Sudpsuez David Hicks: A Life of Design
$65.00
Description
Words by Ashley Hicks
Back in print for the first time in years, this classic of interior-design history showcases the masterful work of David Hicks (1929–1998), who is acknowledged as one of the most important designers of the late twentieth century, in the company of Billy Baldwin and Albert Hadley.
Known for his bold use of color, eclecticism, and geometric designs in carpets and textiles, Hicks turned English decorating on its head in the 1950s and ’60s. His trademark use of electrifying color combinations, and mixing antiques, modern furniture, and abstract paintings became the “in style” for the chic of the day, including Vidal Sassoon and Helena Rubinstein. By the 1970s, David Hicks was a brand; his company was making wallpaper, fabrics, and linens and had outposts in eight countries, including the United States where he worked with the young Mark Hampton, and where his wallpaper was used in the White House. “My greatest contribution as an interior designer has been to show people how to use bold color mixtures, how to use patterned carpets, how to light rooms, and how to mix old with new,” he stated in his 1968 work, David Hicks on Living—With Taste, the last authoritative book on his work. Written by his son, Ashley Hicks, with unprecedented access to Hicks’s archives, personal photographs, journals, and scrapbooks, this book is a vibrantly illustrated celebration of a half century of stunning interiors.
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This exhibition, Galerie Kugel’s tenth, continues the tradition of seeking out little-known but fascinating fields in the art world. Renaissance automaton clocks have never been the subject of scientific study, authors of horological reference works devoting at best merely a chapter to them.
These automaton clocks date from 1580 to 1630 and were for the most part created in Augsburg, the main German artistic centre of the time. These wonderful objects combine the arts of sculpture and horology. Rivalling in fantasy and ingenuity, they fascinated the European courts. Today, they can be found in museums holding great princely collections in Vienna, Dresden, Munich. Automaton clocks were also used as diplomatic presents.
The thirty-one automaton clocks presented in this exhibition and book are the largest group ever displayed. While studying them we have made surprising discoveries. For example, the troubling similarities between some of the most extraordinary anonymous clocks displayed here: the Elephant (cat. 3), the large Pacing Lion and his Tamer (cat. 7), the large Seated Lion (cat. 9), and the Chariot of Bacchus (cat. 11), which strongly argue for their having been produced in the same workshop. Among all the clocks published in this book, only one comes from Nuremberg (cat. 21). The chronological presentation that we chose also led us to rethink the conventional dating of certain pieces.
The title “Mechanical Bestiary” is somewhat restrictive, for among the clocks presented here, a quarter represent human figures without animals, and certain pieces possess no mechanical movements. Yet the thirty-one pieces assembled here clearly form a homogeneous and coherent whole. All were created for the same reason: to amuse and delight the collectors of their time.
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