Designer Desire: Wells Coates

Montage of Wells Coates architecture and furniture designs

Born in Tokyo, Wells Coates (1895-1958) was a British modernist architect and designer of Canadian parentage. Greatly inspired by the likes of Le Corbusier, he designed a number of public and private commercial and residential buildings.

My first proper introduction to Wells Coates was when I was at the University of Brighton. I did a summer school course in photography where I focussed on capturing images of Embassy Court (seen at the top of our montage above) – my favourite building in the city – located on the seafront in Hove. It was the mid-1990s at the time, and the building (erected in 1935) was in a very sorry state; the 11-storey façade was rusty, crumbling and strewn with ugly satellite dishes – but its beauty still shone through. Today it’s a des-res and one of the 72 flats would set you back a cool half a million pounds and more!

In 1934, he designed the Isokon / Lawn Road Flats, Hampstead for Molly and Jack Pritchard. The couple and their family lived at the address, with some of the other 32 flats being occupied by design greats of the time; Walter Gropius, Marcel Breuer and László Maholy-Nagy.

The following year – with David Bartholomew Pleydell-Bouverie – Wells Coates designed the Sunspan Houses. Fifteen of them were built; including one in Portsmouth, another in Burnham, Buckinghamshire, three on Woodlands Avenue in New Maldon, Essex, Chadwell St Mary, Essex and Esher in Surrey.

In 1939, he designed 10 Palace Gate, a block of luxury flats in London’s Kensington for construction company, Randall Bell. Flats currently command rents of over £1,000 per week. A space in the building’s underground car park is currently for sale for the princely sum of £65,000.

He designed the Telecinema – one of the 1951 Festival of Britain buildings. Apparently it was:

…the first theatre in the world in which big screen television, 3-dimensional pictures and tereophonic (sic) sound took its place on par with the cinema… spectators wearing (the) special stereoscopic spectacles…

The woven upholstery fabric for the Telekinema’s seating was designed by Lucienne Day in 1951.⁠⁠

In addition to buildings, he designed office furniture for Kingfisher Limited of West Bromwich, some examples are included in our montage above. He also created 9 models of radio for Ekco including the round Bakelite AD65 (1934), AD75 (1940), A22 (1945) and rectangular A33 RadioTime (1946).

There are a number of books that investigate the man and his works. His daughter, Laura Cohn, authored The Door to a Secret Room: A Portrait of Wells Coates. There’s a 1970s monograph written by Sherban Cantacuzino and a more recent one by Elizabeth Darling.

Portrait of Wells Coatescredit

Additional image credits:
Artnet | V&A

Auction alert: Passion for Fashion

Beaded black chiffon flapper dress, circa 1926

I have a passion for vintage fashion, so the Passion for Fashion sale at Kerry Taylor Auctions is always a highlight of the year. This one takes place on Tuesday 7th December 2021 from 1pm. There are 265 lots of quality apparel from around the world, dating from the mid-1800s through to the 21st century.

Many of the lots are museum quality, for both craftsmanship and provenance. There’s such exquisite workmanship in the beading, braiding, sequins and embroidery in many of the pieces. There are hundreds of man hours in there! The are a few of the dresses that I think would make spectacular wedding dresses and despite the fact that they’re ‘couture’, they’d probably be less pricey than one from a bridal shop today.

Buyer’s premium is 25% (ex. VAT). If bidding live via Invaluable, the buyer’s premium is as follows: £0 – 49,999: 28% / £50,000+: 23%

Ivory chiffon couture dinner dress, attributed to Gabrielle Chanel

Lot 54: An ivory chiffon couture dinner dress, attributed to Gabrielle Chanel, circa 1925
With simple V-neck, with double layered chiffon sash-like waistband with ties to one side, the tiered skirt with asymmetric point to one side, the whole finished with picot edging, the back with floating panel with centre-split, bust 102cm, 40in.

The Metropolitan Museum of Art holds a similar chiffon Chanel dress with floating back panel and waist sash with side ties. Their dress is labelled in the slip which is missing from this example, see accession Number: 1995.468.1a–c
Estimate: £1,500 – £2,500

Beaded black chiffon flapper dress, circa 1926

Lot 61: A beaded black chiffon flapper dress, circa 1926

With stylised floral motif to waistband, embellished with cut beads in shades of silver, spangled with sequins, bust approx 86-92cm, 34-36in, waist 92cm, 36in; together with a later-made associated slip; together with two lengths of devoré velvet and floral chiffon, probably 1920s-30s (4)
Estimate: £200 – £300

