Product Description
Richard Harold Redvers Taylor, “Modernist building staircase”, Gouache on paper c. 1949

RICHARD HAROLD REDVERS TAYLOR (1900-1975) United Kingdom
Modernist building staircase c. 1949
Gouache on paper, metal and wood frame
Signed: RHRT (lower left)
Marks: Gimpel Fils exhibition label (on back)
Exhibited: “An Exhibition in the Kettle’s Yard Loan Gallery: Sculpture & Painter,
14 February – 10 March, 1972” Gimpel Fils, London
Framed: H: 41 7/16” x W: 30 5/16”
Richard Harold Redvers Taylor (1900-1975) was born in Brighton on March 14th, 1900 and educated at Brighton College and Heatherleys School of Fine Art, Chelsea. His father, Harold Taylor, was a headmaster. Redvers Taylor retired from the Army (where he specialized in topographical surveying in Africa) in 1937 but was recalled for war service. In 1946 he began a new career as a professional painter. Between 1948 and 1958 Taylor was given a series of six one-man shows by Lefevre and Gimple Fils in London. In the 1960’s he turned to sculpture, and in 1972 an exhibition of his sculpture and paintings was held at the Kettle’s Yard Loan Gallery in Cambridge. His work is held in the permanent collection at the Beith Uri V Rami Museum in Israel. Louise Taylor (née Hayden), his wife, was an American and the adopted daughter and heiress of Alice B. Toklas, the companion of Gertrude Stein. Louise Taylor died on 21 July 1977.
Purism, otherwise known as l’esprit nouveau was directly inspired by a spare, functionalist aesthetic and is closely associated with the work of Le Corbusier and his circle in Paris in the second quarter of the 20th Century. In America this purist style was known as Precisionism, which explored similar imaginary during the late 1920’s and 30’s with artists like Charles Sheeler, Charles Demuth and Ralston Crawford at the forefront of this movement. In England, the Vorticist movement (1912-1915) was founded by Wyndham Lewis and others and was the precursor to the Purist movement in Great Britain in the 1930’s and 1940’s. Redvers Taylor created geometrical landscapes while reducing volumes to colored planes and outlines to ridges. His artwork combines depth and perspective with flattened cubist fields of color. Architecture of industrial buildings was his favorite subject, whereas people and nature were usually absent from his compositions.
Richard Harold Redvers Taylor, “Modernist building staircase”, Gouache on paper c. 1949
1950’s ITALIAN DESIGN
Futurist pitcher c. 1950
Handwrought and hand hammered pewter in an overall footed ovoid form with a traingle form spout body and an elongated arching contoured handle
Marked: PELTRO with lion, MADE ITALIA
H: 15″ x W: 9″ x D: 4″
Price: $6,000
The 1958 classic film, Auntie Mame, starring Rosalind Russell, features this sculptural pitcher on the coffee table in the surrealist interior of Mame Dennis’ penthouse on Beekman Place #3, New York City.
JOYCE FRANCIS New York, NY
“Banana Land Flowers” box 2008
Cast and carved bright orange Lucite acrylic deeply incised and carved with three dimensional images of a monkey, a butterfly, a dragonfly and exotic flowers and foliage.
The top cover dimension is 1 3/4″ thick and the four sides of the box are 1 1/4″ thick.
Marks: Joyce Francis 08
H: 6″ x W: 4 3/4″ x D: 4 3/4″
Price: $3,750
Joyce Francis is a native Manhattanite artist who specializes in sculptured acrylic jewelry, purses, sculpture, tables and coveted collection of exciting, passionately carved decorative boxes. All pieces have been painstakingly hand carved, hand dyed, illuminated and sometimes hand painted as well. There are no embedded objects. Her purses are part of the permanent collections of the New York Metropolitan Costume Institute (New York), The Victoria and Albert Museum (London), The Fashion Institute of Technology (New York) and the Rock and Roll Hall of Fame (Cleveland).
Her work is in the collections of a number of stars and celebrities, including Hillary Swank, Phoebe Cates Kline, Emma Thompson, Cicely Tyson and Meryl Streep. Examples of her boxes and lamps are also owned by Paul Simon, Paul McCartney, Steve Martin and Tom Hanks.
ROBERT FRIED USA
The Charlatans, Buddy Guy, North American Ibis Alchemical Co. at the Avalon Ballroom September 22-24, 1967
Marked: Fried 67 (in script), © Family Dog Productions 639 Gough Street San Francisco, Calif. 94102
H: 19 15/16” x W: 14”
GALERIE CARREFOUR 141Boulevard Raspail, Paris
Vérité Collection Wood block print poster “ARTS PRIMITIFS, CARREFOUR, 141 BD RASPAIL, DAN 5803″ c. 1948
Float mounted in a finely contoured oak frame.
Inscribed to: A Monsieur E Mme Breton, Vérité Image dimension:
H: 19 1/2″ x W: 12 3/4″
Framed dimension: H: 26 3/4″ x W: 19 3/4”
Price: $9,000
The Vérité Collection of primitive arts started after World War 1 in 1920. Pierre Vérité, a young artist started buying primitive art before anyone else. Vérité opened a small store selling exclusively tribal art in 1931 in conjunction with the Paris Colonial Exposition. Pierre Vérité regarded “primitive arts” as art, and it is the raw power of these primitive pieces that changed the history of 20th-century European culture. In 1936, he opened the Galerie Carrefour on the Boulevard Raspail, which was a hangout for artists and collectors such as Pablo Picasso, Helena Rubenstein, Nancy Cunard and Andre Breton. Tribal art was one of the key influences on Pablo Picasso and he often dropped into Pierre Vérité’s Galerie Carrefour in Paris to buy masks and carvings from Africa and Oceania. Henri Matisse was also a regular visitor, as were other artists such as Fernand Léger and Maurice de Vlaminck, while Vérité used to browse Parisian flea markets with André Breton, Surrealism’s chief theorist. In the decades that followed the opening of the gallery, the Vérité family’s client list grew to include Hollywood stars and leading museum curators, as well as some of the greatest names in 20th-century art. Vérité very quickly became the most important art dealer for primitive arts. In the 1948, Pierre’s son Claude became increasingly involved in the gallery. He went on African expeditions, collecting objects and information, and took photographs to document his travels, while his wife Jeannine was running the gallery operations. With Claude and Jeannine joining the gallery, Galerie Carrefour showed at all “Art Primitifs” exhibitions in Europe and the United States. The gallery established itself as the most important player in tribal arts in the world and exhibited until the 1990’s.