Related Products

• 

  Details

  Paul Colin, “Le Tumulte Noir” portfolio 1929

  PAUL COLIN (1892-1985) France

  “Le Tumulte Noir” portfolio 1929

  Color lithographs, limited edition of 500, in original wraps
  Published by Éditions d’art, Succès: Paris, 1929

  Dimensions:
  Book: H: 19 11/16” x W: 13 1/16”
  Custom leather box: H: 21” x W: 14 3/8” x D: 1 5/16”
  Custom silk slipcase: H: 21 ¼” x W: 14 1/16” x D: 1 11/16”

• 

  Details

  Archibald Knox / Liberty & Co. Rare Sterling and Opal caviar server 1904

  ARCHIBALD KNOX   (1864-1933)   UK
  LIBERTY & COMPANY   London, UK

  Cymric  tri-handled covered server  1904

  Sterling silver with repoussé Celtic knot motifs and three buttress handles; the handle of the domed lid inset with a jelly opal, cylindrical crystal bowl.

  Marks: No. 5199, Liberty & Co., CYMRIC and Birmingham assay marks for 1904 (all the marks appear both on the underside of the base and on the cover)

  W: 7 1/4″ x D: 7 1/4″ x H: 2″

  Price: $28,000

• 

  Details

  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.

• 

  Details

  Brassai / Paul Morand “Paris de Nuit” (Paris After Dark) 1933

  Brassaï (1899-1984) Austria-Hungary [now Romania]

  Paul Morand (1888-1976) France

  “Paris de Nuit” (Paris After Dark) 1933

  Published by Arts et métiers graphiques, Paris

   

  Dimensions:

  Book: H: 9 13/16” x W: 7 9/16”

  Custom leather box: H: 10 5/8” x W: 8 5/8” x D: 1 3/8”

  Custom silk slipcase: H: 11 21/32” x W: 9 5/8” x D: 2 7/16”

  Brassaï is the pseudonym of Guyla Halász from Transylvania (Hungarian at the time of his birth, but currently part of Romania). Brassaï literally means: from Brasso (his native village). He decided to use this pseudonym in 1932, the year in which Paris de nuit was published. He had already been living in Paris for eight years, where he wrote articles for German magazines and met photographers such as Atget and André Kertész. Not until 1930 did he first begin to take photographs himself, immediately discovering his main subject: Paris.

   He moved into an apartment on the corner of the Rue de la Glacière and the Boulevard Auguste-Blanqui in 1928, where Raymond Queneau also lived. He would go out at night with Queneau or other nocturnal people such as Léon-Paul Fargue, but Brassaï usually just walked through the abandoned streets and alleys of the city. He could only take 24 photographs per walk because the stack of glass photo plates would otherwise grow too heavy.

  His nocturnal journeys yielded a wealth of photographs, which by now have gained the status of icons of modern photography. They were first published on 2 December 1932 by Arts et metiers graphiques, which was Charles Peignot’s publishing business. He was also the founder of the magazine Arts et metiers graphiques (1927-1939) in which articles on design, typography, illustration and advertising appeared. It was printed in an edition of 4000 copies: there were also printers associated with the editing staff, like Léon Pichon. Peignot was the president of type foundry Deberny et Peignot, and were in contact with the Union des Artistes Modernes (Cocteau, Gide, Sonia Delaunay, Maximilien Vox and others) and with poster designers such as Cassandre.

  The first review of Paris de nuit was published in a Dutch newspaper, the Nieuwe Rotterdamsche Courant of 29 December 1932. An English edition of the photo book appeared in 1933 from Batsford Gallery in London. The photographs were also exhibited. Many photo books were to follow, including a book in 1960 about the graffiti on Parisian walls, which he had documented in his photographs since 1930. Not without reason did Henry Miller call him ‘the eye of Paris’. Jean Paulhan actually asserted that Brassaï had more than two eyes.