{"title":"ARRIVALS","description":"","products":[{"product_id":"dumler-breiden-polar-relief-vase-24-14","title":"BLUE-GREEN DÜMLER \u0026 BREIDEN ‘POLAR’ DÉCOR RELIEF VASE Nr. 24\/14","description":"\u003cp\u003eA short, pencil-cup column vase from DÜMLER \u0026amp; BREIDEN—finished in the über-collectible \u003ci\u003ePolar\u003c\/i\u003e décor, with its characteristic, dueling contrasts of colors and textures. The icy blue\/green, off-white, and black glazes evoke the arctic regions and suggest a “frozen” aesthetic. The central band of smooth, glossy glaze is sandwiched between rougher, more matte layers of “fat lava.” Adding to its appeal, the vase’s eccentric footprint matches the swirling shape of the meteorological symbol for a hurricane: its wing points being the seams created by the slip-cast process, cleverly integrated into the artistic design. From the late 1960s. The base is incised with the model number and the “crossed-swords” maker’s mark, confirming authenticity.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDÜMLER \u0026amp; BREIDEN (aka D\u0026amp;B)\u003c\/b\u003e was founded in 1883 by Peter Dümler (1860–1907) and his brother-in-law and childhood friend, Albert Breiden (1860–1926), in the town of Höhr-Grenzhausen, about 20 km northeast of Koblenz in Rhineland-Palatinate, Germany. Located in the Westerwald region, the town is set within the Kannenbäckerland—the “potters’ land” or, more literally, the “jug-bakers’ land”—a centuries-old home to ceramics manufacture in central Germany and the site of the largest clay deposit in Europe.) In the early 20\u003csup\u003eth\u003c\/sup\u003e century, DÜMLER \u0026amp; BREIDEN was known mainly for producing beer steins and punch bowls in the typical blue-gray Westerwald style.\u003c\/p\u003e\n\u003cp\u003eFollowing WWII, D\u0026amp;B gradually established itself as one of West Germany’s leading producers of art pottery. Unafraid to experiment, its potters crafted a vast and often whimsical universe of ceramics throughout the 1950s, ’60s, and ’70s. They transitioned effortlessly from traditional folk patterns to the vibrant, rule-breaking motifs of pop art. Many pieces showcased a dazzling, sometimes flamboyant, display of glazes, with vivid reds oozing into electric blues, on quirky forms that felt as much like rebellious sculptures as they did decorative objects. Items produced within the \u003ci\u003eDomino\u003c\/i\u003e, \u003ci\u003ePolar\u003c\/i\u003e, and \u003ci\u003eSaturn\u003c\/i\u003e design series are among the most sought-after by collectors. DÜMLER \u0026amp; BREIDEN closed in 1992.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: D\u0026amp;B most often used white to buff clay, although red clay is seen in the \u003ci\u003eTerra\u003c\/i\u003e series and in other “klinker”-style items. Marks are almost always impressed and are usually made using a distinctive, square-cut font. A crossed-swords D\u0026amp;B symbol (with the lowercase initials “D” and “B” as stylized hilts) is often present on the base along with the form and size numbers; where the symbol is absent, the form and size numbers are stacked. If an origin is indicated, it is always simply “Germany”—with no “West” designation. The full text “DÜMLER \u0026amp; BREIDEN” replaces the D\u0026amp;B symbol from 1980 onwards. \u003ci\u003eRelief\u003c\/i\u003e and \u003ci\u003eStudio\u003c\/i\u003e pieces were marked on the base with the names of those series. Very few items have unmarked bases, and markings are only very rarely obscured by glaze. Factory stickers are most commonly found only on very early items and typically feature the crossed-swords symbol and the factory location, “Hohr.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eErnst Dümler, a cousin. (Joined after Peter’s son, Paul, was killed in WWI.)\u003c\/li\u003e\n\u003cli\u003ePaul Zimmerling (1927–2006)\u003c\/li\u003e\n\u003cli\u003eRudolf Christmann (1928–1992)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eDÜMLER \u0026amp; BREIDEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTEAL, BLACK, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e3 ¼\" W × 2 ¾\" D × 5 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":52913669124,"sku":"BLUE-GREEN D\u0026B ‘POLAR’ VASE 24\/14","price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Unknown_1.png?v=1764793506"},{"product_id":"redux-20","title":"‘THE TOWERS OF SAN GIMIGNANO’ BY DOUGLAS CONNELLY (1958)","description":"\u003cp\u003eA Tuscan landscape featuring the towers of San Gimignano, Italy, at twilight. California artist DOUGLAS CONNELLY uses the “chiaroscuro of nature”—the effects of vanishing light experienced outdoors—to model the skyline of the famous medieval hill town. Thirty-five miles south of Florence, San Gimignano served as a relay point for pilgrims traveling on the Via Francigena between Canterbury and Rome in the Middle Ages. Competition among the town’s patrician families led to the construction of more than seventy tower houses, some reaching heights of over 50 m. Fourteen of these monuments to their rivalry survive to this day. In an original frame built from recycled wood.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eDOUGLAS CONNELLY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1958\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; IMPRESSIONIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eART BOARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSIENNA, CREAM, OXBLOOD, NAVY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24 ½\" H × 28 ½\" W × 3\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":14427474460714,"sku":"ART005","price":585.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250301_120921_1099bd27-90c6-4323-9ac7-d50d729b8acc.jpg?v=1740859809"},{"product_id":"dumler-breiden-orange-relief-polar-decor-vase-nr-24-15","title":"ORANGE DÜMLER \u0026 BREIDEN ‘POLAR’ DÉCOR RELIEF VASE Nr. 24\/14","description":"\u003cp\u003eA short, pencil-cup column vase from DÜMLER \u0026amp; BREIDEN—finished in the über-collectible \u003ci\u003ePolar\u003c\/i\u003e décor, with its characteristic, dueling contrasts of colors and textures. The off-white and black, dirty-snow glazes evoke the Arctic and suggest a “frozen” aesthetic. The central band of glossy, vivid orange is sandwiched between rougher, matte layers of “fat lava,” its unusual color recalling the brilliant autumn tundra. Adding to the vase’s appeal, its eccentric footprint has the swirling shape of the meteorological symbol for a hurricane: the wing points being the seams created during the slip-cast process, cleverly integrated into the design. From the 1970s. The base is incised with the model number and the “crossed-swords” maker’s mark, confirming authenticity. Two available.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDÜMLER \u0026amp; BREIDEN (aka D\u0026amp;B)\u003c\/b\u003e was founded in 1883 by Peter Dümler (1860–1907) and his brother-in-law and childhood friend, Albert Breiden (1860–1926), in the town of Höhr-Grenzhausen, about 20 km northeast of Koblenz in Rhineland-Palatinate, Germany. Located in the Westerwald region, the town is set within the Kannenbäckerland—the “potters’ land” or, more literally, the “jug-bakers’ land”—a centuries-old home to ceramics manufacture in central Germany and the site of the largest clay deposit in Europe.) In the early 20\u003csup\u003eth\u003c\/sup\u003e century, DÜMLER \u0026amp; BREIDEN was known mainly for producing beer steins and punch bowls in the typical blue-gray Westerwald style.\u003c\/p\u003e\n\u003cp\u003eFollowing WWII, D\u0026amp;B gradually established itself as one of West Germany’s leading producers of art pottery. Unafraid to experiment, its potters crafted a vast and often whimsical universe of ceramics throughout the 1950s, ’60s, and ’70s. They transitioned effortlessly from traditional folk patterns to the vibrant, rule-breaking motifs of pop art. Many pieces showcased a dazzling, sometimes flamboyant, display of glazes, with vivid reds oozing into electric blues, on quirky forms that felt as much like rebellious sculptures as they did decorative objects. Items produced within the \u003ci\u003eDomino\u003c\/i\u003e, \u003ci\u003ePolar\u003c\/i\u003e, and \u003ci\u003eSaturn\u003c\/i\u003e design series are among the most sought-after by collectors. DÜMLER \u0026amp; BREIDEN closed in 1992.\u003c\/p\u003e\n\u003cp\u003eNotes on identification: D\u0026amp;B most often used white to buff clay, although red clay is seen in the \u003ci\u003eTerra\u003c\/i\u003e series and in other “klinker”-style items. Marks are almost always impressed and are usually made using a distinctive, square-cut font. A crossed-swords D\u0026amp;B symbol (with the lowercase initials “D” and “B” as stylized hilts) is often present on the base along with the form and size numbers; where the symbol is absent, the form and size numbers are stacked. If an origin is indicated, it is always simply “Germany”—with no “West” designation. The full text “DÜMLER \u0026amp; BREIDEN” replaces the D\u0026amp;B symbol from 1980 onwards. \u003ci\u003eRelief\u003c\/i\u003e and \u003ci\u003eStudio\u003c\/i\u003e pieces were marked on the base with the names of those series. Very few items have unmarked bases, and markings are only very rarely obscured by glaze. Factory stickers are most commonly found only on very early items and typically feature the crossed-swords symbol and the factory location, “Hohr.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eKEY DESIGNERS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eErnst Dümler, a cousin. (Joined after Peter’s son, Paul, was killed in WWI.)\u003c\/li\u003e\n\u003cli\u003ePaul Zimmerling (1927–2006)\u003c\/li\u003e\n\u003cli\u003eRudolf Christmann (1928–1992)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eDÜMLER \u0026amp; BREIDEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eORANGE, BLACK, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e3 ¼\" W × 2 ¾\" D × 5 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":37686462611643,"sku":"ORANGE D\u0026B ‘POLAR’ VASE 24\/14","price":48.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Unknown-5_1_29f0253d-e966-45ec-a162-78bb5455ceb5.png?v=1764799126"},{"product_id":"terrence-turnbull-wood-fired-lidded-jar","title":"JAPANESE-STYLE STONEWARE URN FROM STUDIO POTTER TEL TURNBULL (FRANCE)","description":"\u003cp\u003eA remarkable lidded stoneware vessel, possibly intended as a cremation urn, features a lustrous, copper-tone glaze with patches of greenish-gray. The bulbous lower body, with its four small, curled feet and cylindrical neck, gives it a unique, stable form. The cipher of contemporary Anglo-French studio potter Terence “Tel” Turnbull (b. 1949) is present on the base. The craftsmanship and glaze are exquisite!\u003c\/p\u003e\n\u003cp\u003eThe rich chocolate brown and the mottled “drip” effect result from a natural ash glaze process, manifesting the artist’s modern interpretation of Japanese TAMBA ware. The finish was achieved in Turnbull’s high-firing, Japanese-style cave kiln (\u003ci\u003eanagama\u003c\/i\u003e), wherein wood ash settles and reacts with the iron in the clay to create organic, irreplicable patterns. Such rustic, earthy tones and the \u003ci\u003ewabi-sabi\u003c\/i\u003e aesthetic (appreciating beauty that is “imperfect, impermanent, and incomplete”) are both highly valued in Japanese culture.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eTAMBA-TACHIKUI WARE\u003c\/b\u003e is a type of traditional Japanese pottery with a history spanning over 800 years. Produced in the mountainous area of the Sasayama and Tachikui districts of Hyōgo Prefecture, it is counted among the \u003cb\u003eSix Ancient Kilns of Japan\u003c\/b\u003e (六古窯 Rokkoyō), a category developed in 1948 by influential potter and ceramics scholar Koyama Fujio (1900–1975). While coined in emulation of the \u003cb\u003eFive Great Kilns of Song China\u003c\/b\u003e, which represent specific locations renowned for imperial-grade porcelain, the Japanese kilns are best thought of as six different styles of traditional pottery, produced at numerous actual kiln sites within particular regions. Note that the styles associated with at least four of the kilns (TAMBA among them) evolved and adapted to varying degrees, so analogizing among them is difficult. Unlike the \u003cb\u003eFive Great Kilns of China\u003c\/b\u003e, their Japanese counterparts continue to produce to the present day.\u003c\/p\u003e\n\u003cp\u003eAs noted, no single fixed style for TAMBA ware exists; instead, it encompasses a wide array of items and finishes, including unglazed pieces and those with a variety of ash and iron glazes. Common techniques, such as the use of left-rotating potter’s wheels and the natural ash glaze produced in wood-fired climbing kilns—both technologies introduced by Korean potters in the late 16\u003csup\u003eth\u003c\/sup\u003e and early 17\u003csup\u003eth\u003c\/sup\u003e centuries in the aftermath of Japanese invasions—link the work of the region’s potters into a shared heritage.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eTEL TURNBULL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1990s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eFRENCH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eJAPANESE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTONEWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCHOCOLATE, CELADON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" DIAM. × 7 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":39509287370939,"sku":"TERRENCE TURNBULL LIDDED WOOD-FIRED URN","price":229.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210401_174557-01.jpg?v=1617317301"},{"product_id":"deep-red-velato-cyclone-vase","title":"DEEP RED BATTUTO CYCLONE ART GLASS VASE","description":"\u003cp\u003eA beautiful, cranberry-red sommerso art glass vase, with a cyclone “footprint” and a particularly nice, overall \u003ci\u003ebattuto\u003c\/i\u003e finish. The Italian word for ‘beaten’ or ‘struck,’ battuto, refers to a cold-working technique in which glass is cut or ground to create small, irregular facets on its surface, mimicking the look of hammered silver or stone. (In a culinary context, a battuto is a finely chopped mixture of aromatic vegetables, typically onion, carrot, and celery.)\u003c\/p\u003e\n\u003cp\u003eA traditional battuto is achieved using a grinding wheel or glass lathe, but hand grinders can also be used. As with many cold-working techniques, attaining a good battuto finish can be time-consuming!\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eBRUTALIST; ITALIAN; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eART GLASS, MURANO GLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRASPBERRY, RUBY, TRANSPARENT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e6 ¼\" W × 3 ¾\" D × 10\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":39746411987131,"sku":"DEEP RED BATTUTO CYCLONE VASE","price":580.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210410_181817-01.jpg?v=1618097947"},{"product_id":"large-studio-pottery-cachepot-by-wilhelm-and-elly-kuch","title":"LARGE STUDIO POTTERY CACHEPOT BY WILHELM AND ELLY KUCH","description":"\u003cp\u003eA stunning, cylindrical cachepot, crafted in the Bavarian studio of Elly  \u0026amp; Wilhelm Kuch. Its simple, practical form, with its distinct base, works in combination with the sharp, geometric pattern and high-contrast, black and white color scheme, to serve as an object lesson on the modernist movement’s undeniable roots in the Bauhaus school. A signature décor of TÖPFEREI KUCH, it is often referred to as “diamond ritz” by collectors. Stamped with the Kuchs’ maker’s mark on the bottom.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eTÖPFEREI WILHELM \u0026amp; ELLY KUCH\u003c\/b\u003e was established in 1947 as a workshop specializing in the production of art ceramics, with an emphasis on glazing. Founded by autodidact Wilhelm Kuch (b. 1925) in the Bavarian municipality of Burgthann, 20 km southeast of Nuremberg, it was rechristened in 1951 after Wilhelm’s marriage to fellow potter and goldsmith Elly Hauenstein (1929–2008). As a craft-oriented studio, TÖPFEREI KUCH continually worked with apprentices and journeymen, and the range of materials and techniques employed was subject to constant expansion. Both functional and ornamental objects, produced in small series, were represented in TÖPFEREI KUCH’s manufacturing program—along with free-standing sculptural works, architectural ceramics, and tiled stoves. From the mid-1950s, the couple collaborated on individual pieces, with Elly creating the shapes and Wilhelm responsible for glazes and decoration. Their work was marked with a name stamp and the workshop mark. (Wilhelm passed his master craftsman’s examination in 1953.)\u003c\/p\u003e\n\u003cp\u003eIn 1966, the Kuchs became the first Germans to be awarded the Premio Faenza by the Museo Internazionale delle Ceramiche in Faenza in its long-standing international ceramics competition—arguably the world’s most prestigious—repeating their win in 1973. Elly Kuch represented Germany at the International Ceramic Symposium that same year at the Memphis Academy of Art, which gathered 25 artists from 13 countries. The couple’s awards included a gold medal at the Ceramics International 73 in Calgary, Alberta. The Kuchs’ work is held in the Museum Boijmans Van Beuningen in Rotterdam, the International Ceramics Museum in Weiden, Germany, and the Kunstmuseum Hersbrück in Hersbrück, Germany. In 1983, the couple became founding members of \u003ci\u003eGruppe 83\u003c\/i\u003e, a coalition of German ceramicists. TÖPFEREI KUCH remained popular until it ceased operations in 1990. Its output was exhibited across Germany with regular frequency. Elly Kuch continued her ceramic practice until she died in 2008.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eElly considers her work more as forms than as sculptures. She thinks seeing different ways of working in ceramics is very important. She and her husband, Wilhelm, are now working with a gas kiln and reduction firing, which she feels is, for them, “a new beginning in ceramics.” – \u003cb\u003e1973 INTERNATIONAL CERAMIC SYMPOSIUM CATALOGUE\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGRUPPE 83\u003c\/b\u003e was formed in 1983 when the German members of the International Academy of Ceramics (IAC) joined forces to promote ceramics as an independent art form in Germany, support German ceramic artists internationally, and encourage new artists. The secret of the group’s decades-long cohesion is undoubtedly its renunciation of a joint artistic program. Until 2013, membership in the IAC was a necessary criterion for involvement with \u003ci\u003eGruppe 83\u003c\/i\u003e; that year, a majority decision of the group severed the link to the IAC as some younger candidates saw it as an obstacle to joining.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eWILHELM \u0026amp; ELLY KUCH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eTÖPFEREI KUCH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7\" DIAM. × 6\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":40865099251899,"sku":"LARGE STUDIO POTTERY CACHEPOT BY WILHELM AND ELLY KUCH","price":260.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210707_135936-01.jpg?v=1625688441"},{"product_id":"cobalt-blue-blenko-glass-water-bottle","title":"COBALT BLUE BLENKO GLASS WATER BOTTLE (2006)","description":"\u003cp\u003eA fine, near-vintage example of BLENKO’s signature \u003ci\u003e384 Water Bottle\u003c\/i\u003e in cobalt blue. While its design predates the Mid-Century Modern era, the clean lines and simple functionality perfectly conform to the period’s aesthetic. In continuous production since the mid ’30s, the narrow shape and dual spouts were meant to accommodate the compact doors of the “electric icebox.” However, its innate elegance makes it suitable for use today as a decorative vase or centerpiece. The striking blue alludes to BLENKO’s stained glass heritage. The production year is sandblasted on the base.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBLENKO GLASS COMPANY is a family-owned business in Milton, W. Va., specializing in hand-blown glass. It was established in 1921 as the Eureka Art Glass Company by Englishman William John Blenko (1854–1934), who was determined to introduce Old World sheet-glass production methods in the US. Blenko immigrated to America in 1893, ultimately settling in Milton after several attempts to launch factories at other locations. The Industrial Development Department of the Chesapeake \u0026amp; Ohio Railroad sold him on Milton's potential, highlighting its sober and diligent workforce as well as the dependable supply of natural gas for the kilns. He began construction of a furnace with the assistance of a few locals, and, within a month, handmade glass was being manufactured. (Along with natural gas, the presence of rich silica deposits and access to both river and rail transportation led to West Virginia’s becoming a center for glass manufacturing after the Civil War.)