Bally Lyon
ID(s):
1932038Z0, 1932038Z1, 1932038Z2 et 1932038Z3
1932038Z0, 1932038Z1, 1932038Z2 et 1932038Z3
Subject
Shoe
Shoe
Description:
Two hands highlight, on one side a man's shoe, on the other a woman's shoe.
"Who hasn't loved, more recently, the poem of beautiful feminine hands, modeled with such aristocratic love and holding the shoe with such grace, that one felt like asking the invisible yet dazzling saleswoman, not only for the Bally pump, but...her hand. The great difficulty lies in making the presentation of a strictly utilitarian object aesthetic. As uninspiring as a mustard bottle or a margarine packet may be, it is nonetheless from them that one must start. Here, the artist's gift comes into play. Two paths are open to them. First, an almost 'literal' approach where, through close-up, the letter and the product are presented with striking relief. Even for Bally shoes, where two shoes take center stage, Cappiello cannot confine himself to such a strict interpretation. With subtle imagination, he doesn't even add feet to the shoes; but, with unmatched elegance, he places his shoe on a silk palm and has his pump held by fingers worthy of handling works of art." [in Leonetto Cappiello or the living arabesque. Guéguen. AMG, no. 39, 1934]
Two hands highlight, on one side a man's shoe, on the other a woman's shoe.
"Who hasn't loved, more recently, the poem of beautiful feminine hands, modeled with such aristocratic love and holding the shoe with such grace, that one felt like asking the invisible yet dazzling saleswoman, not only for the Bally pump, but...her hand. The great difficulty lies in making the presentation of a strictly utilitarian object aesthetic. As uninspiring as a mustard bottle or a margarine packet may be, it is nonetheless from them that one must start. Here, the artist's gift comes into play. Two paths are open to them. First, an almost 'literal' approach where, through close-up, the letter and the product are presented with striking relief. Even for Bally shoes, where two shoes take center stage, Cappiello cannot confine himself to such a strict interpretation. With subtle imagination, he doesn't even add feet to the shoes; but, with unmatched elegance, he places his shoe on a silk palm and has his pump held by fingers worthy of handling works of art." [in Leonetto Cappiello or the living arabesque. Guéguen. AMG, no. 39, 1934]
Source:
1932038Z0 : Private collection
1932038Z1 : Private collection
1932038Z2 : Musée des Arts Décoratifs, Paris
Department of Advertising and Graphic Design
1932038Z3 : Private collection
1932038Z0 : Private collection
1932038Z1 : Private collection
1932038Z2 : Musée des Arts Décoratifs, Paris
Department of Advertising and Graphic Design
1932038Z3 : Private collection
Publisher
"Devambez 144, Champs-Elysées - Paris "
"Devambez 144, Champs-Elysées - Paris "
Date:
1933
1933
Language: French
Dimensions (cm):
1932038Z0 : 162 x 114
1932038Z1 : 162 x 114
1932038Z2 : 298 x 201
1932038Z3 : 59,7 x 40,0
1932038Z0 : 162 x 114
1932038Z1 : 162 x 114
1932038Z2 : 298 x 201
1932038Z3 : 59,7 x 40,0
Signature:
Dated, at the bottom left
Dated, at the bottom left
Remark:
The "Bally" poster was printed in 2 formats: 300x200, printed in 1000 copies, 160x120, printed in 15000 copies
The "Bally" poster was printed in 2 formats: 300x200, printed in 1000 copies, 160x120, printed in 15000 copies
Reference Devambez: 5967
Date of the first sketch on the same theme:
1932
1932
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