American 1960’s classic “Door Knocker / Hoop” earrings, carved, contoured and polished onyx with 18k gold side plate details and clip backs, Marked: 18k (2x), c. 1960’s
Boucheron Paris, Moderne ring set with a step cut square citrine (approx. 8 carats TW) and contoured bone details on either side all set in a solid 18K gold mount, signed, c. 1970’s
Cartier, Paris “Snake” necklace in finely detailed 18k gold and with a slightly expandable link feature, signed: Cartier Paris (script signature), no. 02694, French Eagle’s head touchmark for 18K gold (2x), Cartier touchmark in a diamond, original Cartier red leather, velvet and silk presentation box, c.1940
Cartier Paris “Heart” ring, 18K gold set with 45 round diamonds (approx. 2.5 carats TW), signed: Cartier Paris, 291746, 750, 49 (ring size), French eagle’s head mark for 18K gold, c. 1980’s
1940’s jeweled necklace, 18k gold textured ring links and elaborate bezel set 19 large cabochon fire opals (approx. 260 carats TW, ranging in sizes from 4 carats to 32 carats each) and further set with two oval cut citrines and three round cut citrines (approx. 145 carats TW, ranging in sizes from 22 carats to 36 carats each) c.1940
Munnu Kasliwal for Gem Palace “Flower Blossoms” earrings with 34 rose cut round fire opals (approx. 24 carats TW, center fire opals are 2.30 carats each) set in 22K gold, c. 2000
Tiffany & Co. “Prince of Wales’ Feathers” made during the reign of Edward VII (he held his title of the Prince of Wales longer than anyone before him and was King of England from 1901 to 1910) brooch pave set with 123 round-cut diamonds (approx. 2.50 carats TW) and all set in a three dimensional brooch of platinum topped gold, signed: Tiffany & Co., c.1900
Italian classic “Curb Link” chain necklace in solid platinum, marked: Italy, 950 in a cartouche and the word, Fancy, Length: 22 an ¼ inches x Width: 11/16 inches, c. 1970’s
Walter Bosse / Austrian Keramik Art Deco Glazed Pottery Bookends c.1930
WALTER BOSSE (1904 – 1979) Austria
Bookends c. 1930
Hand-painted and glazed earthenware
For more information see: Walter Bosse: Leben, Kunst, und Handwerk, 1904-1979, Cherica Schreyer-Hartmann, Hans Hagen & Johanna Hottenroth (Vienna: Verlag Christian Brandstätter, 2000), Wiener Keramik: Historismus, Jugendstil, Art Déco, Waltraud Neuwirth, (Braunschweig: Klinkhardt & Bierman, 1974), pp. 114-115.
H: 5″ x D: 4 1/2″ x W: 5 1/4″
Price: $2,250
Walter Bosse (November 13, 1904–December 13, 1979) was a Viennese artist, designer, ceramist, potter, metalworker, and craftsman noted for his modernist bronze animal figurines and grotesques.
Walter Bosse, born November 13, 1904, in Vienna, was the son of artists Luise and Julius Bosse. His father worked as a portrait painter at the imperial court. Walter Bosse attended the Wiener Kunstgewerbeschule (Vienna School of Applied Arts) from 1918 to 1921, where he studied ceramics under Michael Powolny, and ornament under Franz Cižek. He then attended the Münchner Kunstgewerbeschule (Munich School of Applied Arts). During his schooling he was given the opportunity to sell his work at the Wiener Werkstätte by Josef Hoffmann, who became a mentor to Bosse. Bosse opened his own shop in Kufstein in 1923.
Bosse’s work grew in popularity and a number of his pieces were shown at the International Exposition of Modern Industrial and Decorative Arts in 1925. He started designing for Augarten Porcelain Works (1924) as well as Goldscheider (1926) and Metzler and Ortloff (1927). In 1931, to meet increasing demand (especially in America), Bosse opened up a bigger shop in Kufstein, but by 1933 he started to feel the effects of the economic depression. By 1937, the Kufstein works were closed.
In 1938, now divorced, Bosse moved back to Vienna where he founded Bosse-Keramik (Bosse Ceramics), which expanded under the new name “Terra” to include glass, toys, textiles. and a variety of craft items for the gift market. In the late 1940s, Bosse began experimenting with brass by giving his ceramic figures a metal coating to protect them from breakage. In the early 1950s, Bosse began his “Black Golden” line of brass figurines. He transitioned all of his efforts to brass. The figures became popular worldwide.
Despite Bosse’s success with his brass figures, it was still a difficult time for him financially. In 1953, partly fleeing from financial troubles, he moved to Iserlohn where he set up a new shop and continued production. Bosse also collaborated with Karlsruhe State Majolika Works on a number of pottery animal figures. In 1958, he designed for Achatit Schirmer in Cologne. Bosse also turned his efforts to small, everyday items such as letter openers, keyrings, corkscrews, and pencil holders, all of which bear his distinctive “black and gold” look. A number of these Bosse designs began to gain widespread popularity internationally.
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