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  Christian Dell / Bauhaus “Tee-Ei” Tea infusers (Rare set of eight) 1924

  CHRISTIAN DELL (1893-1974)  Germany
  BAUHAUS  (1919-1933) Germany

  “Tee-Ei”  (tea ball) 1924 (rare set of 8)

  Silvered brass.

  ***These are all in fine original, untouched condition.

  Illustrated: Christian Dell: Silberschmied und Leuchtengestalter im 20. Jahrhundert, Beate Alice Hofmann, Museum Hanau (Hanau: Heller Druck,1996) illus. 15, p.56; Modernist Design 1880-1940, Alastair Duncan, The Norwest Collection (Woodbridge, Suffolk: The Antique Collectors’ Club, 1998), p. 173; Decorative Arts 1850-1950, Judy Rudoe, (London: British Museum Press, 1991) cover,  p. 276; Die Metall Werkstatt am Bauhaus, (Berlin: Bauhaus-Archiv, Museum für Gestaltung, 1992) pp. 140-141 Silver of a New Era,  (Rotterdam: Museum Boymans-van Beuningen, 1992)  p. 157;  cat. no. 140.

  Length: 5 1/4″

  Price: $9,600

  Christian Dell, metal artist and industrial designer, played a formative role in shaping the Bauhaus style. Dell was the master of the metal workshop at the Bauhaus, 1922-25, in Weimar, working closely with László Moholy-Nagy.

  Born the son of a locksmith in Offenbach in 1893, he had a great impact as a teacher on the curriculum of the Weimar metal workshop. He had done an apprenticeship as a silversmith in Hanau before and had also attended the drawing academy, followed by a stay at the Weimar School of Applied Art. Henry van de Velde, director of this institution, coined Christian Dell’s early works with his organic-flowing use of forms, a feature that can also be observed on Dell’s later works.

  Metal workshop at the Bauhaus in Weimar:
  From 1922, the former goldsmith, silversmith and coppersmith workshops of the Weimar phase became a laboratory for design where metal vessels and lamps were made. This is also where the designs for industry, as well as metal furniture, were ultimately created. In 1922, the silversmith Christian Dell took over as master of works. Following Itten’s departure in 1923, the workshop developed in a new direction with the Hungarian Constructivist László Moholy-Nagy. Instead of individual pieces, prototypes were now made for mass production. In order to manufacture the individual models, a production line was established.

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  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.

  H: 6 3/4″ x Dia: 7 3/4″

   

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  Archibald Knox (attr.) / Barnard & Sons Sterling Coffee pot 1903

  ARCHIBALD

  EDWARD BARNARD & SONS London, UK

  Coffee pot 1903

  Sterling silver

  Marks: B WMJS RD into a shield (Barnard & Sons), hallmarks, “h” (London Silver hall mark for 1903), 419 (on bottom of pot)

  H: 8 3/4″

  Price: $19,500

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  George Jakob Hunzinger New York 19th Century Rare Painted Chair 1876

  GEORGE JAKOB HUNZINGER (1835-1898) Germany/ USA

  Chair 1876

  Yellow and blue painted elaborately turned wood, blue thread woven covered metal band mesh seat (original condition)

  Marks: George Hunzinger Patent 1876

  Illustrated: The Furniture of George Hunzinger, Invention and Innovation in Nineteenth-Century America, Barry R. Harwood (Brooklyn: Brooklyn Museum of Art, 1997) p.103.

  H: 32″ x D: 17″ x W: 20″

  GEORGE JAKOB HUNZINGER   (1835-18989)  USA

  George Hunzinger emigrated in the 1850s from the Black Forest region of Germany where his family had worked as cabinetmakers since the 17th century.  Settling in New York, he joined a community of 3,000 German furniture makers but soon distinguished himself as a maker of patent furniture and “fancy chairs”.  Hunzinger’s innovative designs are often associated with the development of the Aesthetic Movement in America.  By the 1870s, his chairs were sought after by many Americans as accent pieces for their parlors. The woven mesh or upholstery of these innovative chairs follows the original intention of the maker and the turned frame has an avant-garde, colorful and rather contemporary feeling painted in a combination of a rich ochre yellow and cobalt blue, a color combo that was highly prized for it’s eccentricity in Victorian America.