\u003c\/p\u003e\n\u003cp\u003eWilliam J. was solely responsible for both production and sales of glass until the arrival in 1923 of his son and daughter-in-law—William H. Blenko (d. 1969) and his wife Marion (née Hunt)—who were integrated into the workforce. In 1925, the need for a larger workshop and improved shipping facilities prompted the relocation of the BLENKO glassworks across the river to its current site, near the main line of the C\u0026amp;O Railroad. The operation received a notable commission in 1927 when British architect Sir Giles Gilbert Scott chose it to produce glass for the windows of Liverpool Cathedral. Another early achievement included furnishing glass for the windows of St. Patrick’s in New York City.\u003c\/p\u003e\n\u003cp\u003eThe onset of the Great Depression, which decimated the market for stained glass, made it obvious that the product line had to expand beyond sheet glass. Consequently, in 1929, the services of two Swedish-American glassblowers were enlisted: brothers Louis Miller and Axel Müller (the latter of whom chose not to Americanize his name). They trained the Milton crews in the art of handcrafting decorative objects—the vases, pitchers, and stemware that would ultimately establish BLENKO’s international reputation. An early client was the Boston importer Carbone and Sons, which previously had sourced its goods from Italy and Sweden.\u003c\/p\u003e\n\u003cp\u003eGrowing demand was met with increased production, and, in 1930, the company was rebranded as the BLENKO GLASS COMPANY, alongside the launch of the tableware line that would make “Blenko” a household name. In 1932, Macy’s began selling BLENKO in New York City. After the death of founder William J. in 1934, William H. assumed leadership and would oversee consistent growth at the company for three decades before retiring. His wife, Marion, held the positions of treasurer, secretary, and retail sales manager until her passing in 1989.\u003c\/p\u003e\n\u003cp\u003eSince the mid-1930s, BLENKO has presented its product range in an annual catalog. The first color version was published in 1959, under the direction of designer Wayne Husted (b. 1927). As the company launched new shades and retired others, a dedicated page was created to list the available colors—often with evocative names. In the early 1960s, turquoise, amethyst, tangerine, sea green, jonquil, crystal, and rosé were featured; as the decade progressed, chestnut, honey, peacock, plum, lemon, and wheat were introduced. Collectors, dealers, and curators actively seek out past catalogs to help them identify and authenticate BLENKO items.\u003c\/p\u003e\n\u003cp\u003eWhile many different production techniques have been employed at BLENKO, the company is particularly known for its use of molds. Hand-carved cherrywood molds, for example, are employed to shape its blown tableware. While considerably less expensive than metal ones, wooden molds wear out after fifty to a hundred uses. More durable cast-iron molds are used for objects made in quantity, such as BLENKO’s signature \u003ci\u003e384 Water Bottle\u003c\/i\u003e (in continuous production since 1938).\u003c\/p\u003e\n\u003cp\u003eIn 1947, a significant change occurred with the appointment of Winslow Anderson (1917–2007) as the full-time design director. His team’s work garnered critical acclaim, with several of Anderson's designs being awarded MoMA’s Good Design Awards in 1950, establishing the company as a frontrunner in modern American glass throughout the ’50s and ’60s. The company’s “Historic Period”—of particular interest to collectors—began with Anderson and ran through the tenure of John Nickerson (b. 1939) until 1974 (see below). BLENKO’s second design director, Wayne Husted, significantly advanced the company into the avant-garde, particularly by pioneering the idea of \"architectural-scale\" designs. Husted’s successor, Joel Philip Myers (b. 1934), who is recognized as the founder of the Studio Glass movement, which emphasized the artist’s role as both designer and creator of one-of-a-kind objects, further bolstered the firm's prestige.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBLENKO’S ”HISTORIC” DESIGN DIRECTORS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWinslow Anderson, 1947–1953\u003c\/li\u003e\n\u003cli\u003eWayne Husted, 1952–1963\u003c\/li\u003e\n\u003cli\u003eJoel Philip Myers, 1963–1970\u003c\/li\u003e\n\u003cli\u003eJohn Nickerson, 1970–1974\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003eThe BLENKO GLASS COMPANY filed for Chapter 11 in May 2011. A reorganization plan was accepted by the court in December 2012, clearing the way for the company to exit bankruptcy in early 2013. Now in its fourth generation of family leadership, BLENKO continues to produce new forms and release new shades. Contemporary collectors, prizing more historic designs and colors, have fostered an active secondary market for the company’s glass. In recent years, direct-to-consumer sales of a pair of limited-edition figurines depicting famous local cryptids—the Flatwoods Monster and Mothman—helped to expand BLENKO’s customer base, sustaining its fortunes through the COVID-19 pandemic. The company offers free factory tours to the public that feature an overlook area where visitors can observe its craftspeople at work.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBLENKO GLASS COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e2006\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1930s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; AMERICAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eGLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eROYAL BLUE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e6 ¼\" W × 3\" D × 8\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":45366462841019,"sku":"COBALT BLUE BLENKO GLASS WATER BOTTLE","price":78.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240209_153918-01_1.jpg?v=1760391890"},{"product_id":"studio-pottery-jug-vase-by-wilhelm-and-elly-kuch","title":"STUDIO POTTERY JUG VASE BY WILHELM AND ELLY KUCH","description":"\u003cp\u003eA beautiful, jug-form cabinet vase with a bulbous belly and graceful, thin neck and handle by husband-and-wife, master potters Wilhelm \u0026amp; Elly Kuch. The dark satin espresso-brown body is decorated with contrasting elongated oval indentations, all individually glazed in glossy white. Probably dating to the 1960s, it is in perfect condition and has almost certainly been displayed as a beautiful object rather than served as a functional vase. It would grace any collection of modern pottery.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eTÖPFEREI WILHELM \u0026amp; ELLY KUCH\u003c\/b\u003e was established in 1947 as a workshop specializing in the production of art ceramics, with an emphasis on glazing. Founded by autodidact Wilhelm Kuch (b. 1925) in the Bavarian municipality of Burgthann, 20 km southeast of Nuremberg, it was rechristened in 1951 after Wilhelm’s marriage to fellow potter and goldsmith Elly Hauenstein (1929–2008). As a craft-oriented studio, TÖPFEREI KUCH continually worked with apprentices and journeymen, and the range of materials and techniques employed was subject to constant expansion. Both functional and ornamental objects, produced in small series, were represented in TÖPFEREI KUCH’s manufacturing program—along with free-standing sculptural works, architectural ceramics, and tiled stoves. From the mid-1950s, the couple collaborated on individual pieces, with Elly creating the shapes and Wilhelm responsible for glazes and decoration. Their work was marked with a name stamp and the workshop mark. (Wilhelm passed his master craftsman’s examination in 1953.)\u003c\/p\u003e\n\u003cp\u003eIn 1966, the Kuchs became the first Germans to be awarded the Premio Faenza by the Museo Internazionale delle Ceramiche in Faenza in its long-standing international ceramics competition—arguably the world’s most prestigious—repeating their win in 1973. Elly Kuch represented Germany at the International Ceramic Symposium that same year at the Memphis Academy of Art, which gathered 25 artists from 13 countries. The couple’s awards included a gold medal at the Ceramics International 73 in Calgary, Alberta. The Kuchs’ work is held in the Museum Boijmans Van Beuningen in Rotterdam, the International Ceramics Museum in Weiden, Germany, and the Kunstmuseum Hersbrück in Hersbrück, Germany. In 1983, the couple became founding members of \u003ci\u003eGruppe 83\u003c\/i\u003e, a coalition of German ceramicists. TÖPFEREI KUCH remained popular until it ceased operations in 1990. Its output was exhibited across Germany with regular frequency. Elly Kuch continued her ceramic practice until she died in 2008.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eElly considers her work more as forms than as sculptures. She thinks seeing different ways of working in ceramics is very important. She and her husband, Wilhelm, are now working with a gas kiln and reduction firing, which she feels is, for them, “a new beginning in ceramics.” – \u003cb\u003e1973 INTERNATIONAL CERAMIC SYMPOSIUM CATALOGUE\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGRUPPE 83\u003c\/b\u003e was formed in 1983 when the German members of the International Academy of Ceramics (IAC) joined forces to promote ceramics as an independent art form in Germany, support German ceramic artists internationally, and encourage new artists. The secret of the group’s decades-long cohesion is undoubtedly its renunciation of a joint artistic program. Until 2013, membership in the IAC was a necessary criterion for involvement with \u003ci\u003eGruppe 83\u003c\/i\u003e; that year, a majority decision of the group severed the link to the IAC as some younger candidates saw it as an obstacle to joining.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eTÖPFEREI WILHEM UND ELLY KUCH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eWILHELM \u0026amp; ELLY KUCH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eBAUHAUS; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCOFFEE, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Appears to be unused with no flaws.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e4 ¾\" W × 6\" D × 7 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":45786973929659,"sku":null,"price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240106_174715-01_79bfb099-4f3e-4eb9-9f7b-4cb667b10af8.jpg?v=1711567474"},{"product_id":"berry-consignment-3","title":"‘LITHOGRAPHE I - PLATE IX’ BY JOAN MIRÓ (1972)","description":"\u003cp\u003eTwo of eleven plates realized by JOAN MIRÓ (1893–1983) for Volume I of his 1972 \u003ci\u003eCatalogue Raisonné\u003c\/i\u003e of lithographs (published by Graphis Arte, Livorno, and Toninelli Arte Moderna, Milano)—each a vibrant dance of whimsy and the subconscious. Famously eschewing academic theory, Miró’s creative approach involved the free play of association—provoking “accidents” connected to the inner workings of his psyche. Hence, the poet André Breton (1896–1966) called him “the most Surrealist of us all.” The sense of cheerful playfulness is integral to his enduring popularity. Priced individually and accompanied by Gallery COAs.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eJOAN MIRÓ I FERRÀ (1893–1983)\u003c\/b\u003e is regarded as one of the 20\u003csup\u003eth\u003c\/sup\u003e century’s most original artists. He struck a balance—between spontaneity and automatism on the one hand and meticulous planning and rendering on the other—which makes his work, because of its precision, seem somehow representational, despite its considerable abstraction. His mature style arose out of the tension between the brutalities of modern life and his personal poetic impulses.\u003c\/p\u003e\n\u003cp\u003eBorn into a family of artisans in Barcelona, the renowned Catalan painter and sculptor showed a teenage interest in drawing, and in 1907 took lessons at the city’s Escola Superior d’Arts Industrials i Belles Arts. At his father’s insistence, he simultaneously enrolled at the Escola de Comerç to study business. After three years of classes, he found work as an accounts clerk in a chemist’s shop. Stressed to the point of exhaustion, he collapsed with a nervous breakdown, and, after an ensuing bout of typhoid, was taken to live at his parents’ farm in Mont-roig del Camp, a secluded seaside village, 125 km to the southeast. During his convalescence, he foreswore business entirely, and in 1912 he resumed the study of art at the Barcelona school run by painter Francesc d'Assís Galí (1880—1965). The following year, he enrolled in life classes at the Cercle Artístic de Sant Lluc.\u003c\/p\u003e\n\u003cp\u003eIn 1916, Miró met the Symbolist painter and art dealer Josep Dalmau (1867—1937), who managed the revolutionary Galeries Dalmau in Barcelona. Intrigued by Miró’s talents, Dalmau offered to host a solo exhibition for him in 1918. Sadly it was a disaster; critics and the public alike ridiculed and even damaged the paintings. Undeterred, Miró traveled to Paris for the first time in 1920 and would go on to spend the decade alternating between the French capital and Mont-roig.\u003c\/p\u003e\n\u003cp\u003eThe next year Dalmau organized a show for Miró at Paris’s Galerie La Licorne. There he met Pablo Picasso (1881—1973); André Masson (1896—1987) as well as a dozen other Surrealist luminaries; and such notable American ex-pats as Ezra Pound (1885—1972) and Ernest Hemingway (1899—1961)—the latter would purchase \u003ci\u003eThe Farm\u003c\/i\u003e, a landscape of the artist's family home in Mont-roig.) While Miró’s work from the early 1920s reflected the influence of Cubism, over the decade his distinctive style of flattened picture planes, organic forms, and linear symbols developed. In 1925, he met André Breton (1896—1966), the principal theorist of Surrealism, and had his first solo exhibition the surrealist Galerie Pierre. The following year, he collaborated with Max Ernst (1891—1976) on designs for Diaghilev’s Ballets Russes.\u003c\/p\u003e\n\u003cp\u003eMiró was the subject of a retrospective at MoMA in New York, in 1941. He won the Grand Prize for Graphic Work at the XXVII Venice Biennale in 1954, and featured in the inaugural Documenta in Kassel, Germany, the following year. In 1958, he was given a Guggenheim International Award for murals he executed for the UNESCO building in Paris. Further retrospectives took place in Paris at the Musée National d’Art Moderne, in 1962, and the Grand Palais, in 1974; in 1978 the Musée National d’Art Moderne exhibited more than five hundred works in a retrospective of his drawings.\u003c\/p\u003e\n\u003cp\u003eMiró died in 1983, in Palma de Mallorca, Spain, in the western Mediterranean.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eNOTABLE WORKS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ci\u003eThe Farm\u003c\/i\u003e, 1922\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Tilled Field\u003c\/i\u003e, 1924\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Hunter (Catalan Landscape)\u003c\/i\u003e, 1924\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eHarlequin’s Carnival\u003c\/i\u003e, 1925\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003ePainting (Blue Star)\u003c\/i\u003e, 1927\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eDutch Interior I\u003c\/i\u003e, 1928\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Escape Ladder\u003c\/i\u003e, 1940\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eWoman and Birds in the Night\u003c\/i\u003e, 1945\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Smile of the Flamboyant Wings\u003c\/i\u003e, 1953\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Gold of the Azure\u003c\/i\u003e, 1993\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI try to apply colours like words that shape poems, like notes that shape music.\u003c\/i\u003e – JOAN MIRÓ\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eJOAN MIRÓ (1893—1983)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1972\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eSPAIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; SURREALISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eLITHOGRAPHY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cb\u003eEDITION\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, RED, BLUE, GREEN, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e27\" H × 34\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MYRA BERRY","offers":[{"title":"Default Title","offer_id":46256567124155,"sku":"ART041","price":985.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Joan_Miro_Miro_Lithographe_I_Plate_IX_master.webp?v=1745345182"},{"product_id":"berry-consignment-4","title":"‘LITHOGRAPHE I - PLATE IV’ BY JOAN MIRÓ (1972)","description":"\u003cp\u003eTwo of eleven plates realized by JOAN MIRÓ (1893–1983) for Volume I of his 1972 \u003ci\u003eCatalogue Raisonné\u003c\/i\u003e of lithographs (published by Graphis Arte, Livorno, and Toninelli Arte Moderna, Milano)—each a vibrant dance of whimsy and the subconscious. Famously eschewing academic theory, Miró’s creative approach involved the free play of association—provoking “accidents” connected to the inner workings of his psyche. Hence, the poet André Breton (1896–1966) called him “the most Surrealist of us all.” The sense of cheerful playfulness is integral to his enduring popularity. Priced individually and accompanied by Gallery COAs.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eJOAN MIRÓ I FERRÀ\u003c\/b\u003e is regarded as one of the 20\u003csup\u003eth\u003c\/sup\u003e century’s most original artists. He struck a balance—between spontaneity and automatism on the one hand and meticulous planning and rendering on the other—which makes his work, because of its precision, seem somehow representational, despite its considerable abstraction. His mature style arose out of the tension between the brutalities of modern life and his personal poetic impulses.\u003c\/p\u003e\n\u003cp\u003eBorn into a family of artisans in Barcelona, the renowned Catalan painter and sculptor showed a teenage interest in drawing, and in 1907 took lessons at the city’s Escola Superior d’Arts Industrials i Belles Arts. At his father’s insistence, he simultaneously enrolled at the Escola de Comerç to study business. After three years of classes, he found work as an accounts clerk in a chemist’s shop. Stressed to the point of exhaustion, he collapsed with a nervous breakdown, and, after an ensuing bout of typhoid, was taken to live at his parents’ farm in Mont-roig del Camp, a secluded seaside village, 125 km to the southeast. During his convalescence, he foreswore business entirely, and in 1912 he resumed the study of art at the Barcelona school run by painter Francesc d'Assís Galí (1880—1965). The following year, he enrolled in life classes at the Cercle Artístic de Sant Lluc.\u003c\/p\u003e\n\u003cp\u003eIn 1916, Miró met the Symbolist painter and art dealer Josep Dalmau (1867—1937), who managed the revolutionary Galeries Dalmau in Barcelona. Intrigued by Miró’s talents, Dalmau offered to host a solo exhibition for him in 1918. Sadly it was a disaster; critics and the public alike ridiculed and even damaged the paintings. Undeterred, Miró traveled to Paris for the first time in 1920 and would go on to spend the decade alternating between the French capital and Mont-roig.\u003c\/p\u003e\n\u003cp\u003eThe next year Dalmau organized a show for Miró at Paris’s Galerie La Licorne. There he met Pablo Picasso (1881—1973); André Masson (1896—1987) as well as a dozen other Surrealist luminaries; and such notable American ex-pats as Ezra Pound (1885—1972) and Ernest Hemingway (1899—1961)—the latter would purchase \u003ci\u003eThe Farm\u003c\/i\u003e, a landscape of the artist's family home in Mont-roig.) While Miró’s work from the early 1920s reflected the influence of Cubism, over the decade his distinctive style of flattened picture planes, organic forms, and linear symbols developed. In 1925, he met André Breton (1896—1966), the principal theorist of Surrealism, and had his first solo exhibition the surrealist Galerie Pierre. The following year, he collaborated with Max Ernst (1891—1976) on designs for Diaghilev’s Ballets Russes.\u003c\/p\u003e\n\u003cp\u003eMiró was the subject of a retrospective at MoMA in New York, in 1941. He won the Grand Prize for Graphic Work at the XXVII Venice Biennale in 1954, and featured in the inaugural Documenta in Kassel, Germany, the following year. In 1958, he was given a Guggenheim International Award for murals he executed for the UNESCO building in Paris. Further retrospectives took place in Paris at the Musée National d’Art Moderne, in 1962, and the Grand Palais, in 1974; in 1978 the Musée National d’Art Moderne exhibited more than five hundred works in a retrospective of his drawings.\u003c\/p\u003e\n\u003cp\u003eMiró died in 1983, in Palma de Mallorca, Spain, in the western Mediterranean.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eNOTABLE WORKS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003ci\u003eThe Farm\u003c\/i\u003e, 1922\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Tilled Field\u003c\/i\u003e, 1924\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Hunter (Catalan Landscape)\u003c\/i\u003e, 1924\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eHarlequin’s Carnival\u003c\/i\u003e, 1925\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003ePainting (Blue Star)\u003c\/i\u003e, 1927\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eDutch Interior I\u003c\/i\u003e, 1928\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Escape Ladder\u003c\/i\u003e, 1940\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eWoman and Birds in the Night\u003c\/i\u003e, 1945\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Smile of the Flamboyant Wings\u003c\/i\u003e, 1953\u003c\/li\u003e\n\u003cli\u003e\n\u003ci\u003eThe Gold of the Azure\u003c\/i\u003e, 1993\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI try to apply colours like words that shape poems, like notes that shape music.