Desert Flower, Mexico

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Eve Peri
Desert Flower, Mexico
c.1930s

Name: Desert Flower, Mexico
Brand: Eve Peri
Rating: 4.9 (46 reviews)

Price:$1,250

About the Item

Eve Peri (1897-1966). Desert Flower, Mexico, c.1930s. Wool and silk yarn embroidery on linen panel. Panel measures 12.5 x 18 inches. Plexi box measures 14 x 19.75 x 1.25 inches. Minor scratches on vintage plexi box. Estate stamp en verso. Excellent condition with no damage or restoration. Biography: Born in Bangor, Maine, Eve Peri worked predominantly as an abstract fiber collage artist, creating embroidered compositions, wash drawings and paintings. A modernist who favored rich patterns and organic forms, Peri cut and assembled found textiles gathered from travels around the world. She lived and worked in New York, Mexico and Philadelphia with extended stays in London, Lisbon, Paris, and Rome. At a very young age, Peri learned embroidery, appliqué, stitching and quiltmaking techniques from her mother and aunts. As an artist working with these skills and as a designer with her second husband, the Columbian painter Alfonso Umana Mendez, she produced hand woven fabrics for interiors, theater and fashion. Although her visibility was eclipsed in the decades since her death, there is now a renewed interest in her art as a result of recent exhibitions at the Michael Rosenfeld Gallery, New York. SELECTED MUSEUM COLLECTIONS Addison Gallery of American Art, Phillips Academy, Andover, MA Albin O. Kuhn Library & Gallery, The University of Maryland Baltimore County, MD American Craft Museum, New York, NY Bowdoin College Museum of Art, Brunswick, ME Comfort Gallery, Haverford College, Haverford, PA Cooper Hewitt Museum, New York, NY The Cooper Union, New York, NY Farnsworth Art Museum, Rockland, ME Portland Museum of Art, Portland, ME The Women’s Museum, Washington, DC Yale University Art Gallery, New Haven, CT AWARDS 1951 American Institute of Decorators, 1951 Citation of Merit 1952 Women in Art, Houston, TX SELECTED SOLO EXHIBITIONS 1937 Delphic Gallery, New York, NY 1942 Tommi Parzinger, New York, NY 1948 Addison Gallery of American Art, Phillips Academy, Andover, MA 1948 Eve Peri: Fabric Forms, Gallery E, Philadelphia Art Alliance, Philadelphia, PA 1950 Eve Peri: Fabric Forms, Hacker Gallery, New York, NY 1952 Everhart Museum, Scranton, OH Germantown Friends Library, Philadelphia, PA 1956 Watson and Bowler, Chicago, IL Thelma Tichenor, San Francisco, CA 1963 Pitture di Eve Peri, Galleria Anthea, Rome, Italy 1965 J. Walter Thompson Gallery, New York, NY; 1966 1982 Eve Peri: A Retrospective, Lawrence Oliver Gallery, Philadelphia, PA 1991 Eve Peri: A Retrospective in Painting, Collage and Fabric, Comfort Gallery, Haverford College, Haverford, PA 1996 Eve Peri, Michael Rosenfeld Gallery, New York, NY Eve Peri: A Modernist Spirit, Albin O. Kuhn Library & Gallery, The University of Maryland Baltimore County, Baltimore, MD 2004 Eve Peri: Fiber Artist, Farnsworth Art Museum, Rockland, ME SELECTED GROUP EXHIBITIONS 1937 The Cleveland Museum of Art, Cleveland, OH 1939 Contemporary Decorative Art, The Toledo Museum of Art, Toledo, OH 1940 Architectural League, New York, NY 1948 Miscellaneous Textiles, Addison Gallery of American Art, Phillips Academy, Andover, MA 1949 An Exhibition for Modern Living, The Detroit Institute of Arts, Detroit, MI 1951 Alter Ego: Masks: Their Use and Art, The Cooper Union, New York, NY 1952 Women in Art, Contemporary Arts Museum, Houston, TX Hotel el Panama, Panama 1957 Second Invitational Craft Exhibit, Art Center Association Gallery, Louisville, KY Wall Hangings and Rugs, The Museum of Contemporary Crafts, New York, NY 1958 Contemporary Wall Hangings, American Federation of Arts