Product Description
Marianne Brandt / Metallwarenfabrik Ruppelwerk / F.W. Quist Bauhaus Black enameled desk accessories & ashtray c. 1930
MARIANNE BRANDT (1893-1983) Germany
METALLWARENFABRIK RUPPELWERK Gotha, Germany
Paper holder c. 1930
Black enameled and nickeled metal, hinged ball weight, ball feet
Marks: RUPPEL (in a circle), mehrfach geschützt
Illustrated: Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 181-3;
H: 1 5/8” x W: 5 1/4” x D: 4”
Napkin holder c. 1930
Black enameled metal and nickeled base
Marks: RUPPEL (in a circle), mehrfach geschützt, 85/4440/37, Ruv 5 (numbers in red crayon)
H: 3 ¾” x W: 5” x D: 2 1/8”
For other works by Brandt for Metallwarenfabrik Ruppelwerk see: Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 180-183; Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 181-3; Avantgarde Design 1880-1930, Torsten Bröhan, Thomas Berg (Cologne: Benedikt Taschen, 1994) p. 105.
F.W. QUIST Esslingen, Germany
Ball ashtray “Smokny”
Nickel plated metal and black lacquered surface
Marks: Quist (on bottom)
H: 3 1/2″
The hardwarefactory F.W.Quist, Esslingen, Germany was founded 1868 as „Lackier- und Metallwaarenfabrik“ from the turner and metal-turner Jacob Schweizer, jun.. In the year 1872, the conversion of the business from a public company occurred, the “Actien-Plaqué Fabrik”. From 1890, the director and shareholders Friedrich Wilhelm Quist took over the business as alone-owner. In his succession four generations continued the business as family-businesses until 1981.
The business always stood for the manufacture more representatively props in the taste of the time. „Tischkultur, Gastlichkeit, Geschenkkultur dienten als Felder, einen gehobenen, verfeinerten Lebensstil zu dokumentieren und das unabhängig von der gesellschaftlichen Zugehörigkeit.“ (Served table-culture, hospitality, gift-culture as fields should document lifestyle, independently of the social affiliation) (Esslingen 2004, S.60)
So, the form of the 1970 as newness presented ball-ashtray was borrowed this famous „ball“ or „globe“ (presented for the first time, 1966 at the international furniture-fair in Cologne) and „bubble“ (1968) chairs by the finish designer Eero Aarnio. The completely new and unconventional shape, Aarnio developed on basis of the simplest geometrical form, the ball. It advanced to a cult-object of the following decade and didn’t lose anything modernity until today.
Marianne Brandt / Metallwarenfabrik Ruppelwerk / F.W. Quist Bauhaus Black enameled desk accessories & ashtray c. 1930
Silver lidded bowl with ebony finial and rectangular ebony handles, decorated with enamel in fan shapped tiers of three shades of blue and black
Marks: French Touchmarks (Head of Minerva) 2x, Lapparra diamond shape silver touch mark, Red Lacquer Cranbrook Museum Accession No. 1930.77
Exhibited: Third International Exposition of Contemporary Industrial Arts, 1930-1931 The American Federation of Arts 1930-1931, The Museum of Fine Arts Boston, October 15 – November 10, 1930, The Metropolitan Museum of Art New York, December 1 – December 28, 1930, The Art Institute of Chicago, January 19 – February 15, 1931, The Cleveland Museum of Art Cleveland, March 11 – April 5, 1931; Art Deco, 1971 (Minneapolis: Minneapolis Institute of Arts)
Model illustrated: Art Deco, A Guide for Collectors, Katherine Morrison McClinton (New York: Clarkson N. Potter, Inc., 1972) p. 162; Art Deco, Judith Applegate (New York: Finch College Museum of Art, 1970) illustr. 392; The Cranbrook Collections, Sotheby, Parke-Bernet, New York, 1972, illustr. 31, pp. 7 & 9, Third International Exposition of Contemporary Industrial Arts, 1930 (New York: Finch College Museum of Art) No. 392; Art Deco, 1971 (Minneapolis: Minneapolis Institute of Arts) No. 164; International Exhibition of Metalwork and Cotton Textiles exhibition catalogue (The American Federation of Arts, 1930) No. 169
H: 4” x W: 4 ½” x D: 4”
JAN ET JOËL MARTEL (1896-1966) France
PRIMAVERA Paris
Pair of courting Faintail Pigeon Sculptures c.1925-30
Black glazed earthenware with silver / platinum decorative dot motif.
Marks: PRIMAVERA FRANCE, 12684
For related model: The Art Deco Style in Household Objects, Architecture, Scupture, Graphics, Jewelry, Theodore Menten (New York: Dover, 1972), p. 179.
For more information see: Joël et Jan Martel: sculpteurs 1896-1966, Christophe Vital, et al. (Paris: Gallimard / Electa, 1996), pp. 127-9
H: 8 1/16” x L: 9” x D at tail: 5 1/4”
H: 7 1/8” x L: 10” x D at tail: 5 1/4”
Jan & Joël Martel (the Martel Brothers/Twins, born in Nantes on 5 April 1896, both died in 1966)
The twin Martel sculptors were among the founding members of Union des Artistes Modernes, and their original works include ornamental sculptures, statues, monuments and fountains displaying characteristics typical of the Art Déco and Cubist periods. The brothers took part in a number of Paris exhibitions including the Salon des Indépendants, Salon d’Automne, Salon des Tuileries and the Exposition des Arts Décoratifs in 1925. In 1932, they created the Claude Debussy monument which sits on the boulevard Lannes in Paris. Between 1924-1926, Robert Mallet-Stevens designed a studio for the Martel twins at 10 Rue Mallet-Stevens in Paris’ 16th Arrondissement.