*** This ring is illustrated in the catalogue raisonne “Kevin Coates, A Hidden Alchemy, Goldsmithing: Jewels and Table-Pieces” by Kevin Coates, Elizabeth Goring, Arnoldsche, 2008, No. 287.R.96
Known for his technical brilliance and the symbolic imagery of his work, Kevin Coates is considered by many to be Britain’s leading artist-goldsmith. A true Renaissance Man, Coates is also a musician specializing in the baroque mandolin and has performed in concerts and recitals throughout Europe as well as a mathematician; his PhD thesis was titled, A study of the use of Geometry and Proportional systems in the Art of Lutherie. He focuses on the spiritual meanings of jewelry and draws inspiration from music, theater, painting, literature and mathematics. Neither exclusively modern nor wholly traditional, Coates’ work dazzles us with its technical virtuosity and inspires us with its symbolic imagery. He was an artist in residence at the Wallace Collection in 2011, where he had an exhibition entitled, Time Regained. His most recent exhibition, A Bestiary of Jewels was on view at the Ashmolean Museum of Art and Archaeology, Oxford University from January through March, 2014.
JAN DE SWART (1908-1987) Netherlands / USA
Mystery box c. 1970
Hand carved and assembled box form with a curiosity element of a large turquoise cabochon with raw hide wraps underneath the lid.
For more information see: Jan de Swart: A Day That Becomes a Lifetime, exhibition catalogue (California: Fine Arts Gallery at the San Fernando Valley State College, February 1972); Jan de Swart, Mike McGee and William G. Otton (Laguna Beach, California: Laguna Art Museum, 1986).
W: 16 1/2″ x H: 4 1/2″ x D: 5″
Constantly seeking and inventing new materials Jan de Swart was a true modernist. He was influenced by artists such as Isamu Noguchi, Harry Bertoia, Charles Eames, and later Sam Maloof and Wendell Castle. Although he had been creating small sculptures since his arrival in California from Holland in 1929, he had not been widely recognized until being introduced to John Entenza, publisher of Arts & Architecture magazine in 1947. Soon thereafter, he was able to create larger works and began collaborating with architects such as Whitney Smith and Victor Gruen on special commissions. His work is in the permanent collection of Los Angeles County Museum of Art, The Smithsonian, and the Ford Foundation. He was honored with the American Institute of Architects Gold Medal for Sculpture in 1965.
ARCHIBALD KNOX (1864-1933) UK
LIBERTY & CO. London, UK
Hand mirror 1908
Sterling with large matrix cabochon turquoise
Marks: L & Co. cipher, Birmingham assay marks for 1908
Similar works with turquoise Illustrated: Archibald Knox, ed. by Stephen A. Martin (London: Academy Editions, 1995) ; Liberty Design 1874-1914, Barbara Morris (London: Pyramid Books, 1989) p. ; The Designs of Archibald Knox for Liberty & Co., A.J. Tilbrook (London: Ornament Press Ltd., 1976)
KISHIMOTO KENNIN (b. 1934), Japan.
Monumental “Iga” vase, circa 1995.
Hand thrown and handbuilt stoneware vase with a natural ash glaze in rich salmon rust, celadon, grey and black glaze
H: 20″ x Dia: 22″
1934 born in Nagoya 1953–1955 attends college in Nagoya 1960 moves to Mino, Gifu Prefecture 1965 establishes his own studio 1970 builds an anagama in Mikuni-Sanroku, where he lives and works until today 1976 appointed member of the Japan Crafts Association (Nihon kôgei-kai) Group exhibitions 1967 Asahi Ceramics Exhibition (Asahi tôgei-ten) 1968 Exhibition of Japanese Ceramics (Nihon tôgei-ten) 1970 International Exhibition of Chûnichi Ceramics (Chûnichi kokusai tôgei-ten) 1972–75 Japan Traditional Crafts Exhibition (Nihon dentô kôgei-ten)
One man shows:
1979 Takashimaya Gallery, Tôkyô; since then again in 1981, 1983, 1985, 1987, 1990.
1982 Hankyû Gallery, Ôsaka; since then again in 1983, 1984, 1985, 1986, 1987.
1984 Maru’ei Gallery, Nagoya; again in 1986.
OSWALD HAERDTL (1899-1959) Austria
J.C. KLINKOSCH Vienna
Hand mirror c. 1940
Handwrought and hand hammered silver in a contoured organic form, the top inset panel is turquoise and peach colored champleve enamel with silver cloisons in the form of a meandering branches.
Marks: J.C.K. (maker’s monogram), Klinkosch touch marks, 800 and toucan mark (Vienna silver standard marks)
For more information and other works see: Oswald Haerdtl 1899-1959, introd. Johannes Spalt (Vienna: Hochschule für angewandte Kunst, 1978); Oswald Haerdtl, Architekt und Designer (1899-1959), Adolphe Stiller (Salzburg: Verlag Anton Pustet, 2000); Art Nouveau and Art Deco Silver, Annelies Krekel-Aalberse (New York: Harry N. Abrams, 1989).
L: 10 1/2″
Haerdtl shared an architectural practice with Josef Hoffmann in the early 1930s, was later honored by the Austrian government to design the Austrian pavilion at the 1937 International Exhibition in Paris.
