Product Description
Emanuel Josef Mangold (attr.), J. & L. Lobmeyr (retailer), Fachschule Haida vase c. 1911
Emanuel Josef Mangold (attr.), J. & L. Lobmeyr (retailer), Fachschule Haida vase c. 1911More Information
Emanuel Josef Mangold (attr.), J. & L. Lobmeyr (retailer), Fachschule Haida vase c. 1911
EMANUEL JOSEF MARGOLD attr. (1888-1962)
J. & L. LOBMEYR (founded 1823) Vienna, Austria
FACHSCHULE HAIDA Bohemia
Vase c. 1911
Stylized birds perched in highly stylized scrolling vine motif, abstract geometric circular forms and concave carved “windows”, “Schwarzlot” technique further accented with gilt highlights
For more information see: Das Böhmische Glas 1700-1950, Band IV Jugendstil in Böhmen, Alena Adlerová, c.s. (Passau: Passauer Glasmuseum, 1995) pp. 202 – 210; Glaskunst der Moderne: von Josef Hoffmann bis Wilhelm Wagenfeld, Torsten Bröhan (Munich: Klinkhardt & Biermann,1992),
***The “Schwarzlot” technique is finely pulverized iron that is in liquid form and painted as the graphic design. The piece is than “fired” and the painted surface creates a soft iridescent metallic charcoal grey surface. This technique also has a similar coloration to the liquid form metallic used in the silver / jewelry technique “Niello”. “Schwarzlot” was a labor intensive technique used in artistically painted glass in Bohemia immediately following the turn of the 20th Century and through the 1920’s.
H: 7 1/4″ x Dia” 4 1/2″
Price: $6,450
Emanuel Josef Margold (1888-1962)
The architect, designer for the arts and graphic artist Josef Emanuel Margold was trained as a carpenter at the College for woodworking in Königsberg an der Eger. He then studied at the School of Applied Arts in Mainz Anton Huber, then at the Academy of Fine Arts Vienna in the Master School of Architecture at Josef Hoffmann. 1908-10 he carried out works in Bohemia and Austria. He then became assistant Josef Hoffmann at the master class and employees of the Wiener Werkstätte. During the study period Margold participated in numerous Ideenwettbewerben. The Darmstadt publisher Alexander Koch became aware of him and published from 1907 Margolds designs in various journals.The 1911 Margold was appointed to the Darmstadt Artists’ Colony and established a studio in the Ernst-Ludwig-Haus. He made numerous designs for all areas of arts and crafts such as jewelry, porcelain, glass, fabrics and wallpapers. Documented from this period are also several residential and office equipment. His cookie jars made of sheet metal for the manufacturer Bahlsen from Hanover, which he made from 1912 to 1918 were known. In Darmstadt, he designed the establishment of the lamp business August Wilk and designed grave times in the expressionist style.In 1929 he moved to Berlin, where he still designed several houses in the style of the new style. In 1938 he became a professor at the School of Applied Arts
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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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