BRASSAÏ (1899-1984) Austria-Hungary
“Transmutations 1934-35” 1967
Published by Lacoste: Galerie Les Contards, France.
12 gelatin silver prints each flush-mounted to a presentation folder with printed sequential number and title, with colophon contained in a linen covered, velvet lined clamshell folio with gilt lettering on the spine.
Signed and numbered 32 in ink on the colophon. This work is from an edition of 100. The titles include: I. Femme-fruit; II. Sevillane denudee; III. Odalisque; IV. Femme-mandoline; V. Femme-amphore; VI. Fille de Joie se Deshabillant; VII. Visage mineral; VIII. Tentation de Saint Antoine; IX. Jeune fille revant; X. Offrande; XI. Femme aux voiles; XII. Fete foraine.
Black enameled and nickeled metal, hinged ball weight, ball feet
Marks: RUPPEL (in a circle), mehrfach geschützt
Illustrated: Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 181-3;
H: 1 5/8” x W: 5 1/4” x D: 4”
Napkin holder c. 1930
Black enameled metal and nickeled base
Marks: RUPPEL (in a circle), mehrfach geschützt, 85/4440/37, Ruv 5 (numbers in red crayon)
H: 3 ¾” x W: 5” x D: 2 1/8”
For other works by Brandt for Metallwarenfabrik Ruppelwerk see: Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 180-183; Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 181-3; Avantgarde Design 1880-1930, Torsten Bröhan, Thomas Berg (Cologne: Benedikt Taschen, 1994) p. 105.
F.W. QUIST Esslingen, Germany
Ball ashtray “Smokny”
Nickel plated metal and black lacquered surface
Marks: Quist (on bottom)
H: 3 1/2″
The hardwarefactory F.W.Quist, Esslingen, Germany was founded 1868 as „Lackier- und Metallwaarenfabrik“ from the turner and metal-turner Jacob Schweizer, jun.. In the year 1872, the conversion of the business from a public company occurred, the “Actien-Plaqué Fabrik”. From 1890, the director and shareholders Friedrich Wilhelm Quist took over the business as alone-owner. In his succession four generations continued the business as family-businesses until 1981.
The business always stood for the manufacture more representatively props in the taste of the time. „Tischkultur, Gastlichkeit, Geschenkkultur dienten als Felder, einen gehobenen, verfeinerten Lebensstil zu dokumentieren und das unabhängig von der gesellschaftlichen Zugehörigkeit.“ (Served table-culture, hospitality, gift-culture as fields should document lifestyle, independently of the social affiliation) (Esslingen 2004, S.60)
So, the form of the 1970 as newness presented ball-ashtray was borrowed this famous „ball“ or „globe“ (presented for the first time, 1966 at the international furniture-fair in Cologne) and „bubble“ (1968) chairs by the finish designer Eero Aarnio. The completely new and unconventional shape, Aarnio developed on basis of the simplest geometrical form, the ball. It advanced to a cult-object of the following decade and didn’t lose anything modernity until today.
American Folk Art, Pine Tree and Shaker Style House andirons c. 1920’s
MASSACHUSETTS IRON WORKS Saugus area
Pine Tree and Shaker Style House andirons c. 1920’s
Cast and hand finished iron with a natural black/brown patina.
H: 22 1/2″ x W: 20 1/2″ x D: 16″
This pair of extraordinary andirons are a unique expression of American Folk Art at it’s best. The tall tree form resembles a towering carved wood version of a pine tree in 1 1/2″ thick cast iron and the Shaker Style house with a classic pitched roof and chimney has four “windows” that light up when the fire is roaring from behind. These are a substantial and gutsy design and are a very rare find in the world of Americana.
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