\u003c\/i\u003e – JOAN MIRÓ\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eJOAN MIRÓ (1893—1983)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1972\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eSPAIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; SURREALISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eLITHOGRAPHY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cb\u003eEDITION\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, RED, BLUE, GREEN, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e27\" H × 34\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MYRA BERRY","offers":[{"title":"Default Title","offer_id":46256567582907,"sku":"ART041","price":985.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Miro_m860_1800.jpg?v=1745345899"},{"product_id":"lot-0163-by-unknown-artist-0000-copy","title":"PAPIER-MÂCHÉ WALL SCULPTURE BY ADRIANA RIZKALLAH (2007)","description":"\u003cp\u003eA distinctive papier-mâché wall sculpture crafted by São Paulo artist ADRIANA RIZKALLAH (b. 1962): an enormous concave disk, just under three feet in diameter and striped horizontally across its middle with a “tribal” graphic in high relief. The piece is a testimony to an ongoing fascination with paper, and the paradox of its intrinsic fragility and its repurposed use as a modeling agent. Prioritizing sustainability for more than three decades, Rizkallah has perfected an exclusively recycled paper-based compound. Inherently eco-friendly, her work’s objective is to make evident—and to play with—the potentialities of surface art. Signed and mounted to a black wooden box frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eADRIANA RIZKALLAH\u003c\/b\u003e was born in São Paulo in 1962. She studied at the Fundação Armando Alvares Penteado (FAAP), an important cultural center in that city and one of Brazil’s most prestigious universities, graduating in 1984 with a degree in the Fine Arts. She began her career with painting and subsequently taught briefly at St. Paul’s British International School. Since the 1990s, Rizkallah has been working almost exclusively in papier-mâché, producing experimental forms and large-scale installations comprising textured interior spaces. Her interest has always focused on the ambiguity between the lightness and delicacy of paper and its possibilities as raw material for sculpture. Currently, she has been incorporating copper into her work. Rizkallah owns an eponymous gallery in São Paulo.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003ePaper is possibility.\u003c\/i\u003e – ADRIANA RIZALLAH\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eADRIANA RIZALLAH (b. 1962)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2007\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eBRAZIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERNIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003ePAPIER-MÂCHÉ\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eBOX MOUNT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eALMOND, TAUPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e46 ¼\" H × 46 ¼\" W × 7\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46271288311995,"sku":"ART060","price":990.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179236890_1_x_782ee66c-09d1-4157-93a7-0350469a062f.webp?v=1722974759"},{"product_id":"vibrant-post-impressionist-portrait-by-itzchak-tarkay","title":"‘SEATED WOMAN WITH A BASKET OF FRUIT’ BY ITZCHAK TARKAY (2000s)","description":"\u003cp\u003eA stimulating, limited-edition serigraph from esteemed Israeli artist ITZCHAK TARKAY (1935-2012), inspired by his early-aughts oil painting, \u003ci\u003eSeated Woman with a Basket of Fruit\u003c\/i\u003e. The figure of a young female is set against a Post-Impressionist backdrop of vibrant color and geometric pattern, the fluid lines and rich palette pointing to the influence of Matisse and Toulouse-Lautrec. While often celebrated for expressive use of color and his mastery of moods, Tarkay’s primary focus was compositional clarity. He took to heart Picasso’s principle that “every painting should rhyme”; witness the harmony of forms in this piece and how the shade of each ripe fruit is echoed in the sitter’s costume. Signed and numbered in plate: 192\/450.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eITZCHAK TARKAY\u003c\/b\u003e was an influential Israeli artist primarily known for his watercolor and acrylic portraits of sophisticated-looking women in modish clothing. He was born in 1935 in Subotica, Serbia, about 10 km below the Hungarian border, in what was then Yugoslavia. When he was nine years old, his family—after being liberated from a WWII Nazi concentration camp in Mauthausen, Austria—resettled in Israel. Tarkay went on to study at the Bezalel Academy of Art and Design in Jerusalem and later at the Avni Institute of Art and Design in Tel Aviv.\u003c\/p\u003e\n\u003cp\u003eAn accomplished painter, serigrapher, and watercolorist, Tarkay mentored younger Israeli artists throughout his career—including Mark Kanovich (b. 1970), Yuval Wolfson (b. 1966), and David Najar (b. 1962), all of whom worked with him in his studio. He was a great friend of Yaacov Agam (b. 1928), the master Israeli sculptor and experimental artist, widely celebrated for his contributions to optical and kinetic art. They collaborated on two original paintings.\u003c\/p\u003e\n\u003cp\u003eTarkay died unexpectedly in 2012 in Detroit, Mich., following emergency heart surgery.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eEverything we want and need can be found in a female form.\u003c\/i\u003e – ITZCHAK TARKAY\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eITZCHAK TARKAY (1935-2012)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e2000s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eISRAEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOST IMPRESSIONIST; FIGURATIVE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eSERIGRAPH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cb\u003e192\/450\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTANGERINE, CORNFLOWER, EMERALD, RUBY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e29 ¾\" H × 29 ¾\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46331462779067,"sku":"ART045","price":815.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/179256665_1_x.webp?v=1729025043"},{"product_id":"clear-blenko-crackle-glass-12oz-tumblers-set-of-4","title":"BLENKO 12-OZ CRACKLE-GLASS TUMBLER SET (1960s)","description":"\u003cp\u003eFour, handblown, crackle-glass tumblers produced by the BLENKO GLASS COMPANY in the 1960s. Possibly a Wayne Husted design. Their unusual texture evokes the look of shattered or cracked ice. The effect is achieved by briefly submerging hot, hand-blown glass in cold water, which causes its surface to cool and crack. The glass is then reheated in a kiln, sealing the cracks while preserving the unique appearance. Offered as a set. (Note: BLENKO glass should be hand-washed with warm water, dish soap, and a soft cloth.)\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBLENKO GLASS COMPANY is a family-owned business in Milton, W. Va., specializing in hand-blown glass. It was established in 1921 as the Eureka Art Glass Company by Englishman William John Blenko (1854–1934), who was determined to introduce Old World sheet-glass production methods in the US. Blenko immigrated to America in 1893, ultimately settling in Milton after several attempts to launch factories at other locations. The Industrial Development Department of the Chesapeake \u0026amp; Ohio Railroad sold him on Milton’s potential, highlighting its sober and diligent workforce as well as the dependable supply of natural gas for the kilns. He began construction of a furnace with the assistance of a few locals, and, within a month, handmade glass was being manufactured. (Along with natural gas, the presence of rich silica deposits and access to both river and rail transportation led to West Virginia’s becoming a center for glass manufacturing after the Civil War.)\u003c\/p\u003e\n\u003cp\u003eWilliam J. was solely responsible for both production and sales of glass until the arrival in 1923 of his son and daughter-in-law—William H. Blenko (d. 1969) and his wife Marion (née Hunt)—who were integrated into the workforce. In 1925, the need for a larger workshop and improved shipping facilities prompted the relocation of the BLENKO glassworks across the river to its current site, near the main line of the C\u0026amp;O Railroad. The operation received a notable commission in 1927 when British architect Sir Giles Gilbert Scott chose it to produce glass for the windows of Liverpool Cathedral. Another early achievement included furnishing glass for the windows of St. Patrick’s in New York City.\u003c\/p\u003e\n\u003cp\u003eThe onset of the Great Depression, which decimated the market for stained glass, made it obvious that the product line had to expand beyond sheet glass. Consequently, in 1929, the services of two Swedish-American glassblowers were enlisted: brothers Louis Miller and Axel Müller (the latter of whom chose not to Americanize his name). They trained the Milton crews in the art of handcrafting decorative objects—the vases, pitchers, and stemware that would ultimately establish BLENKO’s international reputation. An early client was the Boston importer Carbone and Sons, which previously had sourced its goods from Italy and Sweden.\u003c\/p\u003e\n\u003cp\u003eGrowing demand was met with increased production, and, in 1930, the company was rebranded as the BLENKO GLASS COMPANY, alongside the launch of the tableware line that would make “Blenko” a household name. In 1932, Macy’s began selling BLENKO in New York City. After the death of founder William J. in 1934, William H. assumed leadership and would oversee consistent growth at the company for three decades before retiring. His wife, Marion, held the positions of treasurer, secretary, and retail sales manager until her passing in 1989.\u003c\/p\u003e\n\u003cp\u003eSince the mid-1930s, BLENKO has presented its product range in an annual catalog. The first color version was published in 1959, under the direction of designer Wayne Husted (b. 1927). As the company launched new shades and retired others, a dedicated page was created to list the available colors—often with evocative names. In the early 1960s, turquoise, amethyst, tangerine, sea green, jonquil, crystal, and rosé were featured; as the decade progressed, chestnut, honey, peacock, plum, lemon, and wheat were introduced. Collectors, dealers, and curators actively seek out past catalogs to help them identify and authenticate BLENKO items.\u003c\/p\u003e\n\u003cp\u003eWhile many different production techniques have been employed at BLENKO, the company is particularly known for its use of molds. Hand-carved cherrywood molds, for example, are employed to shape its blown tableware. While considerably less expensive than metal ones, wooden molds wear out after fifty to a hundred uses. More durable cast-iron molds are used for objects made in quantity, such as BLENKO’s signature \u003ci\u003e384 Water Bottle\u003c\/i\u003e (in continuous production since 1938).\u003c\/p\u003e\n\u003cp\u003eIn 1947, a significant change occurred with the appointment of Winslow Anderson (1917–2007) as the full-time design director. His team’s work garnered critical acclaim, with several of Anderson's designs being awarded MoMA’s Good Design Awards in 1950, establishing the company as a frontrunner in modern American glass throughout the ’50s and ’60s. The company’s “Historic Period”—of particular interest to collectors—began with Anderson and ran through the tenure of John Nickerson (b. 1939) until 1974 (see below). BLENKO’s second design director, Wayne Husted, significantly advanced the company into the avant-garde, particularly by pioneering the idea of “architectural-scale” designs. Husted’s successor, Joel Philip Myers (b. 1934), who is recognized as the founder of the Studio Glass movement, which emphasized the artist’s role as both designer and creator of one-of-a-kind objects, further bolstered the firm's prestige.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBLENKO’S “HISTORIC” DESIGN DIRECTORS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWinslow Anderson, 1947–1953\u003c\/li\u003e\n\u003cli\u003eWayne Husted, 1952–1963\u003c\/li\u003e\n\u003cli\u003eJoel Philip Myers, 1963–1970\u003c\/li\u003e\n\u003cli\u003eJohn Nickerson, 1970–1974\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003eThe BLENKO GLASS COMPANY filed for Chapter 11 in May 2011. A reorganization plan was accepted by the court in December of the following year, clearing the way for the company to exit bankruptcy in early 2013. Now in its fourth generation of family leadership, BLENKO continues to produce new forms and release new shades. Contemporary collectors, prizing more historic designs and colors, have fostered an active secondary market for the company’s glass. In recent years, direct-to-consumer sales of a pair of limited-edition figurines depicting famous local cryptids—the Flatwoods Monster and Mothman—helped to expand BLENKO’s customer base, sustaining its fortunes through the COVID-19 pandemic. The company offers free factory tours to the public that feature an overlook area where visitors can observe its craftspeople at work.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBLENKO GLASS COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN; AMERICAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eGLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTRANSPARENT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of age and previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7\" W × 6\" D × 1 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46385061658811,"sku":"CLEAR BLENKO CRACKLE GLASS 12oz TUMBLERS (set of 4)","price":165.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20241207_151755.jpg?v=1733606475"},{"product_id":"american-school-rooftop-cityscape-1960s","title":"MODERNIST ROOFTOP CITYSCAPE (1960s)","description":"\u003cp\u003eThe unique perspective of this modernist cityscape captures the charm of New York City’s outer-borough rooftops. Its soft, cheery palette creates a calming yet lively atmosphere, as if a quiet morning was dawning over the pre-war brick buildings. The bold, black outlines define discrete planes of color that may remind viewers of the later work of Cézanne, as do the busy brushstrokes, creating a mottled tapestry of speckles across the sky and the window-glass. An engaging work from a skilled, unknown American painter.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eARTIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1965\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eORIGIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eSTYLES\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eBOARD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRICK, OLIVE, GOLDENROD, CORNFLOWER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e24 ¼\" H × 36 ½\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46448186228923,"sku":"ART053","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/197399545_1_x.webp?v=1739234999"},{"product_id":"movement-diptych-panel-by-willis-franklin-woods-1950s","title":"LEFT-HAND DIPTYCH PANEL BY WILLIS FRANKLIN WOODS (1950s)","description":"\u003cp\u003eThe tall left-hand panel of a diptych that was originally titled, in its entirety, \u003ci\u003eMovement\u003c\/i\u003e, the sophomore work of WILLIS FRANKLIN WOODS (1920-1988), a Washington, D.C., artist and an accomplished museum administrator. A colorful yet sober montage of cubist abstractions, with overtones of Midwest Futurism, the acrylic is a casual jumble of forms. However, its seeming artlessness belies an acuity of execution, with sgraffito and sponging adding textural interest. Williams served in turn as director of the Detroit Institute of Arts and Executive Director of the Seattle Art Museum. From the family’s collection. In a well-built floater frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eWILLIS FRANKLIN WOODS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; CUBISM; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLINEN, CHARCOAL, BRICK, SKY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e41\" H × 23 ¾\" W × 2\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46452981825723,"sku":"ART039","price":2495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/196706366_1_x.webp?v=1739401327"},{"product_id":"title-4-year","title":"MODERN DANCE ENSEMBLE OIL-ON-CANVAS SIGNED “NITZ” (1950s)","description":"\u003cp\u003eA nearly monochrome palette emphasizes the transfigured exuberance of a quartet of contemporary dancers, caught in a single, powerful moment. The two males anchor the scene, their youthful strength propelling their pony-tailed partners into dynamic flight. The piece feels both modern and ritualistic, with the unusual, oblong canvas framing the performance like a stage proscenium. The vitality, grace, and emotional depth of dance make it an ideal subject for the visual arts—along with its fundamental theme: the beauty of the human form. A sleek floater frame complements the painting’s modern feel.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eEXPRESSIONISM; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eOYSTER, BLACK, SKY, AMBER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e28\" H × 51\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46452999422139,"sku":"ART002","price":1625.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/197300234_1_x.webp?v=1739404858"},{"product_id":"title-5-year","title":"POP ART ABSTRACT WITH COOKIE-CUTTER RAINBOW FIGURES (1970s)","description":"\u003cp\u003eA dynamic oil on canvas by an unidentified, likely late 20\u003csup\u003eth\u003c\/sup\u003e-century American artist. Five unsettling silhouettes in saturated, classroom colors hover over a silvery background. Their molded bases and the olive shade of the centermost evoke little green plastic Army Men—although something about their helmet-like heads suggests alien origin. The painting recalls the rubber-stamp illustrations of Warhol (1928–1987) and the stenciling methods that Keith Haring (1958–1990) employed in his earliest NYC street art. Unsigned and unframed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOP ART; STREET ART; MINIMALIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCORNFLOWER, AVOCADO, BLACK, ORANGE, RED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30\" H × 24\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46452999651515,"sku":"ART001","price":1395.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/197448078_1_x.webp?v=1739405302"},{"product_id":"gerhard-liebenthron-studio-pottery-moon-vase-1969","title":"EARLY GERHARD LIEBENTHRON STUDIO POTTERY MOON VASE (1969)","description":"\u003cp\u003eAn early stoneware “moonpot” with a characteristic brown wash decor from the studio of German master Gerhard Liebenthron. Signed and dated 1969 on its base, this piece represents one of Liebenthron’s earliest experiments in stoneware. It utilizes what would become one of his most recognizable wash decoration techniques. Most prevalent in brown and tan earth tones, later washes can also be found in blues, greens, and reds in various combinations, producing some truly extraordinary surfaces.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGERHARD LIEBENTHRON (1925–2005)\u003c\/b\u003e was born in the small town of Neustrelitz in northeast Germany and raised in Berlin. The zeitgeist of late interwar Germany remained a lifelong creative inspiration for him. Post-Weimar Berlin famously epitomized the clash of ideologies: Marxist Socialism, Capitalist Democracy, and the competing Totalitarianisms of Communism and Fascism. At the same time, Surrealism was dominating Europe’s art world, and its influence was felt around the globe. Artists such as Frida Kahlo and Diego Rivera in Mexico, for example, worked to integrate the movement’s ideas into their revolutionary credos. In this climate, the young Liebenthron first sought employment as a theatrical scene painter. The 1939 outbreak of WWII, however, thwarted this impulse. Having enlisted in the Nazi Wehrmacht, Liebenthron spent much of the war’s duration as a prisoner of the Allies. Following his release in the mid-’40s, he found temporary work painting ceramic vases; this happy encounter with clay would determine his future career as an artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1945 to 1951, Liebenthron studied in Bremen at the \u003ci\u003eStaatliche Kunstschule\u003c\/i\u003e (State School of the Arts) in the pottery class of Else Krieg and Dorothee Colberg-Tjadens. During his final year, he served as a sculptor’s assistant to Prof. Ernst Goersemann. In 1952, his schooling complete, he opened a studio on the famous \u003ci\u003eBӧttcherstraße\u003c\/i\u003e, a historic market street in Bremen’s town center. Liebenthron’s early output consisted of arbitrarily shaped vessels and wall plates. The decoration was by turns expressive, abstracted, and figurative—or inconspicuous, ornamental, and color-intensive—evoking the work of the French artists of Vallauris (e.g., Roger Capron and Gilbert Portanier). His work was regularly presented in \u003ci\u003eDie Schaulade\u003c\/i\u003e and its successor \u003ci\u003eGestalt\u003c\/i\u003e, important arts and crafts journals of the day, from 1954 on. As early as 1955, he was participating in national and international ceramics exhibitions.