Traveling Exhibition Services (traveling exhibition) 1962 Gallerie d’Aubusson, Paris, France Little Gallery, Philadelphia, PA 1963 Little Gallery, Philadelphia, PA 1966 Creative Contemporary Embroidery, Old Westbury Gardens, Long Island, NY 1995 Collage: Made in America, Michael Rosenfeld Gallery, New York, NY 1996 Fiber and Form: The Woman’s Legacy, Michael Rosenfeld Gallery, New York, NY Craft in the Machine Age: The History of Twentieth Century American Craft, 1920-1945, American Craft Museum, New York, NY 1999 Unrecognized Talent, Lee Findlay, Jr., New York, NY 2000 Michael Rosenfeld Gallery: The First Decade, Michael Rosenfeld Gallery, New York, NY EVE PERI (1897-1966) CHRONOLOGY 1897 Born in Bangor, Maine to George Perry and Minnie Alpine. There was an early marriage and divorce. No records are available. 1931 Lived in Mexico with her second husband Alfonso Umana Mendez, a designer for Fred Leighton. Attended dinner party in Tiaquepaque, near Guadaldjara with guests including Witter Byner and John McAndrews, formerly of Museum of Modern Art. Expressed active interest in Matisse. 1939 Exhibited embroidered textiles in Contemporary Decorative Art at The Toledo Museum of Art in Toledo, OH. Exhibition catalogue illustrated Walk after the Rain, an embroidered tapestry. 1939 Divorced Umana. 1939 Passport issued c/o American Express, Paris. Living at 48 East 9th Street, New York, NY. 1939 Paris. In Paris, Peri first experimented with combining fabrics with her embroidery works. 1939 Lisbon. 1942 Passport renewed. 1946-50, 52, 53 Lived at 61 Park Avenue, New York, NY. 1948 Miscellaneous Textiles, Addison Gallery of American Art, Phillips Academy, Andover, MA; group exhibition with Ethel Beam, Florence Satsman exhibiting 27 works by Peri. Two exhibitions grouped under the same title: Silk Prints manufactured by the Onondaga Silk Company along with the American paintings on which they were based and an exhibition showcasing projects from various schools done by students of all ages. 1948 Studio visit with Alexander Kostellow, chair of Industrial Design Department at Pratt Institute, who then writes an essay on Peri’s work for her solo exhibition at the Philadelphia Art Alliance. 1948-49 Eve Peri: Fabric Forms, Gallery E, Philadelphia Art Alliance, Philadelphia, PA. 1949 Saved Thomas Mann’s article on Goethe. 1949 An Exhibition for Modern Living, The Detroit Institute of Arts, Detroit, MI; exhibition catalogue illustrated by Saul Steinberg. Peri’s address listed in Index of Exhibitors under “Textiles”; Eve Peri, 61 Park Avenue, New York 16, New York. 1949 Attended Miro show at the Pierre Matisse Gallery. Quoted Matisse “The purer the colors, the stronger they act on the deepest feelings.” 1950 Eve Peri: Fabric Forms, Hacker Gallery, New York, NY; reviewed in Art Digest, May 1950 by Doris Brian. Exhibited abstract, unframed wall hangings and such decorative objects as couch cushions. Second review, Art News, May 1950, p. 50, initialed A.R.; notes “Genesis” and price range of $200-$450. Third review, The New York Times, April 18, 1950; highlights “Red Space” 1951 American Institute of Decorators, 1951 Citation of Merit; given for abstract machine embroidery and appliqué on fabric; article by Betty Pepis, “Trial by Jury,” The New York Times Magazine, March 23, 1952. All products juried were offered for consumer sale no later than January 1, 1951. Peri was among 12 winners chosen from “several hundred entries.” Article describes jury process and illustrates winning designs. Peri won a citation for “novelties.” “There were six of these [citations], and they were commended by the judges as much for their originality of concept as for their excellence of design.” 