Product Description
Velten Vordamm Keramik / Bauhaus Ceramics Vase c. 1920
STEINGUTFABRIKEN VELTEN-VORDAMM Werk Velten, Germany
Vase c. 1920
Handpainted and glazed earthenware
Marks: VELTEN-VORDAMM company logo
Similar work illustrated: Keramik und Bauhaus, Klaus Weber et al., exhib. cat. (Berlin: Bauhaus-Archiv, 1989), p. 229, illus. 289.
H: 5” x Dia: 5 1/2″
Velten Vordamm Keramik / Bauhaus Ceramics Vase c. 1920
BATISTIN SPADE (1891-1969) Paris, France
Coffee / occasional table 1935-40
Caramel lacquered wood, brushed conical brass sabots
Signed: B. SPADE, DECORATEUR, PARIS (metal plaque)
H: 17 5/8″ x W: 31 5/8″ x D: 18″
After WWI, Marseilles-native Batistin Spade started a workshop for cabinetry and textile design. During the years between the wars he gained recognition for his refined and sumptuous furniture and interiors. The designer worked on some 30 ocean liners, including the Île de France (1926) and the Normandie (1935). In the early 40s, Mobilier National chose Spade to create office interiors for numerous ambassadors and government officials.
GUSTAVO PEREZ Mexico
Stoneware vase 2000
Black, randomly positioned rectangles on a cream / sandy base with a pinned overlap detail
Signed: GP 2000-68
H: 9 1/4″ x D: 6 1/2″
Price: $5,500
Gustavo Pérez makes vessels that are simple, smooth and symmetrical. Their elegance is due to the precision of the incised lines and other markings on the pots. While using the same clay body—sand colored stoneware—throughout his work, the artist achieves a wide range of form and pattern and includes slowly undulating walls beneath the subtly incised surfaces.
Gustavo Pérez works are incessantly experimental. There have been parallel lines, calligraphic traces, geometric cuts into the surface, minimalist vessels, recollections of pre-Hispanic vases and references to other ancient cultures.
The ceramics of Gustavo Pérez are distinguished by eliminating superfluous details, by synthesis of his elements. During the past two decades he has created a visual language that seems closely aligned with music. Pure in form, with a significant structure, completely abstract and without specific associations, his language of line, the bending of forms, and the definition of the vessel mark his work as a distinctive voice. The form is not just a container or a receptacle; it is architecture.