Paul Poiret purple sequinned evening dress, 1928

Lot 64: A fine and rare Paul Poiret purple sequinned evening dress, 1928
Large woven satin Paul Poiret à Paris label with Iribe rose, the purple chiffon ground applied with a shimmer of sequins to the bodice, the V-neck edged in seed pearls and silver bugle beads, revealing pink satin petticoat, the pink cotton overlaid with purple and silver lace, the dropped waistline defined by demi-lunes filled with brilliants, silver ovoid, seed pearl beads and glass bugles, the skirt formed from gladiator-like similarly-worked sequinned floating panels interspersed with chiffon godets to produce an irregular handkerchief hem, the integral black chiffon underskirt with sequinned gold to purple dégradé sequinned bands which are visible through the chiffon over-skirt, bust 97cm, 38in; with matching chiffon stole (3)

Exhibited at the Melbourne Art Festival ‘L’Époque d’Élégance’, 1991. The Sandy Schreier Collection
Estimate: £6,000 – £10,000

Mainbocher couture ivory satin court presentation gown, early 1930s

Lot 68: A Mainbocher couture ivory satin court presentation gown, early 1930s
Labelled, with handwritten bolduc: ‘232 Kiefe 33 69-388’, the belt to front waist with decorative oversized metal buckle inset with cut brilliants, integral silk petticoat with knife-pleated hem; together with a pair of ivory leather opera-length gloves and Ostrich feather fan (4)

Provenance: Margaret ‘Peggy’ Winifred Fass. Peggy was presented at court twice: first as a debutante in the late 1920s, and then c.1931 as a married woman – ‘Mrs Logan’, when she wore this gown for the occasion. Her father was Sir Ernest Fass, who at the time of his daughter’s wedding was financial advisor to the Sudanese government. He was knighted for his services to the British government and had a very distinguished career, which culminated in his appointment as Public Trustee.
Estimate: £400 – £600

Audrey Hepburn's Givenchy couture white point d'esprit ball gown worn in the opera scene of 'Love in the Afternoon', 1956

Lot 79: Audrey Hepburn’s Givenchy couture white point d’esprit ball gown worn in the opera scene of ‘Love in the Afternoon‘, 1956
Paris labelled but not numbered, the boned, fitted bodice lined in rayon, the bodice and skirt completely overlaid with double-layer of white tulle, the upper bodice edged with scalloped lace embroidered in silver thread with vermicular trails and florets centred with turquoise, silver tinsel strip florets with clear and turquoise rhinestone brilliants overall, full skirt, three integral tulle petticoats, the two upper layers of organza underskirts, bust approx.76cm, 30in, waist 52cm, 20 1/2in; together with a photograph of Audrey with the dress; together with a letter of authenticity from the Audrey Hepburn Children’s Fund, signed by Sean Ferrer, 12.01.2009 (3)

Provenance: Formerly in the collection of Tanja Star-Busmann.
Tanja and Audrey were friends from childhood. Whenever commissioning gowns from Hubert de Givenchy, Audrey always requested he made extra-large seam returns so that she could pass the dresses on to others. Having been brought up with the privations and shortages of WWII, she held a ‘waste not, want not’ attitude that she retained throughout her life.

Audrey gifted this dress when Tanja gave birth to her daughter in 1958. It arrived in a large cardboard box with a note attached from Audrey, stating that she thought it might remind Tanja what it was like to have a waistline again. In 1961 Tanja lent the gown to her then nanny who wore it and adapted it, removing most of the lace trim, removing the bow from the front and making three smaller bows on the back to help conceal the panel that had been inserted to make it larger. These later alterations have been painstakingly reversed and the dress is now returned to its original size and shape.

It is extremely rare to find a screen-worn Audrey Hepburn garment – doubly so when the piece is also haute couture, designed by her close friend Hubert de Givenchy.
Audrey wears this gown in the Opera Scene of ‘Love in the Afternoon’. She plays the role of ingenue Ariane who captures the heart of a libertine American playboy played by Gary Cooper (who at the time was old enough to be Audrey’s father). Renowned French cinema veteran Maurice Chevalier plays the role of Ariane’s protective father, whose profession is a private detective, specialising in adulterous affairs. The film was directed by Billy Wilder and released in 1957. It is a light-hearted romance with an unlikely plot – and Audrey, with clipped English vowels, seemingly an unlikely daughter to French Maurice Chevalier. However, Audrey’s performance, her beauty and Givenchy’s fashions light up every scene in which she appears.
Estimate: £30,000 – £50,000

