Paul Laszlo Rare Art Deco Enameled Sterling Cigarette Case c.1925
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Paul Laszlo Rare Art Deco Enameled Sterling Cigarette Case c.1925
PAUL LÁSZLÓ (1900-1993) Austria / USA
MARIA ROTT (enamel) Vienna, Austria
Enameled sterling cigarette case c.1925
Hand painted foil backed and colorful fired enamel scene with a figure and a flowering plant all within a red enamel border on sterling
Marks: Paul Laszlo (on inside edge, rubbed), RS in a cartouche (Vienna maker’s mark), STERLING
H: 4″ x W: 3″ x D: 3/8″
Matching enamel dresser set by Paul Laszlo illustrated: “Kunsthandwerk” Band 62, Heft 5, February 1930
Born in Budapest, the architect Paul Laszlo studied in Vienna, Paris and Berlin before setting up an office in Vienna. By 1927, Laszlo had moved to Stuttgart where he quickly made a name for himself across Europe. In 1936, he relocated to Beverly Hills, California, which had become a haven for many artists and designers seeking artistic freedom. There he quietly found work designing modern homes and interiors, often for Hollywood celebrities. Laszlo created textiles, lamps, as well as custom furniture for his modernist homes and corporate interiors. His comfortable, yet elegant designs pay tribute to the modern luxury and easy livability of the early to mid 20th Century interiors of Vienna.
This enamel on sterling case really is one of the very best fired enamel examples of its type. It has a wonderful range of beautifully toned and colored enamel with foil backing in some areas which also gives it extra luminosity and metallic glow. It is in perfect condition and the detail and masterful artistic quality of the painting is also extremely fine and exquisitely rendered.
It has all the style and characteristics of the accomplished Neue Shachlichkeit (or New Realism / Objectivity) painting style Laszlo would have been familiar with and exposed to either in Berlin or Stuttgart as well as the New Realism style in Vogue in Vienna, where Laszlo also worked in the 1920’s. Considering the difficulty in controlling fired enamel, this exceptional Laszlo enameled case is a bargain by comparison of the price per square inch of a comparable painting on canvas such as a Christian Schad or Otto Dix! In fact, paintings are vastly more simple to execute and immediately rendered by comparison to a fired enamel “painting” on sterling like this exceptional case which would require a very lengthy and tedious process to accomplish a work of this caliber.
Paul Laszlo left Germany for America in 1936 and established a successful design firm in Beverly Hills, became an American citizen and lived happily in Southern California for the rest of his life.
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).
György Kepes, Abstraction, Gelatin silver print, 1942
GYÖRGY KEPES (1906-2001) Hungary/USA
Abstraction 1942
Silver gelatin print
Signed: 9 (in a circle, on back); Gyorgy Kepes 1942 (in ink on back)
György Kepes was a Hungarian-born painter, designer, educator and art theorist. After emigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1947 He founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974.
Tim Liddy, Lie Cheat and Steal (1971) The Game of Political Power Oil and enamel on copper, plywood back 2006
TIM LIDDY (b. 1963) Missouri
“Lie Cheat and Steal” (1971) The Game of Political Power 2006
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy “circa 1971” 2006, red circular ring
Provenance: William Shearburn Gallery (St. Louis, MO)
H: 12” x W: 9” x D: 2”
With his recent paintings, Liddy has both reasserted the construct of hyperrealist painting and developed a thoroughly unique advancement of that mode by extending the cultural reality of the indexed original. Based on the illustrated box lids of vintage board games, Liddy has recontextualized a subject, which evokes the underlying rules of life. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips and tears from years of usage and includes trompe-l’oeil renditions of the scotch tape that might be holding the cardboard box together, the assorted stains, or the various graffiti of time. Liddy leaves no possibility of ambivalence, these works speak to a concurrent understanding of their original object identity and to themselves as works of art engaged in historical and psychological dialogue.
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