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HENDRIK PETRUS BERLAGE  (1856 – 1934) Netherlands
BECHT & DYSERINCK for ‘t Binnenhuis

Rare Architectural Candelabrum c. 1900

Riveted and detailed “Eiffel Tower” like form in brass and copper with four feet, small cut out  designs and two bobeche trays supporting five candles.

H: 14″ x W: 8 1/4″ x D: 8 1/4″

Hendrik Petrus Berlage, a Dutch architect and designer attended the Rijksakademie in Amsterdam and a year later switched to architecture.  Berlage enrolled in 1875 in the architecture department of the Eidgenössische Technische Hochschule in Zurich. Through 1878  Berlage studied in Zurich under Gottfried Semper, whose teachings had a lasting influence on his work. After finishing these studies, Berlage spent three years traveling in Germany (1879) and Italy (1880-1881) before returning to his native Amsterdam. From 1881 Berlage was employed by the Amsterdam architect Theodor Sanders and from 1884 Berlage was a partner in the business until he opened his own practice in 1889. In 1884 he submitted a design for the projected Commodity Exchange (Beurs van Berlage) in Amsterdam, winning the competition in 1896. This building, completed in 1903, was Hendrik Paulus Berlage’s first important commission, which also solidified his reputation. Also in Amsterdam and at this same time, Berlage built the Diamond Guild building (1897-1900). In 1900 along with the architect and designer Jacob van den Bosch, Hendrik Paulus Berlage opened the gallery, “‘t Binnenhuis”. They sold their own designed furniture and objects they from 1900-1929. In 1900 Berlage was also commissioned to plan a southern extension of Amsterdam. This was Berlage’s most important contribution to urban planning and he worked on the project until 1915. In 1911 Berlage went to the US, where he saw the new buildings by Frank Lloyd Wright and Louis Sullivan. Berlage built his own house in The Hague and moved into it with his family in 1913. The Gemeentemuseum in The Hague (1919-1935) was Berlage’s last important building, however it was not completed until shortly after his death. Hendrik Petrus Berlage was the founder of the “Amsterdam School” and was a pioneer of modern architecture in the Netherlands. In his 1905 essay “Gedanken über Stil in der Baukunst”, Berlage fiercely criticized 19th-century historicizing architecture as pompous, reserving his praise for the austere simplicity of early period styles. His criticism was severe since he stated flatly that historicizing architecture was all appearance rather than reality, was not art; too much was imitation, more iron was used than stone, and so on. Hendrik Petrus Berlage was therefore an early critic of Historicism even though his Amsterdam Exchange still reveals Romanesque features.

LOUIS C. TIFFANY (1848-1933) USA
TIFFANY STUDIOS   New York

Kettle-on-Stand   c.1902

Silver on copper with carved teak wood handles and finial in an organic-form and hexagonal shaped kettle-on-stand with burner

Marks: Tiffany Studios, New York (on all three pieces)

Illustrated:  The Art of Louis Comfort Tiffany, Donald L. Stover (The Fine Arts Museums of San Francisco, 1981), p. 88, illus. 189 (description on p. 96); Tiffany at Auction, Alastair Duncan (New York:  Rizzoli International Publications, 1981) p. 50, pl. 137.

A rare example of a subtle organic-form and hexagonal shaped kettle-on-stand emulating pooling water in a Japanese influenced design by Louis Comfort Tiffany and made by Tiffany Studios

H: 10 1/2″ x D: 8″ x W: 9″

CHINESE ART DECO

Covered Box c.1930

Cloisonne enamel in a fantasy archaic Chinese motif in red, yellow, black and white abstract designs on a bronze body with a blue enameled underside and a wood lined interior.

H: 1 5/8″ x D: 6 1/8″ x W: 6 1/8″

Friedrich Gornik  (1877-1943)  Austria.

“Pelicans”  vide poche   c. 1910.

Bronze with a natural gold patina of two pelicans on a rock, one seated and the other eating fish.

Marks: F Gornik and monogram.