Felisa Irigoyen couture embellished cocktail dress, 1968-69

Lot 89: A Felisa Irigoyen couture embellished cocktail dress, 1968-69
Unlabelled, the ivory wool crêpe shift entirely covered with coiling bands of pearlised, domed discs, centred by rhinestones, and infilled with silver sequins, seed and faceted beads, leaf and floret shaped pearlised paillettes, lined in ivory silk, bust 86cm, 34in

Felisa Irigoyen worked as an embroideress for Cristobal Balenciaga in his Eisa couture ateliers in Spain. She was responsible for all the major embroidery including bridal gowns for Queen Fabiola of Belgium and Carmen Martinez Bordiú (the daughter of General Franco). After Balenciaga retired in 1968 she joined forces with Jose-Luis Molina Zumel, a famous Spanish fur designer, whose wife had been a major Balenciaga client under the company name ‘Felicia-Jose Luis’. They produced Balenciaga-inspired designs or near-identical Balenciaga copies, catering for a mainly Spanish clientèle, who had felt bereft at the loss of ‘the Master’.
Estimate: £800 – £1,200

Rare pair of Biba two-tone suede wedge-heeled shoes, 1970s

Lot 125: A rare pair of Biba two-tone suede wedge-heeled shoes, 1970s
Faintly stamped to interior, together with a pair of Biba blue cotton-twill knee-high boots and three pairs of shoes with ankle straps, 1970s, stamped to interiors, various sizes (qty)
Estimate: £200 – £300

Rei Kawakubo/ Comme des Garçons 2D collection ensemble, Autumn-Winter 2012-13

Lot 241: A Rei Kawakubo/ Comme des Garçons 2D collection ensemble, Autumn-Winter 2012-13
labelled and size S, the red felted wool ‘cloud’ top with matching angular shorts, size M (2)

The Sandy Schreier Collection
Estimate: £500 – £800

Art Deco explained

Art Deco explained

When we look at the history of design in art, the late 19th and the whole of the 20th century have quite the story to tell. It was a period of constant flux & change, with many new styles that defied the ones that came just before them. And, in one way or another, all of those styles are beginning to make a comeback, even today.

While they were striking and different in their time, these styles still manage to retain their evergreen appeal. In other words, even the contemporary man can enjoy them with as much passion as the people a century or so ago.

One such style that everyone instantly recognises is Art Deco. The name itself makes us instantly think of jazz, the prohibition, expressionist theatre and the early days of the Great Depression. It was a time of great inter-war prosperity, but also a lot of uncertainty. Furthermore, it was a time when artists tended to move away from purely aesthetic ideas and aimed to combine both beauty and practicality in art. In other words, Art Deco was purposefully modern since its conception, which is why it’s so appealing – even now.

But what is Art Deco? How would you best describe it to someone who’s completely new to the movement? Well, this post is here to help you do just that.

Metal Art Deco doors

The origins of Art Deco: a brief history

First and foremost, we should point out that this style did not originally go by the name Art Deco. When it first appeared, most people simply called it the modern style. In its later phases, during the mid and late 1930s, it had the name ‘New Moderne’ or Streamline Moderne. English art historian, Bevis Hillier, would use the new name in 1968 in his book Art Deco of the 20s and 30s, which popularised the term. However, even he noted that the name was in use several years before he published his book.

Art Deco is short for Arts Décoratifs, ‘decorative art’ in French. The name comes from the 1925 International Exhibition of Modern Decorative and Industrial Arts held in Paris, France. Many people tend to confuse this style with other popular movements, such as Art Nouveau, the Bauhaus School and Art Moderne. However, this style is quite different. In fact, it came out as a direct reaction to the Art Nouveau tendencies that were popular in Europe and North America at the time.

Characteristics of Art Deco

Art Deco embraced modernity at the time. The style focused on geometric and angular shapes, sharp angles and bright colours. Furthermore, it used new, artificial and expensive materials to its advantage. A typical piece from that era would contain aluminium, lacquer, plastic and stainless steel alongside ebony, ivory and moulded glass. Exotic materials such as zebra and shark skins also became popular fixtures.

The movement took inspiration from Greco-Roman Classicism, as well as other cultures around the world (Aztec, Mayan, Babylonian, Egyptian etc). Triangles and trapezoids dominated, as well as stepped forms, chevron patterns and the sunburst motif. Since the design was so practical and simple it remained popular until the outbreak of WWII. However, while the style itself was simple, it wasn’t minimal… or even minimalist. In fact, the artists and designers often chose elaborate, interesting solutions to design problems and came up with fascinating ideas.

Chrysler Building, New York City

Examples of Art Deco

Art Deco is a style that, once you see it, you’ll be able to recognise everywhere. We’ll list some of the most prominent examples of Art Deco design in the sections below.

