CHM-Collection. 20th Century European Arts and Asian Antiques

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Hungarian painter Vincent Korda was born is the outskirts of Turkeve in Hungary. He studied to be a painter, starting as a student at the Academy of Art in Budapest and graduating through the Academies of Vienna, Florence and Paris. From 1913 on he studied scenery painting under Jenő Kéméndy, was a pupil of the School of Applied Arts from 1914 to 1915, while being taught by József Rippl-Rónai, Béla Iványi Grünwald and Károly Kernstok. From 1918 to 1920 he was a pupil of István Réti, then continued his studies in Vienna. He went on a study trip in Italy in 1920-1921, worked at the artists colony of Kecskemét in 1919 and at the artists colony of Nagybánya between 1922 and 1924. In 1925 he moved to Paris before finally settling down in London in 1931 He showed great promise and would have probably become a very great painter had he not been engulfed in the works of his famous brothers. Internationally recognized as superior filmmakers, the Korda brothers, Alexander, Zoltán and Vincent made an indelible mark on the film industries in their native Hungary, as well as in Austria, Germany, the U.S., France and, especially, Great Britain. Vincent served as art director on many of his brothers' films, winning an Oscar for the sets of The Thief of Bagdad (1940), which was produced by Alexander. The photograph portrays the Korda brothers (Vince is on the left) as they take a walk.

 

The confusion surrounding the history of La Maison Desny has persisted long after that of any other individual designer or design firms of the Interwar years. Only Lux, a monthly journal published in Paris briefly between 1929-1937 to chronicle developments in the field of domestic and commercial illumination, contained articles and quotations directly to Desny. It appears that La Maison Desny was established by two designers, Desnet and René Nauny, from whose names the contraction Desny was derived. They formed a business partnership and established themselves at 122, Avenue des Champs-Ëlysées in Paris. If the firm’s background has remained uncertain, the quality of its modernist lamps has not. The Works of La Maison Desny demands consideration for their rigorous geometric configurations and architectural proportions, which appears novel and avant-garde even by today’s standards. The crisp symmetry and uniformity of their compositions in metal and glass stands out starkly from other interwar metal objects offers at present-day auctions and exhibitions.

 

Any Danish Modern enthusiast that has seen AMC's, Mad Men certainly noticed the iconic FD-146 chairs in front of Don Draper's desk. Those who aren't aware of their pedigree, they are designed by Danish architect duo, Peter Hvidt + Orla Mølgaard for France & Daverkosen. I've actually followed the sales results of this design on various auction sites for many years, and since their debut on prime time TV they now command a much higher price. No surprises really.

 

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