Fiber
Ettore Sottsass
It was a slow weekend
Weekend / Stuff
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Weekend / Stuff
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Don Shoemaker / Señal Mexico
Last November I went to the Don S. Shoemaker exhibition at the Museo de Arte Moderno in Mexico City
Don Shoemaker was born in Nebraska. He fought in WWII and moved to Mexico in 1947. Shortly after, he started a furniture and craft business in Señal SA in Morelia, Michoacán and lived there until his death in 1990.
The museum worked with Don's grandson, Stanley Shoemaker. This would explain the substantial ephemera stash they had on display.
The piece on the right is a lamp.
A painting by Don
In 1975 the Museo de Arte Moderno included work by Shoemaker in an exhibition on Mexican design. This photo comes from Karen Goyer, who has written a pretty scathing review of the 2016 exhibition. She says there are numerous fakes in the exhibition. It's a pretty widely-known fact that people are reproducing Shoemaker designs and they include fake labels. There are a few shops in Mexico City that are full of them. It seems like a museum working with the family would be able to vet the fakes out, but Karen thinks otherwise. There are also some contemporary pieces by Don's grandson, Stanley, and are noted by the museum. She doesn't feel those are right either. You can read all the dirt here.
Image source: Karen Goyer at donshoemaker.com
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Museo de Arte Moderno / Mexican Modernism
Museo de Arte Moderno (1964) by architect Pedro Ramírez Vázquez
The view from above, 1960s.
Source: Museo de Arte Moderno
There was a small exhibition of Mexican Modernism at the same time the Don Shoemaker exhibition was happening.
1950s iron table by Talleres Chacón
Cube lamb by Diego Matthai, 1971
Gustavo Perez
Enamels by Miguel Pineda
Mosaic table Genaro Álvarez
A sculpture garden wraps around the museum.
Manuel Felguérez, 196
Mathias Goeritz, 1953
Kazuya Sakai
Casa Aztecalita by Juan José Díaz Infante was getting a little makeover. The restoration was funded by Pemex.
Juan José Díaz Infante created the structure in 1967 as a pre-fab solution to the housing crisis in Mexico. He was influenced by a trip to Disneyland a few years prior. The house was installed at the museum in 1967 as part of an exhibition, Man and Plastic. It's been there ever since.
Source: Codigo
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Weekend / Stuff
George Nelson
Sometimes all you get is a book and a couple of flower pots.
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Perriand / Japan
Charlotte Perriand, with support from Sori Yanagi and Junzo Sakakura, was invited by the Japanese Ministry of Commerce and Industry/Department of Trade Promotion to serve as an advisor to help increase furniture exports for Japan. Perriand had met Sakakura while they were both working at Le Corbusier’s studio. Junzo worked with Le Corbusier in Paris from 1931 to 1936.
On June 15, 1940 Perriand boarded a cruiseliner headed to Japan. This was one day after the nazis had captured Paris. She arrived in Japan on August 21, 1940.
Image: Perriand with back to camera and Sori Yanagi (center), via Charlotte Perriand: An Art of Living: Mary McLeod
She stayed at the Frank Lloyd Wright-designed Imperial Hotel. Then she traveled around Japan with Sori Yanagi and visited Mingei craftspeople around the county.
Source: MFA Boston
Perriand (middle) with Sakakura (left) with two Japanese craftsmen, 1941
Image: Charlotte Perriand: An Art of Living: Mary McLeod
In 1941, after seven moths of traveling through Japan, Perriand and Sakakura produced an exhibition held at the Takashimaya department stores in Tokyo and Kyoto. They called it “Tradition, Selection, Creation.” It showcased her findings, recommendations and a number of designs she created.
Image: Charlotte Perriand: An Art of Living: Mary McLeod
Image: Charlotte Perriand: An Art of Living: Mary McLeod
A Perriand chair designed for the exhibition.
Image: Charlotte Perriand: An Art of Living: Mary McLeod
Perriand Low chair designed in 1940; manufactured 1946
Source: MoMA
A catalog of the Takashimaya exhibition was produced by Perriand and Sakakura. Choix Tradition Création. Au contact avec l'art japonais. Tokyo, Ed. Koyama-shoten. It documented the 1941 exhibition and included photos by Perriand.
Source: AuctionLab
The catalog included this diagram, showing a 1937 chair by Ubunji Kidokoro, the Alvar Aalto chair it was based off of, and a bamboo chair Perriand designed. The Kidokoro chair was being criticized by Perriand for not taking full advantage of the resiliency of the bamboo.
