Related Products

• 

  Details

  Karl Berghof / Kayserzinn Extremely Rare German Jugendstil Art Nouveau Pewter Vase 1904

  KARL BERGHOF  Germany
  J. P. KAYSER SOHN  Krefeld, Germany

  Vase  1904

  Pewter squared vase with round flange top, open work details

  Marks: Kayserzinn 4541  7 (in a raised oval)

  Illustrated: Zinn des Jugendstils, Eckard Wagner (Cologne: Rheinland-Verlag, 1978), p. 63, cat. no. 148; J. P. Kayser Sohn Krefeld: Fabrik kunstgewerblicher Metallgegenstände, Musterbuch 1907 (Munich: Verlag Dry, 1982) p. 46.

  ***This is an extremely rare, other worldly Kayserzinn form.

  H: 7” x Top W: 4 ¾” x  Base: 4 x 4 square

   

• 

  Details

  Christopher Dresser / Linthorpe Art Pottery Rare Aesthetic Movement “Gourd” Vase 1879-1882

  CHRISTOPHER DRESSER  (1834-1904)  UK
  LINTHORPE ART POTTERY, Middlesbrough
  HENRY TOOTH Artistic Manager Linthorpe (1842-1918) UK

  “Gourd Vase”   1879-1882

  Glazed Earthenware

  ***Extremely rare Dresser / Linthorpe model.

  Marked: LINTHORPE, Chr. Dresser (facsimile signature) HT, no. 326

  Illustrated:  Christopher Dresser: Truth, Beauty, Power exh. cat. (New York: Historical Design, 1998) p.75; illustrated in two drawings for gourd vases in Dresser’s 1881 design and account book under heading “Aug. 29, 1881. Sent to J. Harrison Esq. 41 Designs for Linthorpe.”

  H: 7 3/4″

  The contrasts in Dresser’s designs for different materials showed how his approach to design was also shaped by the properties and nature of a material. In 1879 Dresser was appointed art director at the newly established Linthorpe pottery, near Middlesbrough. Founded by John Harrison, a local businessman, the pottery’s aim was to use local clay to provide jobs for local men. Dresser’s design for the moulds for the pottery were inspired by a wide range of cultures from Japan, Peru, Mexico, Morocco and Ancient British forms. These very striking pieces, with the metal oxides in the complex and innovative glazes providing the only decoration. All of his designs were impressed with a facsimile signature. When Linthorpe closed in 1889, its moulds were acquired by a rival, Ault Pottery in Derbyshire. In 1893, Dresser signed a contract with Ault for new designs specifying that each pot should be marked with his facsimile signature.

• 

  Details

  Clement Massier / French Art Nouveau “Bamboo and Flying Crane” Vase circa 1900

  CLÉMENT MASSIER  (1845-1917) France
  MASSIER ART POTTERY  Golfe Juan, France

  “Bamboo and flying crane” vase   c. 1900

  Earthenware tapering form with applied handles, hand painted with bamboo and flying cranes with gilt motives and details

  Marks: Clement Massier  Golfe  Juan (block impressed letters)

  For more information and other works by the Massier family see: Lost Paradise: Symbolist Europe (Montreal, Quebec: The Montreal Museum of Fine Arts, 1995) p. 176, cat. 269; Jugendstil Art Nouveau, Floral and Functional Forms, Siegfried Wichmann (New York/Boston: Graphic Society/Little, Brown & Co., 1984) p. 45; Art Nouveau  Belgium France. Exh. cat. Yvonne Brunhammer et al. (Houston, TX: Institute for the the Arts, Rice University, 1976); La Céramique Art Nouveau, Edgar Pélichet, Michèle Duperrex (Paris: La Bibliothèque des Arts, 1976) p. 89

  H:  14 1/8” x D: 9 5/8”

• 

  Details

  Gustavo Perez, Mexican Contemporary Pottery, Ceramic vase 2000

  GUSTAVO PEREZ Mexico

  Stoneware vase 2000

  Black, randomly positioned rectangles on a cream / sandy base with a pinned overlap detail

  Signed: GP 2000-68

  H: 9 1/4″ x D: 6 1/2″

  Price: $5,500

  Gustavo Pérez makes vessels that are simple, smooth and symmetrical. Their elegance is due to the precision of the incised lines and other markings on the pots. While using the same clay body—sand colored stoneware—throughout his work, the artist achieves a wide range of form and pattern and includes slowly undulating walls beneath the subtly incised surfaces.

  Gustavo Pérez works are incessantly experimental. There have been parallel lines, calligraphic traces, geometric cuts into the surface, minimalist vessels, recollections of pre-Hispanic vases and references to other ancient cultures.

  The ceramics of Gustavo Pérez are distinguished by eliminating superfluous details, by synthesis of his elements. During the past two decades he has created a visual language that seems closely aligned with music. Pure in form, with a significant structure, completely abstract and without specific associations, his language of line, the bending of forms, and the definition of the vessel mark his work as a distinctive voice. The form is not just a container or a receptacle; it is architecture.