Dominick & Haff New York Grand Sterling "Grape" Theme Centerpiece Bowl 1883
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Dominick & Haff New York Grand Sterling “Grape” Theme Centerpiece Bowl 1883
DOMINICK & HAFF (active 1872-1928) USA
W. H. GLENNY & SONS CO. (retailer, New York City)
Impressive Grape and Vine centerpiece bowl 1883
An exceptional and impressive sterling hand wrought “Grape” theme centerpiece bowl by Dominick and Haff (active 1872-1928) , 1883 and retailed by W. H. Glenny & Sons Co. (retailer, New York City)
Elaborate hand hammered, chased and repousse sterling silver bowl with applied grape branch handles and very deep three dimensional hand repousse grape clusters, leaves and vines, all against a background of graduating honey comb pattern hammer tone marks, original lemon-yellow gold interior, approx. weight: 90 ounces
Marks: Dominick and Haff makers mark incorporating the date 1883, W. H. Glenny Sons & Co. (retailer), 355A, STERLING
H: 6 1/2″ x Dia: 18″
The New York silver firm known today as ‘Dominick & Haff’ originally began with the name ‘William Gale & Son’ in 1862. It went through a series of ownership and name changes to become Dominick & Corning in 1867, Gale and Corning in 1869, Gale Dominick & Haff in 1870 and Dominick & Haff in 1872. In 1929, Dominick & Haff was purchased by the silversmith/ manufacturing company of Reed & Barton of Taunton Massachusetts.
Signed: Leontyne Price as Bes, Porgy & Bess, XVII KK 20, May 19, 53 (in ink on back); PHOTOGRAPH BY CARL VAN VECHTEN, 101 CENTRAL PARK WEST, CANNOT BE REPRODUCED WITHOUT PERMISSION (ink stamp on back)
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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