Nymphs Lamp Gallery
The Lane-Wells Company headquarters in Los Angeles, circa 1939.
Ah! Nos petites escapades londoniennes! Celle-ci fut un peu courte & limitée à un quartier… Parfois j’aimerais surtout une exploration dans le temps car il y a un magasin qui m&rsqu…
Today we're going to take a deep dive into everything related to the Art Deco interior design style – and how to get the timeless and coveted Art Deco decorating style in your own home!
It’s articles like this one that make us want to become architects and change the world forever with our creativity, skills, and designs. The world is full to the brim with impressive architectural projects that go beyond pleasing just our eyes: when we see them, we genuinely feel like they energize our imagination and reinvigorate our spirit.
When they're looking for the water closet, this restroom sign points the way with a bit of panache. In the Art Moderne style of the 1930s and 1940s, this bathroom sign epitomizes the streamlined, uncluttered, yet imminently sensuous lines of the era. Cast in foundry iron and individually hand-painted in silver with a black wash exclusively for Design Toscano. Hardware not included. Features Quality foundry cast iron collectibles crafted using age-old techniques. Each piece is individually hand-finished by artisans. Perfect for your home or business
Wanda Reign Hotel on the Bund in Shanghai
Art Deco metalwork. Traditional materials and the new alloys Nirosta and Monel.
Art Deco metalwork. Traditional materials and the new alloys Nirosta and Monel.
By Alan George Imagine stepping into your bathroom and being whisked away to the glamorous era of the 1920s - a time when elegance...
About Impressively stylish and genuinely rare design is this superb 1930's English Art Deco Display cabinet. This beautiful cabinet is veneered in beautifully figured walnut veneer which has the most glorious patterning to the grain and retains a warm tone in colouring. The interior features a generously sized display area for your collection. There are three internal glass shelves . The beautiful astragal glass to the doors sets this cabinet off perfectly. The original green silk patterned lining to the interior back panel , which offsets perfectly with the exterior walnut colouring to the cabinet . The doors work very smoothly with the original key. All in top condition, having recently been professionally restored. This cabinet is larger than the regular cabinets we get in. We also have an identical shaped cabinet in stock not listed, slightly different grain pattern, but same size and shape should you need two!. Our shipping quote includes a professional custom made crate , insurance, airfreight , door to door delivery.
About Fabulous Art Deco clock by JAZ a French clock maker. This clock is red bakelite a wonderful skyscraper shaped casing. The condition of the face is particularly good showing little to no signs of it's true age. The bakelite case is also in good condition. As with all of our clocks, this is in full working order. This clock has been fitted with a quartz movement so no winding required!
Franco-Belgian ceramist Charles Catteau could be regarded as one of the most versatile ceramic artists of his generation, especially for the style of Art Deco. Catteau advanced the forms, techniques and decoration of modern ceramics, creating an exceptionally original, new and decorative genre. Hired as a ceramic decorator in Ecole Nationale de Sèvres from 1903 to 1904, he began producing designs that were rather traditional, based on the observation of nature, and showing the influence of Japonism, characterised by pure lines and meticulous details. From 1904 to 1906, he worked in Nymphemburg Porzellan Manufaktur near Munich, a factory specialising in new hand painting procedures
Explore Wampa-One's 12354 photos on Flickr!
