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. 1911
More Information
More 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
Related Products
-
Reinhold Klaus / Carl Geyling Atelier Vienna “Cubist Man with top hat and flowers” stained glass window c. 1930
REINHOLD KLAUS (1881-1963) Vienna, Austria
CARL GEYLING ATELIER (founded 1841) Vienna, Austria
Man with tophat and flowers c. 1930
Window of stained and hand-painted leaded glass
Provenance: Estate of Carl Geyling (1814-1880), Vienna
H: 17 3/4″ x W: 14 1/2″
Reinhold Klaus studied from 1898-1902 with Alfred Roller at the Kaiserlich-Königliche Kunstgewerbeschule in Vienna. In 1914 Klaus married into the Carl Geyling family and became extensively involved with with stained glass painting. As early as 1918 Klaus worked on a stained glass window for the Siegestempel am Bisamberg in Vienna. In 1934 he became a professor of stained glass painting at the Kunstgewerbeschule, as well as creative director of the C. Geylings Erben glass painting company. Reinhold Klaus, a member of the Künstlerhaus since 1924 received many prizes and honors. He worked on commissions for the St. Veits cathedral in Prague, the St. Stephan cathedral in Vienna and many others.
-
Aram Gesar, Venetian Blinds, Ciba-chrome print 1979
ARAM GESAR USA
Venetian Blinds 1979
Ciba-chrome print, maple frame
Signed: 790069, LXXIX (on back)
Framed size: H: 17 9/16” x W: 23 ½”
Price: $24,000
Aram Gesar has been published internationally and has exhibited his photographic work in New York, San Francisco, Zurich and Geneva since 1977. As a producer, art director and photographer, Gesar created advertising campaigns for major corporations in the U.S. and Europe focusing on the fields of travel, banking, financial services, aerospace and motion pictures. He also created and produced documentaries on travel, aviation and yachting for national cable networks and the home video markets and television commercials and corporate programs for various U.S. and European corporations.
Gesar is currently one of the leading international experts on travel and air transport, and the founder and CEO of The Pyramid Media Group, which includes several magazines, newsletters, web sites, books, eBooks and other publications integrating a spectrum of business, travel and aviation content.
-
Tim Liddy Who Can Beat Nixon (1970) Presidential Sweepstakes 2006 Oil and enamel on copper, plywood back
TIM LIDDY
“Who Can Beat Nixon” (1970) Presidential Sweepstakes 2006
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy “circa 1970” 2006, red circular ring
Provenance: William Shearburn Gallery (St. Louis, MO)
H: 11 ¾” x W: 9” x D: 2”
With his recent paintings, Liddy has both reasserted the construct of hyperrealist painting and developed a thoroughly unique advancement of that mode by extending the cultural reality of the indexed original. Based on the illustrated box lids of vintage board games, Liddy has recontextualized a subject, which evokes the underlying rules of life. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips and tears from years of usage and includes trompe-l’oeil renditions of the scotch tape that might be holding the cardboard box together, the assorted stains, or the various graffiti of time. Liddy leaves no possibility of ambivalence, these works speak to a concurrent understanding of their original object identity and to themselves as works of art engaged in historical and psychological dialogue.
-
Herbert Bayer, Self Portrait, Gelatin silver print , 1932, printed later
HERBERT BAYER (1900-1985) Austria
Self portrait 1932 (printed later)
Silver gelatin print
Edition: 28/40
Signed: bayer 32 (in ink on bottom right corner)
Provenance: Kennedy Gallery, New York
H: 13 7/16” x W: 9 ½”
Framed size: H: 21 ½” x W: 17 ½”
Price: $16,000
Herbert Bayer (1900 – 1985) was an Austrian graphic designer, painter, photographer, and architect. Bayer apprenticed under the artist Georg Schmidthammer in Linz. Leaving the workshop to study at the Darmstadt Artists’ Colony, he became interested in Walter Gropius’s Bauhaus manifesto. After Bayer had studied for four years at the Bauhaus under such teachers as Wassily Kandinsky and László Moholy-Nagy, Gropius appointed Bayer director of printing and advertising. In the spirit of reductive minimalism, Bayer developed a crisp visual style and adopted use of all-lowercase, sans serif typefaces for most Bauhaus publications. Bayer is one of several typographers of the period including Kurt Schwitters and Jan Tschichold who experimented with the creation of a simplified more phonetic-based alphabet. Bayer designed the 1925 geometric sans-serif typeface, universal, now issued in digital form as Architype Bayer that bears comparison with the stylistically related typeface Architype Schwitters.
In 1928, Bayer left the Bauhaus to become art director of Vogue magazine’s Berlin office. He remained in Germany far later than most other progressives. In 1936 he designed a brochure for the Deutschland Ausstellung, an exhibition for tourists in Berlin during the 1936 Olympic Games. In 1938 he left Germany and settled in New York City where he had a long and distinguished career in nearly every aspect of the graphic arts. In 1946 Bayer relocated again. Hired by industrialist and visionary Walter Paepcke, Bayer moved to Aspen, Colorado as Paepcke promoted skiing as a popular sport. Bayer’s architectural work in the town included co-designing the Aspen Institute and restoring the Wheeler Opera House, but his production of promotional posters identified skiing with wit, excitement, and glamour. Bayer would remain associated with Aspen until the mid-1970s. Bayer gave the Denver Art Museum a collection of around 8,000 of his works. In 1959, he designed his “fonetik alfabet”, a phonetic alphabet, for English. It was sans-serif and without capital letters. He had special symbols for the endings -ed, -ory, -ing, and -ion, as well as the digraphs “ch”, “sh”, and “ng”. An underline indicated the doubling of a consonant in traditional orthography.
@hd_jewels