1952 Arundell Clarke, New York, NY carries work by Peri including appliquéd fabric panels ranging in price from $35-$60 a yard; highlighted in the New Yorker, May 10, 1952. 1952 Alter Ego: Masks: Their Use and Art, The Cooper Union, New York, NY; review, “200 Changes of Face,” from unknown magazine. Exhibition included historical masks including examples from the Caroline Islands, South America, Melanesia, Africa, and Alaska. Modern masks included those by Margaret Severn (a Follies dancer), Julio de Diego, James Light (designs for The Great God Brown). Eve Peri is mentioned as follows: “We can only admire the indomitable creative spirit which made Eve Peri concoct the gaily-woven face across the way when confined for a week to a Lisbon hotel with a fierce siege of the hives. [Mask to Hide the Blotches of Hives]. 1952 Hotel el Panama, Panama; two articles from Panama (one in Spanish, one in English). Two week exhibition curated by Orlean Stone, interior decorator and wife of hotel architect Edward D. Stone. The English article from The Panama American – An Independent Daily Newspaper, no date, calls attention to Peri’s “fabric forms”. O. Stone is cited as being “one of the first interior consultants to visit the Isthmus.” 1952 Patricia Long, “Germantown Artist Designs Sculptured Fabrics,” Germantown Courier, Thursday, October 2, 1952, vol. 16, no. 43, pp. 15 and 22; Peri cited as living at 161 West Penn Street. Mentions a mask [A Mask to Hide the Blotches of Hives] that “received favorable mention the Cooper Union Gallery in New York” and that “later, two of four fabrics she designed for interior decoration won prizes at the American Institute of Decorators Show…New York.” Goes on to say that those ‘fabrics were later exhibited at the Good Design Show in Chicago.” Dealers listed: Arundell Clark, New York and Stanley Wollner, Philadelphia. 1952 Saved an article by Elizabeth Bowen. 1953 Saved article on Sean O’Casey. 1953 Women in Art, Contemporary Arts Museum, 302 Dallas Avenue, Houston, Texas; Invitation to members reception and preview of the exhibition illustrates two hand knitting together the following text: “A survey of women’s work, from the United States and abroad, in bookbinding, ceramics, china, cloth, pictures, enamels, encaustics, glass, intarsias, jewelry, lithographs, needlework, painting, plastics, photography, textiles, wallpaper and weaving. The exhibition includes custom made items and designs intended for mass production. May 7th through May 27th.” 1953 Second passport issued. 1956 Watson and Boaler, Chicago, IL; group exhibition with Karl Mann (seed mosaics) and Ruth Asawa (wire sculpture). Peri exhibited appliquéd and embroidered wall hangings, both non-objective and folk-style. Peri worked with “Architectural Stylist” Wanda Norstrom on the reconstruction of new offices for the Pennsylvania Lumbermen’s Mutual Insurance Company in the former Ritz-Carlton Hotel on the southeast corner of Broad and Walnut Streets in Philadelphia. The renovation of the new offices on the second, third and fourth floors was noted for its radical use of color in 3 articles in Philadelphia newspapers. The palette of 38 colors including “sharp blues, gold, lemon yellow, persimmon, green, light orange and the rest” was warmly embraced my the employees. All the articles are careful to note that 80% of the workers were women. 1953-58 Living at East Meehan Avenue, Mount Airy, Philadelphia. 1957 Passport renewed. 