\u003c\/p\u003e\n\u003cp\u003eLiebenthron switched exclusively to stoneware in the 1960s, seeking inspiration from rural German ceramics as well as various foreign traditions, especially the work of the Japanese, which was being popularized in Europe at the time. He produced a wide range of objects: from bowls, jugs, and vases on a domestic scale to larger, less functional pieces. His most monumental work seems to aspire to the status of sculpture. He was able to fuse East and West in ways that never devolved into pastiche.\u003c\/p\u003e\n\u003cp\u003eIn 1969, Liebenthron exchanged brightly colored glazes for thin washes of earthy pigments that suggest abstract calligraphy and drip painting. The range of forms he developed during these years demonstrates an impressive capacity to produce in the context of different styles while adhering to the rubric that won him his original notoriety: simple elegance and idiosyncratic form. Many of his pieces are highly sought after today, and his work can be found in several German museums: the Keramik Museum in Berlin, the Focke-Museum in Bremen, and the Hetjens Museum of German Ceramics in Düsseldorf. Liebenthron died in Bremen in 2005.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eGERHARD LIEBENTHRON (1925-2005)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1969\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTONEWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTAN, COFFEE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eEExcellent vintage condition with only minor signs of handling consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8\" DIAM. × 8\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46716360261819,"sku":"EARLY GERHARD LIEBENTHRON STUDIO POTTERY MOON VASE - 1969","price":687.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250621_183508_1.jpg?v=1751152818"},{"product_id":"molded-glass-benches-for-pace-collection-pair","title":"EARLY TEMPERED PLATE-GLASS ‘ONDA POUF’ BY VITTORIO LIVI FOR FIAM ITALIA (1973)","description":"\u003cp\u003eA glass stool by Vittorio Livi for FIAM ITALIA. Initially imagined while he was working in a glass factory in his late teens, the \u003ci\u003eOnda Pouf\u003c\/i\u003e (wave in Italian) was the design that led Vittorio Livi to launch FIAM ITALIA. The world’s first piece of furniture made from a single sheet of curved, tempered glass, its sinuous waterfall form is a marriage of technical innovation and Italian elegance. Original wooden glides intact.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eVITTORIO LIVI (b. 1944)\u003c\/b\u003e was born in Tavullia, a small inland town in the Marche region of Italy. He grew up the youngest of seven children in a farming family. They moved to the municipality of Pesaro on the Adriatic coast in 1951. After graduating from high school, Livi became an apprentice in a local glassworks at the age of fourteen. He was later employed there as a craftsman specializing in the production of stained glass.\u003c\/p\u003e\n\u003cp\u003eWhen he was eighteen, Livi launched his own business to produce decorated glass for furniture. The company, Fullet, was the first in a series of enterprises he founded that specialized in particular aspects of glassmaking: Artiglass (1963) created artistic stained glass windows; Cromoglass (1965) manufactured reflective glass, the first European facility to do so; Vellutart (1969) made glass accessories for the furniture sector; and Curvovetro (1970) was focused on the unique technology and expertise needed to bend glass.\u003c\/p\u003e\n\u003cp\u003eIn his late 20s, in 1973, Livi leveraged all the technical knowledge he had amassed, while also fostering brand recognition and product innovation, by consolidating his five businesses to form FIAM ITALIA. The firm quickly emerged as the preeminent player in the design and manufacturing of curved glass furniture. Livi’s vision was to use FIAM ITALIA to achieve nothing less than a transformation of the  public’s perception of glass—from a fragile, cold, and transparent material into a prestigious and versatile design element.\u003c\/p\u003e\n\u003cp\u003eThe company was a magnet for international designers and architects wanting to test the design limits of glass. Collaborations with such renowned artists as Enzo Mari (1932–2020), Philippe Starck (b. 1949), and Cini Boeri (1924–2020) demonstrated the firm’s technical mastery.\u003c\/p\u003e\n\u003cp\u003eIn 1988, Livi co-founded a limited liability company to restore the ancient walled village of  Montegridolfo, located about 20 km southeast of Rimini. In 1992, he purchased and restored Villa Miralfiore, a historic Renaissance-style residence in Pesaro, incorporating a unique museum dedicated to the exhibition of glass works created by renowned contemporary artists. “The Glass Museum” houses the world’s largest private collection of glass objects.\u003c\/p\u003e\n\u003cp\u003eLivi’s famous creations are displayed in more than twenty-five museums around the globe. He remains a significant figure at global design exhibitions and has received multiple awards that acknowledge his creativity and enduring impact on Italian design.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI immediately understood the allure and potential of glass, this material that represents our soul.\u003c\/i\u003e – VITTORIO LIVI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFIAM ITALIA\u003c\/b\u003e is headquartered in Tavullia, a small inland municipality in the Marche region of Italy, approximately 10 km from the Adriatic Sea coast, the birthplace of founder Vittorio Livi. FIAM is an acronym for \u003ci\u003eFabbrica Italiana Arredamenti Moderni\u003c\/i\u003e (Italian Factory of Modern Furniture).\u003c\/p\u003e\n\u003cp\u003eFounded in 1973, FIAM was established to revolutionize the use of curved glass in furniture design. Their signature piece, the \u003ci\u003eOnda Pouf\u003c\/i\u003e, a stool made from a single sheet of curved glass, became a symbol of the company’s innovation and, indeed, a symbol of “Made in Italy” design.\u003c\/p\u003e\n\u003cp\u003eFIAM ITALIA is world-renowned for its expertise in shaping and bending glass, to wit, the ‘Ghost’ chair, created in partnership with designer Cini Boeri (1924–2020) in 1987. Crafted from a 12-mm-thick sheet of glass, this iconic armchair is folded in the style of origami. The firm’s collaborations soon expanded to include other distinguished designers and architects–including Marcel Wanders (b. 1963), Arik Levy (b. 1963), and Massimiliano Fuksas (b. 1944)–further cementing its reputation. The artists always worked closely with the company’s skilled glass masters to bring their ideas to life, using the most advanced industrial processes.\u003c\/p\u003e\n\u003cp\u003eMore recent collections have begun to explore further the boundaries of glass, striving for earthier, warmer, and multi-color forms that will pave the way for a new era of innovation. FIAM ITALIA’s designs have been celebrated globally, with products displayed in museums in New York and Rome.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eVITTORIO LIVI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1973\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFIAM ITALIA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eGLASS, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTRANSPARENT, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. A few flea bites on the glass edges, as should be expected from age and use. May show minor signs of previous ownership.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e22 ½\" W × 13 ½\" D × 16 ½\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Height – \u003cb\u003e16\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e\u003chr\u003e","brand":"PAUL BARDAGJY","offers":[{"title":"Default Title","offer_id":46839320117435,"sku":"EARLY TEMPERED PLATE GLASS 'ONDA POUF' DESIGNED BY VITTORIO LIVI FOR FIAM ITALIA (1973)","price":1475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250823_173551.jpg?v=1755991547"},{"product_id":"mid-century-pedestal-side-table-after-george-nelson","title":"GEORGE NELSON SWAG-LEG COFFEE TABLE FOR HERMAN MILLER","description":"\u003cp\u003eThe authentic George Nelson Pedestal Table (1954), produced by HERMAN MILLER, embodies its designer’s signature hallmarks: simplicity, clean lines, and a form that highlights the beauty of the materials. This versatile piece, featuring a laminate top set upon a sculptural aluminum base, is ready to serve in all sorts of practical capacities and in an array of settings—from living room to waiting room. Its pedestal base seems to rise organically from the floor. With a height of 16\", this version can work well as a coffee table. Its \"dome of silence\" glides can be adjusted to uneven floor surfaces.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eGEORGE NELSON (1908–1986)\u003c\/b\u003e was a ground-breaking American designer and architect, recognized as a pivotal figure in the development of US modernism. A prolific author and speaker, his focus on the holistic nature of his field has influenced generations of designers. In like manner, his view of design as an integral component of a company’s overarching vision has had a lasting impact on corporate identity management. Nonetheless, he is best remembered today for the iconic mid-century pieces that were created for the HERMAN MILLER furniture company under his auspices.\u003c\/p\u003e\n\u003cp\u003eBorn in Hartford, Conn., Nelson studied at Yale University, graduating with degrees in architecture (1928) and Fine Arts (1931). He won a creative fellowship at the American Academy in Rome in 1932, which allowed him to travel in Europe. He met and interviewed such modernist pioneers as Ludvig Mies van der Rohe (1886–1969), Walter Gropius (1883–1969), Gio Ponti (1891–1979), and Le Corbusier (1887–1965), publishing articles in \u003ci\u003ePencil Points\u003c\/i\u003e, an avant-garde architectural journal, to introduce their ideas to an American audience. Upon his return to the US, Nelson became a writer and editor for \u003ci\u003eArchitectural Forum\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eNelson’s views on modern living were further developed in his book, \u003ci\u003eTomorrow’s House\u003c\/i\u003e. The work introduced such innovative concepts as the “family room” and the “storage wall” (a built-in, recessed shelving system that took advantage of underused wall space) and was published in 1945. It so impressed the president of HERMAN MILLER, D.J. DePree (1891–1990), that he appointed Nelson as the firm’s Director of Design—a position he held until 1972. His unique contract granted him the freedom to work with and bring into the studio other designers (who were not always individually credited), allowing for a broad diversity of creativity that positioned the company at the forefront of mid-century American design.\u003c\/p\u003e\n\u003cp\u003eDuring Nelson’s tenure, the HERMAN MILLER catalog would include some of the most iconic home furnishings of the 20\u003csup\u003eth\u003c\/sup\u003e century. Renowned architects and designers such as Ray (1912–1988) and Charles (19072–1978) Eames, Harry Bertoia (1915–1978), Isamu Noguchi (1904–1988), Richard Schultz (1926–2021), Donald Knorr (1922–2003), and Don Chadwick (b. 1936) were recruited to contribute to the firm’s success. Nelson developed several influential office furniture systems during this period and continued to inspire modern design practices.\u003c\/p\u003e\n\u003cp\u003eIn 1947, Nelson founded a personal studio in New York City, which was incorporated in 1955 as George Nelson Associates. A true collective, it was successful in bringing together many of the top designers of the era to design for HERMAN MILLER under Nelson’s label. Among the most noted were Irving Harper (1916–2015), George Mulhauser (1916–2002), Robert Brownjohn (1925–1970), Gordon Chadwick (1915–1980), Tomoko Miho (1931–2012), and John Pile (1924–2007). By the time the company closed in the mid-80s, it had partnered with practically every Fortune 500 company.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eKEY DESIGNS:\u003c\/b\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe Platform Bench (1946), slatted, solid-wood top on a sturdy base. Clean, rectilinear lines and multifunctional use as seating or table reflect Nelson’s architectural background.\u003c\/li\u003e\n\u003cli\u003eThe Ball clock (1949), twelve wooden balls on metal spokes radiate from a central face, replacing traditional numbers. Celebrated for its playful, sculptural form.\u003c\/li\u003e\n\u003cli\u003eThe Bubble lamp series (1952), lightweight steel frames, in various shapes, are covered in translucent plastic, producing a soft, diffused light. Inspired by Swedish silk-covered pendants.\u003c\/li\u003e\n\u003cli\u003eThe Coconut chair (1956), one-piece foam cushions set inside fiberglass shells, inviting freedom of movement. The striking form makes an eye-catching accent piece.\u003c\/li\u003e\n\u003cli\u003eThe Marshmallow sofa (1956), eighteen colorful, round cushions attached to an exposed steel frame designed by Irving Harper. A masterstroke of pop-art furniture.\u003c\/li\u003e\n\u003cli\u003eThe Action Office series (1964), a modular, open-plan office system, precursor to the modern workstation. Introduced the world’s first L-shaped desk.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003eNelson’s natural focus was the design process, and his 1977 treatise, \u003ci\u003eHow to See,\u003c\/i\u003e was offered as a guide to visual literacy. In 1984, he became a scholar-in-residence at Manhattan’s Cooper Hewitt, Smithsonian Design Museum. Nelson retired with the closing of his New York studio in the mid-80s and died in 1986. His archives are housed at the Vitra Design Museum in Weil am Rhein, Germany.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eThe simple joy of taking an idea into one’s own hands and giving it proper form, that’s exciting.\u003c\/i\u003e – GEORGE NELSON\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eHERMAN MILLER\u003c\/b\u003e was founded in 1905 as the Star Furniture Co. in Zeeland, a town near Grand Rapids in western Michigan. Zeeland had been settled primarily by Dutch immigrants, many of whom had brought with them legacy skills in the crafting of fine furniture. By 1900, Grand Rapids and environs had become a hub for its production.\u003c\/p\u003e\n\u003cp\u003eIn 1919, Star Furniture was renamed the Michigan Star Furniture Co., and Dirk Jan “DJ” DePree (1891-1990), originally hired as a clerk, became its new president. Along with a small group of local businessmen, DePree and his father-in-law, Herman Miller, purchased 51% of the company in 1923 and rechristened it HERMAN MILLER.\u003c\/p\u003e\n\u003cp\u003eThe company had historically been a manufacturer of high-end, traditional-style home furnishings based on modified European designs. With the arrival of the Great Depression, DePree was forced to consider new products to survive in a shrinking market. In 1931, he was approached by the industrial designer Gilbert Rohde (1894-1944), who reportedly entered the showroom unannounced. DePree listened to Rohde’s ideas and, attracted by his straightforward approach, hired him to design a new line of furniture. Rohde speculated that the decreasing size of modern homes would inspire a demand for a smaller, simpler, and lighter furniture style that DePree referred to as “more honest” than that of traditional pieces. So began the transformation of HERMAN MILLER into the modern furniture juggernaut it would become.\u003c\/p\u003e\n\u003cp\u003eHERMAN MILLER debuted its new line at the Century of Progress exposition in Chicago. In 1941, the company opened showrooms in Chicago and New York City. Under Rohde’s supervision, HERMAN MILLER entered the office furniture market in 1942 with the introduction of the modular \u003ci\u003eExecutive Office Group\u003c\/i\u003e (EOG).\u003c\/p\u003e\n\u003cp\u003eRohde died in 1944 and was replaced by architect George Nelson (1908-1986), who joined the firm as its director of design in 1945. Nelson was to have enormous influence upon HERMAN MILLER, not only for his personal design contributions, but also for the talented designers he recruited to its ranks—Isamu Noguchi (1904–1988), Charles (1907–1978) \u0026amp; Ray (1912–1988) Eames, Robert Propst (1921–2000), and textile designer Alexander Girard (1907–1993). HERMAN MILLER was incorporated in 1960 and is in business to this day as one of the top producers of office furniture in the world.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eGEORGE NELSON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1954\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eHERMAN MILLER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1990s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eMEDIUM-DENSITY FIBREBOARD, MELAMINE, ALUMINUM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, TAN, SILVER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e28 ½\" DIAM. × 16\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"PAUL BARDAGJY","offers":[{"title":"Default Title","offer_id":46839770120379,"sku":"GEORGE NELSON SWAG LEG COFFEE TABLE FOR HERMAN MILLER","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/herman-miller-george-nelson-swag-leg-pedestal-coffee-table-996213.jpg?v=1756853495"},{"product_id":"tuxedo-arm-wren-sofa-in-beigh-leather-by-bill-sofield-for-baker-furniture","title":"TUXEDO-ARM ‘WREN’ SOFA IN BEIGE LEATHER BY BILL SOFIELD FOR BAKER FURNITURE","description":"\u003cp\u003eThis beautiful, tuxedo-style \u003ci\u003eWren\u003c\/i\u003e sofa by William Sofield for BAKER FURNITURE features flaring arms and a slightly curved back. It has been upholstered in off-white, top-grain leather with a tight back and three loose seat cushions. Accented with decorative buttons, the welt–framed back and sides, along with the tapering, round, terraced legs capped with brass ferrules, complete the look. Named for the great English architect, Christopher Wren (1632–1723), who rebuilt much of London after the Great Fire of 1666, this highly structured sofa is a piece of interior architecture in its own right, and a signature object in BAKER FURNITURE’s \u003ci\u003eBill Sofield Collection\u003c\/i\u003e. Modern and meticulously detailed, it can either float in the center of a room or anchor a wall.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eWILLIAM SOFIELD (b. 1961)\u003c\/b\u003e was raised in Metuchen, N.J., a suburb of New York City. After earning a BA in architecture and urban planning from Princeton University in 1983, and subsequently receiving a Helena Rubinstein Foundation Grant through the Whitney Museum, Sofield moved to Manhattan and took a job with Ralph Lauren during the creation of the brand’s seminal flagship store, the Neo-Renaissance mansion on the corner of Madison and 72\u003csup\u003end\u003c\/sup\u003e Street. Following a three-year apprenticeship with an Italian woodworker on the Upper East Side, Sofield and fellow Ralph Lauren alumnus, interior designer Thomas O’Brien (b. 1961), opened Aero Studios in the early 1990s.\u003c\/p\u003e\n\u003cp\u003eSofield’s subsequent climb to stardom can be credited to a remarkable talent for reinterpreting modernism, characterized by a striking blend of virtuosity and dramatic flair. In 1996, he founded his own firm, Studio Sofield; its impressive portfolio of shops, hotels, clubs, and residences, designed for cultural luminaries such as Tom Ford, Ralph Lauren, Yves Saint Laurent, Madonna, and Mary-Kate Olsen, exhibits a sophisticated idiosyncrasy informed by a deep passion for history, craft, and detail. Sofield is now regarded as one of the most thoughtful design talents of his generation and a master of Modernism. \u003ci\u003eInterior Design\u003c\/i\u003e magazine has described him as “a choreographer of spaces,” whose design approach allows for the character of a room to unfold over time. In a like manner, his furniture and product designs anticipate the future of each object, planning for its improvement with use and age, as it eventually becomes a treasured heirloom.\u003c\/p\u003e\n\u003cp\u003eRestrained, mature, and with a sultry, masculine edge: William Sofield’s residential, hospitality, and commercial spaces have epitomized modern luxury for over two decades. Sofield has shepherded such well-heeled brands as Coach, YSL, and Harry Winston, along with the influential Soho Grand Hotel. His eponymous studio is a member of the AD100 Hall of Fame and was listed as an honoree as recently as 2023.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eI think sometimes good design just feels inevitable—like it couldn't have been any other solution. It almost goes away.