|Product Location:||Michigan, United States|
This Important Crystal Sculpture "Victory Column" by Stanislav Libensky and Jaroslava Brychtova was damaged and we have been asked to collect bids for an insurance company to obtain a financial recovery for the claim that they have paid.
This claim value for this sculpture was $140,000.00
Damage Description: 2 divots in the crystal. Damage to the signature area.
1) All significant broken pieces are with the item
2) Item in crate weighs 390 lbs
3) Crate measures 74" x 22" x 22"
4) Forklift at site can load your truck
Provenance: A letter from the original gallery can be available to show that this was originally purchased from the artist and sold to one client
About the artists: (from Wikipedia)
Stanislav Libenský and Jaroslava Brychtová are well known for their artistic collaboration in the world of contemporary fine art.
Their works are included in many major modern art collections, for example, Metropolitan Museum of Art and Victoria & Albert Museum as well as regularly displaying their pieces at other temporary exhibitions.
Jaroslava Brychtová, an educated sculptor (and daughter of the glass artist Jaroslav Brychta), and Stanislav Libenský, originally a painter, later a glass artist and a leading figure at glass school in Nový Bor, headmaster of the glass school in }elezný Brod and VŠUP[ professor, first met in 1954, when Jaroslava asked Stanislav to let her sculpt one of his paintings. Their artistic infatuation soon led to a closer relationship and in 1963 they married, and worked together until Libenský's death on February 24, 2002. Mr. Libenský painted and sketched the designs, and Ms. Brychtová made clay sculptures from his designs. Master craftsmen followed with plaster moulds that were filled with glass shards and fired: heated for two or three days and slowly cooled for as long as a month. The final phase is polishing and possibly slightly improving the resulting shape. Since Libenský's death, Ms. Brychtová has continued to produce castings.
Their work, instantly recognisable, is characterised by simple block shapes infused with subtle colour and nuances.
Stanislav Libenský began his study of glass in 1937 at the Specialized School of Glassmaking in Nový Bor, Czechoslovakia, a region encompassing the Czech-German border called the Sudetenland. When the German army occupied the Sudetenland in 1938, Libenský moved first to the school at }elezný Brod, and later to Prague Academy of Arts, Architecture and Design, known as VŠUP (an abbreviation of Vysoká škola umleckopromyslová v Praze) from which he graduated in 1944. His first notable series in glass, created in Nový Bor between 1945 and 1948, were thin crystal vessels, delicately etched and enameled with themes from the Bible and Renaissance art.
In 1948 Libenský returned to VŠUP, where he studied under Josef Kaplický, a painter, sculptor and architect who headed the school of painting on glass. Through his dynamic teaching style and modernist ideas, Kaplický had a tremendous influence on his students and thus on the independence of glass as an art form in Czechoslovakia. In 1953 Libenský returned to }elezný Brod to become the director of the Specialized School of Glassmaking. It was during that time that he met Jaraslava Brychtová, the daughter of the school's co-founder, Jaroslav Brychta.
Jaroslava Brychtová began to experiment with casting and carving glass in the late 1940s. She founded the Center for Architectural Glass at the Specialized School of Glassmaking in 1950. Like Libenský, Brychtová studied at VŠUP. The war interrupted her education, but she later finished her studies with a concentration in sculpture. Her teachers were Karel Štipl (from 1945 to 1951) and Jan Lauda (from 1947 to 1950). Jaroslava Brychtová's career at the Specialized School of Glassmaking in }elezný Brod spanned 1950 to 1984. The couple began their long collaboration in 1954. when Brychtová created a sculptural glass bowl modeled after a sketch of a bowl-shaped head that Libenský had made. According to Libenský, the two worked well together because he was trained as a painter, and she as a sculptor.
Libenský and Brychtová married in 1963.
The Czechoslovakian pavilian at the EXPO '58 in Brussels garnered attention for its modern architectural design, its film, acting and ballet presentations, it was Czech glass that attracted the attention of the judges. The entry designed by Libenský and Brychtová, "Animal Reliefs," (later known as "Zoomorphic Stones") were cast glass "stones." These were smooth on the obverse; on the reverse, animals inspired by the cave paintings of Altamira and Lascaux were cast in negative low relief. The effect presented by this, when viewed through the smooth surface of the glass, is of a three-dimensional form captured within its depths. Incorporated into a concrete wall in the pavilion's "Glass" gallery, "Animal Reliefs" was awarded a Grand Prix. While the original work did not survive, a recreation of it was installed in the United Nations headquarters in Geneva. In developing the negative modeling technique employed in "Animal Reliefs", Brychtová and Libenský created the foundation on which the majority of their later sculptural work was based.
Josef Kaplický’s death in 1962 left a void at VŠUP that was filled by Libenský, who was appointed a professor in the glass department in 1963. Libenský was an excellent teacher who respected the tradition of glass in Czechoslovakia while furthering his own ideas about the modern direction of glass art. His career at the academy lasted nearly one-quarter of a century. During that time, despite the opposition of the Communist government that had taken hold of the country in the late 1940s, Libenský was able not only to influence two generations of glass artists through his teaching but also, through international lecturing and exhibition of his and Jaraslava Brychtová’s works, build international interest in modern Czech glass art. Notable students of Professor Libenský include JiYí Harcuba, František Janák, Marian Karel, and Yan Zoritchak (Ján Zori ák).
Much of Libenský and Brychtová's architectural work was done for buildings in Czechoslovakia, including two windows, created for the St. Wenceslas Chapel in Prague's St. Vitus Cathedral. Built in the fourteenth century, the historic chapel was reconstructed by the Czech government between 1961 and 1964. Libenský and Brychtová were selected by competition to replace the chapel's original stained glass windows, which dated from 1912-13. The artists created an abstract design for the windows that, in its modern simplicity, departed from the ornate, early sixteenth-century decoration of the chapel. To relate the new to the old, Libenský and Brychtová used the muted grey-brown, grey-green and pink hues in the chapel's frescoes as the predominate colors in their windows. Outside of Czechoslovakia their architectural glass work was seen in World's Fair exhibitions and Czech Embassies.At Expo '67 in Montreal they created three large sculptures for the Czechoslovakian Pavilion's "Hall of Century and Traditions". These were "Blue Concretion," "Sun of the Century" and "Large Conus".According to Corning Museum of Art curator Tina Oldknow, these large-scale sculptures in glass were "a revelation" to the American Studio Glass artists who saw them, including Harvey Littleton, Dale Chihuly and Marvin Lipofsky.
Libenský was awarded an honorary doctorates in Great Britain by the University of Sunderland in 1999 and by the Royal College of Art in London in 1994. In 1985 he was named a Chevalier of the Ordre des Arts et Lettres by the Ministry of Culture and Communication in Paris, France. He won the Herder Prize from the University of Vienna, Austria in 1975. With his wife and collaborative partner, Jaraslava Brychtová, Libenský was accorded a number of honors. the pair were presented with a Lifetime Achievement Award from Urbanglass in Brooklyn, New York and the Glass Art Society in 1997 and 1996, respectively. They won the Bavarian State Prize and Gold Medal at the Internationale Handwerksmesse in Munich, Germany in 1995 and 1967, and received Gold Medal awards from Internationales Kunsthandwerk in Stuttgart, Germany in 1969 and at the VIII Bienal de São Paulo in 1965. Libenský and Brychtová were presented with the Rakow Award for Excellence in Glass from the Corning Museum of Glass in 1984.