40 — Antiques and The Arts Weekly — December 6, 2019

Thomas Fritsch — Atrium, Giustini/Stagetti, Innovative Style At Salon Of Art & Design — Suffice hands at the top three houses Salon of Art and Design, a show the world — exactly half of tle more vintage back this year. to say, there’s a lot that went on when the Twentieth Century that trots the globe for you and which were domestic, or with a I wouldn’t mind having a little in the Big Apple in November. and Contemporary sales pre- brings it all, wrapped up nicely, domestic branch location — to more historic material on the But unique among the lures of ceded the American art sales, to the Park Avenue Armory present historical and contem- floor. But the contemporary commercial art — throwing and then on to the private gal- each year. This year’s Novem- porary design and art. This work sold strongly. I think around elbows between the lery events and the American ber 14-18 edition saw 56 galler- included rare examples from because there are antique $1-plus billion that changed Art Fair — was the rather luxe ies come together from all over practitioners of furniture-as- shows, and Design Miami is art, bench-made and computer- contemporary, I think people driven design, works of art want the mix, but they’ve seen from Twentieth Century mas- less of the contemporary work Review and Photos by ters, historic design from iconic and it’s exciting to them. In his- Antiques and The Arts Weekly movements, antiquities, studio toric design, things like Italian Greg Smith, Editor glass, ceramics and more. vintage walks right out of here, The Salon’s executive director but there’s a fascination with Jill Bokor saw attendance at new material.” the fairs eighth edition rise to As we filtered through our 13,500, a small bump from last responses to the show this year, year. the word came back that floor As computer-driven design sales were slow for a majority. ramps up in the Twenty-First Dealers had a hard time break- Century, the Salon’s show floor ing even with the cost that — a meeting place of new and comes associated with exhibit- old, refined and exuberant, rep- ing at the Park Avenue Armory. resentational and abstract — is That response has become a apt to feature it and create a standard for almost every show dialogue that spans history. in the Park Avenue Armory. It And to steer that dialogue are is, no doubt, known as a risky the galleries, many of which and high-value venue. Reasons will focus in either new or old, a offered included a crowded scant few with both, but all of November calendar, an uncer- which possess the expertise tain economy, the impeachment and knowledge of the great proceedings against Donald design index through the ages. Trump and others. These senti- And that the Salon combines ments apply to the market as a these galleries, in what has whole. It still did not change become the best design show in the fact that show manager New York City, raises the earn- Sanford L. Smith + Associates ing of its own notecard and put on an astute show filled place in that index. with some of the best design “We hit every decade of the you’ll ever see in one place out- Twentieth Century,” Bokor side of a museum in New York. said, speaking to the broad When asked if she has any range of material on the floor. “I thoughts on leaving the armory, tried to hit that for the past Bokor responded in the nega- five years and I think we did tive. that this year.” “For many of these dealers, On the spread between his- without the Armory, they don’t toric and contemporary offer- want to come. The real truth is ings, Bokor said, “In terms of that the real fulcrum of the material brought and bought, show is the location. Even if I we kept about as much vintage, do hear some grumbling, we British sculptor Sam Orlando Miller creat- and maybe even brought a lit- will surely be there for at least ed the chandelier here titled “Ghirlande di Steffen Dam’s 2017 work “New Medicine” Lacrime Estive.” Jade green mirror and appears as an assemblage of specimens. bronze. Gallery FUMI, . Heller Gallery, New York City.

Todd Merrill Studio, New York City, captured the contem- porary spirit in this vignette. On the right wall is “Unin- Sold tags were found on the “Futurum” shelf at the back of the booth by Axel Einar Hjorth tended Low Cabinet II” by Seoul-based designer Kim Yun- and the “PH 4/4” hanging lamp at center by Poul Henningsen. The set of four chairs at cen- hwan, whose front panels resemble a fractured cloud-filled ter were also from the “Futurum” series by Hjorth and were joined by designs from Wil- sky. Each element is hand carved, alternating between the helm Kage, Povl Dinesen and Lauri Järveläinen. Modernity, . convex and concave. December 6, 2019 — Antiques and The Arts Weekly — 41

