Product Description
Hayno Focken / Modernist round covered copper box c. 1935
HAYNO FOCKEN (1905-1968) Germany
Round covered box c. 1935
Hand-wrought and hand-hammered copper with brass details
Marks under the foot: HF (conjoined monogram)
For other works by Hayno Focken see: Metallkunst: Vom Jugendstil zur Moderne (1889-1939), ed. Karl H. Bröhan (Berlin: Bröhan Museum, 1990), illus. 177, p. 183; Avantgarde Design 1880=1930,Torsten Bröhan & Thomas Berg (Köln, Benedict Taschen, 1994) p. 116; , (Berlin 1937) S. 43f, Abb. 37, Abb. S 128, S 146, Sl 243; Die Schaulade 15 Ausg. A (1939) Abb. S. 197, S. 204, S. 213; Die Schaulade 16 Ausg. A (1940) Abb. S. 44, S. 51., S. 54, S. 71, S. 83. S. 89; Die Kunst 84 (1941) S. 136, S. 139-39; Die Schaulade 17 (1941) Abb. S. 13, S. 41, S. 82, S. 229;
H: 4 ¼” x Dia: 4 7/8”
Hayno Focken (1905-1968) was an eminent German metal artist. He completed his training under Professor Karl Müller (1888-1972) at the design and arts school on Giebichenstein Castle in Halle (Saale), which was strongly tied to the ideals of the Deutsche Werkbund and the Bauhaus. In 1932 he established his own workshop in Lahr/Schwarzwald and continued his work until shortly before his death. His artistic work always stood out with a strong preference for large, organic forms, a similar manner of surface design and the same adherence to the principle of handicraft. Even his artist signet was modelled on the simple, square castle mark. In the 1950s he became one of those significant artists who had a major impact on contemporary metal design. The foundation of his creative work was a masterful understanding of proportions.
Hayno Focken / Modernist round covered copper box c. 1935
EDWARD WELBY PUGIN (1834 – 1875) UK
“Granville” chair c. 1870
Walnut, klismos-style A-frame back with exposed pegs, shaped seat and base with exposed mortise and tenon joinery.
Illustrated: Victorian and Edwardian Decor: From the Gothic Revival to Art Nouveau, Jeremy Cooper (New York: Abbeville Press, 1987) fig. 117; Nineteenth Century Design: from Pugin to Mackintosh, Charlotte Gere and Michael Whiteway (New York: Harry N. Abrams, Inc., 1993) p.143, pl. 173 (in oak); Catalogue Sommaire Illustré des Art Décoratifs, Musée d’Orsay (Paris: Éditions de la Réunion des Musées Nationaux, 1988), p. 184; Truth, Beauty and Design. Victorian, Edwardian and later decorative art, exhibit. cat. (Fisher Fine Art Limited, London, 1986.) p. 32, No. 50
A “Granville” chair is in both the Permanent Collection of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Musée D’Orsay, Paris.
H: 33″ x D: 18 1/2″ x W: 18″
Edward Welby Pugin, son of gothic-revivalist A.W.N. Pugin, was thrust into professional and family responsibilities upon his father’s death in 1852 when the young Pugin was only eighteen years of age. His style closely resembled his father’s although his furniture for the Granville Hotel in Ramsgate (1873) had its own robust individuality. Like his father, he designed both church and domestic furnishings, mostly executed by Hardman & Co. of Birmingham, the firm established by his father’s collaborator John Hardman. During his lifetime E.W. Pugin was regarded as the leading Catholic church architect of the High Victorian period, in fact he left for New York in 1873 and set up an office on Fifth Avenue and received commissions for some 30 churches across the U.S., including Chicago and Washington, D.C.
Weight: 6.88 Troy ounces / 214.2 grams