\u003c\/i\u003e – WILLIAM SOFIELD\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBAKER FURNITURE\u003c\/b\u003e was founded as an interior woodwork and door company in 1890 by Dutch immigrant Siebe Baker (1852-1925) in Allegan, Mich., just west of Grand Rapids. It manufactured its first piece of furniture three years later: a combination desk and bookcase. Siebe’s son, Hollis S. Baker (1888-1966), joined the firm as a salesman in 1910 after graduating from the University of Michigan.\u003c\/p\u003e\n\u003cp\u003eThe company ventured into Modernism in 1925 with the debut of an Art Deco collection, \u003ci\u003eTwentieth Century Shop\u003c\/i\u003e. Several pieces from designer Donald Deskey were included. Upon Siebe’s death that year, Hollis was named president of the firm. By the end of the decade, BAKER FURNITURE stood at the forefront of the Modern movement among furniture manufacturers in the US.\u003c\/p\u003e\n\u003cp\u003eBAKER premiered a line of bedroom furniture from Austrian-American stage designer Joseph Urban in 1927 and introduced pieces from noted modernist Kem Weber. It rolled out the first great furniture reproduction program in America, the \u003ci\u003eManor House Collection\u003c\/i\u003e, in 1932. (Designs were mainly English, crafted by experts hand-picked from Europe.) In 1934, BAKER introduced Chinese Modern design to an American audience at the Chicago World’s Fair. Hollis organized over 1,500 antiques in the early ’40s into one of the world's largest private furniture collections.\u003c\/p\u003e\n\u003cp\u003eBAKER FURNITURE introduced the \u003ci\u003eFar East Collection\u003c\/i\u003e in 1949, the first truly Asian furniture collection manufactured in the US. The next year, it popularized Italian neoclassic design with the debut of its \u003ci\u003ePalladian Collection\u003c\/i\u003e, based on a study of museum originals. BAKER partnered with acclaimed architect Finn Juhl in 1951 to create the first Danish Modern furniture collection designed specifically for the American market. The Grand Rapids Chair Co. was acquired in 1957, and production of a line of simpler, less costly pieces under BAKER’s \u003ci\u003eMilling Road\u003c\/i\u003e label was begun.\u003c\/p\u003e\n\u003cp\u003eWhen Hollis S. died in 1966, his son Hollis M. Baker, who would explore new niches in the luxury market, became president. A new facility was opened in Mocksville, N.C., to produce high-quality machine-made furniture. Collections introduced in the ’60s and ’70s included lines of country English and French Provincial furniture, as well as high-end executive desks. Notable was \u003ci\u003eWoburn Abbey\u003c\/i\u003e (1969), which featured reproductions of 25 choice English antiques from the home of the Duke of Bedford. BAKER FURNITURE merged with a leading showroom network in 1972 to form Baker, Knapp \u0026amp; Tubbs, which remains one of the largest wholesale distributors in the industry. A year later, it entered the upholstery business with a plant located in High Point, N.C. Finding inspiration in one of the New World’s most fashionable, furniture-forward capitols, BAKER launched the \u003ci\u003eHistoric Charleston Collection\u003c\/i\u003e in 1976.\u003c\/p\u003e\n\u003cp\u003eIn 1980, Italian interior designer Alessandro Gambrielli Gambalogna released a small collection of avant-garde occasional and dining room pieces with BAKER known simply as \u003ci\u003eAlessandro\u003c\/i\u003e.  A year later, BAKER unveiled its \u003ci\u003eStately Homes Collection\u003c\/i\u003e: copies of originals found in celebrated castles and estates in the UK. The exuberant reception of John Saladino’s 1984 \u003ci\u003eFaçade Collection\u003c\/i\u003e affirmed BAKER’s lasting importance to designers around the world.\u003c\/p\u003e\n\u003cp\u003eKohler Co. acquired BAKER FURNITURE in 1986 and made it the cornerstone of its Interiors Group. Further design successes marked the late ’80s: the \u003ci\u003eCharles Pfister Collection\u003c\/i\u003e of Art Deco furniture and the \u003ci\u003eMcMillen Collection\u003c\/i\u003e of continental furniture drawn from the archives of the eponymous New York design firm. \u003ci\u003eMilling Road\u003c\/i\u003e was revived as a division in 1990, once again offering less formal, more livable furniture at lower price points. That same year, the Smithsonian inducted the #789 Chippendale Chair into its permanent collection. In 1996, the \u003ci\u003eBarbara Barry Collection\u003c\/i\u003e debuted, featuring designs by the California-based artist that drew on 1930s Hollywood glamour.\u003c\/p\u003e\n\u003cp\u003eFrom 2000 to 2015, BAKER launched collections from celebrated designers William Sofield, Thomas Pheasant, Laura Kirar, Michael S. Smith, and Jacques Garcia; the \u003ci\u003eCollector’s Edition\u003c\/i\u003e (2005), inspired by classic European designs; and extraordinary lines from design luminaries Tony Duquette and André Arbus (2008-09). Hollywood royalty experienced BAKER FURNITURE elegance firsthand when the company was asked to furnish the Green Rooms for the Academy Awards presentations in 2011 and 2013. During this period, the company also provided furniture for a VIP lounge at Mercedes-Benz Fashion Week for three years running. A flurry of international showroom openings—Paris, Moscow, Singapore, and three cities in China—punctuated this later era.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eWILLIAM SOFIELD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e2001\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBAKER FURNITURE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e2000s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERNIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eLEATHER, WOOD, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBEIGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e87 ½\" W × 34\" D × 29\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e73\" W × 23\" D × 20\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArm Height – \u003cb\u003e29\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e3\u003c\/b\u003e\u003c\/p\u003e","brand":"THOMAS NELSON","offers":[{"title":"Default Title","offer_id":46876065792187,"sku":"TUXEDO ARM 'WREN' SOFA IN BEIGH LEATHER BY BILL SOFIELD FOR BAKER FURNITURE","price":5542.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Screenshot_20250816_190103_AdobeAcrobat.jpg?v=1755389003"},{"product_id":"four-side-chairs-by-norman-cherner","title":"SET OF FOUR WHITE LACQUER  STACKING CHAIRS BY NORMAN CHERNER","description":"\u003cp\u003eFour, well-worn, white-lacquered side chairs designed in 1958 by Norman Cherner for Plycraft of Lawrence, Mass. These late-model stackables date back to 2003, Cherner’s sons having founded the CHERNER CHAIR COMPANY in 1999 to revive their father's designs. The finish is somewhat worn but intact, with no chipping or flaking. Offered as a set.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eNORMAN CHERNER (1920–1987)\u003c\/b\u003e was an American architect and designer. Although best known for his work in furniture, his career encompassed almost all aspects of design: from graphics, glassware, and lighting to his pioneering work in prefabricated housing. Born in Brooklyn, he studied and taught at the Columbia University Fine Arts Department and served as an instructor at MoMA in New York from 1947 to 1949. Training in the Bauhaus tradition led to a lifelong exploration committed to the integration of creative expression with industrial production. An innovator in plywood and affordable design, he was fascinated with the creation of mass-market pieces that would fit into the small-scale, low-cost dwellings of post-war American life.\u003c\/p\u003e\n\u003cp\u003eCherner’s designs are part of the iconography of the mid-20\u003csup\u003eth\u003c\/sup\u003e century. Since their introduction nearly fifty years ago, his chairs, tables, and case goods have demonstrated enduring popularity. He is, of course, best known for one particular piece—the eponymous \u003ci\u003eCherner\u003c\/i\u003e chair, designed in 1958 for Plycraft, a manufacturing company in Lawrence, Mass. Made from molded plywood, the story of its creation and development is one of innovation, controversy, and betrayal. Fortunately for his fans around the world, the story has a happy ending.\u003c\/p\u003e\n\u003cp\u003eAfter telling Cherner that his 1958 design had been scrapped, Plycraft’s owner, Paul Goodman, continued to produce it, claiming himself as the designer, under the pseudonym “Bernardo.” Soon after, the chair’s popularity was sealed when it appeared in Norman Rockwell’s (1894–1978) 1961 painting, \u003ci\u003eThe Artist at Work\u003c\/i\u003e, on the cover of \u003ci\u003eThe Saturday Evening Post\u003c\/i\u003e. Cherner sued the company, and Plycraft agreed to pay Cherner royalties; however, the entire seating line was out of production by the early 1970s. (The design is sometimes still referred to as the “Rockwell” chair.)\u003c\/p\u003e\n\u003cp\u003eFor almost two decades, Cherner’s seating was rarely seen outside of galleries and museums—and the living rooms of a few lucky collectors. This all changed in 1999, when Cherner’s sons, Benjamin and Thomas, formed the CHERNER CHAIR COMPANY to revive their father’s original designs and produce them according to his specifications. The rekindled success of the chairs inspired Benjamin, an architect and designer in his own right, to create a coordinating table, the \u003ci\u003eCherner Table\u003c\/i\u003e, in 2004.\u003c\/p\u003e\n\u003cp\u003eToday, the CHERNER CHAIR COMPANY is the sole licensor of Cherner’s designs. Still produced in the USA, the classic version of the chair is made from walnut-veneered, laminated plywood of graduated thickness and is available in ten different finishes. It is durable enough to last a lifetime and can be passed down through generations. Without arms, the chair is perfect for dining; with it makes an elegant office chair. The design is also available as a bar stool.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCHERNER CHAIR COMPANY\u003c\/b\u003e was formed in 1999 by brothers Benjamin (b. 1956) and Thomas (b. 1958) Cherner in response to requests from fellow architects to reissue their father’s mid-century furniture designs. They brought back into production many of the most popular pieces, manufacturing them with the same attention to detail found in the original hand-made classics.\u003c\/p\u003e\n\u003cp\u003eCHERNER products are made to last and be cherished, and the company is “committed to a world where less furniture is manufactured.” All product components are replaceable, ensuring that their chairs, tables, and stools can be kept in service indefinitely.\u003c\/p\u003e\n\u003cp\u003eIn addition to reviving Norman Cherner’s work, CHERNER has introduced new designs by Benjamin Cherner.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eNORMAN CHERNER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1958\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCHERNER CHAIR COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e2003\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003ePLYWOOD, STEEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, SILVER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eFair vintage condition. Finish is worn but intact—no chips, flakes, cracks, or structural issues.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e19\" W × 21\" D × 31 ½\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Height – \u003cb\u003e18\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"ALLISON BURKE","offers":[{"title":"Default Title","offer_id":46879113150651,"sku":"SET OF FOUR WHITE LACQUER  STACKING CHAIRS BY NORMAN CHERNER","price":696.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250821_180010_766654f6-8b9e-486b-8649-1f6f128197ee.jpg?v=1755885276"},{"product_id":"hand-painted-port-of-venice-four-panel-folding-screen","title":"VINTAGE HAND-PAINTED FOUR-PANEL “PORT OF VENICE” FOLDING SCREEN","description":"\u003cp\u003eA beautifully distressed oil painting on a four-panel folding screen depicting the port of Venice. The piece is being presented in “as-found” condition, no attempts at restoration having been made. We feel the natural patina of age and use only adds to its charms. Although meant to be displayed as a free-standing work of art, it nevertheless has been fitted with four one-hole hangers, allowing it to be hung flat on a wall. Each panel is just shy of 16\" wide, stands 48\" high, and is \u003cspan\u003e¾\u003c\/span\u003e\" thick. When completely folded up, the screen depth is 3 \u003cspan\u003e½\u003c\/span\u003e\". This would be an excellent decorative addition to virtually any interior style.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eOIL PAINT, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLUE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eRemains in all original condition with a naturally distressed finish, featuring some paint loss and an aged patina, but no flaking. No attempt has been made to clean or otherwise disturb the surface of the painting.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e64\" W × 1\" D × 48\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":46930160255163,"sku":"VINTAGE HAND PAINTED 'PORT OF VENICE' FOUR-PANEL FOLDING SCREEN","price":1250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250904_135433.jpg?v=1757013209"},{"product_id":"tempered-glass-top-tokyo-dining-table-by-fabio-di-bartolomei-for-calligaris-italy","title":"TEMPERED-GLASS-TOP ‘TOKYO’ DINING TABLE BY FABIO Di BARTOLOMEI FOR CALLIGARIS, ITALY","description":"\u003cp\u003eVintage, postmodern \u003ci\u003eTokyo\u003c\/i\u003e dining table in solid beech wood and glass, designed by Fabio Di Bartolomei for CALLIGARIS of Italy in 1991. With their subtle reference to the Space Age aesthetic of the 1950s, the distinctive supports steal focus. The four slanted legs resemble a pair of butterflies, forming two round-edged “Xs,” or sets of wings, on either end of a horizontal crosspiece, connected by contrasting metal joints. The rectangular top is made of transparent, tempered glass. The elegantly sculpted base creates the illusion that its feet are levitating above the floor. Selected for the “Young \u0026amp; Design 1991” award in Milan. Perfect for hosting six or eight friends for lunch or for adding a distinctive flair to a professional’s studio.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFABIO Di BARTOLOMEI\u003c\/b\u003e was born, and still resides, in the city of Udine in northeastern Italy. An accomplished designer and architect, primarily known for his furniture and industrial designs, Di Bartolomei is also involved in graphic projects, exhibition organisation, building planning, and interior design. His creative thinking tends to emphasize functionality and the balance between the everyday needs of individuals and their living environments. He strives to keep both his products’ aesthetic appeal and their practical purpose in perspective, holding that image, while important, is the secondary consideration. Di Bartolomei is also famous for basing projects on the research of materials.\u003c\/p\u003e\n\u003cp\u003eSince its 1979 inception, the Di Bartolomei Design Studio in Udine has developed an international footprint, maintaining subsidiary offices in New York, Warsaw, and Brisbane. Additionally, Di Bartolomei has created over 200 products in collaboration with Italy's most prestigious furniture and lighting brands. His prominent partners include Fiam Italia, Tonon, Calligaris, Skipper, and Riva 1920.\u003c\/p\u003e\n\u003cp\u003eBeyond his creative work in the industry, Di Bartolomei has taught design at several universities, including those in Udine, Trieste, and Verona. He has also written columns on design for publications like the daily newspaper \u003ci\u003eMessaggero Veneto\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eIn 2019, Di Bartolomei conceptualized new \u003ci\u003eVaporetti\u003c\/i\u003e (public waterbuses) for the city of Venice. His highly innovative \u003ci\u003eEco Waterbus\u003c\/i\u003e was explicitly developed to minimize the negative effects of this fast-moving means of transport on Venice's delicate canal systems. Its hull produces less wave action, a major factor in the erosion of Venice’s foundations.\u003c\/p\u003e\n\u003cp\u003eDi Bartolomei’s pieces have been showcased in major museums such as the Museum of Modern Art (MoMA) in New York City and the Corning Museum of Glass in Corning, N.Y. His work was also chronicled in MoMA’s prestigious \u003ci\u003eDesign Encyclopedia\u003c\/i\u003e in 2004. Further accolades include a 1996 \u003ci\u003eMarcello D'Olivo\u003c\/i\u003e prize and TOP TEN awards at the International Chair Exhibitions in Udine in 1997 and 1999.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCALLIGARIS\u003c\/b\u003e is a historic Italian furniture company, known today for its modern and functional designs. Founded in 1923 by Antonio Calligaris, the brand is celebrated for blending traditional Italian craftsmanship with contemporary style and offers a wide range of furniture for the home and office.\u003c\/p\u003e\n\u003cp\u003eIts original, artisanal workshop in Manzano, Italy, focused on the production of the \u003ci\u003eMarocca\u003c\/i\u003e chair, a traditional wooden chair with a woven sea-grass seat. Most of the work was done by hand, and mainly by women.\u003c\/p\u003e\n\u003cp\u003eDuring the post-WWII boom, the company grew rapidly under the leadership of Anthony’s son, Romeo Calligaris, in response to growing consumer demand. By the 1960s, it had fully embraced industrialization. Ramping up production capacity, CALLIGARIS became a leading furniture manufacturer in the so-called “chair district” of Udine. In the 1980s, the firm began to diversify beyond wood and straw, incorporating materials like metal, plastic, leather, and glass. In 1986, grandson Alessandro Calligaris became president and drove further expansion internationally.\u003c\/p\u003e\n\u003cp\u003eToday, CALLIGARIS exports its products to over 90 countries and operates five manufacturing plants. The firm offers a comprehensive selection of furniture for every room and is known for its ability to combine form and function, with many products featuring ingenious, space-saving designs. The wide variety of materials incorporated in its designs includes a selection of high-quality fabrics.\u003c\/p\u003e\n\u003cp\u003e2008 saw the opening of a flagship store in Milan, followed by ones in London and Paris.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eFABIO Di BARTOLOMEI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1991\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eCALLIGARIS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1990s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOSTMODERN; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eGLASS, BEECH, METAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTRANSPARENT, SIENNA, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e71\" L × 35 ½\" W × 30\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"PAUL BARDAGJY","offers":[{"title":"Default Title","offer_id":46932305313979,"sku":"TEMPERED GLASS TOP 'TOKYO' DINING TABLE BY FABIO Di BARTOLOMEI FOR CALLIGARIS, ITALY","price":1495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250809_161146016_ac70002a-323e-4b88-b2d4-601a6bfbe8e1.jpg?v=1757094016"},{"product_id":"early-70s-bonded-bronze-plant-liner-by-mccarroll-and-gillespe-for-forms-surfaces","title":"RARE EARLY ’70s BRONZE ABSTRACT PLANTER BOX BY McCARROLL \u0026 GILLESPE FOR FORMS+SURFACES","description":"\u003cp\u003eFour panels of bonded bronze, designed by Billy Joe McCarroll and David Gillespe for FORMS+SURFACES of California, adorn this unlined wooden planter box. Heavely textured, “impasto” abstractions, seemingly formed by haphazard strokes from a trowel or palette knife, decorate four sides of the cube, mimicking the application of Venetian plaster. Produced in the 1970s.\u003c\/p\u003e\n\u003cp\u003eBonded bronze, aka cold cast bronze, is made by pouring a mixture of liquid polymer resin and powdered bronze into a mold. The resulting material is durable and has the look of metal without its weight. It can serve as a relatively affordable alternative to solid bronze for sculptures and architectural elements.\u003c\/p\u003e\n\u003cp\u003eBILLY JOE McCARROLL (b. 1937) is a Postwar American artist, primarily recognized for creating Mid-Century Modern sculptural doors. His work was mainly produced in California during the late 1960s and early 1970s in collaboration with fellow artist DAVID GILLESPE. Their pieces, which also include bars and other furniture, are characterized by textured surfaces and geometric abstraction, and are often said to embody the Brutalist aesthetic. McConnell and Gillespe frequently used materials like bonded-bronze resin, hammered copper, and lacquered wood. Their most famous creations were the Heroic Sunburst doors, which feature a distinct carved sunburst pattern, and were produced by FORMS+SURFACES in the early ’70s. McCarroll holds an MA in Visual Art from California State University.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES is recognized as a top designer and manufacturer of architectural and outdoor products for public environments. They offer a diverse selection of architectural surfaces, elevator interiors, site furniture, and lighting fixtures that blend beauty with utility to enhance the appeal of public spaces.