For more information on Friedrich Gornik see: Der Österreichische Werkbund, Astrid Gmeiner & Gottfried Pirhofer (Salzburg & Wien: Residenz  Verlag,1985) p. 228; Österreichische Keramik des Jugendstils,  Waltraud Neuwirth  (Munich: Prestel-Verlag, 1974)  p. 156.

H: 9″ x W: 6 1/2″ x D: 6″

George Logan (1866–1939) Glasgow, Scotland
Wylie & Lochhead, Ltd. Glasgow
British Arts & Crafts Movement/Glasgow Style

“The Grey Bower” chair, circa 1905.

Stained beech and contemporary silk upholstery.

Illustrated in a published drawing “The Grey Bower” by George Logan for Mssrs. Wylie & Lochhead in an article entitled ” A Color Symphony”: The Studio Magazine  1905

H: 53 3/8” x W: 18” x D: 13 3/4”

The Glasgow School was a circle of influential modern artists and designers who began to coalesce in Glasgow, Scotland in the 1870s, and flourished from the 1890s to sometime around 1910. Wylie and Lochhead’s output in the Glasgow Style, which was showcased at the 1901 Glasgow International Exhibition was designed by three young craftsmen – Ernest Archibald Taylor (1874–1951), John Ednie (1876–1934) and George Logan (1866–1939).

MATHILDE AUGÉ France

ELY VIAL  France

Eucalyptus vase   c. 1900

Colored enamels on copper with foil-backing depicting eucalyptus berries and leaves, gilt details

Signed: MA (artist’s monogram)

For more information see:  The Paris Salons 1895-1914 Jewellery, Vol. I: Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1994), p. 44; The Paris Salons 1895-1914, Objets d’Art et Metalwork, Vol. 5, Alastair Duncan (Woodbridge, Suffolk: Antique Collectors’ Club, 1994) p. 58; 1900, Philippe Thiébaut et al., exhib. cat. (Paris: Réunion des musées nationaux, 2000), p. 256.

H: 10 1/2″ x Dia: 4 1/2″

Cristalleries du val Saint-Lambert (1826-) Belgium
Jemepper-Sur-Meuse
Gevaert Romain/Ledru Leon

“Oignon de Jemeppe” art glass vase c. 1900

Hand blown coffee colored art glass vase with pulled feathering decoration in a burgundy-brown coloration with an elongated neck pulled from a bulbous body.

Marks: VSL (the mark is a variant colored feather pulled detail in the glass on the bottom of the vase)

H: 15 3/8″ x D: 5 3/4″

Price: $12,500

Val Saint Lambert is a Belgian crystal glassware manufacturer, founded in 1826. Val St Lambert is the official glassware supplier to H.M. King Albert II of Belgium.

Val Saint Lambert was founded in the Val-Saint-Lambert Abbey by a chemist, M. Kemlin, who had previously worked for the Vonêche crystal works in the Ardennes. Val Saint Lambert is renowned for its Art Nouveau and Art Deco pieces.

HELIOSINE Austria

AUSTRIAN ART POTTERY

Iridescent “Batwing” vase c. 1900

Rich blue, green, gold and red iridescent glaze earthenware with dramatic stylized batwing handles

Marks: 40051, RB (incised)

H: 5″ x W: 3″

Price: $1,975

DAUM FRÈRES   Nancy, France

“Cornflower” vase c. 1897

Blown cobalt blue on a frosted glass ground with heavily wheel carved cornflowers, with an overall martele surface

Signed: Incised Daum Nancy with the Cross of Lorraine France

For more information on Daum Frs. see: Glass: Art Nouveau to Art Deco, Victor Arwas (NY: Abrams, 1987).

H: 4 3/4″

Price: $9,850

DÉSIRÉ CHRISTIAN (1846-1907) France
MEISENTHAL (LOTHRINGEN) France/Germany

Gourd vessel in the Japanese taste   c. 1885-90

Wheel-carved and martelé French cameo glass with metallic inclusions and applied glass (blossoms, tendrils and butterflies)

Signed on the bottom: Desire Christian, Meisenthal Loth

For information on Désiré Christian see: The Glass of Désiré Christian, Ghost for Gallé, Jules S. Traub (Chicago: The Art Glass Exchange, 1978).

