Wolfgang Kreidl / Max Roesler Jugendstil Keramik "Darmstadt" charger c. 1930 More Information
Wolfgang Kreidl / Max Roesler Jugendstil Keramik “Darmstadt” charger c. 1930
WOLFGANG KREIDL (1906-1972) Dresden, Germany
MAX ROESLER FEINSTEINGUTFABRIK A.G. Germany
“Darmstadt” charger c. 1930
Brown, orange and cream glazed earthenware with a triangle and circle airbrush design, on stand
Marks: Max Roesler Rodach (shield mark), 9, 2925, 6239 1 (under the glaze)
Model illustrated: Keramiken der Neuen Sammlung im Internationalen Keramik-Museum Weiden, Hans Wichmann, (Munich: Staatliches Museum für angewandte Kunst, 1990), cover image and p. 65; Design Contra Art Déco: 1927-1932 Jahrfünft der Wende, Hans Wichman (Munich: Prestel Verlag, 1993), p. 101.
For more information about Wolfgang Kreidel and other models with matching air brush design see: Max Roesler, Keramik zwischen Jugendstil und Art Deco, Rolf Peters (Darmstadt: Museum Künstlerkolonie Darmstadt, 1998), p. 98-102.
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.
Art Deco cushion shape natural Burmese sapphire ring (approx. 7 carats TW, G.I.A. certificate, no heat) set in an intricate platinum mount with 4 baguette diamonds and 16 round diamonds (approx. 4 carats), c. 1930
Art Deco cushion shape natural Burmese sapphire ring (approx. 7 carats TW, G.I.A. certificate, 10.00 x 9.70 x 8.00mm, no heat) set in an intricate platinum mount with 4 baguette diamonds and 16 round diamonds (approx. 4 carats), c. 1930
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