\u003c\/p\u003e\n\u003cp\u003eWhile the earliest history of the company remains somewhat murky, a consensus seems to support the thesis that it evolved out of the wood-panel carvings of California-based industrial designer Evelyn Ackerman (1924–2012), work that became the basis of the company Panelcarve that she established with her husband Jerome Ackerman (1920–2019) in the 1960s, in partnership with Los Angeles architect Sherrill Broudy (1923–2015). Despite these California origins, F+S was, to some degree, “re-founded” in 1968 in Pittsburgh, Penn. Jeffrey Stork (b. 1959) has been listed as President, CEO, and owner since at least 2001.\u003c\/p\u003e\n\u003cp\u003eWith over fifty years of experience, FORMS+SURFACES remains rooted in innovation, craft, and sustainable materials. In 1972, its first bonded-bronze panels were installed at an office building in suburban Chicago. (F+S bonded metals are composite materials that combine metal granules with a polymer matrix, creating an extremely durable product that has the look of solid metal, but is lightweight.) When the building underwent a redesign more than five decades later, the panels were retained due to their condition and timeless aesthetic. In 2016, the legendary Joel Berman Glass Studios of British Columbia were acquired to expand F+S’s glass product lines and rechristened BermanGlass as a subsidiary.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES also produces long-lasting outdoor furnishings: benches, tables, planters, and trash receptacles; precision-crafted LED lighting solutions; and architectural hardware such as door pulls and plates. Their products are featured in a wide range of public and commercial settings, including airports and hotels, office buildings and universities, hospital facilities and parks.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES is committed to sustainability, using green materials and finishes in many of its products.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eBILLY JOE McCARROLL \u0026amp; DAVID GILLESPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFORMS+SURFACES\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; BRUTALIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRONZE, RESIN, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRONZE, COFFEE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e23 ¾\" W × 23 ¾\" D × 24\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":46933010055355,"sku":"EARLY 70s BONDED BRONZE PLANT LINER BY McCARROLL AND GILLESPE FOR FORMS \u0026 SURFACES (#2)","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/1757190914547.jpg?v=1757192394"},{"product_id":"rare-early-70s-bonded-bronze-plant-liner-by-mccarroll-and-gillespe-for-forms-surfaces","title":"RARE EARLY ’70s BRONZE “HONEYCOMB” PLANTER BOX BY McCARROLL \u0026 GILLESPE FOR FORMS+SURFACES","description":"\u003cp\u003eFour panels of bonded bronze, designed by Billy Joe McCarroll and David Gillespe for FORMS+SURFACES of California, adorn this unlined wooden planter box. A bold honeycomb pattern, formed by concentric hexagons, decorates all sides of the near cube. Produced in the 1970s.\u003c\/p\u003e\n\u003cp\u003eBonded bronze, aka cold cast bronze, is made by pouring a mixture of liquid polymer resin and powdered bronze into a mold. The resulting material is durable and has the look of metal without its weight. It can serve as a relatively affordable alternative to solid bronze for sculptures and architectural elements.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBILLY JOE McCARROLL (b. 1937)\u003c\/b\u003e is a Postwar American artist, primarily recognized for creating Mid-Century Modern sculptural doors. His work was mainly produced in California during the late 1960s and early 1970s in collaboration with fellow artist \u003cb\u003eDAVID GILLESPE\u003c\/b\u003e. Their pieces, which also include bars and other furniture, are characterized by textured surfaces and geometric abstraction, and are often said to embody the Brutalist aesthetic. McConnell and Gillespe frequently used materials like bonded-bronze resin, hammered copper, and lacquered wood. Their most famous creations were the \u003ci\u003eHeroic Sunburst\u003c\/i\u003e doors, which feature a distinct carved sunburst pattern, and were produced by FORMS+SURFACES in the early ’70s. McCarroll holds an MA in Visual Art from California State University.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFORMS+SURFACES\u003c\/b\u003e is recognized as a top designer and manufacturer of architectural and outdoor products for public environments. They offer a diverse selection of architectural surfaces, elevator interiors, site furniture, and lighting fixtures that blend beauty with utility to enhance the appeal of public spaces.\u003c\/p\u003e\n\u003cp\u003eWhile the earliest history of the company remains somewhat murky, a consensus seems to support the thesis that it evolved out of the wood-panel carvings of California-based industrial designer Evelyn Ackerman (1924–2012), work that became the basis of the company Panelcarve that she established with her husband Jerome Ackerman (1920–2019) in the 1960s, in partnership with Los Angeles architect Sherrill Broudy (1923–2015). Despite these California origins, F+S was, to some degree, “re-founded” in 1968 in Pittsburgh, Penn. Jeffrey Stork (b. 1959) has been listed as President, CEO, and owner since at least 2001.\u003c\/p\u003e\n\u003cp\u003eWith over fifty years of experience, FORMS+SURFACES remains rooted in innovation, craft, and sustainable materials. In 1972, its first bonded-bronze panels were installed at an office building in suburban Chicago. (F+S bonded metals are composite materials that combine metal granules with a polymer matrix, creating an extremely durable product that has the look of solid metal, but is lightweight.) When the building underwent a redesign more than five decades later, the panels were retained due to their condition and timeless aesthetic. In 2016, the legendary Joel Berman Glass Studios of British Columbia were acquired to expand F+S’s glass product lines and rechristened BermanGlass as a subsidiary.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES also produces long-lasting outdoor furnishings: benches, tables, planters, and trash receptacles; precision-crafted LED lighting solutions; and architectural hardware such as door pulls and plates. Their products are featured in a wide range of public and commercial settings, including airports and hotels, office buildings and universities, hospital facilities and parks.\u003c\/p\u003e\n\u003cp\u003eFORMS+SURFACES is committed to sustainability, using green materials and finishes in many of its products.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eBILLY JOE McCARROLL \u0026amp; DAVID GILLESPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFORMS+SURFACES\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; BRUTALIST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRONZE, RESIN, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRONZE, COFFEE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e23 ¾\" W × 23 ¾\" D × 24\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":46934192095419,"sku":"RARE EARLY 70s BONDED BRONZE PLANT LINER BY McCARROLL AND GILLESPE FOR FORMS \u0026 SURFACES (#1)","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250905_180124.jpg?v=1757192693"},{"product_id":"oil-on-canvas-still-life-by-adolfo-ruiz-abascal-1929-2009-spainby-ado","title":"OIL ON CANVAS STILL LIFE BY ADOLFO RUIZ ABASCAL (SPAIN)","description":"\u003cp\u003eA still life on heavily textured canvas by Spanish artist and author ADOLFO RUIZ ABASCAL (1929-2012). The homely subject features fruit, a basket, and a draped white cloth arranged on a stone ledge. The traditional composition is informed by Cubist influence; the soft lighting produces realistic three-dimensional effects. Not readily identifiable to us, the fruit in and around the basket may include pomegranates and plums or some other stone fruits typical of central Spain. With its dark green skin, pale flesh, and oval shape, the large cut melon is likely a \u003ci\u003ePiel de Sapo\u003c\/i\u003e (toad skin). Signed at the bottom right and currently unframed.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eADOLFO RUIZ ABASCAL (1929-2012)\u003c\/b\u003e was a Spanish painter and author. His artwork primarily concentrated on depictions of the landscapes and architecture of his homeland, particularly those of Toledo and the El Escorial region, where his cherished hometown of San Lorenzo was situated. His creative approach varied and is often characterized as Cubist-influenced.\u003c\/p\u003e\n\u003cp\u003eWhile recognized for his achievements in the visual arts, Abascal was also a respected specialist in the natural habitat surrounding El Escorial, the large architectural complex northwest of Madrid, envisioned by King Philip II and built to function as royal residence, monastery, library, and mausoleum. Released in the 1990s, Abascal’s most notable publication, Del Entorno Escurialense (Of the Escorial Surroundings), detailed and illustrated the environment and historical context of the area. In its discussion of the various shades of color that nature offers to those who will pay attention, the book describes the yellow of the local \u003ci\u003ebotón de oro\u003c\/i\u003e (buttercup) as “the perfection of yellow.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eADOLFO RUIZ ABASCAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eSPAIN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; TRADITIONAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLINEN, RUBY, EGGPLANT, CHARCOAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e18\" H × 31 ½\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47057326604475,"sku":"ART062","price":1285.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG-1249.jpg?v=1760058779"},{"product_id":"chicago-chi-oil-on-canvas-abstract-1970s-copy","title":"‘CHI CHICAGO’ OIL-ON-CANVAS CITYSCAPE BY NORMAND ROY (1967)","description":"\u003cp\u003eAn imaginative, nighttime  Chicago cityscape with towering buildings. Strong, dark, linear elements denote the skyline, while the foreground presents a creative interpretation of the prominent lakefront landmark, Navy Pier. Intricate cross-hatchings recall the city’s Art Deco architecture, and Atomic Age “sparkle-stars” on the building peaks add a touch of whimsy, evoking an urban Xanadu. This fantasia—in the sense of an unrestrained invention—is signed (quite eccentrically) “Roi des Losiers [sic].” Having been separated from its original frame at some point, the painting is presented simply in its cloth-covered, gold-tone liner.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eNORMAND J. ROY\u003c\/b\u003e either served as the agent for, or was himself in actuality, the Mid-Century American artist, known for his abstracted cityscapes, who painted under the \u003ci\u003enom de brosse\u003c\/i\u003e Schevaune Roi des Losiers [sic]. A business card stapled to the stretcher bar of the latter’s 1967 work, \u003ci\u003eCHI CHICAGO\u003c\/i\u003e, doubles down on the apparent misspelling of the alias.\u003c\/p\u003e\n\u003cp\u003eSchevaune is perhaps a playful French take on the Irish name Siobhan, while Roi des Losiers is likely a misspelling of \u003ci\u003eRoi des Loisirs\u003c\/i\u003e, which translates to King of Leisure. The card lists a phone number and a San Diego, Calif., address for Roy.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1967\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN; ABSTRACT EXPRESSIONISM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eOIL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSLATE, CHARCOAL, IVORY, APRICOT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e21 ¾\" H × 41 ½\" W × 1\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47082691035323,"sku":"ART064","price":1650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/210983273_1_x.webp?v=1759969594"},{"product_id":"freeform-amber-glass-ashtray-vide-poche-fourre-tout-by-blenko","title":"FREE-FORM AMBER GLASS ASHTRAY\/VIDE POCHE BY BLENKO","description":"\u003cp\u003eA heavy, amber glass bowl with a star-like or cruciform indentation. Possibly a Wayne Husted design for BLENKO. Produced in the 1950s.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBLENKO GLASS COMPANY is a family-owned business in Milton, W. Va., specializing in hand-blown glass. It was established in 1921 as the Eureka Art Glass Company by Englishman William John Blenko (1854–1934), who was determined to introduce Old World sheet-glass production methods in the US. Blenko immigrated to America in 1893, ultimately settling in Milton after several attempts to launch factories at other locations. The Industrial Development Department of the Chesapeake \u0026amp; Ohio Railroad sold him on Milton's potential, highlighting its sober and diligent workforce as well as the dependable supply of natural gas for the kilns. He began construction of a furnace with the assistance of a few locals, and, within a month, handmade glass was being manufactured. (Along with natural gas, the presence of rich silica deposits and access to both river and rail transportation led to West Virginia’s becoming a center for glass manufacturing after the Civil War.)\u003c\/p\u003e\n\u003cp\u003eWilliam J. was solely responsible for both production and sales of glass until the arrival in 1923 of his son and daughter-in-law—William H. Blenko (d. 1969) and his wife Marion (née Hunt)—who were integrated into the workforce. In 1925, the need for a larger workshop and improved shipping facilities prompted the relocation of the BLENKO glassworks across the river to its current site, near the main line of the C\u0026amp;O Railroad. The operation received a notable commission in 1927 when British architect Sir Giles Gilbert Scott chose it to produce glass for the windows of Liverpool Cathedral. Another early achievement included furnishing glass for the windows of St. Patrick’s in New York City.\u003c\/p\u003e\n\u003cp\u003eThe onset of the Great Depression, which decimated the market for stained glass, made it obvious that the product line had to expand beyond sheet glass. Consequently, in 1929, the services of two Swedish-American glassblowers were enlisted: brothers Louis Miller and Axel Müller (the latter of whom chose not to Americanize his name). They trained the Milton crews in the art of handcrafting decorative objects—the vases, pitchers, and stemware that would ultimately establish BLENKO’s international reputation. An early client was the Boston importer Carbone and Sons, which previously had sourced its goods from Italy and Sweden.\u003c\/p\u003e\n\u003cp\u003eGrowing demand was met with increased production, and, in 1930, the company was rebranded as the BLENKO GLASS COMPANY, alongside the launch of the tableware line that would make “Blenko” a household name. In 1932, Macy’s began selling BLENKO in New York City. After the death of founder William J. in 1934, William H. assumed leadership and would oversee consistent growth at the company for three decades before retiring. His wife, Marion, held the positions of treasurer, secretary, and retail sales manager until her passing in 1989.\u003c\/p\u003e\n\u003cp\u003eSince the mid-1930s, BLENKO has presented its product range in an annual catalog. The first color version was published in 1959, under the direction of designer Wayne Husted (b. 1927). As the company launched new shades and retired others, a dedicated page was created to list the available colors—often with evocative names. In the early 1960s, turquoise, amethyst, tangerine, sea green, jonquil, crystal, and rosé were featured; as the decade progressed, chestnut, honey, peacock, plum, lemon, and wheat were introduced. Collectors, dealers, and curators actively seek out past catalogs to help them identify and authenticate BLENKO items.\u003c\/p\u003e\n\u003cp\u003eWhile many different production techniques have been employed at BLENKO, the company is particularly known for its use of molds. Hand-carved cherrywood molds, for example, are employed to shape its blown tableware. While considerably less expensive than metal ones, wooden molds wear out after fifty to a hundred uses. More durable cast-iron molds are used for objects made in quantity, such as BLENKO’s signature \u003ci\u003e384 Water Bottle\u003c\/i\u003e (in continuous production since 1938).\u003c\/p\u003e\n\u003cp\u003eIn 1947, a significant change occurred with the appointment of Winslow Anderson (1917–2007) as the full-time design director. His team’s work garnered critical acclaim, with several of Anderson's designs being awarded MoMA’s Good Design Awards in 1950, establishing the company as a frontrunner in modern American glass throughout the ’50s and ’60s. The company’s “Historic Period”—of particular interest to collectors—began with Anderson and ran through the tenure of John Nickerson (b. 1939) until 1974 (see below). BLENKO’s second design director, Wayne Husted, significantly advanced the company into the avant-garde, particularly by pioneering the idea of \"architectural-scale\" designs. Husted’s successor, Joel Philip Myers (b. 1934), who is recognized as the founder of the Studio Glass movement, which emphasized the artist’s role as both designer and creator of one-of-a-kind objects, further bolstered the firm's prestige.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBLENKO’S ”HISTORIC” DESIGN DIRECTORS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWinslow Anderson, 1947–1953\u003c\/li\u003e\n\u003cli\u003eWayne Husted, 1952–1963\u003c\/li\u003e\n\u003cli\u003eJoel Philip Myers, 1963–1970\u003c\/li\u003e\n\u003cli\u003eJohn Nickerson, 1970–1974\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003eThe BLENKO GLASS COMPANY filed for Chapter 11 in May 2011. A reorganization plan was accepted by the court in December 2012, clearing the way for the company to exit bankruptcy in early 2013. Now in its fourth generation of family leadership, BLENKO continues to produce new forms and release new shades. Contemporary collectors, prizing more historic designs and colors, have fostered an active secondary market for the company’s glass. In recent years, direct-to-consumer sales of a pair of limited-edition figurines depicting famous local cryptids—the Flatwoods Monster and Mothman—helped to expand BLENKO’s customer base, sustaining its fortunes through the COVID-19 pandemic. The company offers free factory tours to the public that feature an overlook area where visitors can observe its craftspeople at work.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBLENKO GLASS COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN; AMERICAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eGLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eAMBER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7\" W × 6\" D × 1 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47086425735355,"sku":"FREEFORM AMBER GLASS ASHTRAY\/VIDE POCHE FOURRE-TOUT BY BLENKO","price":68.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Unknown-1_5.jpg?v=1760714494"},{"product_id":"freeform-emerald-green-glass-ashtray-vide-poche-by-blenko","title":"FREE-FORM EMERALD GREEN GLASS ASHTRAY\/VIDE POCHE BY BLENKO","description":"\u003cp\u003eEmerald green, oblong, free-form ashtray\/vide poche, featuring a broad, flat rim and a round bowl. Crafted from hand-blown glass in the 1960s by BLENKO.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBLENKO GLASS COMPANY is a family-owned business in Milton, W. Va., specializing in hand-blown glass. It was established in 1921 as the Eureka Art Glass Company by Englishman William John Blenko (1854–1934), who was determined to introduce Old World sheet-glass production methods in the US. Blenko immigrated to America in 1893, ultimately settling in Milton after several attempts to launch factories at other locations. The Industrial Development Department of the Chesapeake \u0026amp; Ohio Railroad sold him on Milton's potential, highlighting its sober and diligent workforce as well as the dependable supply of natural gas for the kilns. He began construction of a furnace with the assistance of a few locals, and, within a month, handmade glass was being manufactured. (Along with natural gas, the presence of rich silica deposits and access to both river and rail transportation led to West Virginia’s becoming a center for glass manufacturing after the Civil War.)\u003c\/p\u003e\n\u003cp\u003eWilliam J. was solely responsible for both production and sales of glass until the arrival in 1923 of his son and daughter-in-law—William H. Blenko (d. 1969) and his wife Marion (née Hunt)—who were integrated into the workforce. In 1925, the need for a larger workshop and improved shipping facilities prompted the relocation of the BLENKO glassworks across the river to its current site, near the main line of the C\u0026amp;O Railroad. The operation received a notable commission in 1927 when British architect Sir Giles Gilbert Scott chose it to produce glass for the windows of Liverpool Cathedral. Another early achievement included furnishing glass for the windows of St. Patrick’s in New York City.