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  PER SAX MOLLER / Scandinavian Modern Sterling sculptural centerpiece 2000

  PER SAX MØLLER  (b. 1950) Denmark

  Round sculptural centerpiece with geometrical shapes   2000

  Sterling silver

  Marks: PER SAX MØLLER, Copenhagen, 925s, Sterling

  Exhibited: Danske Sølsmede-nye arbejder (Danish silversmiths-new work), Museet på Koldingshus, 2002.

  Diameter: 8 ¼”

  Price: $12,500

  The silversmith Per Sax Møller was trained in the Danish silver tradition with Jeweler to the Royal Danish Court, A. Michelsen, from 1968-1972. The workshop specialized in style copies and modern silver, which during the 1900’s was designed by architects such as Thorvald Bindesbøll, Kay Fisker, Erik Herløw, Tove and Edvard Kint-Larsen, among many others.

  After completing his apprenticeship, he worked at Preben Salomonsen’s workshop in Copenhagen, mainly creating style copies for stores such as Tiffany, Bloomingdale’s and Aspery. Here, the ancient silversmith’s craft he had learned at A. Michelsen, was further honed. During the years 1973-1975, he attended classes at Guldsmedehøjskolen, but he was disappointed in the low standard of teaching and therefore did not graduate.
  He found the opportunity for a far richer artistic education as a conscientious objector, stationed at the art museum Louisiana in Humlebæk, outside Copenhagen. He spent more than a year here, surrounded by the works of Henry Moore, Arp, Calder, Laurent and Danish artists such as Astrid Noack, Ejler Bille, Sonja Ferlov Mancoba, Villy Ørskov and many more, which left a deep and profound mark.

  In 1976, Per Sax Møller established himself in a workshop alongside goldsmith Jørgen Bindesbøll, in St. Kongensgade in Copenhagen. Over the next couple af years, he also joined the association “Danske Sølvsmede” in exhibitions throughout Scandivavia. He retired from the workshop with Jørgen Bindesbøll in 1980, but continued to create works in rented space. To help earn a living, he drove a city bus and worked for Folketeateret in Copenhagen, creating theatre sets.

  Jørgen Bindesbøll moved to Møn in 1984, and Per Sax Møller took over his workshop in St. Kongensgade. Soon thereafter, he established himself in a workshop in Pilestræde, Copenhagen, and then in 1992, he took over silversmith Kay Bojesen’s workshop in Bredgade 47, where he resides today.
  In the mid 1990’s Per Sax Møller rejoins “Danske Sølvsmede”, and in 1999 he succeeds silversmith Ib Andersen as president of the association. As president, he revitalizes Danish silver by initiating the exhibition Danish Silver 2000, which takes up most of the space in the museum Koldinghus and becomes one of the largest manifestations of Danish silver. During one summer month, the exhibition was visited by 30,000 guests.

  In 2002, Per Sax Møller resigns the presidency of “Danske Sølvsmede” to once again concentrate on his own works. Per Sax Møller has received Danish State Arts Foundation grant in 1979, 1997, 2000 and 2002. His works are represented at Oslo Museum of Art and Design, Danish Museum of Art and Design, at the museum Koldinghus and in private collections in Europe, USA and Canada.

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  Emanuel Josef Mangold (attr.), J. & L. Lobmeyr (retailer), Fachschule Haida vase c. 1911

  EMANUEL JOSEF MARGOLD attr. (1888-1962)

  J. & L. LOBMEYR (founded 1823) Vienna, Austria

  FACHSCHULE HAIDA Bohemia

  Vase c. 1911

  Stylized birds perched in highly stylized scrolling vine motif, abstract geometric circular forms and concave carved “windows”, “Schwarzlot” technique further accented with gilt highlights

  For more information see: Das Böhmische Glas 1700-1950, Band IV Jugendstil in Böhmen, Alena Adlerová, c.s. (Passau: Passauer Glasmuseum, 1995) pp. 202 – 210; Glaskunst der Moderne: von Josef Hoffmann bis Wilhelm Wagenfeld, Torsten Bröhan (Munich: Klinkhardt & Biermann,1992),

  ***The “Schwarzlot” technique is finely pulverized iron that is in liquid form and painted as the graphic design. The piece is than “fired” and the painted surface creates a soft iridescent metallic charcoal grey surface. This technique also has a similar coloration to the liquid form metallic used in the silver / jewelry technique “Niello”. “Schwarzlot” was a labor intensive technique used in artistically painted glass in Bohemia immediately following the turn of the 20th Century and through the 1920’s.

  H: 7 1/4″ x Dia” 4 1/2″

  Price: $6,450

  Emanuel Josef Margold (1888-1962)

  The architect, designer for the arts and graphic artist Josef Emanuel Margold was trained as a carpenter at the College for woodworking in Königsberg an der Eger. He then studied at the School of Applied Arts in Mainz Anton Huber, then at the Academy of Fine Arts Vienna in the Master School of Architecture at Josef Hoffmann. 1908-10 he carried out works in Bohemia and Austria. He then became assistant Josef Hoffmann at the master class and employees of the Wiener Werkstätte. During the study period Margold participated in numerous Ideenwettbewerben. The Darmstadt publisher Alexander Koch became aware of him and published from 1907 Margolds designs in various journals.The 1911 Margold was appointed to the Darmstadt Artists’ Colony and established a studio in the Ernst-Ludwig-Haus. He made numerous designs for all areas of arts and crafts such as jewelry, porcelain, glass, fabrics and wallpapers. Documented from this period are also several residential and office equipment. His cookie jars made of sheet metal for the manufacturer Bahlsen from Hanover, which he made from 1912 to 1918 were known. In Darmstadt, he designed the establishment of the lamp business August Wilk and designed grave times in the expressionist style.In 1929 he moved to Berlin, where he still designed several houses in the style of the new style. In 1938 he became a professor at the School of Applied Arts