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  Reinhold Klaus / Carl Geyling Atelier Vienna “Cubist Man with top hat and flowers” stained glass window c. 1930

  REINHOLD KLAUS (1881-1963) Vienna, Austria

  CARL GEYLING ATELIER (founded 1841) Vienna, Austria

  Man with tophat and flowers   c. 1930

  Window of stained and hand-painted leaded glass

  Provenance: Estate of Carl Geyling (1814-1880), Vienna

  H: 17 3/4″ x W: 14 1/2″

  Reinhold Klaus studied from 1898-1902 with Alfred Roller at the Kaiserlich-Königliche Kunstgewerbeschule in Vienna. In 1914 Klaus married into the Carl Geyling family and became extensively involved with with stained glass painting. As early as 1918 Klaus worked on a stained glass window for the Siegestempel am Bisamberg in Vienna. In 1934 he became a professor of stained glass painting at the Kunstgewerbeschule, as well as creative director of the C. Geylings Erben glass painting company. Reinhold Klaus, a member of the Künstlerhaus since 1924 received many prizes and honors. He worked on commissions for the St. Veits cathedral in Prague, the St. Stephan cathedral in Vienna and many others.

   

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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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  Roycroft / American Arts & Crafts Pair of Candlesticks c. 1915

  ROYCROFT COPPER SHOP East Aurora, N.Y.

  Pair of candlesticks c. 1915.

  Hand wrought and textured copper, silver-plated.

  Marks: impressed R, in orb with cross, ROYCROFT

  For more information see: The American Arts & Crafts Movement in Western New York 1900-1928, Bruce A. Austin (Rochester Institute of Technology, 1992); Arts & Crafts Movement in New York State 1890’s – 1920’s, Coy Ludwig (Hamilton, N.Y.: Gallery Association of New York, 1983).

  H: 6″ x W: 6 7/8″ x D: 2 5/8″

   

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  Arrigo Varettoni de Molin, “Passaic Rooftops”, Oil on canvas 1932

  ARRIGO VARETTONI DE MOLIN (1902-1985)

  Passaic Rooftops 1932

  Oil on canvas

  Signed: A V de Molin ’32

  Listed: Who’s Who in America, Series II, no. 11 (November 1, 1941) p. 6.

  Exhibited: New Jersey State Annual, Montclair Art Museum, 1934

  Canvas: H: 39” x W: 35”