1957 Wall Hangings and Rugs, The Museum of Contemporary Crafts, New York, NY; Gallery publication lists 16 artists. Peri showed 8 fabric works, 7 hangings and 1 rug. 1957 Switzerland, Netherlands, Belgium, England 1958 Second Invitational Craft Exhibit, Art Center Association Gallery, Louisville, KY; juried exhibition organized by Julia Hamlin Duncan and Nelle Peterson, crafts teachers at The Art Center School. Ten artists exhibited pottery, jewelry, glass, weaving, embroidery, and printed materials. Peri was one of three women (with Madge Friedman and Veda Reed) to exhibit works on fabric. The Exhibition ran through April 5. Peri image used in ad in Louisville Times, March 19, 1958; abstract hand embroidered rug. Mentioned in undated review by Senta Bier, “Art in Kentuckiana” from Louisville paper. 1962 Cancer surgery, Graduate Hospital, Philadelphia. 1961 Re-vaccination, Dr. Sullivan, 1830 Rittenhouse Square. 1961 Third passport issued. 1961 Shipped paintings to Paris form East Meehan Avenue address. 1962 Sold furniture locally. 1962 Living at 167 Avenue Victor Hugo, Paris 16. Lived at 33 rue du Champ de Mars, Paris 7 (received letter from Bell regarding sale of Meehan Avenue property). Traveled to Basel and Dover. 1963 Traveled to London and lived at Villa la Foresteria, via Nomentame 28, Rome. Paintings were shipped to Naples from New York via Cristoforo Columbo. 1963-64 Letters from Galleria Anthea to Eve Peri at 7013 Green Street, Mount Airy, Philadelphia. 1964 Letter to Eve Peri regarding her trip to Rome to see her exhibition at Galleria Anthea. 1964 Letter from Dr. Tuman to Eve Peri at Hotel Condotti, Rome. 1964 At Wilbraham Hotel, London. 1964 Returned to Philadelphia. 1965 Living at 243 Pine Street, Philadelphia. 1966 Moved to 2110 Pine Street, Philadelphia. 1966 J. Walter Thompson Gallery, New York, NY; “Handcrafts of Rare Quality,” Interior Design, February 1966, p. 76. Article outlines Peri’s career and mentions show at Thompson Gallery and lists Wanda Norstrom, 103 West Queen Lane, Philadelphia, as a contact for information regarding Peri. A fabric work, Eden, (part of the Thompson exhibit) and a mosaic, Mole, are illustrated. 1966 Died. Ashes taken to Lisbon by Elizabeth Bullock. 1966 Creative Contemporary Embroidery, Old Westbury Gardens, Long Island, NY; “The Tree” was shown through the courtesy of the Cooper Union Museum. 1982 Eve Peri: A Retrospective, Lawrence Oliver Gallery, Philadelphia, PA; exhibited 36 works of varied media. 1989 Kendall Chew and John Formicola, 725 Carpenter Street, Philadelphia, PA 19147 retained to represent Peri’s work. 1996 Eve Peri: A Modernist Spirit, Albin O.Kuhn Library & Gallery, The University of Maryland Baltimore County, Baltimore, MD; exhibited 43 works of varied media BIBLIOGRAPHY “These Mexican Travel Tips by the Floor Covering Editor Will Keep Going for Some Time.” Unknown source, 1931. Recounts meeting with Umana, Fed Leighton’s designer in Mexico, at the Leighton house in Tlaquepaque and a party there for Witter Bynner, the poet that was attended by John McAndrew (formerly of the Modern Museum) and Eve Peri, “an American designer, [who] told you in vivid phraseology about life in Mexico.” [find copy of entire article and full citation]. “Notations in Needlework,” House & Garden, May 1946. Highlights fabric work. Illustrates in one photograph seven designs including a Mexican Colonial lion and a wall hanging that resembles “The Three Kings,” watercolor on tissue. House Beautiful, August 1946. “A Mexican cock fight seen on her travels inspired New Yorker Eve Peri, needlework artist, to design this self-confident cock, done in a veritable potpourri of stitches on linen for a pillow cover. Although this is an example of painstaking work, the amateur could achieve equally striking effects, for none of the stitches are complicated ones. Its beauty is in its improvisation, its true originality. “Abstract Embroideries,” Harper’s Bazaar, January 1947. “These are the newest expression of Eve Peri’s talent with fabrics. Made to order, they are executed in various techniques. One of the handsomest is an arrangement