H: 8 1/2″ x Dia: 4″

FRENCH ART NOUVEAU

JULIEN CAUSSE attr. (1869-1914) Bourges, France

Bronze and frosted glass grape cluster and vine lamp c. 1900

L: 24″ x dia (grape cluster): 7″

Julien Causse was born in Bourges, France and worked from 1890 – 1914. He studied in Paris under Falguiére and exhibited at The Salon des Artists Francais in the 1890s, obtaining honourable mentions in 1882 and 1900 and a third class medal in 1893. He also took part in the exposition Universelle of 1900.

Tsuchida Yasuhiko  (b. 1969) Osaka, Japan/ Italy

Art glass mosaic technique vase   1999

Overall matte finish art glass vase with an elaborate mosaic technique inset with red rectangular patchwork sections and blue murrina jewels all on a chocolate brown body with a black glass foot

Marks: Tsuchida Yasuhiko 99, 77

For more information see: Tsuchida Yasuhiko, exh. cat., Franco Schiavon (Murano, Italy: Palazzo del Vetro, 2000).

Provenance: Pauly & Co. Venice

H: 4 3/4″ x Dia: 5 1/8″

Price: $5,450

Yasuhiko Tsuchida was born in Osaka, Japan in 1969. In 1988, soon after graduating TSUJI Culinary Institute, he left Japan to explore food and art in Paris. Since 1992, he has lived in Venice, Italy. Tsuchida has been making glass work in Murano Island since 1995, and next year assumed the office of art director at Schiavone Glass Co. Ltd. In 1996 he presented a glass sculpture entitled “Bamboo Collection”
with Japanese motif of bamboo. The work was highly acclaimed, which gave him a chance to start to hold solo exhibitions around the world. In 2000, Tsuchida became a member of the board of directors at Venetian Glass Institute, and a chief director there in 2003. In 2004, he won Honorary Technique Prize in Düsseldorf, Germany, and in 2008, received Award of Contribution to Cultural
Promotion from Grosseto city, Toscana. In the same year, he
represented Japan at International Open Exhibition of Sculpture, and won the Grand-Prix. In 2010, Tsuchida was invited to the Issei Miyake “IM10” Project Competition, and held a solo exhibition at Lorusso Gallery, Andria, Italy. Tsuchida continues to exhibit in many solo shows around the world.

ROSE CABAT (1914-2015) USA

Rare and important large scale “Feelie” c. 1980-85

Thin walled porcelain vessel with a silky satiny matte drip glaze

Signed: incised CABAT on bottom

For more information on Rose Cabat see: Rose Erni Cabat Retrospective 1936-1986 (Tuscon, AZ: Tuscon Museum of Art, 1986)

H: 3 5/8″

Price: $1,650

Rose Cabat was an American studio ceramicist living in Tucson. Considered one of the most important ceramic artists of the Mid-century Modernist movement, Cabat is best known for her innovative glazes on small porcelain pots called “feelies” which she developed in the 1960s. Her organic forms often resemble the shape of onions and figs, and her glazes range from organic to jewel tones. Cabat was born in 1914 in the Bronx, New York, began to work in ceramics in the late 1930′s, and moved to Arizona in 1942, where she continued to make innovative ceramics.

Feelies:
Feelies are described as onion, fig, cucumber, and saucer-shaped ceramic vases terminating in an upward closed neck. Bruce Block, an avid collector, has described them as sensual and tactile with a very specific unforgettable texture, spiritual seeming to contain a type of energy. Rose Cabat had developed a silky satiny glaze, and it wasn’t until around 1960 that she had hit upon the first of the appropriate form, svelte and sleek to match the glaze. She exclaimed, “Now this one’s a feelie.”, coining the term. Upon developing the new glazes, she felt that she needed new forms to apply the glazes to, different from what she made before, “craft fair” style coiled heads and wind bells. She is quoted as saying, “The old things did not look good … I wanted simpler shapes that went with the glazes.”They are typically globular in shape, tightening down to a minuscule neck glazed to a satin surface. The tactile experience is most important. The nature of the neck is such that it is closed, so narrow that it cannot hold anything. Cabat would reply when asked why the necks of her feelies are so narrow, “A vase can hold weeds or flowers, but can’t it just be a spot of beauty?”

