Porcelain
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Lucien Lelong / French Art Deco Handpainted Porcelain Vase circa 1935
LUCIEN LELONG (1889 – 1958) Paris, France
“Metaphysical” vase c. 1935
Hand painted and glazed porcelain with aqua, black and silver tones.
Marks: LL monogram, AB
H: 13 3/4″
Lucien Lelong was born in Paris, France on October 11, 1889. Lucien learned his trade from his father, Arthur Lelong, who owned a textile factory in 1896, and his mother Eleanore, a dressmaker. He discovered his vocation in the family business and as soon as World War I was over, he expanded the family business by creating his own fashion house in the late 1918.
He became immediately famous due to the neat tailoring of his designs and his skill in choosing and manufacturing fabrics. He did not actually create his own designs but hired the most prominent designers of the moment to design his collections such as Christian Dior, Pierre Balmain and Hubert Givenchy. Lelong was one of the first designers to diversify into lingerie and stockings. He introduced a line of ready-to-wear in 1934 which he labeled “editions.” In 1939, Lelong’s collections showed tightly waisted, full skirts; a style which became the “new Look” in Dior’s collection in 1947. After the war, in 1947, Lelong showed pencil-slim dresses; pleated, tiered, harem hemlines; and suits with wasp waists, cutaway fronts and square shoulders.
After a trip to the United States where he learned everything pertaining to the working methods in the mass production of clothes, he returns to France and creates a line of pret-a-porter (ready-to-wear) collection, branded “LL” Edition. Lelong used his double” LL” logo to influence his designs as well as refining the packaging design of his perfumes and cosmetics. He was a master of the use of knits and bias to shape the body in the most complementary way. His house’s trademark was their unique ability in designing with fur.
He was married to Natalie Paley who was the daughter of the Grand Duke Paul of Russia that assisted him with his business. Lelong was an active member of high society; socialized with the women he dressed, and did not miss the opportunity to capitalize on his name. From 1937 until the end of the war in 1948, Lelong was President of the Chambre Syndicale de la Couture Parisienne, in which role he was able to fight and hinder the transfer of the Parisian fashion houses to Berlin during the German occupation. It was largely due to his efforts that ninety-two houses stayed opened during the war.
Poor health caused the end of his career; Lelong retired in 1952, and died in 1958 of a heart attack.
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Rose Cabat/American Studio Ceramics Rare “Feelie” Porcelain Vessel, c. 1980-85
ROSE CABAT (1914-2015) USA
Rare and important large scale “Feelie” c. 1980-85
Thin walled porcelain vessel with a silky satiny matte drip glaze
Signed: incised CABAT on bottom
For more information on Rose Cabat see: Rose Erni Cabat Retrospective 1936-1986 (Tuscon, AZ: Tuscon Museum of Art, 1986)
H: 3 5/8″
Price: $1,650
Rose Cabat was an American studio ceramicist living in Tucson. Considered one of the most important ceramic artists of the Mid-century Modernist movement, Cabat is best known for her innovative glazes on small porcelain pots called “feelies” which she developed in the 1960s. Her organic forms often resemble the shape of onions and figs, and her glazes range from organic to jewel tones. Cabat was born in 1914 in the Bronx, New York, began to work in ceramics in the late 1930′s, and moved to Arizona in 1942, where she continued to make innovative ceramics.
Feelies:
Feelies are described as onion, fig, cucumber, and saucer-shaped ceramic vases terminating in an upward closed neck. Bruce Block, an avid collector, has described them as sensual and tactile with a very specific unforgettable texture, spiritual seeming to contain a type of energy. Rose Cabat had developed a silky satiny glaze, and it wasn’t until around 1960 that she had hit upon the first of the appropriate form, svelte and sleek to match the glaze. She exclaimed, “Now this one’s a feelie.”, coining the term. Upon developing the new glazes, she felt that she needed new forms to apply the glazes to, different from what she made before, “craft fair” style coiled heads and wind bells. She is quoted as saying, “The old things did not look good … I wanted simpler shapes that went with the glazes.”They are typically globular in shape, tightening down to a minuscule neck glazed to a satin surface. The tactile experience is most important. The nature of the neck is such that it is closed, so narrow that it cannot hold anything. Cabat would reply when asked why the necks of her feelies are so narrow, “A vase can hold weeds or flowers, but can’t it just be a spot of beauty?” -
Rose Cabat / American Studio Ceramics “Feelie” Porcelain Vessel, c. 1980-85
ROSE CABAT (1914-2015) USA
“Feelie” c. 1980-85
Thin walled porcelain vessel with a silky satiny matte drip glaze
Signed: incised CABAT on bottom
For more information on Rose Cabat see: Rose Erni Cabat Retrospective 1936-1986 (Tuscon, AZ: Tuscon Museum of Art, 1986)
H: 4 3/4″
Price: $2,500
Rose Cabat is an American studio ceramicist living in Tucson. Considered one of the most important ceramic artists of the Mid-century Modernist movement, Cabat is best known for her innovative glazes on small porcelain pots called “feelies” which she developed in the 1960s. Her organic forms often resemble the shape of onions and figs, and her glazes range from organic to jewel tones. Cabat was born in 1914 in the Bronx, New York, began to work in ceramics in the late 1930′s, and moved to Arizona in 1942, where she continued to make innovative ceramics.
Feelies:
Feelies are described as onion, fig, cucumber, and saucer-shaped ceramic vases terminating in an upward closed neck. Bruce Block, an avid collector, has described them as sensual and tactile with a very specific unforgettable texture, spiritual seeming to contain a type of energy. Rose Cabat had developed a silky satiny glaze, and it wasn’t until around 1960 that she had hit upon the first of the appropriate form, svelte and sleek to match the glaze. She exclaimed, “Now this one’s a feelie.”, coining the term. Upon developing the new glazes, she felt that she needed new forms to apply the glazes to, different from what she made before, “craft fair” style coiled heads and wind bells. She is quoted as saying, “The old things did not look good … I wanted simpler shapes that went with the glazes.”They are typically globular in shape, tightening down to a minuscule neck glazed to a satin surface. The tactile experience is most important. The nature of the neck is such that it is closed, so narrow that it cannot hold anything. Cabat would reply when asked why the necks of her feelies are so narrow, “A vase can hold weeds or flowers, but can’t it just be a spot of beauty?”
@hd_jewels