of grays and browns in many tones and surfaces, appliquéd to an off-white linen ground, with a black yarn rope embroidered over all, as if thrown there. These are worthy of framing, though some designers use them as fabric. Robsjohn-Gibbing has made them into magnificent pillows. Bardsley, Lucinda, “Applique Inspired by the Past,” Woman’s Day, February 1947, pp. 50-51. Commissioned project for new designs by Peri based on “heirloom” holdings of the Metropolitan Museum of Art. Peri created drapes and a cushion (based on a 19th-century, New England appliquéd rug), a bedcover and headboard (based on a 18th-century, American chest), and six paneled screen (based on 18th-century door and side panel). Directions for designs available on request from Woman’s Day in a leaflet, “Appliqué Inspired by the Past.” House Beautiful, April 1947. “Nowadays complicated embroidery just doesn’t go down, unless it is indispensable to the good looks and usefulness of the object. The simple stitching and appliqué of this pillow top by Eve Peri reflect unfussy modern taste. The pattern, no cut-and-dried cliché, is a custom design. “Tomorrow’s Heirloom,” Woman’s Day, June 1947, p. 59. Crocheted afghan design, directions for making given in the “HOW TO” Section, pp. 73-. House Beautiful, March 1948. “Since the Zengs believe in double-purpose rooms, the bedroom serves nicely as an extra living room. The bed, tailored to look like an overflow sofa, holds a flock of overflow guests. Modern needlework pillows and picture by Eve Peri.” Kostellow, Alexander J. “Fabric Forms: The Art of Eve Peri,” 1948, The Philadelphia Art Alliance gallery publication for exhibition. “Fabric Forms: A New Art Medium in World Premiere at Art Alliance,” Art Alliance Bulletin, December 1948, p. 6. Preview article for upcoming Peri show at the Philadelphia Art Alliance. “Interesting Women,” The Sunday Bulletin, Sunday Morning, December 19, 1948, p. 5. Review of solo-exhibition at the Philadelphia Art Alliance. “Examples of Eve Peri Fabrics,” Retailing Daily, Monday, December 20, 1948, p. 16. Review of solo exhibition at the Philadelphia Art Alliance. Illustrates “Red Space” and “Persian Moon.” Strousse, Marcia, “Needle Becomes Medium for New Art in Fabric,” The Philadelphia Inquirer, Friday Morning, December 24, 1948, p. 16, cover of “Features for Women” section. Review of solo-exhibition at the Philadelphia Art Alliance. [find good copy of entire article. both copies in files are damaged.] Bonte, C.H. “Needlework ‘Paintings’ by Eve Peri on View at Art Alliance Through Jan. 23,” The Philadelphia Inquirer, Sunday Morning, December 26, 1948. Review of solo-exhibition at the Philadelphia Art Alliance. “Fabric Forms in Philadelphia,” Interiors and Industrial Design, January 1949, pp. 14, 16. Review of solo-exhibition at the Philadelphia Art Alliance. D.D. “Eve Peri at Art Alliance,” The Art Digest, January 1, 1949, vol. 23, no. 7. Review of solo-exhibition at the Philadelphia Art Alliance. “Eve Peri: She Dabbles with Fabrics,” Design, January 1949, vol. 50, no. 4, pp. 20-21. Briefly highlights her career and covers her art-making process. Illustrates three fabric designs including “Birds of My Childhood” and a photograph of Peri. “Eve Peri’s Fabric Forms,” Craft Horizons, Spring 1949, vol. 9, no. 1. Review of solo-exhibition at the Philadelphia Art Alliance. O’Sullivan, Joan, “Scrap Bags Supply Source of Eve Peri’s Art Forms,” The New York Sun, Monday, February 21, 1949. Reports interview with Peri in her studio apartment on 61 Park Avenue. Gillies, Mary Davis, “It’s Straw, Midnight Blue and Coral,” McCall’s, April 1949, pp. 88-89, 98. Illustrates a wall hanging by Peri. “This lovely desk, which also serves for dining, might be called and extravagance, but it