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  Bakalowits & Söhne Spectacular “Starburst” chandelier c. 1970’s

  BAKALOWITS & SÖHNE (founded 1845 in Vienna)

  “Starburst” chandelier  c.1970’s

  Crystal rods of varying lengths with nine lights,
  chromium-plated metal ceiling cap and spherical chandelier parts.

  Ceiling to drop length: 46 1/2″ x overall diameter: 33 1/2″

  Price: $24,000

  The Bakalowits Company was founded in Vienna, Austria in 1845 by Elias Bakalowits. After his son Ludwig joined the company, E. Bakalowits &  Sons grew and became one of the foremost crystal chandelier manufacturers in the Austro-Hungarian Empire. In 1892 Ludwig Bakalowits received the order to manufacture the chandeliers for the Neue Hofburg Palace in Vienna for Emperor Franz Joseph I and was  appointed Imperial and Royal Purveyor to the Court.
  The company’s reputation for excellence grew outside Europe, and by 1885 the company was exporting its products to America and Asia. In  1900, Bakalowits & Sons displayed their crystal chandeliers at the World Exposition in Paris. Other exhibitions in St. Petersburg, London, Geneva and Turin followed and attracted more clients from around the world. In 1928, the company obtained patents for its crystal chandeliers.  In 1955 Bakalowits was entrusted with the manufacture of new lighting fixtures for some of the Viennese buildings that had suffered damage during the Second World War. These included the Parliament, the State Opera House, the National theatre, City Hall, St. Stephan’s Cathedral,  and others.

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  Werner Schmidt Folding Triangle Chair “Falt-Stuhl” 1993

  WERNER SCHMIDT (b. 1953)  Switzerland.

  Folding triangle chair, 1993.

  Dark brown laminate Plywood, hinges.

  Signed:  Werner Schmidt, 8/10, ‘93 (script signature in white permanent marker)

  For related folding table by Schmidt see illustration: Aluminum by Design, Sarah Nichols et al. (Pittsburgh, PA:  Carnegie Museum of Art, 2000) p. 57.

  Open dimension: H: 31 5/8” x  W: 28” x D: 20”
  Closed dimension: H: 31 5/8” x W 22 1/2”

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  Raymond Subes / French Art Deco Wrought Iron Coffee Table c. 1935

  Raymond Subes (1893-1970), France.

  Coffee table, circa 1935.

  Wrought iron, beige, ecru, and dark brown Afghanistan jasper top.

  Related work illustrated: R. Subes, Ferronnerie Moderne (Paris: Editions Vincent, Fréal et Cie., n.d. [c. 1937]).

  For more information see: Art Deco, Victor Arwas, (New York: Harry N. Abrams, Inc., 1980) p. 305; Encyclopedia of Art Deco, ed. Alastair Duncan, (New York: E.P. Dutton, 1988.) p. 152, 167.

  H: 19 1/3” x D: 35 1/2”

  Price: $38,000

  During the 1930s, Raymond Subes became one of the foremost designers of wrought iron in his native Paris. Subes studied at the Ecole Boulle and the Ecole des Arts Décoratifs before going to work for Emile Robert, a leading ironwork designer. He later became the artistic director of Borderel et Robert. At this venerable firm he created iron grills and doors for architectural commissions, many of which may still be seen all over Paris. His work was exhibited at the Paris 1925 Exhibition of Decorative Arts and he designed the wrought ironwork for the ill-fated ocean liner the Normandie. Subes’ early work was ornate and naturalistic, but gradually became more geometric and linear. This Art Deco table is a particularly lyrical example of his mature style, with its gracefully scrolling iron legs.

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  Sori Yanagi / Tendo Co. Ltd. / Japanese Crafts “Butterfly” Stool c.1956

  Sori Yanagi (1915-2012), Japan
  Tendo Co. Ltd., Japan

  Butterfly stool, 1956.

  Bleached rosewood veneer on plywood with brass.

  H: 15” x W: 16 ½” x D: 12”

  Price: $4,900

  This model can be found in the collections of the Museum of Modern Art and the Metropolitan Museum in New York.

  The Japanese designer Sori Yanagi is best known for his 1956 Butterfly Stool. It is both elegant and utterly simple: two curved pieces of molded plywood are held together through compression and tension by a single brass rod. The stool’s graceful shape recalls a butterfly’s wings, and has also been compared to the form of torii, the traditional Shinto shrine gates. He loved traditional Japanese crafts and was dedicated to the modernist principles of simplicity, practicality and tactility that are associated with Alvar Aalto, Charles and Ray Eames, and Le Corbusier.”

  Yanagi, who studied architecture and art at Tokyo’s Academy of Fine Art, was inspired by the work of Le Corbusier and by the designer Charlotte Perriand, with whom he worked in the early 1940s, while she was in Tokyo as the arts and crafts adviser to the Japanese Board of Trade. But perhaps the most indelible influence on Yanagi was that of his father, Soetsu Yanagi, who led the “mingei” movement, which celebrated Japanese folk craft and the beauty of everyday objects, and who founded the Nihon Mingeikan (or Japanese Folk Crafts Museum) in Tokyo. Yanagi fils, who was named director of the museum in 1977, succinctly described his design aesthetic in a 2002 interview in The Japan Times: “I try to create things that we human beings feel are useful in our daily lives. During the process, beauty is born naturally.” Throughout his life, Sori Yanagi was inspired by what he called “anonymous design” — he cited the Jeep and a baseball glove as two examples — and he in turn inspired younger designers, like Naoto Fukasawa, Tom Dixon and Jasper Morrison.