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  Christian Thomsen / RC Denmark Rare “Frog and Dragonfly” Art Nouveau vase 1901

  CHRISTIAN THOMSEN (1860-1921) Denmark
  ROYAL COPENHAGEN

  “Frog and Dragonfly” vase 1901

  Glazed porcelain with a frog in 3-D sculptural relief looking at a dragonfly seated on a calla lily leaf looking up at the blossom.

  Form number 280

  Marks: ROYAL COPENHAGEN, CROWN, 465/250, 3 wavy lines (Royal Copenhagen) insignia, inscribed A. 250

  For more information see: Musterbuch KPF, um 1930, Illustration number 204; Porzellan, Kunst und Design 1889 bis 1939, vom Jugendstil zum Funktionalismus (Berlin: Bröhan-Museum, 1993) p. 467, ill. 435; Sammlung Bröhan: Kunsthandwerk 2, Metall, Porzellan (Berlin: Bröhan Museum, 1977), pp. 222-285.

  H: 9″ x Dia: 3 1/2″

  Christian Thomsen was employed at the Royal Porcelain Manufactory (Royal Copenhagen) in 1898, and was employed there until his death in 1921. Thomsen is said to have had a huge impact on Royal Copenhagen’s success throughout the 20th century. A large part of the recognition by the Royal Porcelain Factory has enjoyed over the years, they can thank Christian Thomsen for. He produced more than 100 different figurines, especially he had a fondness for agricultural characters, children figurines, figurines inspired by Hans Christian Andersen’s fairy tales, fauns and trolls, and not least charming animals and bird figures.

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  Rene Boivin, Rare “La Maison Irradiante” gold mirror and gilt silver box, signed, 1935

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  Rose Cabat/American Studio Ceramics Rare “Feelie” Porcelain Vessel, c. 1980-85

  ROSE CABAT (1914-2015) USA

  Rare and important large scale “Feelie” c. 1980-85

  Thin walled porcelain vessel with a silky satiny matte drip glaze

  Signed: incised CABAT on bottom

  For more information on Rose Cabat see: Rose Erni Cabat Retrospective 1936-1986 (Tuscon, AZ: Tuscon Museum of Art, 1986)

  H: 3 5/8″

  Price: $1,650

  Rose Cabat was an American studio ceramicist living in Tucson. Considered one of the most important ceramic artists of the Mid-century Modernist movement, Cabat is best known for her innovative glazes on small porcelain pots called “feelies” which she developed in the 1960s. Her organic forms often resemble the shape of onions and figs, and her glazes range from organic to jewel tones. Cabat was born in 1914 in the Bronx, New York, began to work in ceramics in the late 1930′s, and moved to Arizona in 1942, where she continued to make innovative ceramics.

  Feelies:
  Feelies are described as onion, fig, cucumber, and saucer-shaped ceramic vases terminating in an upward closed neck. Bruce Block, an avid collector, has described them as sensual and tactile with a very specific unforgettable texture, spiritual seeming to contain a type of energy. Rose Cabat had developed a silky satiny glaze, and it wasn’t until around 1960 that she had hit upon the first of the appropriate form, svelte and sleek to match the glaze. She exclaimed, “Now this one’s a feelie.”, coining the term. Upon developing the new glazes, she felt that she needed new forms to apply the glazes to, different from what she made before, “craft fair” style coiled heads and wind bells. She is quoted as saying, “The old things did not look good … I wanted simpler shapes that went with the glazes.”They are typically globular in shape, tightening down to a minuscule neck glazed to a satin surface. The tactile experience is most important. The nature of the neck is such that it is closed, so narrow that it cannot hold anything. Cabat would reply when asked why the necks of her feelies are so narrow, “A vase can hold weeds or flowers, but can’t it just be a spot of beauty?”

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  Amedee de Caranza Art Nouveau Rare Iridescent Art Glass vase 1903-1906

  AMÉDÉE DE CARANZA  (active 1875-1914)  (b. Turkey / active France)
  COPILLET ET CIE  Noyon

  Nasturtium vase   1903-1906

  Blown glass with floral & foliate luster decoration handpainted on a muted iridescent ground.

  Signed: A. de CARANZA (on the side near base)

  Marks: Copillet et Cie, Noyon, 842 (twice)

  For more information and related illustrations: European Art Glass  (New York: Ray & Lee Grover, Charles E. Tuttle Publishers, Inc., 1970) pp. 69, 94-96; L’Art Du Verre En France 1860-1914, Janine Bloch-Dermant (Edita Denoel, 1974) pp. 36-37; Glass: Art Nouveau to Art Deco, Victor Arwas (New York: Abrams, 1987) pp. 56-58;  L’Europe de L’Art Verrier, des Precurseurs de l’Art Nouveau a l’Art Actuel 1850-1990, Giuseppe Cappa (Liège: Mardaga, 1991) pp. 72-74.

  H: 10″

  Copillet, H.A. Thomas Henri Alfred Copillet was originally a printer, and produced a local newspaper in Paris. When he moved his works to 13 Fauburg de Paris he acquired a kiln in the process, and thus in 1903 was began a new glass works. His designers were Amedee de Caranza and Edouard de Neuville. They produced a whole range of Art Nouveau glassware, many with a dark iridescent finish. They also produced opaline glass, and glass panels for use in church windows. The company went bankrupt in 1906, although the new management (Lefevre and Lhomme) kept a little of the production going for a while, the factory was destroyed during the First World War.