BOŘEK ŠĺPEK (1949-2016) Prague, Czech Republic

Goblet “BIBI I” 1996

Blown clear glass with red looping details

Exhibited: The Twenty One (Millenium) Exhibition, Arzenal Gallery, Prague, 2000

For more information see: Sípek, Philippe Louguet, Dagmar Sedlická (Paris: Éditions Dis Voir, 1999); Borek Sipek and Christian Tortu: Collection Twentyone 2001 (Prague: Arzenal Edition, 2001)

H: 13″ x Dia: 4″

Price: $1,050

The Czech architect, furniture designer, and glass artist Borek Sípek was born in Prague in 1949. From 1964 to 1968 Borek Sípek studied furniture design at the Prague School for the Applied Arts. In 1969 he began to study architecture at the Hochschule für bildende Künste in Hamburg. In 1973 he studied philosophy at Stuttgart University. From 1977 until 1979 he was an academic assistant at the Hannover University Institute of Industrial Design. Borek Sípek took his degree in architecture at Delft Technical University. Then he taught design theory at Essen University until 1983. In 1983 Borek Sípek also opened an architecture and design practice in Amsterdam. He founded Alterego, a design business, with David Palterer. In the 1980s, Borek Sípek designed Postmodern furniture and glass objects, which brought him international renown. Borek Sípek’s designs are formally distinctive, both ingeniously conceived and sumptuous, and are often executed in unconventional materials and combinations of materials. Borek Sípek views design as an interpretation of culture. For this reason, he rejects the functional and rational approach to design and does not want striving for technical perfection to lead to disregard of individuality. In 1983 Borek Sípek designed “Bambi”, a fragile-looking tubular steel chair with brass fittings and a back covered in silk. In 1991 Borek Sípek designed the “PCSS” table with blue glass legs and metal fittings. Borek Sípek’s superlative glass objects are executed by glassblowers in Murano and Novy Bor. Borek Sipek is also known worldwide as an architect and has received prestigious commissions. Between 1993-2002 Borek Sípek worked on the Het Kruithuis Museum in ‘s Hertogenbosch (the Netherlands). In 1994 Borek Sípek designed the Kyoto Opera Houseentsteht das Opernhaus in Kyoto. In 1995 Borek Sípek designed a Paris boutique for Karl Lagerfeld. In 1990 Borek Sípek became a professor of architecture at the Academy for the Applied Arts in Prague, where he taught until 1998. Since 1999 he has taught at the Universität for angewandte Kunst in Vienna.
His works are included in major international museum and private collections throughout the US and Europe including Museum of Modern Art, Stedelijjk Museum, Denver Art Museum, The Corning Museum of Art, The Hauge Municipal Museum, Kunstmuseum in Düsseldorf and Design Museum in London.

Carla Tolomeo (1941-) Italy

Panca ananassa  settee (unique) 2004

Exotic variety of silk and cut silk velvets sewn and sculpted in the form of a spray of various pineapple shapes on a tufted cushion seat and upholstered legs.

Marks:  Tolomeo (written on the velvet), Tolomeo script signature (brass plaque)

Exhibited: Fondazioni Cerratelli, Pisa, Italy, Summer 2006
Model illustrated and biographical information on Carla Tolomeo: Il Fogliaccio, July 7th, 2006

For further information see: Carla Tolomeo Mai Sedersi Sugli Allori, Never rest on your laurels 1995-2004, Carla Tolomeo (Milano 2004)

H: 75 ½” x W: 63” x D: 21 ½”

Price: $48,000

ITALIAN DESIGN / POP ART

“Oversized “anywhere” lamp circa 1960’s-1970’s.

Real blown glass bulb with a yellow metal “protector” paying homage to the classic “anywhere” work light.  It is interesting to note that at a later date Ingo Maurer who designed the famous “flying bulb lights” used this light as an inspiration and did a paired down simple version utilizing plastic rather than glass for the actual glass bulb part.

H: 19″ X W: 11 1/2″

Price: $2,450