Architecture

Most people tend to think of architectural design when Art Deco is mentioned. In fact, the architects of the time embraced the movement, as it fit so well with the contemporary lifestyle. Every type of building had an Art Deco touch to it; from garages to cafés, from cinemas to airports. However, one type of building seemed to fit the style perfectly – skyscrapers. Indeed, it was as if skyscrapers and Art Deco were made for each other.

By far the most famous example of this type of architecture is the Chrysler Building in New York City. It has everything; from smooth, shiny surfaces to sharp edges and ornate, geometric details. It also made excellent use of modern materials. More than anything, the Chrysler showed that a concrete building can be an aesthetic marvel. Other examples of buildings constructed in a similar style include:

  • Chanin Building (New York)
  • The Empire State Building (New York)
  • Houston City Hall (Texas)
  • Cincinnati Union Terminal (Ohio)
  • Kansas City Power and Light Building (Missouri)

Interestingly, the creators of the 1990s television show Batman: The Animated Series chose Art Deco as the dominant style for Gotham City. In fact, many people who decorate their homes in this style today took their inspiration from watching the series as children back in the early ’90s.

Furniture

Art Deco furniture followed the same patterns and motifs as the architecture of that time. Every piece had sharp geometric, symmetrical designs and patterns. Furthermore, the use of striking colours such as bright green, red and yellow was common. Each piece evoked progress and development, keeping up with the technological boom of the time.

In terms of materials, designers experimented quite a bit. They’d use hard, natural materials like wood and leather – all to great effect. And they also experimented with manufactured materials such as aluminium and steel. In fact, you could find interesting furniture that contained heavy metal frames and cushions of natural leather. It was the contrast that attracted people most of all.

In addition, each chair, wardrobe, stool, shelf etc. looked practical, thanks to the modern materials. An item had aesthetic beauty, but it was also one that you could use in everyday activities.

Visual arts and graphic design

Magazine covers, adverts, movie posters, illustrations and other forms of visual art all embraced Art Deco with passion. Visual artists looked for different ways to emphasise the modern spirit of the ’20s & ’30s, with rectangular and square shapes, angular fonts and bold colour palettes.

Sexuality, or at least a celebration of the human form, was also a big part of their works – usually expressed using geometric, modern depictions.

The main motif, however, was moving forward boldly and with pride. Each piece would experiment with straight lines to emphasise the speed of the age, as well as the smooth, modern edges of contemporary buildings, furniture and even vehicles. Because, let’s not forget, the automobile industry was also booming at the time, and the cars reflected the style of the age.

Art Deco car

In conclusion

Of course, there’s a lot more to the Art Deco movement than what we’ve listed in the paragraphs above. With that in mind, we encourage you to explore further. In fact, you may even want to introduce some of these Art Deco ideas to your own home. After all, it’s a style that will always feel fresh and modern, in any age and in any home.

[disclosure*]

Designer Desire: Lill Tschudi

Montage of Lill Tschudi linocuts

Lill Tschudi (1911-2004) was a 20th century Swiss-born linocut artist. Along with the likes of Sybil Andrews, Cyril Power and Claude Flight, she was a member of the influential London-based Grosvenor School.

She produced in excess of 300 different linocut designs during her illustrious career. Like the other Grosvenor members, her subject matter often included sport, transport and travel – conveying the speed and movement in that distinct style.

Her work has been included in many exhibitions worldwide; British Prints from
the Machine Age
at MoMA (2019/20), Cutting Edge: Modernist British Printmaking at The
Dulwich Picture Gallery (2019), The Cutting Edge of Modernity: An Exhibition of Grosvenor School Linocuts at the Osborne Samuel Gallery, London (2013), British Prints from the Machine Age: Rhythms of Modern Life, 1914–1939 at Museum of Fine Arts, Boston & MoMA (2008).

Prints of her work can be bought covering a range of budgets. Top dollar works come up for sale at auction houses such as Bonham’s and Christies with hammer prices from £2,000 to the tens of thousands. Pallant House and The Bookroom Art Press sell prints from £138.00. If that’s still too steep, there are prints listed on eBay for less than £20.00.

If you’re interested in finding out more about the work of Lill Tschudi and the other Grosvenor School alumni, there have been a few books & catalogues published on the subject; The Cutting Edge of Modernity: Linocuts of the Grosvenor School, Cutting Edge: Modernist British Printmaking and British Prints from the Machine Age: Rhythms of Modern Life. Tschudi’s 1933 Ice Hockey print (shown in the montage above) is the cover artwork for Impressions of the 20th Century: Fine Art Prints from the V&A Collection.

Portrait of Lill Tschudicredit

Additional image credits:
Artsy