Just Andersen, Denmark Pair of Five-Branch Art Deco Candelabra c.1925
Just Andersen (1884-1943), Denmark.
Pair of five-branch Art Deco candelabra, circa 1925.
Cast and wrought bronze with original rich brown and green patina.
Marks: Denmark just in a triangular cartouche, No. B180.
For more information see: “Just Andersen: Manden og Vaerket” by Svend Rindholt in Samleren: Tidskrift for Kunst og Kunstindustri (Attende Aargang, 1941) pp. 171-194; Dansk Biografisk Leksikon. Første Bind (Copenhagen: Gyldendal, 1979) p. 199. The Design Encyclopedia. Mel Byars (New York: John Wiley & Sons, Inc., 1994) p. 23.
H: 17 5/16″ x W: 17 1/2″
By repute this pair of candelabra were exhibited in the Danish section at the Paris 1925 Exposition.
Just Andersen was a designer and craftsman for Georg Jensen until 1918 when he left to open his own studio. These candelabra are exquisite and remarkable examples of Danish Art Deco design and a testament to the artist’s consummate craftsmanship. Andersen’s bronzes are characterized by rich, deep patination and superlative casting quality and surfaces.
Henri Lapparra Art Deco “Mikado” covered sugar bowl c. 1930
Silver lidded bowl with ebony finial and rectangular ebony handles, decorated with enamel in fan shapped tiers of three shades of blue and black
Marks: French Touchmarks (Head of Minerva) 2x, Lapparra diamond shape silver touch mark, Red Lacquer Cranbrook Museum Accession No. 1930.77
Exhibited: Third International Exposition of Contemporary Industrial Arts, 1930-1931 The American Federation of Arts 1930-1931, The Museum of Fine Arts Boston, October 15 – November 10, 1930, The Metropolitan Museum of Art New York, December 1 – December 28, 1930, The Art Institute of Chicago, January 19 – February 15, 1931, The Cleveland Museum of Art Cleveland, March 11 – April 5, 1931; Art Deco, 1971 (Minneapolis: Minneapolis Institute of Arts)
Model illustrated: Art Deco, A Guide for Collectors, Katherine Morrison McClinton (New York: Clarkson N. Potter, Inc., 1972) p. 162; Art Deco, Judith Applegate (New York: Finch College Museum of Art, 1970) illustr. 392; The Cranbrook Collections, Sotheby, Parke-Bernet, New York, 1972, illustr. 31, pp. 7 & 9, Third International Exposition of Contemporary Industrial Arts, 1930 (New York: Finch College Museum of Art) No. 392; Art Deco, 1971 (Minneapolis: Minneapolis Institute of Arts) No. 164; International Exhibition of Metalwork and Cotton Textiles exhibition catalogue (The American Federation of Arts, 1930) No. 169
Jean Despres, French Art Deco Modernist Covered Centerpiece c. 1940
Jean Despres (1889-1980) France.
Modernist covered centerpiece, circa 1940.
Hand-wrought and hand-hammered silver plate.
Marks: J. Despres (script incised signature on the edge on one handle),
JD French Jean Despres touchmark (2x).
For related works see: Jean Després: Maestro Orafo Tra Art Déco e Avanguardie, Melissa Gabardi (Milano: IDEA Books, 1999) Metallkunst: Kunst vom Jugendstil zur Moderne (1889-1939) Band IV, Karl H. Brohan (Berlin: Brohan-Museum, 1990); Silver of a New Era: International Highlights of Precious Metalwork from 1880 to 1940 (Rotterdam: Museum Boymans van-Beuningen, 1992)
Muller Freres / French Art Deco Art Glass vase c. 1925
MULLER FRÈRES Lunéville, France
Vase c. 1925
Heavy cased clear glass over black glass with silver foil inclusions; acid-etched and deeply wheel-carved with a large zig zag motif
Signed: MULLER FRES LUNEVILLE (etched signature)
For more information see: Glass, Art Nouveau to Art Deco, Victor Arwas (New York: Harry N. Abrams, Inc., 1987) pp. 231-6;L’Europe de L’Art Verrier, des Precurseurs de l’Art Nouveau a l’Art Actuel 1850-1990, Giuseppe Cappa (Mardaga: Liège,1991) pp. 344-7.