Source: Charlotte Perriand: An Art of Living: Mary McLeod
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Alvar Aalto Model 31 (1931-35)
Source: SFMoma
Chair by Ubunji Kidokoro (1937)
The Kidokoro chair is often misattributed to Charlotte Perriand, even though it was actually used by her to illustrate a design flaw. It was also made a few years before Perriand was even in Japan. In 2016, a pair sold for $10K at Monthly Modern Auction. In 2003, a single chair was up for sale at Phillips, with an estimate of $30k-$40k. They had a pretty convincing description with a number of references. You can read it here. Unfortunately, it's bogus. Things in the auction world were pretty loose in the early 2000s. I don't think these would get into a Phillips sale these days.
Some months back, the owner of Local Strange, a Mid-Century shop in San Francisco, found a pair of the Kidokoro chairs at an estate of a local architect. Local Strange was not claiming the chairs were designed by Perriand.
Source: Local Strange
The chairs had a 1939 Golden Gate International Exposition label. That fits with the 1937 design date and doesn't work out for anything to do with Perriand because she hadn't even been to Japan yet.
Image: Local Strange
Perriand lounge shown at Takashimaya, with Seccho-made straw cushions.
Image: Charlotte Perriand: An Art of Living: Mary McLeod
A Mingei-influenced Perriand version of the 1928 tubular steel chaise lounge designed by her, Le Corbusier and Pierre Jeanneret was also on display at Takashimaya. This design is symbolic of the criticism many Japanese designers expressed about the exhibition. They said there was a typical western focus on bamboo. Isamu Kenmochi was disappointed that she did not explore more modern Japanese materials and production methods. It was clear that Perriand was heavily influenced by the Mingei. Although two of the main promoters of Mingei, Soetsu Yanagi and Shoji Hamada, were proud of the influence the Mingei crafts had on her, they were also critical on her what seemed liked "uneducated" selection of crafts and her "enchantment" with bamboo. Seems like a tough crowd, but international diplomacy was falling apart on a world scale. Japan was about to enter the war and therefore Perriand was forced to leave. Due to the naval blockade, she was forced to live out the rest of WWII in Vietnam. She was not able to return to France until 1946.
Source: Charlotte Perriand: An Art of Living: Mary McLeod
She returned to Japan in 1953 and here she is in 1954.
She teamed up with Sakakura again and mounted another exhibition at the Takashimaya department store in Tokyo.
Synthesis of the Arts at Takashimaya, 1954. Perriand said her cloud shelving was inspired by shelves she saw in a 17th century palace in Kyoto.
Source: Charlotte Perriand: An Art of Living: Mary McLeod
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Weekend / Stuff
Another bowl by Stan Hawk and a Norwegian polar bear by Arne Tjomsland
It's always nice to pick up more California Design catalogs.
Especially ones that used to belong to great local architects like Sim Bruce Richards
Another Henry Takemoto!
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The Smiths / Morrissey
These Days, a bookstore and gallery in Los Angeles has an exhibition of vintage Morrissey and The Smiths UK subway posters.
This is pretty off topic, but it's where I cut my collecting teeth.
Speaking of bigmouths, here is the title wall, with a Morrissey quote.
Morrissey, alone in a corner. It happens a lot around here.
I've never seen these before.
There was a Malcolm Leland/AP planter in the entryway. Back on topic.
Ephemera fans of the world, unite and take over.
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Weekend / Stuff
Lots of pots this weekend, including Doug Ayers and Susan Harnly Peterson.
I found these two together. During the 1950's and 60's at UCLA, Bernard Kester (right) studied and worked under Laura Andreson (left). They have the same clay body too. They need to stay together.
Myrton Purkiss and an enamel by Studio Del Campo
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Albert Frey / Lina Bo Bardi
Albert Frey and Lina Bo Bardi: A Search for Living Architecture, at the Palm Springs Art Museum Architecture and Design Center.
The exhibition explores the lives and work of Lina Bo Bardi and Albert Frey. The two immigrated from their home countries. Frey from Switzerland to the United States in 1930 and Bo Bardi from Italy to Brazil in 1946. They never met, but the exhibition makes the case that there was a connection. Bo Bardi did translate Frey’s book, In Search of a Living Architecture, for Domus magazine. Beyond that, the connection is more about their work and the similar approach to changing how architecture influenced the way people lived. The exhibition also includes examples of furniture by the architects.