OTTO ECKMANN attr. (1865-1902) Germany
Pair of candlesticks c. 1900
Hand-wrought iron with floral and foliage design
H: 12 ¼” x W: 8 ¼”
Otto Eckmann (19 November 1865 – 11 June 1902) was a German painter and graphic artist. He was a prominent member of the “floral” branch of Jugendstil. Otto Eckmann was born in Hamburg, Germany in 1865. He studied at the Kunstgewerbeschule in Hamburg and Nuernberg and at the academy in Munich. In 1894, Eckmann gave up painting (and auctioned off his works) in order to concentrate on applied design. He began producing graphic work for the magazines Pan in 1895 and Jugend in 1896. He also designed book covers for the publishers Cotta, Diederichs, Scherl and Seemann, as well as the logo for the publishing house S. Fischer Verlag. In 1897 he taught ornamental painting at the Unterrichtsanstalt des Königlichen Kunstgewerbemuseums in Berlin. In 1899, he designed the logo for the magazine Die Woche. From 1900 to 1902, Eckmann did graphic work for the Allgemeine Elektrizitätsgesellschaft (AEG). During this time, he designed the fonts Eckmann (in 1900) and Fette Eckmann (in 1902), probably the most common Jugendstil fonts still in use today.
Karl Raichle(1889 – 1965) Meersburg, Germany.
Candlestick c. 1928
Hand hammered pewter in a half sphere and cone form
Marks: Meersburg, 6 7 8 2
For more information on Karl Raichle see: Avantgarde Design 1880-1930,Torsten Bröhan & Thomas Berg (Köln, Benedict Taschen, 1994) p. 101.
H: 3 1/8″ x Dia: 3 1/2″
Karl Raichle (1889 – 1965) attended the Bauhaus as a student in the late 1920’s before opening his own metalworkshop in Meersburg. Raichle was a student of Laszlo Moholy-Nagy at the Bauhaus in Dessau.
FRITZ SCHMOLL VON EISENWERTH (1883-1963) Germany
M.T. WETZLAR (active c. 1905-1940) München, Germany
Hand mirror c. 1920
Handwrought silver and ivory
Marks: MTW (in a shield), 900, moon, crown, Wetzlar München, R
L: 10 ¼” x W: 4 ¾”
ROBERT SCHELLIN (1910 – 1985) USA
“Calligraphy” Floor Vase 1958
Hand thrown earthenware with a light and dark brown glaze with a stylized abstract calligraphic motif encircling the body
Marks: various marks and estate stamps Robert Schellin, Made in 1958, P88, C118 (paper labels)
For more information see: Schellin, A Retrospective (Milwaukee: School of Fine Arts, The University of Wisconsin, 1975); Who Was Who in American Art, (Madison, Conn.: Sound View Press, 1985), p. 547.
H: 23 1/2″ x Dia: 7″
Robert Schellin’s life as an artist was consistent, productive, and based on firm philosophical foundations. Regarding his own progress, he had always been aware, as a young art student and later as a mature artist, that deliberately narrowing the focus of his interests to assure a more constant public notice would run the risk of his becoming highly expert, but sterile in expression. From the beginning of art student days Schellin moved from very satisfying periods of drawing and painting to work in three-dimensional
Media, frequently in the medium of ceramics.
Schellin left the W.P.A. in 1937 to teach at the University of Wisconsin in Milwaukee. After a year he moved to East Orange, New Jersey, supervising art in the public schools. It was during this stay in the New York metropolitan area that he studied with Hans Hoffmann at his Eighth Street School and witnessed at first hand the changing art scene and the growing commercialism of the artists market. Robert Schellin later returned back to Milwaukee rejoining the faculty of the University of Wisconsin (UWM). His works have been exhibited for many years in Wisconsin and national shows including the Wisconsin State Fair; the Art Institute of Chicago, 1944; the Walker Art Center, Minneapolis, 1946; and the Milwaukee Art Institute numerous times between 1939-1960. He was included in the USIA European Traveling exhibition 1959-61.
LOUIS W. RICE (Designer) USA
APOLLO STUDIOS, BERNARD RICE’S SONS, INC. New York
Skyscraper vanity hand mirror 1928
Silver-plated brass, original beveled mirror
Stamped marks: APOLLO STUDIOS, NEW YORK EPNS within a rectangle, SKYSCRAPER, REG. U.S. PAT. OFF.
For related Skyscraper objects see: (cocktail shaker) Silver in America, 1840-1940: A Century of Splendor, Charles L. Venable (Dallas/New York: Dallas Museum of Art, Harry N. Abrams, Inc., 1995) p. 288; (teapot) Modernism: Modernist Design 1880-1940, The Norwest Collection, Norwest Corporation, Minneapolis, Alastair Duncan (Woodbridge, Suffolk, England: The Antique Collector’s Club, 1998); (cocktail shaker) American Modern 1925-1940, Design for a New Age, J. Stewart Johnson, exh. cat. Metropolitan Museum of Art (New York: Harry N. Abrams, American Federation of Arts, 2000) p. 48.
L: 18 1/2″ x D: 5″
The same model can be found in the collection of the New York Historical Society.