Product Description
Wolfgang Gessl Unique sterling silver Arc pitcher with acrylic handle 1990
WOLFGANG GESSL (b. 1949) Austria
Arc pitcher – unique 1990
Hand wrought silver in a rounded arching form with a cylindrical luminous yellow-green acrylic handle
Marks: Wolfgang Gessl (script impressed signature), WO.GE (in a rectangle), Swedish assay mark for Stockholm, 925 (silver guarantee in a rectangle), Q10 (in a rectangle)
Illustrated: Gold and Silversmith Wolfgang Gessl: Exceeding Geometry, Kerstin Wickman, p. 17, cover.
H: 13 1/2″ x W: 10 ¼” x D: 4 ½”
Price: $27,500
Wolfgang Gessl was born in 1949 in Vienna, Austria and trained as a goldsmith with Professor Hans Angerbauer. Upon moving to Sweden, Gessl studied under the eminent silversmith Sigurd Persson at Konstfack, the National University of Art, Craft and Design in Stockholm, Sweden.
Wolfgang Gessl has had fifteen solo exhibitions including shows at The National Museum, Stockholm and The Royal College of Art in London. His metalwork has been widely exhibited in Sweden, Europe and the U.S and his pieces can be found in many private collections throughout the world. He has taught at Konstfack for more than twenty-four years, and continues to live and work in Stockholm.
Wolfgang Gessl Unique sterling silver Arc pitcher with acrylic handle 1990
PIERRE BOUCHER (1908-2000) France
Propeller 1935
Signed: WB – 7252; Photo Pierre Boucher (ink stamp); DBoucher (ink signature)
Provenance: Gene Prakapas Gallery, New York, 1978.
H: 7 1/16” x W: 9 ¼” (unframed)
H: 14 11/16” x 16 11/16” (framed)
Pierre Boucher came to photography as a result of the Nouvelle Vision and he explored photography as an experiment on all levels, photograms, collages, solarization and superimposition. He had a natural curiosity and a cultivated and sporty demeanor that led him to produce work as diverse as surrealist nudes and well-constructed advertisements. Whether it be in documentary photography or industrial photography, Pierre Boucher always awakens an empathy and a feeling of closeness with his subjects in the spectator.
Pierre Boucher got his start in advertising, taking his inspiration from the graphic techniques of the modernists in the field and contributing to the transformation of the advertising photo into a work of art. He used photomontage to make his work more striking and effective, making unnerving and astonishing.
Boucher’s nudes, on the other hand, use no technical prowess whatsoever. After the war the movement for freedom of the body led him to reconsider social models. Pierre Boucher revisited the female and male nude from several angles. Around 1931, he did his first nude photos under the umbrella of the “ New Objectivity ” : the image was boxed, the frame strict, the bodies freed from their faces. From 1933 onwards his nudes became surrealist inspired by the work of Man Ray. He then moved on to neo-classical nudes. In studio or in natural light his Apollonian nude aimed above all for beauty and harmony.