Madame Berlioz and Monsieur Leroy, Paris (Place Vendome, 19 Rue de la Paix active 1920’s through the 1940’s) “Camellia” brooch, black and coral enameled 18k gold further set with diamond pave furled leaf edges set in platinum with a large red coral central cabochon, signed, c.1920’s
Madame Berlioz and Monsieur Leroy, Paris (Place Vendome, 19 Rue de la Paix active 1920’s through the 1940’s) Art Deco “Pennanular” brooch, onyx and black and enameled 18k gold further set with 53 diamonds in arcing details set in platinum with three ovoid Persian turquoise cabochons, signed, c.1920’s
French Art Deco Emerald ring set with a very fine cabochon emerald (approx. 3 carats TW) and two old European cushion cut diamonds (3 carats TW) and further set with 12 round cut diamonds all set in 18K gold, signed, c.1920’s
Lacloche Freres, Paris (attr.) Tutti Frutti “Bouquet of Flowers” ring set with two Mughal carved sapphire flower/leaf shaped jewels and further set with a matching cabochon sapphire, 11 baguette diamonds, 22 round cut diamonds and two golden hued pearls all in a very intricately detailed platinum mount, c.1920’s
French Art Deco ring set with a fine jadeite oval cabochon, faceted and caliber cut onyx, and further set with 18 round diamonds and six square French-cut diamonds all set in a millegrain platinum mount, c. 1920’s
Gustav Manz (designer) for Thomas Kirkpatrick & Co., Fifth Avenue, NYC Art Deco Butterfly brooch, 12 baguette diamonds and 83 round diamonds (approx. 11 carats TW), 22 contoured and buff cut sapphires and 10 contoured and buff cut peridot, black enamel details all set in platinum, signed, c. 1920’s
Charlton & Co. (attr.) American Art Deco “Dendrite Agate” jewel cufflinks in an overall hexagonal form further set with caliber cut onyx in platinum topped 18k yellow gold, c. 1920’s
Werner Rohde, Mask, Gelatin Silver Print c. 1920’s
WERNER ROHDE (1906-1990) Germany
Mask c. 1920s
Gelatin silver print
Signed on the back of the photo: Werkbundausstellung “Film und Foto” (typed on label); 9.) 9/ (in ink and red crayon); Kupfer ofun Rourk 60 m R 10.5 x 14.5 cm / ump ubonpposhm bu 6/5 10088 (all in pencil script); fmlg-Rohde Woopswerk (in pencil); Werner Rohde Malen Breuien Oobben 58 (ink script)
H: 21 7/16” x W: 18 13/16” (framed)
Price: $17,500
Werner Rohde’s visual play with the animate and inanimate draws him close to the aesthetics of the surrealists while maintaining a strong alignment with Germany’s new-vision avant-garde. Rohde experimented widely with double exposures, photomontage, perspective and dramatic lighting that reflected his interest in filmic effects. The son of a glass painter (a medium he would turn to later in life), Rohde took up photography during his studies at the Arts and Craft School in Halle. Like Kesting, Willy Zielke and Kretschmer, he participated in the 1929 ‘Film und foto’ exhibition in Stuttgart that remains one of the historical focal points for Germany’s new photographic vision. Despite this early recognition of his work, Rohde fell into obscurity after the war until the rediscovery of his photographs in the mid 1970s. Rohde’s fascination with the play between life and lifeless, animate and inanimate, has strong reverberations with surrealism. Masks, mannequins and paper models were used in his photographs to illuminate the uncanny. They were also employed in his self-portraiture in which he mimicked his idol Charlie Chaplin. These techniques of visual illusion provided a mnemonic tool for the images of his wife in which she is posed and photographed to resemble a doll or mannequin. In the act of art imitating life, ‘Wachspuppenkopf’ is uncanny in its mimicry of the human form with realistic teeth, eyes, skin and even the unusual detail of small wrinkles under the eyes. The downward angle, lighting and odd doubling of the neckline utilizes standard surrealist methods to infer life and movement.
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