Product Description
Christian Dell / Bauhaus “Tee-Ei” Tea infusers (Rare set of eight) 1924
CHRISTIAN DELL (1893-1974) Germany
BAUHAUS (1919-1933) Germany
“Tee-Ei” (tea ball) 1924 (rare set of 8)
Silvered brass.
***These are all in fine original, untouched condition.
Illustrated: Christian Dell: Silberschmied und Leuchtengestalter im 20. Jahrhundert, Beate Alice Hofmann, Museum Hanau (Hanau: Heller Druck,1996) illus. 15, p.56; Modernist Design 1880-1940, Alastair Duncan, The Norwest Collection (Woodbridge, Suffolk: The Antique Collectors’ Club, 1998), p. 173; Decorative Arts 1850-1950, Judy Rudoe, (London: British Museum Press, 1991) cover, p. 276; Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 140-141 Silver of a New Era, (Rotterdam: Museum Boymans-van Beuningen, 1992) p. 157; cat. no. 140.
Length: 5 1/4″
Price: $9,600
Christian Dell, metal artist and industrial designer, played a formative role in shaping the Bauhaus style. Dell was the master of the metal workshop at the Bauhaus, 1922-25, in Weimar, working closely with László Moholy-Nagy.
Born the son of a locksmith in Offenbach in 1893, he had a great impact as a teacher on the curriculum of the Weimar metal workshop. He had done an apprenticeship as a silversmith in Hanau before and had also attended the drawing academy, followed by a stay at the Weimar School of Applied Art. Henry van de Velde, director of this institution, coined Christian Dell’s early works with his organic-flowing use of forms, a feature that can also be observed on Dell’s later works.
Metal workshop at the Bauhaus in Weimar:
From 1922, the former goldsmith, silversmith and coppersmith workshops of the Weimar phase became a laboratory for design where metal vessels and lamps were made. This is also where the designs for industry, as well as metal furniture, were ultimately created. In 1922, the silversmith Christian Dell took over as master of works. Following Itten’s departure in 1923, the workshop developed in a new direction with the Hungarian Constructivist László Moholy-Nagy. Instead of individual pieces, prototypes were now made for mass production. In order to manufacture the individual models, a production line was established.
Christian Dell / Bauhaus “Tee-Ei” Tea infusers (Rare set of eight) 1924
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Provenance: Rupert Wace, London Size: 8 and 1/4
CHARLES CATTEAU (1880-1966)
BOCH FRERES KERAMIS La Louviere Belgium
Tulip vase c. 1930
Glazed earthenware
Marks: “Keramis” Made in Belgium , D. 2524 B, 945
H: 10 1/4″ x D: 6 1/2″
Charles Catteau could be regarded as one of the most versatile ceramic artists of his generation, especially for the style of Art Deco. Catteau advanced the forms, techniques and decoration of modern ceramics, creating an exceptionally original, new and decorative genre.
Hired as a ceramic decorator in Ecole Nationale de Sèvres from 1903 to 1904, he began producing designs that were rather traditional, based on the observation of nature, and showing the influence of Japonisme, characterized by pure lines and meticulous details. From 1904 to 1906, he worked in Nymphenburg Porzellan Manufaktur near Munich, a factory specializing in new hand painting procedures under a slip, as well as Art Nouveau.
In 1907 he finally moved to Louvière in Belgium where he was promoted to head of the decoration department at Boch Freres Keramis at the age of 27. This is where most of his exceptional talent came to the fore especially during the period between the two World Wars. Influenced by the great creative art movements of the time (Africanism, Japonisme, Cubism, Abstraction) and his observation of nature gave him inspiration for his designs, with the integration of plants, stylized animals and geometric motifs. The international avant-garde movements were also an influence leading to his use of purely abstract, geometric designs and intense colors. Charles Catteau was incredibly resourceful and explored various harmonies of form, techniques, designs, colors, shades, topics, variants and influences. In this way Catteau became a representative par excellence of Art Deco designs, giving it his personal touch. He was instrumental in introducing technical innovations during the 20’s and 30’s to aid mass production of ceramic products and expand availability of affordable products. During difficult times in Europe, he created vivid, colorful, original and uplifting ceramic wares.
Charles Cotteau motto was “Art for All” and he also taught decorative painting at the School of Industrial in Louvière. In 1925 he obtained international recognition in the exhibition of Decorative Arts in Paris. which helped raise the profile of Boch Freres. He remained at the company until he retired to Nice in 1946 .
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