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  Andrea Branzi “Cucus” chair c. 1985

  Andrea Branzi (1938 – )   Zabro, Italy.

  “Cucus” chair c.1985

  Lacquered wood, tree branches

  Illustrated: Domestic Animals: The Neoprimative Style Andrea and Nicoletta Branzi, (London, 1987) n.p.; Designed by Architects in the 1980s, Julie Capella and Quim Larrea, Barcelona, 1987, p. 37; Anne Bony, Paris Les années 80, 1995, p. 520; Charlotte and Peter Fiell, 1000 Chairs, Cologne, 2000, p. 588

  H: 42 3/4″ x W: 19 3/4″ x D: 24″

  Price: $19,000

  The  “Cucus” chair was part of  the “Domestic Animals” series
  designed in 1985/86 by Andrea Branzi for Zabro.

  Andrea Branzi's “Domestic Animals” series was designed in 1985 and 1986 for the Italian firm Zabro. Designs were later also manufactured by Zanotta. Andrea Branzi created “Domestic Animals” in collaboration with Nicoletta Branzi, who produced limited edition art clothing for this series. The “Neoprimitive” style in which this collection has been rendered utilizes natural materials such as sticks to create an object that brings archetypal symbols into the home to produce emotional effects. These objects combine technology and nature and the symbols and codes that these entail demonstrating that “a hybrid love between different creatures is possible.” (Branzi, Domestic Animals, 1987, n.p.) With these objects Branzi aims to “domesticate” technological inventions so as to make them a positive presence in man's life.
  “The difference between a domestic animal and a trained (or tamed) one lies in the fact that the latter is the outcome of an unnatural and violent attitude, while the domestic animal establishes the dream of a loving relationship with man.” (Branzi, Domestic Animals, 1987, n.p.)

  Andrea Branzi, architect and designer, born in Florence in 1938, where he graduated in 1967, lives and works in Milano. From 1964 to 1974 he was a partner of Archizoom Associati, first vanguard group internationally known, whose projects are preserved at Centro Studi e Archivio della Comunicazione in Parma and at Centre Georges Pompidou in Paris.
  Since 1967 he works in the fields of industrial and research design, architecture, urban planning, education and cultural promotion.He is Professor at the Third Faculty of Architecture and Industrial Design of Politecnico di Milano.

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  Jan et Joel Martel / Primavera French Art Deco Courting Fantail Pigeon Sculptures c.1930

  JAN ET JOËL MARTEL (1896-1966)  France
  PRIMAVERA  Paris

  Pair of courting Faintail Pigeon Sculptures  c.1925-30

  Black glazed earthenware with silver / platinum decorative dot motif.

  Marks: PRIMAVERA FRANCE, 12684

  For related model: The Art Deco Style in Household Objects, Architecture, Scupture, Graphics, Jewelry, Theodore Menten (New York: Dover, 1972), p. 179.

  For more information see: Joël et Jan Martel: sculpteurs 1896-1966, Christophe Vital, et al. (Paris: Gallimard / Electa, 1996), pp. 127-9

  H: 8 1/16” x L: 9” x D at tail: 5 1/4”
  H: 7 1/8” x L: 10” x D at tail: 5 1/4”

  Jan & Joël Martel (the Martel Brothers/Twins, born in Nantes on 5 April 1896, both died in 1966)

  The twin Martel sculptors were among the founding members of Union des Artistes Modernes, and their original works include ornamental sculptures, statues, monuments and fountains displaying characteristics typical of the Art Déco and Cubist periods. The brothers took part in a number of Paris exhibitions including the Salon des Indépendants, Salon d’Automne, Salon des Tuileries and the Exposition des Arts Décoratifs in 1925.  In 1932, they created the Claude Debussy monument which sits on the boulevard Lannes in Paris. Between 1924-1926, Robert Mallet-Stevens designed a studio for the Martel twins at 10 Rue Mallet-Stevens in Paris’ 16th Arrondissement.

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  Werner Schmidt Folding Triangle Chair “Falt-Stuhl” 1993

  WERNER SCHMIDT (b. 1953)  Switzerland.

  Folding triangle chair, 1993.

  Dark brown laminate Plywood, hinges.

  Signed:  Werner Schmidt, 8/10, ‘93 (script signature in white permanent marker)

  For related folding table by Schmidt see illustration: Aluminum by Design, Sarah Nichols et al. (Pittsburgh, PA:  Carnegie Museum of Art, 2000) p. 57.

  Open dimension: H: 31 5/8” x  W: 28” x D: 20”
  Closed dimension: H: 31 5/8” x W 22 1/2”

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  Lucien Lelong / French Art Deco Handpainted Porcelain Vase circa 1935

  LUCIEN LELONG (1889 – 1958) Paris, France

  “Metaphysical” vase c. 1935

  Hand painted and glazed porcelain with aqua, black and silver tones.

  Marks: LL monogram, AB

  H: 13 3/4″

  Lucien Lelong was born in Paris, France on October 11, 1889. Lucien learned his trade from his father, Arthur Lelong, who owned a textile factory in 1896, and his mother Eleanore, a dressmaker. He discovered his vocation in the family business and as soon as World War I was over, he expanded the family business by creating his own fashion house in the late 1918.

  He became immediately famous due to the neat tailoring of his designs and his skill in choosing and manufacturing fabrics. He did not actually create his own designs but hired the most prominent designers of the moment to design his collections such as Christian Dior, Pierre Balmain and Hubert Givenchy. Lelong was one of the first designers to diversify into lingerie and stockings. He introduced a line of ready-to-wear in 1934 which he labeled “editions.” In 1939, Lelong’s collections showed tightly waisted, full skirts; a style which became the “new Look” in Dior’s collection in 1947. After the war, in 1947, Lelong showed pencil-slim dresses; pleated, tiered, harem hemlines; and suits with wasp waists, cutaway fronts and square shoulders.

  After a trip to the United States where he learned everything pertaining to the working methods in the mass production of clothes, he returns to France and creates a line of pret-a-porter (ready-to-wear) collection, branded “LL” Edition. Lelong used his double” LL” logo to influence his designs as well as refining the packaging design of his perfumes and cosmetics. He was a master of the use of knits and bias to shape the body in the most complementary way. His house’s trademark was their unique ability in designing with fur.

  He was married to Natalie Paley who was the daughter of the Grand Duke Paul of Russia that assisted him with his business. Lelong was an active member of high society; socialized with the women he dressed, and did not miss the opportunity to capitalize on his name. From 1937 until the end of the war in 1948, Lelong was President of the Chambre Syndicale de la Couture Parisienne, in which role he was able to fight and hinder the transfer of the Parisian fashion houses to Berlin during the German occupation. It was largely due to his efforts that ninety-two houses stayed opened during the war.

  Poor health caused the end of his career; Lelong retired in 1952, and died in 1958 of a heart attack.