too is an investment. Like the other blond woods, it repeats the straw tones. The Eve Peri wall hanging is a modern sampler of appliqué and lazy-daisy stitches.” “Cut-out Fabric Montages,” Interiors and Industrial Design, July 1949. Illustrates “In the Beginning,” an appliqued wall hanging that “has been exhibited in a number of museums.” “Peri’s Needle,” Flair, March 1950, p. 108-109. Briefly highlights her career and illustrates several designs. Includes photo of Peri holding “Mask to Hide the Blotches of Hives.” “Variety of Patterns in Fabric Tapestries,” unknown source, April 18, 1950. Review of solo exhibition at Hacker, New York. “Eve Peri,” Art News, May 1950, p. 50. Review of solo exhibition at Hacker. Brian, Doris, “’Fabstracts’ by Peri,” The Art Digest, May 1, 1950, p. 15. Review of solo exhibition at Hacker. “New Styles Shown in Fabric Tapestries,” The New York Times, April 18, 1950. Review of solo exhibition at Hacker, New York. Untitled review, unknown source, 1950. Review of Hacker Gallery exhibit. Alter Ego. Masks: Their Art and Use, Cooper Union Museum for the Arts of Decoration, 1951. “200 Changes of Face,” unknown source, 1951. Review of “Alter Ego” at Cooper Union. Eve Peri is mentioned as follows: “We can only admire the indomitable creative spirit which made Eve Peri concoct the gaily-woven face across the way when confined for a week to a Lisbon hotel with a fierce siege of the hives.” [Mask to Hide the Blotches of Hives]. Ruggles, Ann, “Genuine Comfort and Convenience Coupled with Simplicity in New Boudoir Furnishings,” New York World-Telegram and Sun, Saturday, September 29, 1951, p. 11. Illustrates bedroom designed by Arundell Clarke that features a Peri bedspread. Peri is not credited. Pepis, Betty, “Trial by Jury,” The New York Times Magazine, March 23, 1952, pp. 40-41. Discusses jury process for the American Institute of Design Awards and illustrates Peri’s fabric design that won in the “Novelties” category with five other designs, “commended by the judges as much for their originality of concept as for their excellence of design.” The New Yorker, May 10, 1952. Regarding her work available at Arundell Clarke, New York. [find copy of entire article] “Interior Consultant Displays Fabrics, Arts at El Panama,” The Panama American – An Independent Daily Newspaper, unknown date in August, 1952. Reports visit of Orlean Stone, interior decorator, to Panama. Stone, wife of the Hotel el Panama architect Edward D. Stone, curated at the hotel a two-week exhibition of “decorative fabrics and artcrafts” that included fabrics derived from designs by Peri. “Especialista en Decoration Interior Ofrece Exhibition en el Hotel el Panama,” Panama, Tuesday, August 12, 1952. In Spanish. Reports visit of Orlean Stone, interior decorator, to Panama and the exhibition she curated. Mentions Peri. Long, Patricia, “Gtn. Artist Designs Sculptured Fabrics,” Germantown Courier, Thursday, October 2, 1952, vol. 16, no. 43, pp. 15, 20. General overview. Begins, “Perhaps you are one of the millions who look upon impressionistic art with a bewildered eye, wondering what the artist is trying to say, or if he is trying to say anything at all? If that is the case, perhaps you need to sharpen your appreciation of the beauty that can be seen in harmonized color and form. Or perhaps you should see the ‘sculptured fabrics’ of Eve Peri.” Mentions recent “small exhibit on display in Germantown at the request of Germantown Friends Library.” Barnes, Barbara, “Take Up Needlework, Designer Urges Women of the U.S.” Unknown Philadelphia Newspaper. Reports Peri lecture at a meeting of the Philadelphia Home Fashions League, after 1953. [find full citation] “Colors Found to Aid Work,” 1956, p. 12, 13. Covers decoration of the offices