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Designed & Signed: '50S & '60s Glass, Ceramics & Enamel Wares by Georges Briard, Sascha Brasto
Highly collectible household objects designed and signed by name artists of the 1950s and 1960s are presented here. The artists have become well known: Georges Briard, Sascha Brastoff, Mark Bellaire, Frances and Michael Higgins, and others. The modern styles of hundreds of glass tumblers, ash trays, and household accessories that are artist signed (often in gold) have become popular again, 40 years after they were made. The leading designer and marketing wizard of this style is Georges Briard about whom much written here, and many of his designs are pictured, along with much work by the other prominent featured artists. Here is mid-century design at its most popular level.
192 pages, Hardcover
First published March 1, 1996
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August 21, 2013
As a resource guide for collectible glass, ceramics and enamelware, this is poorly designed. It stands as yet another collector-turned-publisher/writer publishing venture with little regard for artistry, clarity, organization or writing.
Collectors look for clear marks and designs to identify their vintage piece. This is the most disappointing aspect of Pina's book. There are ample photos, obtained from a variety of sources. But there is no consistency in size, set-up or background. There are murky black-and-white photos, gigantic enlargements and poor reproductions. To add to this lack of clarity, photos are presented randomly with no regard to pattern or year. The result is a confusing hodge podge that will likely irritate many a reader looking for a quick reference. The most offensive design fault is with the Appendix of Georges Briard patterns - page after page of smudged line art that bear little resemblence to the designer's intricate and beautiful work.
Pena's writing is passable and shows some research on the subjects. But there are also irrelevant anecdotal passages and vaguaries that have no value. The small font size and truncated blocks of text detract from ease of reading and show the result of amateur layout and design.
Altogether, this is a design nightmare. If it can be purchased for under $10, then Pena's book can act as a second or third resource for the collector.
Collectors look for clear marks and designs to identify their vintage piece. This is the most disappointing aspect of Pina's book. There are ample photos, obtained from a variety of sources. But there is no consistency in size, set-up or background. There are murky black-and-white photos, gigantic enlargements and poor reproductions. To add to this lack of clarity, photos are presented randomly with no regard to pattern or year. The result is a confusing hodge podge that will likely irritate many a reader looking for a quick reference. The most offensive design fault is with the Appendix of Georges Briard patterns - page after page of smudged line art that bear little resemblence to the designer's intricate and beautiful work.
Pena's writing is passable and shows some research on the subjects. But there are also irrelevant anecdotal passages and vaguaries that have no value. The small font size and truncated blocks of text detract from ease of reading and show the result of amateur layout and design.
Altogether, this is a design nightmare. If it can be purchased for under $10, then Pena's book can act as a second or third resource for the collector.
Displaying 1 of 1 review