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  Ingegerd Torhamn Art Deco / Modernist rug c. 1930 (Exhibited: Stockholm Exhibition 1930)

  INGEGERD TORHAMN (1898-1994) Sweden

  Modernist rug   c. 1930

  Hand-knotted wool

  Signed: it (Ingegerd Torhamn) lower left

  Exhibited: Stockholm Exhibition 1930, Stockholmsutställningen 1930, Villa 42; V.I.P. in Swedish Design, Kalmar Konstmuseum 1996.

  Illustrated: Katalog Över Bostadsavdelningen: Stockholms Utställningen 1930 (illustrated in situ) Stockholm Exhibition1930 (Stockholm: Tryckt Hos Bröderna Lagerström, Boktryckare, 1930) p. 149

  Drawing illustrated: V.I.P. in Swedish Design: Axel Larsso, Ingegerd Torhamn, Inga Linden & Paula Sokolow, Arkiv for Svensk Formgivning, Kalmar Konstmuseum

  For more information see: Svenska Textilier 1930, Stockholm 1930, Nils G. Wollin, plate nr. 50

  Dimensions: 7’2” square

  One of the ten rugs of her designs (including this rug as part of the music room) exhibited at the important Stockholm Exhibition of 1930 is now in the permanent collection of the Nationalmuseum in Stockholm.

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  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.