Related Products

• 

  Details

  Gertrude Burgess Murphy American Modern Post-War Reclining nude sculpture c. 1950

  GERTRUDE BURGESS MURPHY (b. 1899) USA

  Reclining nude sculpture c. 1950

  Fired and glazed earthenware on a wooden base

  Marks: original paper exhibition label (San Francisco Museum of Art, Rental Gallery); tape with the name of the artist

  For more information on Murphy see: Who Was Who in American Art, ed. Peter Hastings Falk (Madison, Conn.: Sound View Press, 1985), p. 439.

  H: 5 7/8” x L: 10 5/8” x D: 5”

  Price: $11,500

• 

  Details

  Wilhelm Kage / Gustavsberg “Nude” Farsta Studio Bowl c. 1940

  WILHELM KÅGE (1889-1960) Sweden

  GUSTAVSBERG Gustavsberg, Sweden

  “Nude” Farsta bowl c. 1940

  Glazed stoneware with hand inscribed sgraffito decoration of a nude

  Marks: Kage, Studio Gustavsberg; FARSTA

  Dia: 8″

  Originally a painter, Wilhelm Kåge was employed by Gustavsberg as an art director to rejuvenate the pottery´s production. He was faithful to the company for 32 years. In 1942 he started the legendary Gustavsberg Studio with the mission to create unique artistic pieces. His lively imagination brought forth a great variety of forms. Kåge was an artist of contradictions. In the 1940´s and 50´s he designed several geometrical, almost cubist, vessels in the “Surrea” series which stands in striking contrast to his soft formed, organic shaped tableware from the same period. Kåge designed more than 30 different dinner services, of particular importance was the inexpensive “workers” service, intended for a wider audience. Kåge´s pride, however, was the Farsta series of unique vessels made of heavy stoneware with carved surfaces and earth coloured decorative glazes. The clay for which was taken from the Farsta bay area very near the Gustavsberg pottery. He began experimenting with the Farsta line of studio ceramics already in the 1920´s. Art historians and collectors today consider the Farsta pieces the culmination of Wilhelm Kåge´s artistic production.
• 

  Details

  Werner Rohde, Self-portrait, Silver gelatin print 1926

  WERNER ROHDE (1906-1990) Germany

  Self-portrait 1926

  Silver gelatin print, ebonized wood frame

  Signed: Werner Rohde 1926 (pencil signature and date on back on photo); inv. 3RMG 1081.27

  Photo: H: 6 13/16” x W: 4 15/16”
  Framed: H: 16 5/16” x W: 14 3/8”

  Price: $38,000

  Werner Rohde’s visual play with the animate and inanimate draws him close to the aesthetics of the surrealists while maintaining a strong alignment with Germany’s new-vision avant-garde. Rohde experimented widely with double exposures, photomontage, perspective and dramatic lighting that reflected his interest in filmic effects. The son of a glass painter (a medium he would turn to later in life), Rohde took up photography during his studies at the Arts and Craft School in Halle. Like Kesting, Willy Zielke and Kretschmer, he participated in the 1929 ‘Film und foto’ exhibition in Stuttgart that remains one of the historical focal points for Germany’s new photographic vision. Despite this early recognition of his work, Rohde fell into obscurity after the war until the rediscovery of his photographs in the mid 1970s.

  Rohde’s fascination with the play between life and lifeless, animate and inanimate, has strong reverberations with surrealism. Masks, mannequins and paper models were used in his photographs to illuminate the uncanny. They were also employed in his self-portraiture in which he mimicked his idol Charlie Chaplin. These techniques of visual illusion provided a mnemonic tool for the images of his wife in which she is posed and photographed to resemble a doll or mannequin. In the act of art imitating life, ‘Wachspuppenkopf’ is uncanny in its mimicry of the human form with realistic teeth, eyes, skin and even the unusual detail of small wrinkles under the eyes. The downward angle, lighting and odd doubling of the neckline utilizes standard surrealist methods to infer life and movement.

• 

  Details

  Louviere & Vanessa, Chlorofemina, Neque (from “As if…”) 2005 Mixed media, pigment print, wax mixed with pigment, Edition: 2/5 (printed in 2008)

  JEFF LOUVIERE (b.1971) USA

  VANESSA S. BROWN (b.1970) USA

  Chlorofemina, Neque (from “As if…”) 2005

  Mixed media, pigment print, wax mixed with pigment

  Edition: 2/5 (printed in 2008)

  Signed: Louviere and Vanessa

  Image H: 53” x W: 45”

  Price: $35,000

  “By collaborating, we put ourselves in the midst of alternating currents of decision and production, action and responsibility, decay and clarity-capturing the moment between ‘has been ‘ and ‘what will be.'”

   Jeff Louviere has a background in graphic design and art direction, winning several national and international awards. Vanessa S. Brown was 12 when she made her first photographs, and was exhibiting at 17. Her work gained international acclaim even before she earned her BFA from Rochester Institute of Technology. Louviere received his MFA from Savannah College of Art and Design, and it was in Savannah, Georgia that Jeff and Vanessa met. Their first collaboration was a series of photo storyboards for a film they had written together. The two moved to New Orleans in 1998 and have been exhibiting nationally ever since.

   Jeff Louviere and Vanessa Brown have been collaborating on photographic images and movies since they first met in the mid-90s. Under the moniker Louviere+Vanessa they have created moody, atmospheric visuals with various equipment, including scanners, 8mm film, destroyed negatives, wax and even blood, utilizing the Holga medium format camera, altering the negatives and creating assemblages