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Christian Dell / Bauhaus “Tee-Ei” Tea infusers (Rare set of eight) 1924
Christian Dell / Bauhaus “Tee-Ei” Tea infusers (Rare set of eight) 1924
CHRISTIAN DELL (1893-1974) Germany
BAUHAUS (1919-1933) Germany
“Tee-Ei” (tea ball) 1924 (rare set of 8)
Silvered brass.
***These are all in fine original, untouched condition.
Illustrated: Christian Dell: Silberschmied und Leuchtengestalter im 20. Jahrhundert, Beate Alice Hofmann, Museum Hanau (Hanau: Heller Druck,1996) illus. 15, p.56; Modernist Design 1880-1940, Alastair Duncan, The Norwest Collection (Woodbridge, Suffolk: The Antique Collectors’ Club, 1998), p. 173; Decorative Arts 1850-1950, Judy Rudoe, (London: British Museum Press, 1991) cover, p. 276; Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 140-141 Silver of a New Era, (Rotterdam: Museum Boymans-van Beuningen, 1992) p. 157; cat. no. 140.
Length: 5 1/4″
Price: $9,600
Christian Dell, metal artist and industrial designer, played a formative role in shaping the Bauhaus style. Dell was the master of the metal workshop at the Bauhaus, 1922-25, in Weimar, working closely with László Moholy-Nagy.
Born the son of a locksmith in Offenbach in 1893, he had a great impact as a teacher on the curriculum of the Weimar metal workshop. He had done an apprenticeship as a silversmith in Hanau before and had also attended the drawing academy, followed by a stay at the Weimar School of Applied Art. Henry van de Velde, director of this institution, coined Christian Dell’s early works with his organic-flowing use of forms, a feature that can also be observed on Dell’s later works.
Metal workshop at the Bauhaus in Weimar:
From 1922, the former goldsmith, silversmith and coppersmith workshops of the Weimar phase became a laboratory for design where metal vessels and lamps were made. This is also where the designs for industry, as well as metal furniture, were ultimately created. In 1922, the silversmith Christian Dell took over as master of works. Following Itten’s departure in 1923, the workshop developed in a new direction with the Hungarian Constructivist László Moholy-Nagy. Instead of individual pieces, prototypes were now made for mass production. In order to manufacture the individual models, a production line was established.
Category: Archive.
Tags: “Tee-Ei”, 1924, bauhaus, Christian Dell, Rare, set of eight, Tea infusers.
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ISOBEL STEELE MACKINNON (1896 – 1972) USA
Weimar Portrait c.1927
Gouache, tempera and oil on paper, lemon gold frame.
Signed: MacKinnon
Exhibited: Weimar Portraits, Riviera Landscapes: A Chicagoan in Hofmann’s Studio, 1925–1929, Corbett vs. Dempsey, Chicago, IL, March 28 – May 3, 2008
Illustrated: Weimar Portraits, Riviera Landscapes: A Chicagoan in Hofmann’s Studio, 1925–1929, exhibition catalog, Corbett vs. Dempsey, Chicago, IL, March 28 – May 3, 2008
Painting: H: 16 1/2″ x W: 13″
Frame: H: 20 1/2″ x W: 17 1/4″SOLD
***This colorful and mesmerizing painting rather closely foreshadows the famous portraiture of the renowned American artist Alice Neel (1900-1984). Isobel Steele MacKinnon’s adventures as an American artist living and working in Europe echo those of many other expatriates of the epoch. MacKinnon and her husband Edgar Rupprecht were, by the time they left Chicago in 1925, both established figures in Chicago’s art world, and especially in Saugatuck, Michigan, where they taught at Ox-Bow Summer School. What the couple encountered in the studio of German artist Hans Hofmann would rock the impressionist foundations of their artwork and transform them into committed modernists. Hofmann’s Munich-based school was a magnet for foreign students after World War I, ever after Hofmann left Germany in the early Thirties. Indeed, over the period of four years (1925 to 1929) during which Steele and Rupprecht worked alongside Hofmann, their fellow students included renowned abstract artist Vaclav Vytlacil and painter Worth Ryder, the artist who would invite Hofmann to teach in the US for the first time in 1930. A small, elegant, realistic profile drawing Rupprecht made of MacKinnon in 1925 makes fascinating contrast with the work she produced while in Europe. In Chicago, her approach had been as conventional as his, but under Hofmann she took to the new ideas with startling ease, absorbing his “push and pull” spatial concept and his deep investigations of the compositional consequences of hot and cold colors. The portraits of German and other expat sitters made at the time have the analytic angularity associated with Hofmann, drawn and painted with a palpable power and sureness. Some resemble expressionists like Oskar Kokoschka or Ludwig Meidner. For instance, the small portrait of a rat-like man with a whiskery mustache or the jutting, harsh jaw of a stern woman with a fur collar, and a rosy-cheeked girl in red (this painting), straight from a German cabaret. More radical than her portraits, MacKinnon’s slashing charcoal gesture drawings of figures are sometimes exceptionally abstract, hauntingly presaging the abstract expressionist women of Willem de Kooning. These works represent an artist in the throes of letting herself loose, shaking off the constrictions of academicism, experimenting with vital energy and displaying an unwavering hand. During their European summers, MacKinnon and Rupprecht traveled with Hofmann. MacKinnon had quickly risen to become his premier student. On Capri and St. Tropez, she painted bright, abstracted landscapes, often based on carefully plotted line drawings. The warm environs often drew out her old impressionist tendencies, but in the most advanced of these works she blocked colors into shapes and patterns that suggest Marsden Hartley, Milton Avery or, in some cases, Jan Matulka. In one drawing, probably from Paris, she has sculpted the trees into architectural forms. After their sojourn, which extended from their studies with Hofmann to several years as active artists in Paris, MacKinnon and Rupprecht returned to Chicago. They were rejuvenated, heads full of new ideas, portfolios brimming with the work they’d done. When WWII was over, Steele began a long and fruitful teaching career at the School of the Art Institute. From this post she introduced many young artists, from Jack Beal to Tom Palazzolo, to Hofmann’s concepts at the same time he was teaching the future abstract expressionists of America from his schools in New York and Provincetown. In recognition of her unwavering interest in issue of space in pictoral composition, MacKinnon’s closest students were known as the “space cadets.” A larger-than-life character, she died in Chicago in 1972 after a protracted battle with Alzheimer’s.
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