American Art Deco Reed & Barton Sterling candlesticks 1928
REED & BARTON (active 1824 – present) Taunton, MA
Candlesticks 1928
Sterling silver with Hoffmann-like fluted base and bobêches with undulating stem and palm leaf like terminating detail.
Marks: eagle R (in a shield) lion, Sterling, 1000, cement reinforced, eagle (date mark for 1928).
Model illustrated: Vanity Fair (Dec. 1928, Vol. 31), p. 120., Reed & Barton Vintage Catalog, p. 10, plate number 1000.
For more information on Reed & Barton see: Encyclopedia of American Silver Manufacturers, Dorothy T. Rainwater (West Chester, PA: Schiffer Publishing Ltd., 1986), p. 156-160.
Jan et Joel Martel / Primavera French Art Deco Courting Fantail Pigeon Sculptures c.1930
JAN ET JOËL MARTEL (1896-1966) France
PRIMAVERA Paris
Pair of courting Faintail Pigeon Sculptures c.1925-30
Black glazed earthenware with silver / platinum decorative dot motif.
Marks: PRIMAVERA FRANCE, 12684
For related model: The Art Deco Style in Household Objects, Architecture, Scupture, Graphics, Jewelry, Theodore Menten (New York: Dover, 1972), p. 179.
For more information see: Joël et Jan Martel: sculpteurs 1896-1966, Christophe Vital, et al. (Paris: Gallimard / Electa, 1996), pp. 127-9
H: 8 1/16” x L: 9” x D at tail: 5 1/4”
H: 7 1/8” x L: 10” x D at tail: 5 1/4”
Jan & Joël Martel (the Martel Brothers/Twins, born in Nantes on 5 April 1896, both died in 1966)
The twin Martel sculptors were among the founding members of Union des Artistes Modernes, and their original works include ornamental sculptures, statues, monuments and fountains displaying characteristics typical of the Art Déco and Cubist periods. The brothers took part in a number of Paris exhibitions including the Salon des Indépendants, Salon d’Automne, Salon des Tuileries and the Exposition des Arts Décoratifs in 1925. In 1932, they created the Claude Debussy monument which sits on the boulevard Lannes in Paris. Between 1924-1926, Robert Mallet-Stevens designed a studio for the Martel twins at 10 Rue Mallet-Stevens in Paris’ 16th Arrondissement.
Georges Serré / Art Deco Warm ivory /sand colored glazed stoneware vase c. 1925
GEORGES SERRÉ (1889-1956) France
Vase c. 1925
Warm ivory /sand colored glazed stoneware with hand incised stylized leaf and floral motif with a top collar and lower half in a softened geometric repeat pattern all in a light brown tonality.
Marks: G Serre (hand incised signature)
For more information see: La Céramique Art Déco, Edgar Pelichet (Paris: Bibliothèque des Arts, 1988), p. 47.
For more information on Serré see: Georges Serré, exhib. cat. (Paris: Galerie Landrot, 1992).
Wilhelm Kage / Gustavsberg “Nude” Farsta Studio Bowl c. 1940
WILHELM KÅGE (1889-1960) Sweden
GUSTAVSBERG Gustavsberg, Sweden
“Nude” Farsta bowl c. 1940
Glazed stoneware with hand inscribed sgraffito decoration of a nude
Marks: Kage, Studio Gustavsberg; FARSTA
Dia: 8″
Originally a painter, Wilhelm Kåge was employed by Gustavsberg as an art director to rejuvenate the pottery´s production. He was faithful to the company for 32 years. In 1942 he started the legendary Gustavsberg Studio with the mission to create unique artistic pieces. His lively imagination brought forth a great variety of forms. Kåge was an artist of contradictions. In the 1940´s and 50´s he designed several geometrical, almost cubist, vessels in the “Surrea” series which stands in striking contrast to his soft formed, organic shaped tableware from the same period. Kåge designed more than 30 different dinner services, of particular importance was the inexpensive “workers” service, intended for a wider audience. Kåge´s pride, however, was the Farsta series of unique vessels made of heavy stoneware with carved surfaces and earth coloured decorative glazes. The clay for which was taken from the Farsta bay area very near the Gustavsberg pottery. He began experimenting with the Farsta line of studio ceramics already in the 1920´s. Art historians and collectors today consider the Farsta pieces the culmination of Wilhelm Kåge´s artistic production.
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