Montevideo is a relatively small capital city, but it has one of the largest collections of art deco and modernist buildings in the world. These architectural treasures date from a period of social and economic advancement in the 1920's and early 1930's and include many (very many) apartment blocks, cinemas, sports stadia, shops and commercial buildings in almost every corner of the city. Detail, Palacio Lapido The adoption of art deco and modernism fits well with wider social developments in Uruguay in the first couple of decades of the 20th century. Church and State were separated before 1910 and the country declared secular in 1917, whilst access to education was expanded, an eight hour working day and unemployment pay introduced (in 1914!), divorce legalised and the death penalty abolished. Although some of these advances were overturned during and following the Great Depression, Uruguay was for a time, possibly the most socially advanced country in Latin America. This is reflected in the architecture of the period. I recently spent a few days there and was able to make contact with Marta of Arquitectura Tours Montevideo who led me on a tour of some of the city centre's art deco and modernist buildings. I saw many fine examples of the style on the tour but there are many I have yet to see. The city has many other delights too, which I have already written about here, and together with the deco almost certainly means another visit is in order! I have picked a few of my favourite buildings to write about here. Palacio Lapido on the main boulevard, Avenida 18th July was one of the highlights of my visit. Built in 1933 and designed by architect Juan Aubriot, this modernist building was originally the home of the People's Tribune newspaper. It ran from 1879 to 1960 and was a liberal daily promoting free trade and acceptance of different religions and minorities. Constructed from reinforced concrete and cement columns and slabs, the Palacio makes a spectacular impact from its corner location with its differing staggered heights, a fin at the apex and the glazed "ladder"on the stairwell. Best of all are the contrasting square balconies giving on to the Avenida and the delicious curved ones at nine of its 12 floors. Designated as a National Historic Landmark in 1989, today it houses retail and office spaces. Palacio Lapido A short walk away, Calle Juan Carlos Gomez runs across Plaza Matriz where the city's cathedral and a popular park are located. Number 1388 was built in 1931 and designed by architects Vazquez Barriere and Rafael Ruano, in an elaborate art deco style. The main entrance to the building is extremely ornate with decorative panels above the door and to each side as well as wonderful 'sun-rays" metal detailing set into the glass of the doors themselves. You will see the doors first, but do make sure to look up and look down too. Look up to see the central part of the facade, which features decorative panels and square windows and the balconies to each side. The balustrades change as the building rises with a classical style cement balcony at the first level followed by a deco design in cement and then a series of differently designed metal rails at the upper levels. Beautiful. Look down at the pavement to see one of ten tiles to be found in the city identifying important art deco buildings and, where known, the details of the architect and the date built. The plaques were the work of Arquitectura Tours Montevido who won a competition to carry out this project and have produced a map and small booklet to help visitors and enthusiasts to find the buildings. Entrance, Calle Juan Carlos Gomez, 1388 Look up! Calle Juan Carlos Gomez 1388. Hall, Treinta Tres, 1334 Another building in the plaque project is Palacio Piria, an apartment block at Calle Treinta Tres 1334. Designed by Alberto Isola it was built in 1928 with shops on the ground floor and apartments at the upper levels. It has highly decorative features in the ground floor common areas and I was lucky enough to be able to see the hall with its symmetrical arches, speed lines and fabulous stained glass windows in the side recesses. The block was built at the request of businessman Juan Fernando Piria who started life in the tailoring industry. Fittingly, the adjoining property is a tailor's shop and has a spectacular art deco floor. The shopkeeper knew Marta and was very happy for me to photograph the parts of the floor not covered with carpet. Piria was also responsible for the development of Piriapolis, a summer resort with a grand hotel. Stained glass window, Treinta Tres, 1334 Detail, shop floor, Treinta Tres Unfortunately, the dates and architects' details for several buildings are unknown. There are two examples of this in Sarandi, the main pedestrianised thoroughfare and shopping street in the Ciudad Vieja. Both are buildings I particularly like and are pictured below. The first, a corner building with the central curve dates from between 1930 and 1940. It was originally designed with retail on the ground floor and residential above. The building opposite with the layered windows, fins and glazed stairwells was built between 1940 and 1950 as a department store. Both require some care and attention but it is not difficult to imagine how striking these neighbours would be if repaired and cleaned up and what an impressive street this must have been in the past. Details unknown, Sarandi Details unkown Sarandi Palacio Rinaldi stands in one corner of Plaza Independencia and has distinctive decorative stripes at the upper levels as well as different balconies at different levels, metal grille work and facade reliefs. There are several entrances to the building, some of them with grey marble surrounds, patterned lintels and glass and metal doors. Unfortunately some of the doors have lost their glass and in one lobby the lights no longer work. The building has nine floors and built in 1929, it was one of the country's first sky scrapers. It has competition for dominance of the square as the better known Palacio Salvo stands on the opposite