American Art Deco Reed & Barton Sterling candlesticks 1928
More Information
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.
Tommi Parzinger / American Art Deco Coffee Table circa 1939
TOMMI PARZINGER (1903-1981) Germany/USA
PARZINGER, INC. New York
Coffee table c.1939
Carved and ceruse oak with an incised diamond pattern pewter top
Illustrated: Arts and Decoration, June 1940
***This table was originally priced at $80 during the period, as it appears in the Arts and Decoration vintage illustration from 1940.
For other examples of Parzinger’s work see: Town & Country, Vol. 54, “Counter Points”, December 1939, p. 31; Town & Country, Vol. 95, “Counter Points”, June 1940, p. 19; The Studio, 1938, “For the Table”, p.107-09; The Studio, 1942, “Tommi Parzinger, Designer of Modern Interiors and Silver”, p.37; Decorative Art, Studio Yearbook (London & New York: The Studio Publications, 1952-53), p. 98; Craft in the Machine Age, ed. Janet Kardon (New York: American Craft Museum, 1995) p.128, 134, 183, 241.
H: 12” x L: 42” x D: 14”
Price: $34,500
This is a wonderful and rare coffee table by Tommi Parzinger in beautifully detailed ceruse oak with a diamond pattern pewter inset top. This table was
completely handmade and dates from 1940, shortly after Parzinger opened his first eponymous gallery on East 57th Street. It is low and lean with exquisite Neoclassical Revival carved details and a silhouette that calls to mind an American take on Jean Michel Frank’s sober and refined elegance of the same time period. The cross-hatch carving with tassels on the two long sides and the related top corner details also have a charm reminiscent of Parzinger’s affable personality and effervescent design sensibility.
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.
Handbuilt earthenware sculpture with a golden light brown glaze.
Marks: Hulda Rotier Fischer 36 (hand incised)
H: 6 1/2″ x W: 7″ x D: 5 1/2″
Price: $2,300
Hulda Rotier Fisched studied at the Milwaukee Normal School and was a student of Robert von Neumann Sr. In 1921 she also studied with Carl Holty. She worked as an Art Instructor at Shorewood Opportunity School for 30 years. Rotier Fischer was a Member of the Milwaukee Art institute.
She is the recipient of many Milwaukeee Journal Awards.
Walter Nichols Chinese Art Deco rug with circle motif c. 1935
Walter Nichols Chinese Art Deco rug c. 1935
WALTER NICHOLS China
Chinese Art Deco rug c. 1935
Walter Abner Burns Nichols was one of the most colorful of the American adventurer/entrepreneurs in 1920s China. The Nichols name has come to be used almost synonymously with the ‘Chinese deco’ rugs manufactured in Tientsin, China in the 1920s and 1930s. Nichols did not originate the Chinese deco style, but he did a great deal to popularize it and to maintain its high standards of manufacture.
Nichols began in his youth as a first-class wool grader who went to Tientsin around 1920 to work for the Elbrook family of wool merchants. Nichols started his own business a couple of years later. In a brochure he produced in the late ’20s, with the assistance of Pande-Cameron, he announced: “In 1924 W.A.B. Nichols of Tientsin, North China, introduced the Super Chinese Rug which has become world famous. It is known in every market as the most durable and beautiful product of the modern Chinese weavers art and adorns the homes of people all over the earth.”
@hd_jewels