Ceramic furniture works from Brooklyn-based artist Reinaldo Sanguino New York City’s Heller Gallery brought glass works from Steffen Dam, were exhibited with The Future Perfect. Toots Zynsky, Lino Tagliapietra, Eric Rosenfeld and more. two more years.” Salon is something that has texture and shape, which is not A lineup of interactive talks taken a while for visitors to unlike the voluptuous figure of and special exhibitions made understand, and they were an ancient Venus figurine. sure to round out this year’s well-received this year.” The Gareth is working on a series of offerings, and Bokor reflected Salon’s “Conversations” series essays that challenge the on their success, saying, “It was featured six forums with archi- notions of craftsmanship in one of the great new strengths tects, designers, journalists and relation to the hand. He con- of the show this year. The other leaders, while six tours trasts the idea of risk, associat- reception was almost as strong were offered and led by notable ed with handwork, with the as the show on the floor. The designers throughout the show idea of precision, associated quality of them was unbeliev- run. with machine work. But he able, we’ve never had people There was perhaps no greater makes note that when we trav- like this doing our special exhi- link on the show floor between el into uncharted waters, like a bitions before.” In the exhibi- contemporary computer-driven CNC machine cutting through tion by Lalique, British wall design and historic bench-made a block of silica, the results are covering atelier Fromental cre- furniture than the work of UK- not always perfect at first — ated an installation influenced designer Gareth Neal, who was refinement and risk still by the three F’s that define the exhibiting with London’s Sarah applies. The example on exhibit Lalique brand: femme, flora Myerscough Gallery. Neal’s here, the first of its series, took and fauna. Design studios exhibition surveyed the design- three drafts to perfect before he The Haas Brothers were represented here in the polished Apparatus, Pollaro and French er’s latest experiments with 3D was able to finish with only a brass and blown glass lamps “Single Long Neck Zoidberg” and designer Mathieu Lehanneur computer drawing, new materi- toothbrush. “Triple Long Neck Zoidberg” at back. The table at front, “Mal- were all on hand to exhibit als and CNC processes. On Speaking of antiquities, Phoe- colm Hex” was also by them. R & Company, New York City. their latest work. And curated exhibit was a large vessel from by Vogue Italia and artistic his “SiO2” series, which is director and haute jewelry formed with machine cutting designer Alexandra Mor, “The from a block of silica. “We’ve Protagonist” exhibition show- really gone to town studying cased jewelry design by 15 stu- traditional pottery,” Neal told dios. Antiques and The Arts Weekly, Bokor also saw a good turnout explaining how he created on the booth talks at Wexler these vessels to emulate the Gallery, Todd Merrill Studio wall thickness and build of and Heritage Gallery. “There examples made today and were incredible talks,” she said, throughout history in pottery “this was a place where we saw studios. But Gareth’s tech- improvement. Every single talk niques afford him a new aes- was oversubscribed, and that thetic in a new medium, evi- did not happen last year. The dent in the tidal contour idea of programming at the patterns in this vessel and its

The chandelier “Cupola” by AMeBE Studio resembled on the exterior an evening view of historical European . The inside was brightly decorated with Renais- “Portrat of Leporskaya” by Kazimir Malev- sance-style images. Polyurethane resin, ich (1879-1935), oil on canvas, 1930. ABA fiberglass, nylon, silver, brass, 2016. David Friedman Benda, New York City Gallery, New York. Gill, London.

Wonderglass, London Maison Gerard, New York City 42 — Antiques and The Arts Weekly — December 6, 2019

“Crystal Atmosphere” installation by Frida Fjellman. Hostler Burrows, A showgoer looks through some of the antiquities at Phoenix Ancient Art. New York City.