corner. Salvo has some deco elements too, but is an "unusual" looking building to say the least. I find Rinaldi much more attractive although it cannot compete with Josephine Baker having once danced in the Salvo! Our friends Alberto Isola and Guillermo Armas, responsible for the Palacio Piria also designed the Rinaldi building. The Rinaldi also has one of the tiles from Marta's project. Entrance, Palacio Rinaldi Detail, Palacio Rinaldi Away from the city centre, Pocitos is a lively residential, business and commercial area which looks onto the gorgeous waterfront and is sometimes referred to as Uruguay's Copacabana due to its beaches and skyscrapers. It is also home to several art deco buildings including Edificio El Mastil at Avenida Brasil 3105, designed by Vazquez Barriere and Rafael Ruano whom we met earlier. El Mastil has a definite nautical feel with those central balconies resembling a ship's prow and (for me at least) the side balconies looking like lifeboats! The main door is also special with its stylish lettering, gold coloured metalwork and wonderful porthole. Unfortunately on the day I went to Pocitos a thick fog descended from the water making my pictures darker than I would have liked. Still, it did add to the nautical illusion with El Mastil surrounded by a sea fog! Edificio El Mastil Entrance, Edificio El Mastil Work is going on around the centre of Montevideo to regenerate the city, improve the environment and to attract more visitors from overseas. Interestingly, art deco seems to be playing a part in this. Down in the port area, a former apartment building has been turned into a hotel - Hotel Don - which at Piedras 234 faces the Mercado del Puerto (market of the port), which is filled with restaurants serving the Uruguayan speciality - grilled steaks. Built in 1938 and designed by the architect Nin, the hotel represents a real leap of faith as the port area is not deemed to be the best part of town after dark. Back on Avenida 18th July, the Jockey Cub is a spectacular art deco restaurant hidden inside a classicist building dating from 1932 and designed by French architect Joseph Carre. It was declared a National Historic Landmark in 1975 but stood closed and unused for many years until the Portuguese hotel chain Pestana acquired it in 2010 and restored the restaurant to its former art deco glory. As well as offering lunches, afternoon tea and dinner, the Club also has a cultural programme with musical and literary events being held there. The next stage of redevelopment is to open a 100 rooms five star hotel in the rest of the building. The restaurant is a must see for all art deco devotees. Hotel Don The Jockey Club Lobby lights, the Jockey Club As I noted at the beginning of this post, Montevideo has one of the largest collections of art deco and modernist buildings in the world - probably enough for another post at some point in the future. Until then, another favourite of mine to whet your appetite! This is one of several small police posts built in the 1930's opposite the waterfront in modernist, almost Bauhaus style. When I visited, there was no evidence of them being used for police purposes. They would make very nice ice cream kiosks or even small coffee and cake stands with a few external tables and chairs in the summer. Sounds like a job for me... Police post, Rambla. You might also like A Few Days In Montevideo You can see more pictures from Montevideo here. Contact Arquitectura Tours Montevideo on their Facebook page.
“He translated the essence of a thing — like a train, a ship, or a person — to the most ‘graphic’ expression.”
“Grand Staircase, SS Paris, Compagnie Générale Transatlantique 1921 http://t.co/yNqibRbOEd #Interior #Artnouveau”
Cross & Cross deliberately chose harmonious materials and colors to create unity with St. Bartholomew's Church -- photo by Fletcher6 The tracks of the cinder- and smoke-belching trains that ran up the center of Park Avenue from Grand Central Terminal were dropped below street level and covered over in 1913, creating a wide handsome boulevard. The neighborhood changed from somewhat gritty to undeniably classy. In 1914 Bertram Goodhue’s magnificent Byzantine-inspired St. Bartholomew’s Episcopal Church began rising. The masterful building would pose a challenge to architects Cross & Cross thirteen years later. The Jazz Age arrived in New York City in the 1920s and with it came the architectural style that would become synonymous with Manhattan at the time: Art Deco. It was also a dizzying time of new technology, including motion pictures and the radio. The Bartholomew Building Corporation planned a soaring skyscraper on Lexington Avenue and 51st Street, directly behind Goodhue’s church, still under construction. In 1929 the firm commissioned Cross & Cross to design the building using the direction of the chief tenant, the Radio Victor Corporation of America—later known simply as RCA. Because the influential radio company, which owned the R-K-O chain of motion picture theaters and the National Broadcasting Company, had already signed a lease for nine full floors, it was given a free hand at the design direction. The new skyscraper rises high above the dome of St. Bartholomew's -- photo NYPL Collection The architects were to erect a 50-story building that reflected the modernity and energy of Radio Victor. Yet it was not to clash with the nearly-completed Byzantine church on Park Avenue for which it would form a backdrop. It would be a rare and early example of architectural sensitivity and contextual design. What resulted was a slender tower of nearly-matching brick and terra cotta, creating what writer Carter B. Horsley has called the “unofficial campanile to the church.” But while the skyscraper honored Goodhue’s Byzantine design, it did not bow to it. The façade, from sidewalk to crown, was frosted with spiky Art Deco ornamentation that symbolized the radio age. Only photographer Berenice Abbott could capture the two buildings so perfectly -- photo NYPL Collection Electric charges, zig zags, stylized bolt-like figures with electric rays sparking