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  Désiré Christian / Meisenthal Art Nouveau Art Glass Gourd Vase c. 1885-90

  DÉSIRÉ CHRISTIAN (1846-1907) France
  MEISENTHAL (LOTHRINGEN) France/Germany

  Gourd vessel in the Japanese taste   c. 1885-90

  Wheel-carved and martelé French cameo glass with metallic inclusions and applied glass (blossoms, tendrils and butterflies)

  Signed on the bottom: Desire Christian, Meisenthal Loth

  For information on Désiré Christian see: The Glass of Désiré Christian, Ghost for Gallé, Jules S. Traub (Chicago: The Art Glass Exchange, 1978).

  H: 8 1/2″ x Dia: 4″

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  Friedrich Gornik Bronze “Pelican” Art Nouveau Vide Poche c.1910

  Friedrich Gornik  (1877-1943)  Austria.

  “Pelicans”  vide poche   c. 1910.

  Bronze with a natural gold patina of two pelicans on a rock, one seated and the other eating fish.

  Marks: F Gornik and monogram.

  For more information on Friedrich Gornik see: Der Österreichische Werkbund, Astrid Gmeiner & Gottfried Pirhofer (Salzburg & Wien: Residenz  Verlag,1985) p. 228; Österreichische Keramik des Jugendstils,  Waltraud Neuwirth  (Munich: Prestel-Verlag, 1974)  p. 156.

  H: 9″ x W: 6 1/2″ x D: 6″

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  Joseph Maria Olbrich Jugendstil Darmstadt Cake server 1901

  Joseph Maria Olbrich (1867-1908)  Austria
  Clarfeld & Springmeyer Hemer (Westfalen), Germany
  Ludwig Ziech Vereinigter Silberbesteckfabrik Hamburg, Germany

  Cake Server, 1901.

  Silvered alpaca with JO (J. Olbrich) monogram and stylized linear motif .

  Marks:  A.B.S.Z. 60

  Illustrated: Joseph M. Olbrich 1867-1908, Eckhart G. Franz, et al., exhib. cat. (Darmstadt: Mathildenhöhe, 1983), p. 346.
  For other examples of this service see: Bestecke des Jugendstils: Art Nouveau Knives, Forks and Spoons, Barbara Grotkamp-Schepers and Reinhard W. Sänger (Stuttgart: Arnoldsche, 2000), p. 100, illus. 104; Catalogue Museum Künstlerkolonie Darmstadt, Klaus Wolbert et al. (Darmstadt: Institut Mathildenhöhe,  n.d.), illustr. 306, p. 198; Das Deutsche Silber-Besteck 1805-1918: Biedermeier – Historismus – Jugendstil, Reinhard W. Sänger (Stuttgart: Arnoldsche Verlagsanstalt GmbH, 1991), pp. 176-180.

  L: 10 5/8″ x W: 2 9/16″

  Price: $3,750

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  Marianne Brandt / Metallwarenfabrik Ruppelwerk / F.W. Quist Bauhaus Black enameled desk accessories & ashtray c. 1930

  MARIANNE BRANDT  (1893-1983)  Germany
  METALLWARENFABRIK RUPPELWERK Gotha, Germany

  Paper holder   c. 1930

  Black enameled and nickeled metal, hinged ball weight, ball feet
  Marks:   RUPPEL (in a circle), mehrfach geschützt
  Illustrated: Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 181-3;
  H:  1 5/8”  x W: 5 1/4” x D: 4”

  Napkin holder   c. 1930

  Black enameled metal and nickeled base
  Marks:  RUPPEL (in a circle), mehrfach geschützt, 85/4440/37, Ruv 5 (numbers in red crayon)
  H: 3 ¾”  x W: 5” x D: 2 1/8”

  For other works by Brandt for Metallwarenfabrik Ruppelwerk see: Die Metall Werkstatt am Bauhaus, (Berlin:  Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 180-183; Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 181-3; Avantgarde Design 1880-1930, Torsten Bröhan, Thomas Berg (Cologne: Benedikt Taschen, 1994) p. 105.

  F.W. QUIST Esslingen, Germany

  Ball ashtray “Smokny”

  Nickel plated metal and black lacquered surface
  Marks: Quist (on bottom)
  H: 3 1/2″

  The hardwarefactory F.W.Quist, Esslingen, Germany was founded 1868 as „Lackier- und Metallwaarenfabrik“ from the turner and metal-turner Jacob Schweizer, jun.. In the year 1872, the conversion of the business from a public company occurred, the “Actien-Plaqué Fabrik”. From 1890, the director and shareholders Friedrich Wilhelm Quist took over the business as alone-owner. In his succession four generations continued the business as family-businesses until 1981.

  The business always stood for the manufacture more representatively props in the taste of the time. „Tischkultur, Gastlichkeit, Geschenkkultur dienten als Felder, einen gehobenen, verfeinerten Lebensstil zu dokumentieren und das unabhängig von der gesellschaftlichen Zugehörigkeit.“ (Served table-culture, hospitality, gift-culture as fields should document lifestyle, independently of the social affiliation) (Esslingen 2004, S.60)

  So, the form of the 1970 as newness presented ball-ashtray was borrowed this famous „ball“ or „globe“ (presented for the first time, 1966 at the international furniture-fair in Cologne) and „bubble“ (1968) chairs by the finish designer Eero Aarnio. The completely new and unconventional shape, Aarnio developed on basis of the simplest geometrical form, the ball. It advanced to a cult-object of the following decade and didn’t lose anything modernity until today.