Product Description
Wiener Werkstaette brass bound book “Bilder Aus Karlsbad”, Art Nouveau brass embossed front and back panels decorated with stylized flowers and scrolling branches by Josef Hoffmann, c. 1910
Wiener Werkstaette brass bound book "Bilder Aus Karlsbad", Art Nouveau brass embossed front and back panels decorated with stylized flowers and scrolling branches by Josef Hoffmann, c. 1910
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Bilder aus Karlsbad, Wiener Werkstaette, c.1910 Wiener Werkstaette brass bound book “Bilder Aus Karlsbad”, art nouveau brass embossed front and back panels decorated with stylized flowers and scrolling branches by Josef Hoffmann, containing twenty lithographic prints from Wiener Werkstatte postcard designs, depicting views of Karlsbad after various artists including Karl Schwetz, Leopold Dreksler and others, the inside front cover edge inscribed “Wiener Werkstatte” (an example of this booklet is held by the University of Applied Arts in Vienna) circa 1910
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Monumental glazed stoneware vase with a brown and cream beige glaze with sgraffito decoration of four stylized nudes.
Signed: A. Bohrod F.C. Ball (inscribed)
Illustrated: Aaron Bohrod: Figure Sketches, Edwin E. Elliott and Howard E. Wooden (Dodge City, Kansas: Gall and Shaull, 1990) p. 17, fig. 32. A Decade of Still Life: Aaron Bohrod (Madison, Wis.: University of Wisconsin Press, 1966) p. 41.
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***Aaron Bohrod himself considered this vase his most important work in ceramic. This exact vase is illustrated in “A Decade of Still Life: Aaron Bohrod” in a bisque state. There is a stable firing crack that is visible on the base (see photo) near the Bohrod signature which happened in the firing, but in no way affects the structure of the piece. A letter from Aaron Bohrod himself describing this piece and the history surrounding it also accompanies the vase.
For more information see: The Potter’s Art in California: 1885-1955, Hazel V. Bray (Oakland: Oakland Museum Art Department, 1980) pp. 56-57.
A painter of cityscapes, landscapes and trompe l’oeil paintings, Aaron Bohrod lived in Chicago from birth until 1948, when he moved to Madison, Wisconsin. There he was a member of the University of Wisconsin’s art faculty. Bohrod was a graduate of the School of the Art Institute of Chicago, and he also attended the Arts Students League in New York.
Aaron Bohrod was an American artist who was nationally known in his lifetime. He was the subject of frequent exhibitions and gallery shows in various locations, generally focusing on a particular chronological period of his artistic production. The recipient of numerous prizes and awards (including two Guggenheims and the purchase prize at the “Artists for Victory” exhibition of 1942-43 at the Metropolitan Museum in New York), he was both proficient and prolific as a painter, sculptor, printmaker, ceramicist and as an illustrator. In addition, he was the author of several books on art and an autobiography. Although he studied at the Art Institute of Chicago and the Art Students League in New York with a number of well-known and influential teachers, the one who exerted the most profound influence on him was John Sloan, who taught him to value both the Old Masters and the visual reality of the urban American scene. Bohrod returned to Chicago after studying with Sloan in New York “determined to do in my own way with my own city what Sloan had done with New York.” (Bohrod’s stylistic development has been typically characterized in terms of his early relationship to the gritty urban realism of the Ashcan School with which Sloan was associated and his later magic realism style with its virtuoso and meticulous technique and witty visual repartee, almost as if they were two separate and unrelated developments. Although his own description of the origins of his unique still life approach in his autobiographical book, A Decade of Still Life, may have guided critics to look at his oeuvre in this way, a closer assessment reveals clear connections between the earlier and alter periods. Before 1940, for example, he had created a prototype of the still lifes that were to become his hallmark. By the mid 1950s, he began to dedicate himself to the creation of paintings that are by turns resonant, mysterious, evocative and humorous. The studied and careful detail of the bricks on the buildings foreshadow the care that Bohrod will lavish on each of the carefully observed and realized objects in his later still lifes, while the anecdotal detail predicts the accumulation of objects on which his later work depends. The polished and masterful technique of this later work also suggests the Old Masters to whom he was introduced by Sloan.