of The Pennsylvania Lumbermen’s Mutual Insurance Co. Includes photo of Peri with Wanda Norstrom, other designer. In file copy, Peri’s image is cut out. [find full citation and copy of entire article] “Rainbow of Colors Features Insurance Co.’s New Home,” 1956. Covers decoration of the offices of The Pennsylvania Lumbermen’s Mutual Insurance Co. [find full citation and find copy of entire article] “Color Big Factor in Reconstruction,” The Philadelphia Inquirer, Friday Morning, June 1, 1956. Covers decoration of the offices of The Pennsylvania Lumbermen’s Mutual Insurance Co. Untitled Review, unknown source, 1956. Review of exhibition at Watson and Boaler, Chicago, IL. “Wall Hangings,” Woman’s Day, October 1957, pp. 48-49. Briefly highlights her career and illustrates four designs for wall hangings. Instruction packets for making exact copies of the 4 designs available on request with payment of 25 cents each from Woman’s Day. Advertisement for Weldwood paneling, Architectural Forum, February 1958, p. 42. Illustrates Peri fabric in an office in Investors Planning Corp., New York. Peri not credited. “Exciting Show,” The Louisville Times, March 19, 1958. Illustrates hand-embroidered rug by Peri. Advertisement for craft invitational at the Art Center Association Gallery in Louisville, KY. Bier, Senta, “Art in Kentuckiana,” unknown source, March, 1958. Under subtitle, “Crafts Exhibit.” Review of craft invitational at the Art Center Association Gallery in Louisville, KY. “A is for Apple in an Embroidered Picture Book Designed by Eve Peri,” Woman’s Day, June 1965, pp. 46-47. Direction for making embroideries given in magazine on p. 96. “Market Spotlight,” Interior Design, February 1966, p. ?-70, 76, 82. “Handcraft of Rare Quality” subtitle for Peri section that states, “Paul John Smith, Director of the Museum of Contemporary Crafts, feels [Peri’s fabric work] is of such rare quality that it deserves a place in its permanent collection. Because of the Museum’s practically non-existent budget, he is hoping some philanthropic souls will come to its aid.” Mentions Cooper Union Museum obtaining a Peri hanging. Highlights career and illustrates two works “Eden,” a fabric design, and “Mole,” a mosaic. Mentions Peri’s show at J. Walter Thompson Co.’s “World Gallery at 420 Lexington Avenue, New York” in February 1966. Wanda Norstrom, 103 West Queen Lane, Philadelphia given as contact for further information on Peri. [find copy of entire article] Demott, Monica, “Matisse Theme in Eve Peri’s Fabric Works Questioned,” The Bi-College News, February 1, 1991, pp. 21, 19. Student review of retrospective exhibition at Comfort Gallery, Haverford College. Kardon, Janet, ed. Craft in the Machine Age: The History of Twentieth-Century American Craft, 1920-1945, (Harry N. Abrams and the American Craft Museum, New York: 1995), pp. ?, 242. Fiber and Form: The Woman’s Legacy, (Michael Rosenfeld Gallery, New York, 1996) pp. ?. Intro. by halley k. harrisburg. Color reproductions, brief biographical essays, artists’ statements, catalog of the exhibition. Artists represented include Hannelore Baron, Lee Bontecou, Nancy Grossman, Eve Peri, Anne Ryan, Betye Saar, Lenore Tawney. Michael Rosenfeld Gallery: The First Decade, Celebrating 10 Years Specializing in 20th Century American Art, (Michael Rosenfeld Gallery, New York: 2000), p. 40. “The Fifth Wall: How to Conceal a Bedroom in the Living Room,” unknown source, unknown date. Illustrates bedspread by Eve Peri from Arundell Clarke. Matthews, Elizabeth, “Furniture Is as Furniture Does,” Woman’s Home Companion, no date, pp. 32-35. “make-it-yourself wall hanging by Eve Peri” illustrated on p. 35. Unknown article, Good Housekeeping, unknown date, p. 73. Illustrates a Peri pillow. Peri not credited