Lina Bo Bardi, "Bowl" Chair
Source: Palm Springs Museum
A chair modified by Albert Frey, for his 1964 home, Frey II
A couple of years ago I saw them in situ.
More on Frey II can be found here.
Lina Bo Bardi, "Bola De Latão" Chair
Lina Bo Bardi, Bardi House (Casa de vidro), São Paulo, Brazil, 1949-1952, Photo by Nelson Kon, 2002
Source: Palm Springs Museum
A. Lawrence Kocher and Albert Frey, Aluminaire House, 1931. Photo by Palmer Shannon, ca. 1931
Source: Special Collections, John D. Rockefeller Jr. Library, The Colonial Williamsburg Foundation via Palm Springs Museum
Albert Frey cabinet. Way before Judd got into square furniture.
Collection of Brad Dunning
Albert's tools
Elrod on the Rolodex
The exhibition is part of the Getty's Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. It runs until January 7th, 2018
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Weekend / Stuff
Smalls, including Marg Loring and Anton Blazek
More iron
Steel
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Dieter Rams / JF Chen
Dieter Rams at JF Chen
The opening was last week, but there were so many people, it was hard to take good photos. This is the only one I could get. I'll be going back. The exhibition was curated by Daniel Ostroff. They amassed a great collection, including some extremely rare examples, like the TP-1.
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Colonial / Modern
Do you remember these string tables? They came from the estate of a gentleman who was an industrial design professor in Pasadena during the early 1950s. The mix of modest materials, simple construction and clean lines hit all the right notes for me. I sold them a while back, which I sort of regret. However, they landed in good hands.
Designer C.S. Valentin incorporated them into a project for a 19th-century sea captain’s house on the South Shore of Long Island.
The tables look a lot happier here than they did languishing in storage.
Read the full story on Remodelista.
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Dieter Rams / Braun
Dieter Rams/Braun exhibition at JF Chen
Curated by Daniel Ostroff, with exhibition design by Clare Graham
Dieter Rams TP 1 and T 3 radio. These are rare!
The first iPod is obviously based off the T3. Actually most Apple designs borrow heavily from Dieter Rams.
If you don't believe me, read this.
TP 1 in action. To really see it in action, check out this video.
Source: MoMA
Braun SK 4 or "Snow White's Coffin," designed by Rams and Hans Gugelot
The Vitsoe shelving by Dieter Rams was provided by the company. They have a new showroom in Los Angeles.
The stools are Stapelprogramm 740 for Vitsoe, 1973
Atelier 1 Audio System. That stand is rare. This and many other pieces are on loan from Future Forms.
My stereo is hanging out here for a while.
The Joel Chen motto is More is More.
The grinders and toasters
The poster was designed by Gary Hustwit. His documentary film on Rams should be out later this year. Read more here.
The exhibition is ending soon, so make sure to get over there fast.
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Weekend / Stuff
More iron
Smalls
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LAMA / 25
In October of 1992LAMA had their first auction. So on this, their 25th anniversary auction, it looks like they are offering up a little more of the modern classics than usual, including a lot of Eames!
It's safe to say that the Eames are a sentimental favorite for most modern dealers. In the whole scheme of things it doesn't sell for all that much, but it truly is some of the greatest American Design. I love that LAMA keeps putting it in their sales.
The pair of 421 N ESUs will most likely be the exception to the Eames not selling for a lot rule. These examples are as good as it gets. They are being sold individually, but it would be a shame if the same person doesn't buy both. Whatever they sell for, it will be a great deal because they should be worth double.
Now stuffed animal chairs on the other hand....Funny things is the Campana Brothers chairs on the left are estimated at the exact same price as the ESUs above. Go figure.
George Nelson. Nice Kite clock up there.
R.M. Schindler chair from the Lechner House, 1948
KEM Weber Airline chair, 1934. It almost seems like LAMA found the dumpster where Disney tossed all of these.
West Coast Hard-edge. That's a fantastic Karl Benjamin on the lower left.
Frederick Hammersley made great frames.
Ed Kiinholz currency has definitely outpaced inflation. Below them is a sweet George Herms from the Blankfort Collection. It hung at LACMA in 1980s and has a great label on the back to prove it.
Ken Price Astronauts in the Ocean (1960-1961)
This is one of six Price lots in the sale.
