of Martyr Sebastian from Catalonia

    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

     

     

    Arch Angel (St. Raphael?)

    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

     

     

    Old Huge Virgin/Grande Virgen Vieja

    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

     

     

    Saint Vincent

    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

     

     

    18th Century Sculpture of Bishop - Wood Carved Polychrome Baroque Figure from Spain / Italy

    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

     

     

    15th Century Sculpture of Virgin Annunciate - Renaissance Wood Carved Polychrome Figure of Mary / Madonna from Spain

    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

     

     

    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

    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

     

     

    19th Century Sculpture of Saint Roch / Rock - Wood Carved Polychrome Folk Art Figure of St Rocco from Spain

    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

     

     

    Gold/Blue Joseph and the Child

    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

     

     

    Crucifixion Group

    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

     

     

    18th Century Sculpture of St. Joseph with Jesus Child - Wood Carved Polychrome Baroque Figure from Spain

    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

     

     

    18th Century Sculpture of The Crowned Virgin - Wood Carved Polychrome Baroque Figure of Madonna and Jesus Child from Spain

    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

     

     

    17th - 18th Century Sculpture of St. Joseph with Jesus Child - Wood Carved Polychrome Baroque Figure from Spain

    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

     

     

    18th Century Sculpture of Saint Roch / Rock - Wood Carved Polychrome Folk Art Figure of St Rocco from Spain

    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

     

     

    14th Century Sculpture of St. Jacob / James the Great - Gothic Wood Carved Polychrome Figure of Santiago de Compostela from Spain

    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

     

     

175 snails, and yet not four! He will become a collector. 
Jenny Aspenwall Bradley

 

 

Senior was a true collector, in the sense that he enjoyed collecting for the sake of it, and he put together collections of all the four series of Goya's engravings - Los Caprichos, Los Desastres de la Guerra, Los Proverbios, and La Tauromaquia - as well as collections of "1000 Years of Naive Spanish Sculptures", and one of Spanish religious glass-paintings, the latter two presented below. Collecting can be fun, and Senior radiated with joy as he told me how he had been sneaking around Tangiers at night, pulling down bullfighting posters that in reality were La Tauromaquia engravings. I had a lot of fun as a collector as well - Senior's literary agent said the above about me as Senior proudly declared that I had started to collect snails - but as this collecting-thing was about to get the better of me, a friend told me "Andres, you are becoming a crook!" and that sort of jolted me out of my passion.

  • 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.

    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 

  • 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-part together with the glass-paintings. Below some of them are presented.    VIDEO

Continue Reading

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.

Continue Reading

Data: Height 17 cm, width 22 cm. Signed: "Orrefors, Ravenna No 999, Sven Palmqvist. There is a small defect close to the rim.

Continue Reading

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).

Continue Reading

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.

Continue Reading

Data: Signed Orrefors, Ravenna 151, Sven Palmqvist, Sweden”. Height; 16 cm.

Continue Reading

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. 

Continue Reading

Data: Signed; Orrefors, Hald, 1936. Height; 8.2cm. Birds in blue against a background of clear and red.

Continue Reading

Data: Signed; "Aqvagraal, Edward Hald, Orrefors 1958”. Height; 18 cm. An unusual aqvagraal in the shape of a pear. 

Continue Reading

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.

Continue Reading

Data: Signed; Orrefors 37 Sweden Graal nr 96 Edward Hald. Height; 19.7cm. Motif; Fish and seaweed in various tones of green. 

Continue Reading

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. 

Continue Reading

Data: Signed; Orrefors, Sweden, Graal Nr. 1413B, E Öhrström. Height; 17 cm. Motif; Man on prancing "Picasso horse" and manʼs face. 

Continue Reading

Data: Signed; “Orrefors, Sweden, Ariel, N114 Lindstrand -39. Height; 19 cm. Motif; Three trees: maybe a birch, another deciduous tree and a pine.

Continue Reading

Data: Signed; Orrefors, Ariel E. Ohrstrom, 1938. Height; 19 cm. Motif; Blue & Red Rider on Horse against a background of amorphous blobs/splendid vegetation.

Continue Reading

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. 

Continue Reading

More Articles ...