Creator:
Eve Peri (1897 - 1966, American)
Creation Year:
c.1930s
Dimensions:
Height: 20 in (50.8 cm)Width: 14 in (35.56 cm)Depth: 2 in (5.08 cm)
Medium:
Raw Linen,Yarn
Movement & Style:
Art Deco
Period:
1930-1939
Condition:
Gallery Location:
Wilton Manors, FL
Reference Number:
1stDibs: LU24521183603

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Linen, Oil

Located in Surfside, FL

Folded Flat Linen 01 2016 Dimensions: H: 36 cm / W: 35 cm / D: 9 cm Materials: architectural wire mesh, raw linen Born in 1962 in Boulogne-Billancourt, France, Sebastien De Ganay studied political science and film at Columbia University in New York 1986-1990 ( (Bachelor of Political Science, Master of Fine Arts in Cinema) and is co-founder and editor of the art book publishing house onestar press. In addition to numerous exhibition participations, including the Centre Pompidou in Paris and the Landesmuseum Österreich in St. Pölten, Austria, the Institut Français in Vienna showed a comprehensive solo exhibition of the artist in 2014. In 2017, de Ganay realized a highly acclaimed installation for the Kunsthalle Krems. de Ganay lives and works in Austria. de Ganay produces minimalist abstract art works, painting, relief and wall sculpture. Sculptures made of aluminum, linen fabric, plastic, oil painting, wood and other materials. de Ganay joins a tradition of experimental artists. In this sense, for example, the Achromes by the Italian Arte-Povera artist Piero Manzoni, created in the 1960s, point the way for de Ganay's examination of folded linen fabric. "The process of de Ganay's Painting is the process of thought itself; it is a process which turns not away from painting, but towards it. And rather than seeing painting as closure, he presents his work to us as a space of multiple openings, layers, shadows and reflections. Painting is, as much as an object or a process, a state of flux." (Adrian Searle, art critic for The Guardian, London (1994)) In the style of Readymades and Arte Povera, de Ganay starts out from a simple utility material and combines this with an examination of the surface in the tradition of Minimal Art. He designed a limited edition chair "PLEASE" a “4 Piece Chair” customized by John Baldessari, Lawrence Weiner and Rirkrit Tiravanija. SELECT SOLO EXHIBITIONS: 2019 CRISS CROSS - Sébastien de Ganay, Raffaella della Olga, Galerie Steinek, Wien, Österreich "Flip, Flop, Flux", Galerie Ruzicska, Salzburg, Austria 2018 "und, und, und", rauminhalt harald bichler, Vienna, Austria 2017 "Fold on Fold", Häusler Contemporary, Lustenau, Austria "Transposition an Reproduction", Kunsthalle Krems in der Dominikanerkirche, Krems, Austria 2016 "Space on the Move", Hausler Contemporary, Zurich, Switzerland 2015 "Fold", Häusler Contemporary, Munich, Germany "Folded Flat" Galerie Ruzicska, Salzburg, Austria 2014 "Turn the green light on", Institut Français in Palais Clam-Gallas, Vienna, Austria "over again forever" Galerie Steinek, Vienna, Austria 2013 Sébastien de Ganay, "Carton Sculptures", rauminhalt harald bichler, Vienna, Austria St. Moritz Art Masters, Schlosserei, St. Moritz, Switzerland "you are here", Galerie Günter Salzmann, Innsbruck, Austria 2010 Presentation of the "All in one"-project, Galerie Renos Xippas, Paris, France 2009 "Catalogue", Daniel Abate Galeria, Buenos Aires, Argentina 2005 "Máscaras, más cajas, más caras", Daniel Abate Galeria, Buenos Aires, Argentina 2004 "Artist Quarterly", Sotheby’s, Vienna, Austria 2002 Galerie Jacqueline Rabouan-Moussion, Paris, France 2001 "Blanchiment d’argent et haute couture", Galerie Jacqueline Rabouan-Moussion, Paris, France SELECT GROUP EXHIBITIONS: 2019 "THE OTHER IS ONESELF", FRANZ JOSEFS KAI 3, Vienna, Austria "Sculptura", Iris Andraschek, Babi Badalov, Khaled Barakeh, Bernhard Cella, Adriana Czerni, Ramesch Daha, Sébastien de Ganay, Raffaella della Olga, Julius Deutschbauer, Sylvia Eckermann, Anna Jermolaewa, Bouchra Khalili, Thomas Locher, Jonathan Monk, Klaus Mosettig, Rudolf Polansky, Hans Schabus, Slavs & Tatars Gerold Tagwerker, Florian Unterberger, Costa Vece, Martin Walde, Lawrence Weiner, Nil Yalter...

Category

2010s Minimalist Abstract Sculptures

Materials

Wire

Sébastien de Ganay 1
Sebastien de Ganay Folded Linen Abstract Minimalist Unique Sculpture Fabric Wire, 2016

$2,500

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