from their heads grace the façade and unique crown. There were symbols of radio dials and needles in the grooves of records, and musical instruments at the 12th floor recall RCA’s recording business Upon the completion of the building in 1931, the Real Estate Record and Guide interviewed John W. Cross who explained the challenge of representing radio in masonry. “Romantic though radio may be,” he said, “it is at the same time intangible and elusive—a thing which can be captured visually only through symbolism.” Cross pointed out the lobby, rendered in red marble and aluminum, was “free from any suggestion of past times or places.” Instead, its Art Deco detailing and fixtures represented everything modern and current. Without a doubt the most striking feature was the crown, 570-feet above the ground: a jumble of spikes and intertwined bolts and figures symbolizing the force of radio. Carter B. Horsley went so far as to say “this tower boasts a fantastic top that may well be the most original and attractive skyscraper roof in the world.” The crown has been described as one of the most impressive in the world -- photo by MegaMatic Despite the dark cloud of the Great Depression, other impressive construction projects were going on simultaneously, among them the Empire State Building and Rockefeller Center. Even before Radio Victor moved into the its new offices in what was now called the RCA Building, there was change in the works. The company’s Annual Report for the Year 1930 disclosed that the firm “had intended to make its permanent home” in the “thoroughly modern office building at 570 Lexington Avenue.” But the siren song of Rockefeller Center was too alluring. “However, subsequent crystallization of plans for the construction of Radio City made it apparent that the opportunity for occupancy of this community should not be sacrificed,” the report said. Even before the company moved in, it was preparing to move out. “The building will be occupied by RCA pending the completion of Radio City about three years hence.” When RCA moved out in 1933 it took the name of the RCA Building with it to Rockefeller Center. Its offices were taken over by the parent company, General Electric which immediately rechristened 570 Lexington as the General Electric Building. The artistic details Cross & Cross had lavished on the structure were perfectly applicable to General Electric—electric bolts and zig zags were as much about electricity as radio waves. The company made only a few design changes—changing the RCA clock over the entrance to the GE logo, for instance. General Electric added its own logo to the clock under two fists holding an electric bolt. Behind, the astonishing brickwork can be seen. -- photo by Lockley The headquarters of General Electric remained in the building for three decades until, in 1974, the firm relocated to Fairfield, Connecticut. Difficult economic conditions and an aging, out-of-date skyscraper resulted in the firm's being unable to rent office space. By 1993 the building had only a one-third occupancy and was not bringing in enough rent to cover expenses. The company donated the building to Columbia University in 1993, earning itself a $40 million tax deduction. Columbia, not wanting the burden of General Electric’s white elephant, partnered with Quantum Realty Partners and the Mendik Company to convert it into a money-making property. The group commissioned architects WCA Design Group to update the building and restore the lobby and exterior lower three floors. The $3.5 million project restored the exterior marble, cleaned out the accumulation of half-a-century of small modern additions like fire call boxes in the lobby and disguised the 10-year old subway entrance as an original Art Deco element. The magnificent once-RCA Building, then General Electric Building, now 570 Lexington Avenue is one of the most remarkable structures in the city and too often left off the must-see list of tourists and New Yorkers alike.
You should consider taking some photos of 570 Lexington when you get the chance. The building was designed in '31 and deeded to GE by RCA while Radio City was still under construction, so there's a...
The General Motors Building at the 1934 Century of Progress Fair, Chicago
EDIFICIO Rue du Général-de-Castelnau, 22 Strasbourg (Francia) Es probablemente el mejor edificio Art Nouveau de la ciudad. Fue construi...
The business empire that the Fisher Building celebrates began as a small blacksmith shop.
13" x 19" printed on archival paper Based on the fictional Tesla Industries company that appears in the Adventures of the 19XX series this print shows several of Nikola Tesla's real inventions and innovations. This includes: 1. Alternating Current 2. X-rays 3. Radio 4. Remote Control 5. Electric Motor 6. Wireless Energy 7. Tesla Coil 8. Improved Capacitors Illustrated by Paul Roman Martinez, writer and illustrator of the Adventures of the 19XX graphic novel series.
a blog post Victor Horta, one of Belgium’s greatest architects and the starter of the Art Nouveau.
Arnold Schwartzman has shot the biggest, boldest and brightest art deco buildings around the world, from a New Zealand fire station to a Paris butcher shop
BERNARD VILLEMOT (1911-1990) « Compagnie Générale Transatlantique » circa 1962 Gouache Signée en bas à droite 159 x 110 cm **Provenance** famille de l'artiste Ce rare projet original est une maquette de l'affiche pour le Paquebot France de 1962 qui était le must des paquebots de la CGT. A la fois élégant et puissant ce projet reflète parfaitement le style que Bernard Villemot donnera par la suite sur l'ensemble de ses affiches. Il existe très peu de projets de ce format là provenant de cet artiste.
Add a touch of luxury with updated takes on 1920s style, with nods to art-deco style motifs, tassels on cushions and lighting and golden finishes.
Despite its reputation as an international city, Sydney was one of the last in the western world to embrace the modern outlook of the 1920s, 1930s and 1940s
Mid-Market building got its start as a Depression-era furniture showcase.