\u003c\/p\u003e\n\u003cp\u003eThe onset of the Great Depression, which decimated the market for stained glass, made it obvious that the product line had to expand beyond sheet glass. Consequently, in 1929, the services of two Swedish-American glassblowers were enlisted: brothers Louis Miller and Axel Müller (the latter of whom chose not to Americanize his name). They trained the Milton crews in the art of handcrafting decorative objects—the vases, pitchers, and stemware that would ultimately establish BLENKO’s international reputation. An early client was the Boston importer Carbone and Sons, which previously had sourced its goods from Italy and Sweden.\u003c\/p\u003e\n\u003cp\u003eGrowing demand was met with increased production, and, in 1930, the company was rebranded as the BLENKO GLASS COMPANY, alongside the launch of the tableware line that would make “Blenko” a household name. In 1932, Macy’s began selling BLENKO in New York City. After the death of founder William J. in 1934, William H. assumed leadership and would oversee consistent growth at the company for three decades before retiring. His wife, Marion, held the positions of treasurer, secretary, and retail sales manager until her passing in 1989.\u003c\/p\u003e\n\u003cp\u003eSince the mid-1930s, BLENKO has presented its product range in an annual catalog. The first color version was published in 1959, under the direction of designer Wayne Husted (b. 1927). As the company launched new shades and retired others, a dedicated page was created to list the available colors—often with evocative names. In the early 1960s, turquoise, amethyst, tangerine, sea green, jonquil, crystal, and rosé were featured; as the decade progressed, chestnut, honey, peacock, plum, lemon, and wheat were introduced. Collectors, dealers, and curators actively seek out past catalogs to help them identify and authenticate BLENKO items.\u003c\/p\u003e\n\u003cp\u003eWhile many different production techniques have been employed at BLENKO, the company is particularly known for its use of molds. Hand-carved cherrywood molds, for example, are employed to shape its blown tableware. While considerably less expensive than metal ones, wooden molds wear out after fifty to a hundred uses. More durable cast-iron molds are used for objects made in quantity, such as BLENKO’s signature \u003ci\u003e384 Water Bottle\u003c\/i\u003e (in continuous production since 1938).\u003c\/p\u003e\n\u003cp\u003eIn 1947, a significant change occurred with the appointment of Winslow Anderson (1917–2007) as the full-time design director. His team’s work garnered critical acclaim, with several of Anderson's designs being awarded MoMA’s Good Design Awards in 1950, establishing the company as a frontrunner in modern American glass throughout the ’50s and ’60s. The company’s “Historic Period”—of particular interest to collectors—began with Anderson and ran through the tenure of John Nickerson (b. 1939) until 1974 (see below). BLENKO’s second design director, Wayne Husted, significantly advanced the company into the avant-garde, particularly by pioneering the idea of \"architectural-scale\" designs. Husted’s successor, Joel Philip Myers (b. 1934), who is recognized as the founder of the Studio Glass movement, which emphasized the artist’s role as both designer and creator of one-of-a-kind objects, further bolstered the firm's prestige.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eBLENKO’S ”HISTORIC” DESIGN DIRECTORS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWinslow Anderson, 1947–1953\u003c\/li\u003e\n\u003cli\u003eWayne Husted, 1952–1963\u003c\/li\u003e\n\u003cli\u003eJoel Philip Myers, 1963–1970\u003c\/li\u003e\n\u003cli\u003eJohn Nickerson, 1970–1974\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003eThe BLENKO GLASS COMPANY filed for Chapter 11 in May 2011. A reorganization plan was accepted by the court in December 2012, clearing the way for the company to exit bankruptcy in early 2013. Now in its fourth generation of family leadership, BLENKO continues to produce new forms and release new shades. Contemporary collectors, prizing more historic designs and colors, have fostered an active secondary market for the company’s glass. In recent years, direct-to-consumer sales of a pair of limited-edition figurines depicting famous local cryptids—the Flatwoods Monster and Mothman—helped to expand BLENKO’s customer base, sustaining its fortunes through the COVID-19 pandemic. The company offers free factory tours to the public that feature an overlook area where visitors can observe its craftspeople at work.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBLENKO GLASS COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN; AMERICAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eGLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eFOREST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7 ¾\" W × 7\" D × 2\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47086432846011,"sku":"FREEFORM EMERALD GREEN GLASS ASHTRAY\/VIDE POCHE BY BLENKO","price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251009_145102.jpg?v=1760047709"},{"product_id":"composition-with-red-yellow-and-green-by-victor-vasarely-1980","title":"‘COMPOSITION WITH RED, YELLOW AND GREEN’ BY VICTOR VASARELY (1980)","description":"\u003cp\u003eA late-career work by Hungarian-French artist VICTOR VASARELY (1906–1997), grandfather of the Op Art movement. The piece exemplifies his theory of “visual kinetics,” using a mix of vibrant colors and rigid geometric patterns to create a powerful illusion of movement and depth. The colorful squares-within-squares represent a modular \"alphabet\" for Vasarely, that can be systematically rearranged to  produce an infinite number of compositions. He believed that such work would transcend cultural boundaries and be universally understood. The use of serigraphs reflected a related objective, allowing him to \"democratize\" his art—by making it accessible to and affordable for a wider audience. Signed in pencil and numbered 178\/250.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eVICTOR VASARELY (1906–1997)\u003c\/b\u003e was a French-Hungarian painter, commonly regarded as a pioneering figure of the 20\u003csup\u003eth\u003c\/sup\u003e century's Op Art movement. He created eye-popping geometric abstractions that play with the viewer’s perception of depth, perspective, and motion, and his innovations in color and illusion have had tremendous impact on subsequent generations of artists. His 1937 oil on canvas, \u003ci\u003eZebra\u003c\/i\u003e, consisting of undulating black and white stripes that suggest the entire form of the titular animals, is often cited as the earliest example of an Op-Art painting.\u003c\/p\u003e\n\u003cp\u003eBorn as Győző Vásárhelyi in the city of Pécs in southwestern Hungary, he pursued medical studies for two years at the University of Budapest. He abandoned this path in favor of a career in the visual arts, but his scientific education had a lasting and obvious impact on his systematic methodology. In 1929, he transferred to the Muhely Academy in Budapest, known as the “Budapest Bauhaus,” where he concentrated on graphic design and typography.\u003c\/p\u003e\n\u003cp\u003eIn 1930, Vasarely moved to Paris, working as a graphic artist with various advertising agencies to support himself. During this formative period, he experimented with the optical effects that would ultimately define his mature style, and the graphic work he produced investigated the influences of perspective and light.\u003c\/p\u003e\n\u003cp\u003eAfter WWII, Vasarely opened a studio near Paris and increasingly focused on his fine art. From 1944 to 1947, he explored Cubism, Expressionism, and Surrealism, but he would eventually come to see these as \u003ci\u003e“Les Fausses Routes”\u003c\/i\u003e (false roads, or “wrong tracks”). It was only when he fully committed to developing his own unique voice (from 1947 to 1951) that he hit upon his distinctive geometric abstract style, drawing inspiration from such diverse sources as the tiled walls of the Paris Metro, pebbles on a Brittany beach, and the terraced stone houses of Gordes in Provence. At the same time, he developed an interest in integrating art and architecture. He incorporated his geometric visions into large-scale works for public spaces, such as the ceramic mural he designed for the Ciudad Universitaria de Caracas in 1954.\u003c\/p\u003e\n\u003cp\u003eIn 1955, Vasarely wrote his influential “Yellow Manifesto” for the landmark exhibition \u003ci\u003eLe Mouvement\u003c\/i\u003e at Paris’s Galerie Denise René, wherein he laid out his theories on “visual kinetics.” He proposed that works of art could create truly dynamic experiences without themselves physically moving. His international reputation as the central figure of the Op-Art movement was solidified in 1965 by MoMA's exhibition, \u003ci\u003eThe Responsive Eye\u003c\/i\u003e, in New York City. Vasarely’s geometric abstractions were a defining part of the “psychedelic” aesthetic.\u003c\/p\u003e\n\u003cp\u003eDuring the 1960s, Vasarely developed and patented a system of interchangeable geometric shapes and colors, which he termed a “plastic alphabet,” whose units were simple variations of squares, circles, and triangles in a limited, but expandable, color palette. He used it to create his \u003ci\u003e“Folklore Planetaire”\u003c\/i\u003e series, complex optical illusions that were intended to serve as a visual language. (One early design from the series was featured on the original 1969 UK release of David Bowie's sophomore album.) In 1972, he collaborated with his son Jean-Pierre “Yvaral” Vasarely (1934–2002) to redesign the logo for the French car manufacturer Renault.\u003c\/p\u003e\n\u003cp\u003eVasarely received numerous honors during his lifetime, including the Guggenheim Prize in 1964 and, in 1976, appointment as a French Knight of the Legion of Honor. That same year, Vasarely established an eponymous foundation in Aix-en-Provence, France, to promote his legacy. Following this, museums dedicated to his artworks were opened in his hometown of Pécs (1976) and in Budapest (1987).\u003c\/p\u003e\n\u003cp\u003eHe died in Paris at the age of 90. Apart from his distinctive art, he played a prominent role in the democratization of art, through, on the one hand, its architectural integration, and, on the other, the mass production of prints.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003ePure form and pure color can signify the world.\u003c\/i\u003e – VICTOR VASARELY\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eVICTOR VASARELY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod – \u003cb\u003e1980\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eFRANCE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eOP ART; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eSERIGRAPH\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003ePAPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eEdition – \u003cb\u003e178\/250\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRUBY, AVOCADO, APRICOT, DARK GREEN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e33 ¼\" W × 1 ¼\" D × 33 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47098652295355,"sku":"ART013","price":1950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/211417169_1_x-1.webp?v=1760480190"},{"product_id":"signed-black-white-oil-on-canvas-op-art-nude","title":"SIGNED BLACK \u0026 WHITE OIL-ON-CANVAS OP ART NUDE (1970s)","description":"\u003cp\u003eThe warped checkerboard of this dramatic Op Art oil painting is subtly manipulated to map out the contours of a voluptuous female nude. The viewer is challenged to look beyond the surface in order to perceive the hidden form, as the stark black and white contrast heightens the sense of distortion. In the same way that zebra stripes function as camouflage, the geometries obscure the outline of the figure and prevent the viewer from readily distinguishing it from the background. The interplay between the flat patterns and the 3‑D illusion produces a slightly dizzying effect. Signed in the lower right with a thin, red wash. In a metal frame.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eArtist – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePeriod\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eOP ART\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMedia – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSupport – \u003cb\u003eCANVAS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e37 ¼\" H × 25\" W × 1 ½\" D\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47100549660859,"sku":"ART063","price":1600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/211262789_1_x.webp?v=1760572194"},{"product_id":"hand-painted-bottle-vase-by-ahlstrome-pottery-of-california","title":"HAND-PAINTED BOTTLE VASE BY AHLSTROM POTTERY OF CALIFORNIA (1950s)","description":"\u003cp\u003eA handsome and nicely heavy, bottle-form stoneware vase from AHLSTROM STUDIO in Los Angeles. Its shape evokes a \u003ci\u003etokkuri\u003c\/i\u003e, the traditional carafe used for serving Japanese rice wine. Adorned with a hand-painted, abstract Saguaro motif in a cobalt wash, such artistry was representative of the studio’s work, which famously captured the free-spirited energy of the 1950s. Marked “A63” on the base.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eAHLSTROM STUDIO POTTERY\u003c\/b\u003e was founded in Los Angeles in 1953 by Don and Connie Ahlstrom. The couple became known for their modern, decorative ceramic items, which showcased elaborate, hand-painted designs on a variety of glazes. As the studio’s original designer, Don Ahlstrom focused on high-fired stoneware, creating large decorative planters, bowls, and platters. His wife, Connie, later joined the studio and refined their distinctive aesthetic.\u003c\/p\u003e\n\u003cp\u003eDue to its exceptional craftsmanship and historical significance within the mid-century California pottery movement, AHLSTROM’s work is highly coveted by collectors. The trend had emerged in the late 1940s as large commercial potteries struggled to compete internationally. Characterized by a rebellious, non-conformist ethos, it encouraged studio ceramicists to explore unconventional forms, textured surfaces, and vibrant glazes. By the 1960s, California ceramics were attracting national recognition, elevating the medium to the realm of fine art.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eAHLSTROM STUDIO POTTERY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTONEWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eALMOND, NAVY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" DIAM. × 10\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47102996545723,"sku":"HAND PAINTED BOTTLE VASE BY AHLSTROME POTTERY OF CALIFORNIA","price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251023_140251-0.jpg?v=1761246533"},{"product_id":"solid-art-glass-rooster-bookends-by-blenko-1940s","title":"AMERICAN ART-GLASS ROOSTER BOOKENDS BY UNKNOWN MAKER (1970s)","description":"\u003cp\u003eA pair of heavy art-glass bookends, emblazoned with a stylized, mid-century graphic of a crowing rooster. The well-known design is assembled from a collection of circles, arcs, and curves in low relief. Often misattributed to the Blenko Glass Company of Milton, a consensus has emerged that these birds are more likely the work of another West Virginia glassworks—either the Viking Glass Company, founded in New Martinsville in 1944, or the Pilgrim Glass Corporation, founded in Ceredo in 1949. (Rich deposits of silica and access to both river and rail transportation, along with its natural gas fields, led to West Virginia’s becoming a center for glass manufacturing after the Civil War.) The subtle green tint, most noticeable along the pieces’ thick edges, is due to the presence of naturally occurring iron oxide in the manufacturing sand. Offered as a set.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eU.S.A.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN; AMERICAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eGLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTRANSPARENT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e5\" W × 2\" D × 6 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47114312908987,"sku":"AMERICAN ART-GLASS ROOSTER BOOKENDS BY UNKNOWN MAKER (1970s)","price":95.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251025_153323_1.jpg?v=1761424906"},{"product_id":"diminutive-mahogany-window-cabinet-by-hungerford-furniture-co","title":"DIMINUTIVE MAHOGANY WINDOW CABINET BY HUNGERFORD FURNITURE, CO.","description":"\u003cp\u003eA stylish, compact storage unit designed to fit seamlessly beneath a window, or even to function as a tall bench. Crafted by the HUNGERFORD FURNITURE COMPANY of Memphis, from, as the pictured label attests, “solid, genuine mahogany.” A pair of deep, functional drawers featuring the dovetail construction typical of HUNGERFORD is cleverly concealed behind a faux four-drawer facade. Complete with the original brass ring-pulls and feet. Ready for placement.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eS.R. HUNGERFORD FURNITURE COMPANY\u003c\/b\u003e was a family-owned manufacturer based in Memphis, Tenn., recognized mainly for its premium solid wood bedroom furniture—produced in cherry and, most notably, in Honduras mahogany. Founded by Simeon Rice (S.R.) Hungerford, Jr., and active during the mid-20th century, the company earned a reputation for exceptional craftsmanship. Some of its designs showcased a classic, traditional style, whereas others embodied the streamlined aesthetics of the mid-century period.\u003c\/p\u003e\n\u003cp\u003eHUNGERFORD gained some notoriety for a 1956 marketing campaign featuring Elvis Presley that was ultimately scrapped. RCA had arranged the photoshoot with its star to help the company promote an upcoming line of furniture that included a new at-home stereo. However, HUNGERFORD executives ultimately decided that Elvis fans would generally not be in the market for expensive furniture, and the campaign was abandoned. The photos were never released during Presley’s lifetime.\u003c\/p\u003e\n\u003cp\u003eVintage HUNGERFORD pieces are often found at online retailers and consignment shops, frequently marked with an “S.R. Hungerford, Memphis TN” label. The company is generally believed to have ceased operations sometime between the late ’60s and the mid-’70s. Its decline was part of a larger trend in the American furniture industry. Multi-story urban factories were no longer competitive with the more efficient, large single-story rural facilities that had become standard. Companies were also facing efforts to unionize their workforces. Additionally, HUNGERFORD suffered competition from furniture manufacturers based in other parts of the US, particularly the Carolinas. Its closure, along with others like that of the much larger Memphis Furniture Manufacturing Company, represented the end of a major era for furniture production in Tennessee.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eS.R. HUNGERFORD FURNITURE COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eMAHOGANY, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBROWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e36\" W × 17 ½\" D × 22 ½\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47118693597371,"sku":"DIMINUTIVE MAHOGANY WINDOW CABINET BY HUNGERFORD FURNITURE, CO.","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251024_121110.jpg?v=1761347544"},{"product_id":"italian-made-white-leather-pavilion-chairs-pair","title":"ITALIAN-MADE WHITE LEATHER PAVILION CHAIRS (PAIR)","description":"\u003cp\u003eThese luxurious reproductions of German-American architect Ludwig Mies van der Rohe's (1886–1969) \u003ci\u003ePavilion\u003c\/i\u003e chair are direct descendants of the iconic seating he created for the German Pavilion at the Barcelona International Exposition in 1929. Architectural in form, their angled seats provide a comfortable yet supportive position for the sitter.  Mies van der Rohe granted exclusive manufacturing and sales rights for the design to Knoll, Inc., in 1953, and the “Barcelona” has remained in continuous manufacture ever since. Opulently crafted in Italy, these high-quality copies feature 12-mm solid-core stainless steel frames that have been hand-buffed to a mirror finish. Joints are all fully welded, sealed, and seamless. The cushions are attached to the frame by four snaps on the back and three belts, riveted to the frame, on the seat, and filled with high-resilience, high-density polyurethane foam. Their surfaces consist of 40 top-grain, premium white leather panels, each hand-selected, piped, tufted, and individually sewn by expert craftsmen. Buttons are roughly the size of a dime and made with the same leather. Offered as a set.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eThe Pavilion Chair was created to seat the Spanish King and Queen, Alfonso XIII and his consort Victoria Eugenia, during the opening ceremony of the German Pavilion. Known variously as \u003ci\u003eThe Pavilion\u003c\/i\u003e, \u003ci\u003eThe Barcelona\u003c\/i\u003e, and \u003ci\u003eThe Exposition\u003c\/i\u003e chair, it was conceived in partnership with Lilly Reich (1885–1947) and reflects the pair's previous work on the interiors of the Tugenhadt Villa in Brno, in Czechoslovakia. As one of the most recognized objects of the past century, the Pavilion Chair radiates a simple elegance that embodies Mies van der Rohe's famous maxim, “less is more.” Indeed, in his 1981 book, \u003ci\u003eFrom Bauhaus to Our House\u003c\/i\u003e, novelist Tom Wolfe called it “the Platonic ideal of the chair.” It should be noted, however, that being designed to accommodate royalty, the Pavilion chair appears to flout a central aim of the architects and furniture designers of the Bauhaus: to create well-designed homes and impeccably manufactured furnishings for \u003ci\u003ethe general populace!