.jpg?w=1)
Lot Essay
The present correspondence box is a perfect metaphor for the particular talent and range of designer Rose Adler in the mid-1920s. Adler studied the applied arts and found her form as a creator of exquisite modern book bindings. A turning point in her career came in 1923, when Jacques Doucet, the most important art collector and patron of his era, bought three of her bindings at an exhibition held by her school at the Pavillon de Marsan. Doucet so admired her work that he entrusted her on-going commissions to create bindings for his library, and invited her to design furniture and objects that would reflect her sensitivity with fine, tactile materials.
Here, in this box, macassar ebony and galuchat, materials associated with the finest furniture of the 20s, are punctuated with rose quartz in a sophisticated object designed to contain and protect papers – a hybrid work that references her skills both as a designer of furniture and as the ever-inventive creator of book bindings in a radical contemporary idiom.
Here, in this box, macassar ebony and galuchat, materials associated with the finest furniture of the 20s, are punctuated with rose quartz in a sophisticated object designed to contain and protect papers – a hybrid work that references her skills both as a designer of furniture and as the ever-inventive creator of book bindings in a radical contemporary idiom.