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  Victorian Scottish agate “Woven Plaid” brooch, agate set in silver c. 1890

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  Edmund Kesting, Gears with hand, Photogram / Solarization c.1929

  EDMUND KESTING (1882-1970) Germany

  Gears with hand c.1929

  Photogram / Solarization

  Signed: Edmund Kesting 3644-280 (in pencil)

  Provenance: Private Collection New York; Gene Prakapas Gallery New York 1970’s

  Photogram: H: 7 9/16” x W: 6 15/16”
  Frame: H: 15 9/16” x W: 14 15/16”

  Price: $19,500

  During the 1920s, Kesting was at the center of the avant-garde movement in Germany, where he befriended Kurt Schwitters and Laszlo Moholy-Nagy. He first trained as a painter at the Akademie der Kunst in Dresden from 1911 to 1916. In the early 1920s, after service in World War I, he turned to collage and photography. An exhibitor at Herwarth Walden's Der Sturm gallery (Berlin), which supported German expressionism and the Blue Rider group, Kesting also operated several private art schools. The last, Der Weg (The Way), was closed by the Nazis in 1933. Kesting’s interest in the photographic portrait began in 1930, and often resulted in bold experimentation (Photomontages, superimpositions and solarizations) that provided some of the strongest examples of German expressionist portraiture in photography. In contrast to the objective naturalism of August Sander, his work is informed by the “Sturm und Drang” of the period – the storm and stress of the political, economic, and social unrest in Germany. After the war in 1948, Kesting taught at the Kunsthochschule in Berlin-Weissensee. – (partially excerpted from James Borcoman, Magicians of Light, National Gallery of Canada, 1993)

  Works by Edmund Kesting can be found in the collections of the Museum of Modern Art in New York and the Los Angeles County Museum of Art.

  Solarization — is a phenomenon in photography in which the image recorded on a negative or on a photographic print is wholly or partially reversed in tone. Dark areas appear light or light areas appear dark. The term is synonymous with the Sabattier effect when referring to negatives, but is technically incorrect when used to refer to prints. In short, the mechanism is due to halogen ions released within the halide grain by exposure diffusing to the grain surface in amounts sufficient to destroy the latent image.

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  Wolfgang Gessl / Scandinavian Modern Sterling silver teapot with arching handle 1990

  WOLFGANG GESSL (b. 1949) Austria / Sweden

  Teapot 1990

  Hand wrought and hand hammered spherical silver teapot with cylindrical handle and spout elements, maple and padouk wood layered arching handle

  This is No. 2 out of the edition of 3 models.

  Marks: Wolfgang Gessl (script impressed signature), 2/3, WO.GE (in a rectangle), Swedish assay mark for Stockholm, 925 (silver guarantee in a rectangle), E11 (in a rectangle), LF

  Exhibited: Glänsande Geometri, Mettalum, Stockholm, Sweden

  Illustrated: Gold and Silversmith Wolfgang Gessl: Exceeding Geometry, Kerstin Wickman, p. 16.

  H: 10” x W: 16 ½” x D: 5 ½”

  Price: $32,000

  Wolfgang Gessl was born in 1949 in Vienna, Austria and trained as a goldsmith with Professor Hans Angerbauer. Upon moving to Sweden, Gessl studied under the eminent silversmith Sigurd Persson at Konstfack, the National University of Art, Craft and Design in Stockholm, Sweden.

  Wolfgang Gessl has had fifteen solo exhibitions including shows at The National Museum, Stockholm and The Royal College of Art in London. His metalwork has been widely exhibited in Sweden, Europe and the U.S and his pieces can be found in many private collections throughout the world. He has taught at Konstfack for more than twenty-four years, and continues to live and work in Stockholm.

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  Franz Boeres / Theodor Fahrner, Jugendstil / Modernist waist clasp, silver and enamel, signed, Exhibited 1904 St. Louis Exhibition

  Clasp illustrated: Deutsche Kunst und Dekoration, Band XIV, April 1904-September 1904, p. 506 (see image attached)