Josef Hoffmann / Wiener Werkstaette Leather purse c. 1909-10 More Information
Josef Hoffmann / Wiener Werkstaette Leather purse c. 1909-10
JOSEF HOFFMANN (1870 – 1956) Austria
WIENER WERKSTÄTTE (1903-1932) Vienna
Leather clutch purse c. 1909-10
Leather clutch with gilt tooling and silk lining, gilt bronze clasp
Marks: WIENER/ WERK/ STÄTTE ٭ (inside flap)
Similar design illustrated: Wiener Werkstätte Lederobjekte (Vienna: Museum für angewandte Kunst, 1992) p. 45
Related models illustrated: Vienne 1880-1938: l’Apocalypse Joyeuse (Jean Clair, Editions du Centre Pompidou: Paris, 1986), p. 280; Vienna: Dream and Reality, ed. Hans Hollein & Catherine Cooke (London: Architectural Design Editions, Ltd., 1986) p.38
W: 8 3/4“ x H: 6”
Archibald Knox / Liberty & Co. Clutha bowl on tri-leg Tudric stand c. 1902
ARCHIBALD KNOX (1864-1933) UK
LIBERTY & CO. London
JAMES COUPER & SONS Glasgow
Clutha bowl on tri-leg stand c. 1902
Clutha glass with inclusions of aventurine streaks and bubbles, polished tri-leg Tudric pewter stand.
Marks: Tudric, 0276
Illustrated: Liberty’s 1875-1975, An Exhibition to mark the Firm’s Centenary (London: Victoria & Albert Museum, 1975), p. 89, number D 250 A; The Designs of Archibald Knox for Liberty & Co., A.J. Tilbrook (London: Ornament Press Ltd., 1976), p. 114; Liberty Style, The Classic Years: 1898-1910, Mervyn Levy (New York: Rizzoli, 1986), p. 31; Archibald Knox, ed. by Stephen A. Martin (London: Academy Editions, 1995), p. 96.
Wilhelm Kage / Gustavsberg “Nude” Farsta Studio Bowl c. 1940
WILHELM KÅGE (1889-1960) Sweden
GUSTAVSBERG Gustavsberg, Sweden
“Nude” Farsta bowl c. 1940
Glazed stoneware with hand inscribed sgraffito decoration of a nude
Marks: Kage, Studio Gustavsberg; FARSTA
Dia: 8″
Originally a painter, Wilhelm Kåge was employed by Gustavsberg as an art director to rejuvenate the pottery´s production. He was faithful to the company for 32 years. In 1942 he started the legendary Gustavsberg Studio with the mission to create unique artistic pieces. His lively imagination brought forth a great variety of forms. Kåge was an artist of contradictions. In the 1940´s and 50´s he designed several geometrical, almost cubist, vessels in the “Surrea” series which stands in striking contrast to his soft formed, organic shaped tableware from the same period. Kåge designed more than 30 different dinner services, of particular importance was the inexpensive “workers” service, intended for a wider audience. Kåge´s pride, however, was the Farsta series of unique vessels made of heavy stoneware with carved surfaces and earth coloured decorative glazes. The clay for which was taken from the Farsta bay area very near the Gustavsberg pottery. He began experimenting with the Farsta line of studio ceramics already in the 1920´s. Art historians and collectors today consider the Farsta pieces the culmination of Wilhelm Kåge´s artistic production.
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