Later, they operated a business importing bibelots from Italy: Capodimonte figurines and Murano crystal.
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Tastefully appointed booths carry everything from tiny baubles and bibelots to sleek modernist furniture, antiquities, glassware and blue-chip art.
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Then Mr. Tolins invented his day job: tending the bibelots and souvenirs stored in the basement of Barbra Streisand's Malibu house.
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Inside there is a small desk with a computer; a bookshelf is adorned with bibelots and certificates of appreciation with her name in fancy script.
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His desk, a piece of plywood wrapped with muslin and set on sawhorses, is still strewn with his precious bibelots and talismans, including the walking stick of his mentor, Christian Dior.
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At the show's opposite end (literally and figuratively) is Félix Bracquemond's large and masterful print of the art critic Edmond de Goncourt, all mustaches and sinuous cigarette smoke, at home among his bibelots.
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The house is decorated with confident and refined theatricality: custom-designed brocade-and-velvet sofas; a domed dining nook with a mosaic ceiling; a double-height library with a wrought-iron catwalk of gossamer delicacy; abundant antiques, bibelots, contemporary artworks and a few flea-market flourishes.
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Advertise on Hyperallergic with Nectar Ads Transforming seven rooms at Andrew Edlin Galley, terence koh: bee chapel perplexes from its start — where bibelots suspended between the glass of wood boxes resemble both beehive frames and cabinets of curiosity — to its end, where the eponymous bee chapel, a small hut made of beeswax, looms at the top of a stairwell sculpted of dirt.
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There was also a series of twenty nine midget reprints of English classicsWhosWho (5 inches x 2¾ inches) in The Bibelots series, edited by John Potter BriscoeDNB F.R.S.L. F.R.Hist.S. Hon. F.L.A. and published by Gay and BirdBritish Library of 22 Bedford Street, Strand, London from 1899 to 1907. It is not known if Gay and Bird had any connection with Thomas Bird Mosher.
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In Yiddish such items are known as tchotchkes. Edith Wharton and Ogden Codman Jr., in The Decoration of Houses (1897), distinguished three gradations of quality in such "household ornaments": bric-à-brac, bibelots (trinkets) and objets d'art."French speech... has provided at least three designations, each indicating a delicate and almost imperceptible gradation of quality": Wharton and Codman, The Decoration of Houses, 1897, Ch. XVI "Bric-à-brac" p. 184.
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Other notable Cogniard productions were La Chatte blanche with the café-concert performer Thérésa, the trick-filled La Poudre de Perlinpinpin, and, in collaboration with the vaudeville writer Clairville, the 1858 Variétés production Les Bibelots du diable, a comic spectacle with winking references and allusions to most of the major féeries that had gone before it. The comic strain of Le Pied de mouton and Les Pilules du diable was emphasized in many of these successes, such as Les Sept Châteaux, Perlinpinpin, and Les Bibelots. Poster for an 1874 Théâtre du Châtelet production of Les Pilules du diable Because of the large scale of the spectacle, the biggest and most technically equipped Parisian stages became the most in-demand venues for the shows. The Cirque Olympique, formerly an arena used for political and equestrian spectacles, took advantage of its deep stage to present expensively mounted féeries; it was eventually replaced by a new auditorium built specifically for spectacle, the Théâtre du Châtelet.
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George W. Headley (January 8, 1908 – February 7, 1985) was a noted twentieth- century jewelry designer, collector, socialite and founder of the Headley- Whitney Museum in Lexington, Kentucky. As a designer, he was known for collaborations with Salvador Dalí, Paul Flato, David Webb and Cartier, between the 1920s and 1960s, with clients including Douglas Fairbanks, Gary Cooper, the Marx Brothers, Judy Garland and Joan Crawford, as well as for his extravagant bibelots - small, intricate and precious decorative objects.
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The library holds a 1,500 volume collection of fine art books. The Jewel Room was built to display his collection of jewelry and bibelots, and is designed to evoke the feeling of a jewelry box with its dark enclosed interior. Both rooms are littered with Headley's collection of natural curios, specimens, objects, and art collected during his travels abroad. A former three car garage was transformed into a shell grotto, with coral floors, mosaic ceilings and walls covered in shells and polished stones.
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A keen collector, Geffroy favored eighteenth- century pieces, though he preferred the elegant sobriety of Louis XVI or the Directoire to the busier style of Louis XV. His own apartment on the rue de Rivoli was proof of this, containing chairs with the stamp of Georges Jacob, architectural furniture by Adam Weisweiler or Jean-Henri Riesener, Neoclassical bibelots, vases and stone obelisks. He had a sense of theater and delighted in trompe l’oeil effects. The bookcases he designed reflect that. He built a large number of them, notably for Baron Alexis de Redé at the Hôtel Lambert and, in 1944, in collaboration with Charles de Beistegui, for the residence of Sir Duff Cooper and Lady Diana Cooper, the British ambassador to France.
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Scenes and characters from Jules Verne's féerie, Journey Through the Impossible By the mid-nineteenth century, féeries had become one of the foremost venues for fairy-tale storytelling in popular culture, and had gained the fascination and respect of some of the foremost writers of the day. Théophile Gautier often reviewed them in his capacity as a writer on the theatre, comparing the shifting scenes and magical occurrences of the féerie to a dream: The popularity of the féerie had its first peak in the 1850s; by the end of the decade, around the time of Les Bibelots du diable, the focus had shifted from the fairy-tale plot to extravaganza on its own terms. Siraudin and Delacour's 1856 satire La Queue de la poêle parodied the conventions of the genre, much as Frédérick Lemaître had done to melodrama in his version of L'Auberge des Adrets. Though seen as somewhat old-fashioned during the 1860s, the genre saw a second surge in popularity from 1871 through the 1890s, in which ever more lavish versions of the genre's classics were mounted.
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