\u003c\/i\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eBAUHAUS; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eLEATHER, STAINLESS STEEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30 ½\" W × 29\" D × 31\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eSeat Dimensions – \u003cb\u003e30 ½\" W × 19\" D × 18\" H\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eNumber of Seats – \u003cb\u003e1\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47166794858683,"sku":"ITALIAN MADE WHITE LEATHER PAVILION CHAIRS (PAIR)","price":1895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251101_132906.jpg?v=1762553861"},{"product_id":"monumental-hand-turned-ceramic-table-lamp-in-the-abstract-decor-designed-by-aldo-londi-for-bitossi-ceramiche-montelupo-italy","title":"MONUMENTAL HAND-TURNED CERAMIC TABLE LAMP IN THE ‘ABSTRACT’ DÉCOR BY ALDO LONDI FOR BITOSSI CERAMICHE","description":"\u003cp\u003eA truly monumental table lamp designed by the very well-known and prolific ceramics artist, Aldo Londi. Its body was produced in 1976 by BITOSSI CERAMICHE of Italy for export to the US by the Raymor Company and has a 9\" diameter. In beautiful shades of blue and green, the surface is decorated with the sgraffito hashmarks of Londi’s famous \u003ci\u003eAbstract\u003c\/i\u003e décor. As stunning as it is collectible.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALDO LONDI (1911-2003)\u003c\/b\u003e was one of Italy’s most celebrated master ceramists. He spent most of his long and successful career creating exceptional works of great art and craft for the Italian ceramics firm Bitossi Ceramiche. He thought of himself as a \"Man of Work\" (Uomo di Lavoro) who focused on discovery rather than pure invention.\u003c\/p\u003e\n\u003cp\u003eJust outside of Florence, Londi’s hometown of Montelupo Fiorentino had been an important center of pottery production in Tuscany since the Renaissance. At the age of eleven, in 1922, Londi went to work for the region’s then-premier ceramics workshop, Fratelli Fanciullacci (Fanciullacci Bros.). There, he would master the time-honored methods of the local industry. Following WW II—upon his return to Italy from South Africa, where he was held captive as a prisoner of war—Londi became creative director at a second Montelupo manufactory, Bitossi Ceramiche. He would retain the position for more than 50 years.\u003c\/p\u003e\n\u003cp\u003eLondi’s high-level technical expertise and vast experience in traditional artisanal methods allowed him to create distinctively expressive and whimsical forms and finishes for Bitossi. His best-known collection is perhaps the 1950s-era \u003ci\u003eRimini Blu\u003c\/i\u003e, a now-iconic midcentury series that encompasses over 150 designs. The décor is a vibrant blue, densely embossed with abstract shapes and motifs that often create a frieze—fantastic loops of geometric elements endlessly chasing each other, enhanced by touches of green and cobalt. This proprietary decoration holds historical importance as it helped to bring handcrafted works into the modernist design conversation in Italy. Although not the only color Londi utilized, blue has become closely associated with his work. Londi’s last solo collection, \u003ci\u003eARKitectura\u003c\/i\u003e, is a striking exception—it features elegantly minimalistic animal figures—fish, cats, shorebirds—glazed in monochromatic black, white, or platinum.\u003c\/p\u003e\n\u003cp\u003eStarting in 1958, Londi began a fruitful collaboration with the legendary architect-designer Ettore Sottsass (1917-2007), who considered Londi an important mentor. During his tenure with Bitossi, Londi would also work with Italian artist and designer Piero Fornasetti (1913-1988), Italian architect and designer Matteo Thun (b. 1952), and Egyptian-American industrial designer Karim Rashid (b. 1960).\u003c\/p\u003e\n\u003cp\u003eMost of Londi’s collections are still in production today and are widely collected by ceramics enthusiasts. Many of his original works can be seen at the MAIB–Artistic Industrial Bitossi Museum in Montelupo, which is dedicated to the history of the company.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e was established in 1921 as Manifattura Ceramica Cav. Guido Bitossi \u0026amp; Figli by Guido Bitossi in Montelupo Fiorentino—a medieval hilltop Tuscan town with an ancient tradition of ceramic production, located a few kilometers outside Florence. The Bitossi family, documented in the area as early as 1536, had for centuries worked there as sculptors, as painters, but especially as potters. In the 20\u003csup\u003eth\u003c\/sup\u003e century, under Guido’s leadership, they would introduce an extraordinary stylistic and formal renewal of their craft.\u003c\/p\u003e\n\u003cp\u003eIn the late 1940s, the master ceramist Aldo Londi (1911-2003) was named creative director at BITOSSI CERAMICHE. He would hold the position for more than 50 years and would design over 1,000 objects for the company. Himself a Montelupo native, Londi brought to BITOSSI a deep expertise in the traditional production of ceramics. At the same time, he keenly appreciated the streamlined forms of the mid-century moment. He is perhaps best known for his \u003ci\u003eRimini Blu\u003c\/i\u003e collection, an iconic series comprised of over 150 designs; it is still in production today and widely collected by enthusiasts.\u003c\/p\u003e\n\u003cp\u003eDuring Londi’s tenure, BITOSSI collaborated successfully with a host of famous designers, including the legendary architect-designer Ettore Sottsass (1917-2007). An avatar of 1960s counter-culture, Sottsass thought design should be provocative and sensual, and his avant-garde style blended well with BITOSSI’s mid-century aesthetic. Besides Sottsass, BITOSSI partnered with designers Piero Fornasetti, Karim Rashid, Arik Levy, Fabio Novembre, Benjamin Hubert, Matteo Thun, Monica Förster, and Cédric Ragot.\u003c\/p\u003e\n\u003cp\u003eToday, BITOSSI CERAMICHE is justly considered an institution. The Bitossi family and its foundation have amassed an archive of over 7,000 historical documents and materials related to the production of ceramics. The assemblage is housed in the Bitossi Artistic Industrial Museum in Montelupo. In 2014, BITOSSI became an official member of the Registry of Italian Historical Companies, appointed by the Italian National Union of Chambers of Commerce.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eMan does not create... he discovers.\u003c\/i\u003e – ALDO LONDI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALDO LONDI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1976\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCORNFLOWER, LIGHT GREEN, INK, \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e22\" DIAM. × 43\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47183724183739,"sku":"MONUMENTAL HAND-TURNED CERAMIC TABLE LAMP IN THE \"ABSTRACT\" DECOR, DESIGNED BY ALDO LONDI FOR BITOSSI CERAMICHE, MONTELUPO, ITALY","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/rn-image_picker_lib_temp_b75b509f-2170-40b0-9d24-55c68f04ec69.jpg?v=1763846894"},{"product_id":"early-60s-marzi-remy-shallow-triangular-bowl-nr-3300","title":"EARLY ’60s MARZI \u0026 REMY (?) SHALLOW TRIANGULAR BOWL Nr. 3300","description":"\u003cp\u003eA lovely, shallow stoneware bowl with a radiating décor in saffron yellow and black on a mottled, light gray ground. Its form represents a standard Mid-Century Modern “tri-cornered” bowl. Dating to the late ’50s or early ’60s, the design is probably attributable to Otto George (O.G.) Bühler of MARZI \u0026amp; REMY in Germany. Note: the referenced mottling is owing to the application of a shrink-glaze (\u003ci\u003eSchrumpfglasur\u003c\/i\u003e, in German). Its distinctive texture results when the glaze contracts and pulls apart during the firing process and is sometimes referred to as “snakeskin.”\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eMARZI \u0026amp; REMY\u003c\/b\u003e was founded in 1879 by brothers-in-law Anton Marzi (d. 1924) and Simon Peter Remy (1835-1919) in the town of Höhr (today Höhr-Grenzhausen). Known as the potters’ city, Höhr is located in what is now central Germany—in the historic Kannenbäckerland, the “jug bakers’ land,” a centuries-old home to ceramics manufacture and the site of Europe’s largest clay deposit.\u003c\/p\u003e\n\u003cp\u003eEstablished to manufacture decorative stoneware, MARZI \u0026amp; REMY at first produced only the blue-gray salt-glazed stoneware characteristic of the Westerwald, the mountainous region where the factory was situated. Designer Gustav Thinwiebel (1853-1933) was employed from the start and was responsible for modeling a great number of beer steins in the “altdeutschen” style for the company. A pewter foundry was added in 1881 to make hinged tin lids for the steins. (MARZI \u0026amp; REMY is rather better known among collectors today for their beer stein catalog than for their art pottery.)\u003c\/p\u003e\n\u003cp\u003eThe 1883 perfection of the technique for making cream-colored earthenware, \u003ci\u003eElfenbeinsteinzeug\u003c\/i\u003e (\u003ci\u003eElfenbein\u003c\/i\u003e is German for ivory), led to an expansion of MARZI \u0026amp; REMY’s product range. Bowl sets and various gift items were added to the program. The company maintained strict quality standards, and only products of the best quality were sent to market. The firm quickly became one of Germany’s leading stoneware producers—with the necessary reputation to attract such famous architects and industrial designers as Henry van de Velde (1865-1957), Albin Müller (1871-1947), and Peter Behrens (1868-1940). At the turn of the century, it employed about 100 workers.\u003c\/p\u003e\n\u003cp\u003eUpon Marzi’s death in 1924, his son-in-law Johann Otto Bühler took over the management of the company. He assumed full ownership in 1931 when Remy’s son, Werner, departed the firm. MARZI \u0026amp; REMY suffered greatly from the recession of the 1930s on his watch. Bühler’s son Otto took the reins from his father in 1941, surrendering them in turn to Bühler’s grandson, Otto George (O.G.) Bühler, who had been locally educated as a ceramics engineer, in 1953.\u003c\/p\u003e\n\u003cp\u003eFor the duration of WWII, production was scaled back to simple crockery. Following the defeat of the Axis powers, all facilities were thoroughly modernized. MARZI \u0026amp; REMY initially stuck to manufacturing gift items in the post-war period—in a traditional, old German style, with a very large export share—but modern design tendencies were adopted relatively early. After his 1953 promotion to head the firm, O.G. updated the product line to meet more contemporary tastes. He also replaced the old, round ovens with tunnel ones, and continuous production supplanted batch firings. That same year, O.G. married one of the firm’s young designers; soon, Erika Bühler would present a popular collection of pieces that featured asymmetry, a quality hitherto seen only in Chinese pottery. O.G. himself worked as both a ceramist and a prolific designer of glazes.\u003c\/p\u003e\n\u003cp\u003eDespite these positive developments, MARZI \u0026amp; REMY finally found itself unable to cope with the rapid changes of the late 20\u003csup\u003eth\u003c\/sup\u003e century, and it ran into economic difficulties in the early 1980s. These resulted in bankruptcy proceedings in 1984\/85 and again in 1990. It permanently closed its doors in 1994.\u003c\/p\u003e\n\u003cp\u003eEarly MARZI \u0026amp; REMY items are seldom marked. They are identified mostly based on old factory catalogs.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker - \u003cb\u003eMARZI \u0026amp; REMY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period - \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin - \u003cb\u003eGERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements - \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials - \u003cb\u003eSTONEWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors - \u003cb\u003eSAFFRON, LIGHT GRAY, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition - \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions - \u003cb\u003e10\" W × 10\" D × 1 ¾\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47202819047611,"sku":"EARLY 60s MARZI \u0026 REMY(?) SHALLOW TRIANGULAR BOWL","price":88.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/rn-image_picker_lib_temp_a272fe0d-794a-4d50-89b5-d11ed192a2b8.jpg?v=1763839507"},{"product_id":"maker-marzi-remy","title":"’50s MARZI \u0026 REMY FOLDED BOWL WITH WHITE ON BLUE CRAWL GLAZE","description":"\u003cp\u003eThis late 1950s-era stoneware bowl features a folded rim and a beautiful ”crawl” glaze of white on light blue. It is decorated with thin black lines that divide the surface into diamond-shaped quadrants, highlighted with overlapping red and yellow dots. This décor is one of several types of crawl or “shrink” glaze \u003cspan\u003e (\u003c\/span\u003e\u003ci\u003eSchrumpfglasur\u003c\/i\u003e\u003cspan\u003e, in German) \u003c\/span\u003eproduced by\u003cspan\u003e MARZI \u0026amp; REMY \u003c\/span\u003efrom the late 1950s into the early 1960s. \u003cspan\u003eIts distinctive texture results when the glaze contracts and pulls apart during the firing process. While many\u003c\/span\u003e such décors have names, this one’s is currently unknown. The clean geometry of the bowl’s folded form makes it a quintessential example of early mid-century design.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eMARZI \u0026amp; REMY\u003c\/b\u003e was founded in 1879 by brothers-in-law Anton Marzi (d. 1924) and Simon Peter Remy (1835-1919) in the town of Höhr (today Höhr-Grenzhausen). Known as the potters’ city, Höhr is located in what is now central Germany—in the historic Kannenbäckerland, the “jug bakers’ land,” a centuries-old home to ceramics manufacture and the site of Europe’s largest clay deposit.\u003c\/p\u003e\n\u003cp\u003eEstablished to manufacture decorative stoneware, MARZI \u0026amp; REMY at first produced only the blue-gray salt-glazed stoneware characteristic of the Westerwald, the mountainous region where the factory was situated. Designer Gustav Thinwiebel (1853-1933) was employed from the start and was responsible for modeling a great number of beer steins in the “altdeutschen” style for the company. A pewter foundry was added in 1881 to make hinged tin lids for the steins. (MARZI \u0026amp; REMY is rather better known among collectors today for their beer stein catalog than for their art pottery.)\u003c\/p\u003e\n\u003cp\u003eThe 1883 perfection of the technique for making cream-colored earthenware, \u003ci\u003eElfenbeinsteinzeug\u003c\/i\u003e (\u003ci\u003eElfenbein\u003c\/i\u003e is German for ivory), led to an expansion of MARZI \u0026amp; REMY’s product range. Bowl sets and various gift items were added to the program. The company maintained strict quality standards, and only products of the best quality were sent to market. The firm quickly became one of Germany’s leading stoneware producers—with the necessary reputation to attract such famous architects and industrial designers as Henry van de Velde (1865-1957), Albin Müller (1871-1947), and Peter Behrens (1868-1940). At the turn of the century, it employed about 100 workers.\u003c\/p\u003e\n\u003cp\u003eUpon Marzi’s death in 1924, his son-in-law Johann Otto Bühler took over the management of the company. He assumed full ownership in 1931 when Remy’s son, Werner, departed the firm. MARZI \u0026amp; REMY suffered greatly from the recession of the 1930s on his watch. Bühler’s son Otto took the reins from his father in 1941, surrendering them in turn to Bühler’s grandson, Otto George (O.G.) Bühler, who had been locally educated as a ceramics engineer, in 1953.\u003c\/p\u003e\n\u003cp\u003eFor the duration of WWII, production was scaled back to simple crockery. Following the defeat of the Axis powers, all facilities were thoroughly modernized. MARZI \u0026amp; REMY initially stuck to manufacturing gift items in the post-war period—in a traditional, old German style, with a very large export share—but modern design tendencies were adopted relatively early. After his 1953 promotion to head the firm, O.G. updated the product line to meet more contemporary tastes. He also replaced the old, round ovens with tunnel ones, and continuous production supplanted batch firings. That same year, O.G. married one of the firm’s young designers; soon, Erika Bühler would present a popular collection of pieces that featured asymmetry, a quality hitherto seen only in Chinese pottery. O.G. himself worked as both a ceramist and a prolific designer of glazes.\u003c\/p\u003e\n\u003cp\u003eDespite these positive developments, MARZI \u0026amp; REMY finally found itself unable to cope with the rapid changes of the late 20\u003csup\u003eth\u003c\/sup\u003e century, and it ran into economic difficulties in the early 1980s. These resulted in bankruptcy proceedings in 1984\/85 and again in 1990. It permanently closed its doors in 1994.\u003c\/p\u003e\n\u003cp\u003eEarly MARZI \u0026amp; REMY items are seldom marked. They are identified mostly based on old factory catalogs.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eMARZI \u0026amp; REMY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003ePERIOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDESIGNER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003ePERIOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCOLORS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e0 0\" W[\/DIAM.] × 0 0\" D × 0 0\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47210743464123,"sku":"50s MARZI \u0026 REMY FOLDED BOWL WITH WHITE ON BLUE CRAWL GLAZE","price":68.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/Photoroom-20251128_154233330.png?v=1764366588"},{"product_id":"flared-studio-pottery-stoneware-vase-by-eva-bod-hungarian","title":"FLARED-RIM STUDIO POTTERY STONEWARE VASE BY ÉVA BOD (HUNGARY)","description":"\u003cp\u003eA heavy-footed goblet-form stoneware vase with a flared rim, from the studio of self-taught Hungarian master potter Éva Bod. The color and viscous flow of the dominant glaze seem to simulate blackstrap molasses, while the lip is ringed with a thin band of speckled verdigris. Both effects recall Bod’s background as a chemist, which fueled the deeply experimental techniques she developed in her Budapest workshop, often achieving novel metallic sheens and matte-gloss contrasts.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eÉVA BOD (1924–2004)\u003c\/b\u003e is recognized as one of Hungary’s most influential ceramic artists of the 20\u003csup\u003eth\u003c\/sup\u003e century. She cultivated her career in Budapest, where she pioneered proprietary glazing techniques that combined profound color depth with contrasting textures. Her self-taught artistic journey was rooted in experimentation and drew upon her background in the physical sciences. Her works—vases, wall plates, and mosaics—often distinguished by metallic sheens and striking asymmetrical forms—have secured a lasting place for her in the world of ceramic art. Celebrated for both its technical sophistication and artistic insight, much of her oeuvre combines earthy tones and molten, mineral-like finishes that appear to shift with the light. It is considered highly collectible, particularly her larger, mid-century pieces from the ’60s and ’70s.\u003c\/p\u003e\n\u003cp\u003eBod began her career as a chemist and physicist, graduating from Eötvös Loránd University in 1953, at the height of Stalinist rule. Seven years later, she taught herself ceramics, developing her own unique glazes. Her professional path navigated the realities of working in a one-party state: she was a member of the Hungarian Fine Art Fund and the National Association of Hungarian Artists—official, state-sanctioned art bodies. Membership was a necessary step for artists to work professionally and exhibit publicly, ensuring their work remained within the politically “tolerated” category of state cultural policy.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eÉVA BOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eHUNGARY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTONEWARE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eOXBLOOD, ROBIN'S EGG, SAND\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e0 0\" DIAM. × 0 0\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47223036870843,"sku":"FLARED RIM STUDIO POTTERY STONEWARE VASE BY ÉVA BOD - HUNGARIAN","price":215.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20251128_171024-0.png?v=1764376113"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/collections\/20250905_180319_02313e87-ba1e-4664-9671-ac9603049501.jpg?v=1759344885","url":"https:\/\/modernredux.myshopify.com\/collections\/new-arrivals.oembed","provider":"MODERN REDUX","version":"1.0","type":"link"}