nix Ancient Art brought with Bernard Goldberg Fine Arts. trasted with the Machine Age them an offering from the col- On one wall hung three stencils aesthetic of a pair of chrome- lection of Dr Walter Gilbert, a from Prairie School architect plated lamps with Daum Nobel Prize-winning scientist George Grant Elmslie, who shades that Brandt produced and exhibiting artist. Together worked with Frank Lloyd in 1931. with his wife Celia, the couple Wright at the office of Joseph We can still recall the 2018 amassed an important collec- Lyman Silsbee and then Dank- booth of Dutch gallery tion that spoke of the birth of mar Adler and Louis Sullivan. Priveekollektie Contemporary Western art around the Medi- Elmslie was Sullivan’s chief Art | Design, and we have no terranean Basin to Asia and draftsman and ornamental doubt that the 2019 booth will Mesoamerica, focusing specifi- designer. In 1909, Elmslie stick with us as well. At the cally on Greece, Rome, Etruria, joined William Gray Purcell front of it was “Armor II,” a full- Egypt and Mesopotamia. High- and George Feick Jr to create size suit of arms in white porce- lights here included a Roman an architectural practice of lain and natural leather by micromosaic emblema in a their own. Feick left three years Hans van Houwelingen. Two stone tesserae from the First later, and the firm of Purcell tables, “Golden Lagoon,” with a Century CE, depicting a long- and Elmslie would go on to be glass base, and “Secret Lagoon,” haired lap dog sitting on a stool the second most commissioned with a bronze base, were part of with a brush close by. Also here architectural firm of the Prai- Reinier Bosch’s “The Melting was a Phoenician engraved rie School behind Frank Lloyd Series” of furniture, which fea- Paul Donzella said he wished he had more of the illuminat- shell with the head of the Egyp- Wright. The stencils on hand tures robust drops of glimmer- ed flower glass wall sculptures on the back wall. The 1972 tian god Horus from the Sev- with Bernard Goldberg dated ing gold bronze dripping from works were custom commissions from Murano glass studio enth Century BCE. “It was to the Purcell and Elmslie era, the edges of the tabletop. The Cenedese and were originally mounted to the ceiling of the probably a cult piece,” said the circa 1915. “They’re a hallmark gallery wrote that Bosch’s bar at the Lido Hotel on Lido Island off , . Both gallery’s curator Alexander of his style,” research associate series is connected to the cap- sold. Donzella, New York City. Kruglov, “maybe for libations.” Lisa Rotmil told us. “The ture of a single moment in time, The shell featured images of abstracted leaves and buds and as if to suspend it for eternal rams on it, which were sacrifi- a stretched-out pelt — he used viewing. cial animals. The decoration to all of these motifs with a natu- By the time we rolled through both front and back signify the ral base and would modernize New York City gallery Donzel- great care that was taken to them.” The gallery also fea- la’s booth on the first full day make this piece, which likely tured the evolving and con- of the show, a red dot graced had ceremonial use. trasting styles of Edgar Brandt, one of the two circa 1972 “Mar- A selection of world-class found in a circa 1925 wrought gherita” illuminated wall early Twentieth Century Amer- iron mantel clock in the artist’s sculptures by Murano glass ican decorative arts was on delicate and highly detailed studio Cenedese, depicting a exhibit with New York City’s naturalist style, which con- 45-inch diameter daisy flower. He sold the second shortly after, and a third that is still in Italy. The sculptures were originally mounted to the ceil- ing of the bar at the Lido Hotel on Lido Island off Venice, Italy. Vintage was found throughout the booth, including a pair of “Regent” lounge chairs, circa 1960, by Marco Zanuso and lighting designs by Angelo Lelli for Phoenician engraved shell with the head of the Egyptian Arredoluce. god Horus from the Seventh Century BCE, with further “For me, there was a very images of sacrificial rams. Dr Walter Gilbert collection. strong designer presence dur- Phoenix Ancient Art, New York and Geneva. ing the fair,” owner Paul Don- zella said. “Certainly collectors, too. I feel like the Salon has matured into the best NYC fair for Twentieth and Twenty-First A suite of adjustable furniture from Italian architect- Century material. The energy designer Gio Ponti were on show with Lost City Arts, New is always fantastic and I think York City. Jill Bokor has done a stellar job

Historic Russian design made an appearance on the floor this year. A carved oak folding screen and tribune designed by Alexander Dmitriev, circa 1934, was made for the chil- dren’s military labor commune Lenoblono. Heritage Inter- national Art Gallery, Moscow. Casati Gallery, Chicago December 6, 2019 — Antiques and The Arts Weekly — 43

