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  Pedro de Lemos / Art Deco Orange glazed American Pottery Clydesdale Horse Sculpture c. 1930

  PEDRO DE LEMOS (1882-1945) Bay Area, California

  Clydesdale horse sculpture c. 1930

  Hand modeled orange glazed terra cotta.

  Marks: De Lemos Palo Alto (sticker on the bottom), various pencil notations on the foot bottom

  H: 9 1/8″ x D: 3 1/2″ x W: 9 1/2″

  Pedro Joseph de Lemos (25 May 1882 Austin, Nevada – 5 December 1945) was an American painter, printmaker, architect, illustrator, writer, lecturer and museum director. He started his art career in the Bay Area. He studied under Arthur Frank Mathews at the Mark Hopkins Institute of Art in 1900, later was a student of George Bridgman at the Art Students League in New York and of Arthur Wesley Dow at Columbia University Teachers College. The influence of traditional Japanese woodcuts is clearly seen in his work.

  Pedro’s father Francisco, a cobbler, emigrated from the Azores in 1872, and settled in Oakland, California where Pedro was educated. Pedro and his brothers Frank and John all followed careers in art. Pedro was employed by Pacific Press Publishing Company between 1900 and 1906, afterwards starting the Lemos Illustrating Company with his brothers in 1907. Later this became known as the Lemos Brothers Art and Photography Studio, which offered art classes in copper, leather and landscaping as well as the traditional media of drypoint, etching and illustrating.

  Lemos worked from a studio overlooking Lake Merritt and taught art at the University of California, Berkeley, working at the same time as illustrator and designer and giving classes in decorative design and etching at the San Francisco Institute of Art, where he had earlier studied when it was the Mark Hopkins Institute. He helped found the California Society of Etchers and an aqua print of his was acclaimed at the 1915 Panama-Pacific International Exposition, for which he helped organise the California print exhibition. He filled the position of Professor of Design at Stanford University and became director of the Stanford University Museum of Art in 1919. Besides being the first president of the Carmel Art Association, he was an affiliate member of several art organisations such as the California Society of Etchers, the California Print Makers, the Palo Alto Art Association, the Chicago Society of Etchers and the Bohemian Club. In 1943 he was elected a Fellow of the Royal Society of Arts in London.

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  House of Koch (attr.), Art Deco diamond, onyx and platinum “Zig Zag” ring, original box, c. 1920’s

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  American Art Deco Reed & Barton Sterling candlesticks 1928

  REED & BARTON  (active 1824 – present) Taunton, MA

  Candlesticks  1928

  Sterling silver with Hoffmann-like fluted base and bobêches with undulating stem and palm leaf like terminating detail.

  Marks: eagle R (in a shield) lion, Sterling, 1000, cement reinforced, eagle (date mark for 1928).

  Model illustrated: Vanity Fair (Dec. 1928, Vol. 31), p. 120., Reed & Barton Vintage Catalog, p. 10, plate number 1000.

  For more information on Reed & Barton see: Encyclopedia of American Silver Manufacturers, Dorothy T. Rainwater (West Chester, PA: Schiffer Publishing Ltd., 1986), p. 156-160.

  These candlesticks retailed for $19 in 1928.

  H: 10″ x Dia: 4 1/2″

   

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  Tommi Parzinger / American Art Deco Coffee Table circa 1939

  TOMMI PARZINGER  (1903-1981)  Germany/USA
  PARZINGER, INC.  New York

  Coffee table   c.1939

  Carved and ceruse oak with an incised diamond pattern pewter top

  Illustrated: Arts and Decoration, June 1940

  ***This table was originally priced at $80 during the period, as it appears in the Arts and Decoration vintage illustration from 1940.

  For other examples of Parzinger’s work see: Town & Country, Vol. 54, “Counter Points”, December 1939, p. 31; Town & Country, Vol. 95, “Counter Points”, June 1940, p. 19;  The Studio, 1938, “For the Table”, p.107-09; The Studio, 1942, “Tommi Parzinger, Designer of Modern Interiors and Silver”, p.37; Decorative Art, Studio Yearbook (London & New York: The Studio Publications, 1952-53), p. 98; Craft in the Machine Age, ed. Janet Kardon (New York: American Craft Museum, 1995) p.128, 134, 183, 241.

  H: 12” x L: 42” x D: 14”

  Price: $34,500

  This is a wonderful and rare coffee table by Tommi Parzinger in beautifully detailed ceruse oak with a diamond pattern pewter inset top. This table was
  completely handmade and dates from 1940, shortly after Parzinger opened his first eponymous gallery on East 57th Street. It is low and lean with exquisite Neoclassical Revival carved details and a silhouette that calls to mind an American take on Jean Michel Frank’s sober and refined elegance of the same time period. The cross-hatch carving with tassels on the two long sides and the related top corner details also have a charm reminiscent of Parzinger’s affable personality and effervescent design sensibility.