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  Michael Powolny / Wiener Keramik / Wiener Werkstaette / Vienna Secession “Putto mit Hahn” c. 1910

  MICHAEL POWOLNY  (1871-1954)  Austria
  BERTOLD LÖFFLER (1874-1960)  Austria
  WIENER KERAMIK  Vienna

  Putto mit Hahn  c. 1910

  Glazed white earthenware handpainted with black enamel

  Marks:  MP (impressed artist’s monogram), WK (impressed company logo in a square), original Wiener Keramik paper label

  Exhibited: Frühjahrsausstellung Österreichischer Kunstgewerbe in Österreichisches Museum für Kunst und Industrie  (MAK museum), Vienna, 1912.

  Model illustrated: Deutsche Kunst und Dekoration, Vol. XXXI, October 1912 – March 1913, n.p.; Michael Powolny:  Keramik und Glas aus Wien 1900 bis 1950, Elisabeth Frottier (Vienna: Böhlau Verlag, 1990) 1912 photograph with the cock sculpture displayed in vitrine from Frühjahrsausstellung Österreichischer Kunstgewerbe, illus. 4, p. 15 and illus. 27, p. 54, cat. no. WV92.

  H: 9 1/8″

  Price: $7,950

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  Thomas Jekyll (attr.) Aesthetic Movement Iron Umbrella or Cane Stand c.1885

  THOMAS JEKYLL (attr.) (1827–1881)
  BRITISH AESTHETIC MOVEMENT

  Umbrella stand  c. 1885

  Black nickelled and patinated cast and wrought iron,
  sunburst detail and decorative fretwork

  H: 25 1/4” x W: 13” x D: 9 1/2”
  Base W: 9 1/2”

  Although he was a successful architect, Jeckyll is best known today for his “epoch-making” designs in metalwork. His architectural practice routinely included the design of gates, railings, and metal fittings for domestic commissions and of coronas, candelabra, and altar rails for ecclesiastical ones. But it was his exhibition pieces for the ironworks firm of Barnard, Bishop & Barnards of Norwich that brought him his greatest renown. His “Norwich Gates” for the 1862 London International Exhibition set in motion the 19th-century wrought iron revival in Great Britain. Subsequent creations, including his “Four Seasons Gates,” exhibited in Paris in 1867 and Vienna in 1873, and his cast iron pavilion for the 1876 Philadelphia Centennial Exhibition, received substantial praise, in particular for their creative use of Asian principles and motifs. His innovative Anglo-Japanese designs for stoves, stove fronts, fenders, fire irons, and other domestic metalwork were also produced and sold in large numbers. As these designs were both artistic and affordable, they allowed the incorporation of objects of beauty into middle-class homes. He was one of the few figures in the design reform movement in Britain who managed to unite beauty and utility.

  A very intricately worked late Victorian or Aesthetic Movement wrought and cast iron tall stand for umbrellas or canes with delicately riveted cross hatch fretwork and curling details and handle motif along with an attached iron base with a sunburst design all in the original black nickel finish.

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  Roycroft / American Arts & Crafts Pair of Candlesticks c. 1915

  ROYCROFT COPPER SHOP East Aurora, N.Y.

  Pair of candlesticks c. 1915.

  Hand wrought and textured copper, silver-plated.

  Marks: impressed R, in orb with cross, ROYCROFT

  For more information see: The American Arts & Crafts Movement in Western New York 1900-1928, Bruce A. Austin (Rochester Institute of Technology, 1992); Arts & Crafts Movement in New York State 1890’s – 1920’s, Coy Ludwig (Hamilton, N.Y.: Gallery Association of New York, 1983).

  H: 6″ x W: 6 7/8″ x D: 2 5/8″

   

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  European “Imperial lapis lazuli” ball necklace with fancy 18K gold links, marks, c. 1910