“Armor II,” a full-size suit of arms in white porcelain and natural leather Moderne Gallery, Philadelphia, featured a world-class selection of Ameri- by Hans van Houwelingen stood guard at the front of the booth. Priveekolle- can craft, including the work of George Nakashima, John Eric Byers, David ktie Contemporary Art | Design, The . Ebner and Miriam Carpenter. in curating such a strong col- also had a very eclectic mix of his stores. lection of gallerists to partner great pieces. I really don’t know Looking forward to next year, with.” of a better-looking show with Bokor did not see any glaring Italian design was also found quality pieces of great design in points that need to change and with Jim Elkind at New York many different styles.” He she expects about 80 percent of City’s Lost City Arts, which added, “though personally I’d dealers to return. Though she recently moved to the New York always like to see more vintage did speak with general uncer- Design Center at Lexington material.” tainty about what lies ahead Avenue between 32nd & 33rd Moscow-based Heritage Inter- for what is sure to be an Street. The gallery featured a national Art Gallery brought a extremely tumultuous 2020. rare “adjustable” furniture range of historic design furni- “Despite the strength of the suite by Italian architect- ture fromthat country that elic- stock market, there’s an incred- designer Gio Ponti, consisting ited much interest, as so little ible unease in every way here. of two lounges and a table. “I Soviet-era and Russian design And it absolutely trickles down just made a trip to Italy this makes its way stateside. Among to sales. I think everyone is past summer and we brought them was a carved oak folding right to be concerned — every- these back,” Elkind said, as screen and tribune designed by one that’s running a show.” well as other pieces in the Alexander Dmitriev circa 1934 We have little doubt that this booth. “The adjustable pieces that was made for the chil- event will weather that storm, In the middle corner on the right wall hung three stencils were made for domestic con- dren’s military labor commune whichever way it blows. from Prairie School architect George Grant Elmslie, whose sumption and they’re quite spe- Lenoblono. Both featured state The next edition will be firm Purcell and Elmslie would go on to be the second most cial.” The Ponti chairs would symbols, including the hammer November 19-23, 2020. For commissioned architectural firm of the Prairie School recline back to various degrees and sickle, as well as compass information, 212-777-5218 or behind Frank Lloyd Wright. Bernard Goldberg Fine Arts, and even flatten out to a bench stars and leader profiles. The www.thesalonny.com. New York City. form. five-part screen was made to Moderne Gallery, Philadel- wrap around the tribune when phia, treated visitors with a it was not in use. This gallery selection of blackened maple held a booth talk during the seating by furniture artist John show and it was very well- Eric Byers in his signature uni- attended. form dimpled, chip-carved sur- Historic design was also on face. The furniture framed in show with Geoffrey Diner Gal- an original 1956 collage by lery, Washington, DC. Flanking John Cage that was designed a monumental 1985 oil on can- for textile designer Jack Lenor vas painting by Helen Fran- Larsen’s holiday card that year. kenthaler titled “Cinquecento” Larsen liked it so much he com- were a set of three 1967 Mush- missioned Cage to do the 1957 room Stools by Wendell Castle card, and Cage would go on to and an entry hall lantern from become Larsen’s artistic direc- Arts and Crafts architect- tor for the next 40 years. Gal- designer Greene & Greene. The lery owner Robert Aibel related 1907 lantern of inlaid mahoga- a few sales of ceramics from ny and a greenish-yellow American artist Estelle Hop- stained glass with natural per, but said his other offerings motifs originated from the — from American craftsmen Blacker House in Pasadena, and women George Nakashi- Calif. Other Arts and Crafts ma, David Ebner and Miriam offerings included a three-pan- Carpenter — fell flat. “The el oak screen with pewter and show got more publicity than copper inlay by Harvey Ellis for ever before, word of mouth was Gustav Stickley, circa 1904, strong,” Aibel said. “Everyone I and a Donegal carpet by UK met seemed to know about the designer/architect C.F.A. Voy- show… Attendance seemed sey. Voysey’s carpets were very “SiO2 Vessel A-03” by Gareth Neal, black sili- A rare Mathieu Matègot “Santiago” table is strong, and I thought that the popular during his era, so much ca, 2019. Sarah Myerscough Gallery, London. seen at front. It was designed in 1954-55 and show never looked better. It so that Stickley sold them in was supposed to be of an edition of 50, but only two models were ever made as the Sociètè Matègot closed in 1962. Karl Kemp, Salon Of Art & Design New York City.

We can thank Dodie Thayer for bringing the cabbage into the ceramic design vocabulary, but it was greatly expanded upon in the delicate “Sculptural Vessels” of Sandra Davolio Designs from Harvey Ellis, Gio Ponti, C.F.A. Voysey, Wendell Castle and Greene & Greene here. J Lohmann Gallery, New York City. were on show with Geoffrey Diner Gallery, Washington, DC.