Speaking of Price. He was still at it in 2004.
Peter Voulkos (1952)
Pete could throw a great classical pot before he went Hendrix.
Move along. There's nothing to see here.
The auction is this Sunday.
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Weekend / Stuff
La Gardo Tackett
Anyone seen this one before? It looks like some sort of VKG contraption.
Another California Design catalog
This one is pretty special. It belonged to one of my favorite potters, Jean Balmer.
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Weekend / Stuff
Billy Al Bengston
Hal Fromhold, Dora de Larios and Malcolm Leland
Michael van Beuren for Domus
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Downtown / Modernism
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Found in Translation / LACMA
Butaca Chair (1940) by William Spratling. Chest by Elizabeth Jane Colter for the Fred Harvey Corporation. The chest was was used in the La Posada Hotel in Winslow, Arizona. They are being exhibited in Found in Translation: Design in California and Mexico, 1915–1985 at LACMA is part of PST: LALA. The exhibition examines design dialogues between California and Mexico. This includes Americans working in Mexico, Mexicans working in California and the cultural influences and exchanges between the two.
Frank Kyle chair from his Willow series (1953). Kyle was American, but worked in Mexico City. The Peineta chair (1952) by Canadian-born designer, Edmund Spence. He worked mostly in the United States, but for a time his furniture was produced by
Industria Mueblera S.A. of Mexico.
Michael van Beuren, Don Shoemaker and Clara Porset all moved to Mexico from their respective countries. Van Beuren and Shoemaker came from the United States and established their own furniture manufacturing companies. Porset was born in Cuba, but spent most of her life designing in Mexico. Porset and van Beuren were both trained in Europe, and were influenced by the Bauhaus.
Clara Porset Butaca Chair, mid-1950s.
San Miguelito chair by Michael van Beuren. After studying under Josef Albers at the Bauhaus in Germany in 1932 and then with Mies van der Rohe in Berlin after the Bauhaus closed,he was offered a job as an architect in Mexico. He moved there in 1937 and established his company, Domus, in Mexico City in 1938. Ana Elena Mallet has written a great book in him, Bauhaus and Modern Mexico Design by Van Beuren. She also co-wrote a section with Staci Steinberger in LACMA's catalog for this exhibition. You should definitely pick it up.
Po Shun Leong, the designer of the fiberglass chaise (foreground), was influenced by San Diego designer Douglas Deeds after seeing his work (background) pictured in a California Design catalog. Leong was born in Britain and lived in Mexico from 1966 to 1981.
Pedro Friedeberg
1984 LA Olympics totems designed by Deborah Sussman and 1968 Mexico City dress with a Lance Wyman design.
The Eames film, Day of The Dead (1957), documents All Souls’ Day, celebrated in Mexico on the first day of November.
Deborah Sussman worked on the poster design while she worked at the Eames Office.
Jorge Wilmot ceramic, with Salvador Vasquez Carmona painted design (left) and dolls by another Eames Office employee, Marilyn Neauhart. The dolls were sold through Herman Miller's Textile & Objects shop, which was curated by Alexander Girard.
Evelyn and Jerome Ackerman worked with artisans in Mexico to produce their weavings and mosaics.
Cynthia Sargent "Scarlatti "rug. The rugs were sold at Riggs-Sargent, a showroom Sargent operated with her husband Wendell Riggs. She was a painter and he was a weaver. The two Americans catered to an upscale market and the rugs were distributed in the United States by Jack Lenor Larsen.
Ruth Asawa learned her wire loop technique from watching artisans in Toluca, Mexico.
This particular sculpture from 1961 was made for Buckminster and Anne Fuller, who inspired Ruth to travel to Mexico while she was a student at Black Mountain College.
Portrait Cup by Arline Fisch, 1967 (left) and Ameyaltepec incense burner from Mexico, 1970
Pepe Mendoza dishes. These were purchased by Evelyn and Jerome Ackerman in the 1960s
Mayan influenced block from the Ennis House, Frank Llloyd Wright
Jose Horna poster from 1958. It depicts Torres de Ciudad Satelite by Luis Barragán and Mathias Goeritz.
Mary Tuthill Lindheim, 1950s (left) and Mexicalli-born ceramicist, Raul Coronel (1964)
Dora De Larios, Warrior (center) and Blue Dog (right)
Ken Price, Happy's Curios
Peter Shire, Mexican Bauhaus teapot, 1980
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More Pages to Explore .....
