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  György Kepes, Abstraction, Gelatin silver print, 1942

  GYÖRGY KEPES (1906-2001) Hungary/USA

  Abstraction 1942

  Silver gelatin print

  Signed: 9 (in a circle, on back); Gyorgy Kepes 1942 (in ink on back)

  György Kepes was a Hungarian-born painter, designer, educator and art theorist. After emigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1947 He founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974.

  Framed size: H: 29 3/16” x W: 25 ¼”

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  Tim Liddy Mystery Date Game (1966) Meet your secret admirer! 2006 Oil and enamel on copper, plywood back

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  Herbert Bayer, Self Portrait, Gelatin silver print , 1932, printed later

  HERBERT BAYER (1900-1985) Austria

  Self portrait   1932 (printed later)

  Silver gelatin print

  Edition: 28/40

  Signed: bayer 32 (in ink on bottom right corner)

  Provenance: Kennedy Gallery, New York

  H: 13 7/16” x W: 9 ½”

  Framed size: H: 21 ½” x W: 17 ½”

  Price: $16,000

  Herbert Bayer (1900 – 1985) was an Austrian graphic designer, painter, photographer, and architect. Bayer apprenticed under the artist Georg Schmidthammer in Linz. Leaving the workshop to study at the Darmstadt Artists’ Colony, he became interested in Walter Gropius’s Bauhaus manifesto. After Bayer had studied for four years at the Bauhaus under such teachers as Wassily Kandinsky and László Moholy-Nagy, Gropius appointed Bayer director of printing and advertising. In the spirit of reductive minimalism, Bayer developed a crisp visual style and adopted use of all-lowercase, sans serif typefaces for most Bauhaus publications. Bayer is one of several typographers of the period including Kurt Schwitters and Jan Tschichold who experimented with the creation of a simplified more phonetic-based alphabet. Bayer designed the 1925 geometric sans-serif typeface, universal, now issued in digital form as Architype Bayer that bears comparison with the stylistically related typeface Architype Schwitters.

   In 1928, Bayer left the Bauhaus to become art director of Vogue magazine’s Berlin office. He remained in Germany far later than most other progressives. In 1936 he designed a brochure for the Deutschland Ausstellung, an exhibition for tourists in Berlin during the 1936 Olympic Games. In 1938 he left Germany and settled in New York City where he had a long and distinguished career in nearly every aspect of the graphic arts. In 1946 Bayer relocated again. Hired by industrialist and visionary Walter Paepcke, Bayer moved to Aspen, Colorado as Paepcke promoted skiing as a popular sport. Bayer’s architectural work in the town included co-designing the Aspen Institute and restoring the Wheeler Opera House, but his production of promotional posters identified skiing with wit, excitement, and glamour. Bayer would remain associated with Aspen until the mid-1970s. Bayer gave the Denver Art Museum a collection of around 8,000 of his works. In 1959, he designed his “fonetik alfabet”, a phonetic alphabet, for English. It was sans-serif and without capital letters. He had special symbols for the endings -ed, -ory, -ing, and -ion, as well as the digraphs “ch”, “sh”, and “ng”. An underline indicated the doubling of a consonant in traditional orthography.

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  Archibald Knox / Liberty & Co. Sterling hand mirror 1908

  ARCHIBALD KNOX (1864-1933) UK

  LIBERTY & CO. London, UK

  Hand mirror  1908

  Sterling with large matrix cabochon turquoise

  Marks: L & Co. cipher, Birmingham assay marks for 1908

  Similar works with turquoise Illustrated: Archibald Knox, ed. by Stephen A. Martin (London: Academy Editions, 1995) ; Liberty Design 1874-1914, Barbara Morris (London: Pyramid Books, 1989) p. ; The Designs of Archibald Knox for Liberty & Co., A.J. Tilbrook (London: Ornament Press Ltd., 1976)

  L: 11″