F. Carlton Ball (1911-1992)
F. Carlton Ball was born in Sutter Creek, California, He studied art at Sacramento Junior College before enrolling at USC. He graduated from the University of Southern California in 1933. He later did graduate studies under Glen Lukens at USC. He taught at several colleges/universities, such as the CCAC (his first position in 1935), Mills College, University of Wisconsin at Madison, University of Southern Illinois at Carbondale, USC University of Puget Sound and etc. From our research, we believe his last teaching position was in Tacoma, Washington, at the Tacoma Community College. Primarily known for his throwing, he did combine his pots with the decorative artistry of his first wife Kathryn Uhl Ball and most importantly, the Wisconsin artist, Aaron Bohrod. He exhibited at the Association of San Francisco Potters, 1952 Los Angeles County Fair’s 6000 Years Art in Clay and the Crocker-Kingsley of Sacramento, California, to mention a few locations. Exhibited at the Nationals in 1941-1949, 1951-1960 and 1966. -
W.C. Handy, “Blues – An Anthology” 1926
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“Blues – An Anthology” 1926
180pp. bound in blue cloth with original dust jacket. Very scarce work, considered the most famous blues collection in history, it includes historical notes, tunes and arrangements, notes for each song, a bibliography, and a chart of guitar chords.
With an introduction and notes by Abbe Niles
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Custom silk slipcase: H: 15” x W: 11 1/8” x D: 3 3/8”William Christopher Handy was a composer, musician and a music publisher. He was sometimes called the “Father of the Blues” and was credited with helping popularize blues music. Handy was a seminal figure in the development of American songwriting. His compositions assimilated folk tunes, blues, spirituals, minstrel songs, and elements of European music and forged a new sound in American popular commercial music. Born in Florence, Alabama, Handy began arranging music when in grade school. By the turn of the century, he had toured or was touring with a number of minstrel acts and bands. He became a leading bandleader in Memphis, Tennessee, and eventually wrote such classics as “The Memphis Blues” (1912), “The St. Louis Blues” (1914), and “Beale Street Blues” (1916). In addition to his songwriting, Handy also founded an important and influential music publishing concern, the Pace and Handy Music Company, in 1913. Finally, Handy’s books and writings, such as his autobiography, Father of the Blues (1941), and Blues: An Anthology (1926), comprise an important contribution to American culture. In 1979, New York City joined the list of institutions and municipalities to honor Handy by naming a stretch of West 52nd Street in Manhattan “W.C. Handy Place.”
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Josef Hoffmann Table for J & J Kohn, Vienna Secession c.1915
JOSEF HOFFMANN (1870-1956) Austria
JACOB & JOSEF KOHN Vienna, AustriaOval occasional table c.1915
Model no. 960/4
Ebony stained beech
Marked: original Jacob & Josef Kohn paper label
Illustrated: Jacob & Josef Kohn: Bentwood Furniture, der Katalog von 1916 (München: Verlag Dry, 1985), p. 69;
Against the Grain: Bentwood Furniture from the Collection of Fern and Manfred Steinfeld, Ghenete Zelleke, Eva B. Ottilinger and Nina Stritzler (Chicago: The Art Institute of Chicago, 1993) p. 88.H: 29 3/4″ x D: 15″ x W: 17 3/4″
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Mitzi Otten-Friedmann / Wiener Werkstaette reverse painted glass and silver brooch, signed c. 1915
MITZI OTTEN-FRIEDMANN (1884-1955) Austria
WIENER WERKSTÄTTE (1903-1932)
Brooch c. 1915
Reverse-painted glass depicting a couple set in a silver frame / back
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D: 2 3/8”
Rosalia Marie Friedmann-Otten (“Mitzi”) * November 28, 1884 Vienna, † May 5, 1955 New York, NY
Student at the School of Applied Arts in Vienna (with Oskar Strnad), Friedmann-Otten participated in numerous exhibitions (including art shows in 1908, 1920; Neukunstgruppe 1909; German Women’s Art in 1925; Werkbundausstellung 1930). Member of the Austrian Werkbund, the Wiener Werkstätte and the Neukunstgruppe. One of the most versatile artists (commercial art, metalwork, jewelry, fashion, starting from 1920 mainly enamel works, including large-scale email pictures), Friedmann-Otten had to flee in 1938 to the United States.
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