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Material: Birdseye Maple
Art Deco Blonde Bird's-Eye Maple Cocktail Cabinet Dry Bar, English, circa 1930s
Located in Devon, England
This hugely stylish Art Deco cocktail drinks cabinet is a fantastic piece of Art Deco furniture and it's internal features prove to be an incredibly appealing feature. The beautifull...
Category
Mid-20th Century English Art Deco Birdseye Maple Barware
Materials
Mirror, Bakelite, Birdseye Maple
Sterling Silver Gorham Art Nouveau Wine Coaster with Maple Base
By Gorham
Located in Los Angeles, CA
A beautiful sterling silver art nouveau wine coaster... large enough for wine or champagne bottles with a design that is stunning - While from the early part of the 20th Century the ...
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Early 20th Century American Art Nouveau Birdseye Maple Barware
Materials
Sterling Silver
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Italian designer and photographer Willy Rizzo (1928-2013) first came to prominence in the 1960s as both a chronicler of and participant in La Dolce Vita, the glamorous, jet set lifestyle enjoyed by many international celebrities and socialites in the postwar era. While photography was Rizzo's first love, in the 1970s he developed a passion for interiors and launched a second successful career as a luxury furniture designer.
Rizzo was born in Naples in 1928 but moved to France early. After expressing an interest in photography at the age of 12, Rizzo's mother gifted him an Agfa Box camera; soon he was shooting portraits of his classmates at Paris's Istituto Statale Italiano Leonardo Da Vinci.
In the 1940s, Rizzo began his career as a photojournalist, working for several French publications, including Ciné Mondial, Point de Vue, and Image du Monde. In the aftermath of the Second World War, Rizzo notably covered the Nuremberg Trials and travelled to Tunisia for Point de Vue to photograph the conflict in North Africa, later published in Life Magazine. As his reputation grew, he was hired by France Dimanche to take portraits of the rich and famous at flashy events like the Cannes Film Festival. Rizzo's charm won the trust of royalty, dignitaries, and movie stars, allowing him to capture these public figures in unusually candid moments.
Hoping to advance his career further, Rizzo travelled to New York with Black Star Agency in 1947 to photograph American starlets. When he returned to Paris two years later, he was invited to join Jean Prouvost’s newest publication in colour, Paris Match, as head photographer—a position that he held for 20 years and, along the way, sparked a new culture of celebrity photographers who were as intriguing and fashionable as their subjects.
In 1959, he became the artistic director of Marie Claire and collaborated with other fashion magazines, such as Vogue.
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