Louis Majorelle French Art Nouveau "Fiddleback Fern" bowl c. 1900
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Louis Majorelle French Art Nouveau “Fiddleback Fern” bowl c. 1900
LOUIS MAJORELLE (1859-1926) France
MOUGIN FRÈRES Nancy, France
Fiddleback Fern trefoil bowl c. 1900
A rare stoneware example of Majorelle and the L’Ecole de Nancy with a mauve and sea-green glaze, crystalline formations in interior in a trefoil loped form with fiddleback ferns at each interval.
Marks: Majorelle. de (impressed facsimile signature) MOUGIN NANCY, 10.K , L
Illustrated: Majorelle: Une Aventure Moderne, Roselyne Bouvier (Paris:
La Bibliothèque des Arts/Editions Serpenoise, 1991) p. 34, illus. 32.
Paul Follot for La Maison Moderne, Art Nouveau waist clasp, silver and chrysoprase, signed c. 1900
PAUL FOLLOT Paris, France
LA MAISON MODERNE Paris, France
Art Nouveau waist clasp c.1900
Gilt silver with chased whiplash design set with 19 cabochons of chrysoprase.
Marks: P. FOLLOT, French swan mark (silver standard mark for small objects)
Illustrated: Documents sur l’Art Industriel au XXe Siecle (Paris: Edition de la Moderne) p. 20, plate 5, n. 53-11
PAUL FOLLOT (1877-1941) French
In the Late 1890’s, Follot studied under graphic designer Eugène Grasset at the Ecole Normale d’Enseignement du Dessin in Paris and later succeeded Grasset in that post. From 1901 to 1904, he designed metalwork, jewelry and textiles for La Maison Moderne, art critic Julius Meier-Graefe’s gallery in Paris. He became director of the interior design studio Pomone of the Paris department store Le Bon Marché in 1923, introducing the Art Deco style into many middle-class home.
Michael Powolny / Wiener Werkstätte Vienna Secession Centerpiece Bowl c. 1906
Michael Powolny (1871-1954) Austria.
Bertold Löffler (1874-1960) Austria.
Vereinigte Wiener Und Gmundner Keramik.
Pedestal centerpiece bowl, circa 1906.
Hand-painted faience with a black and white diamond pattern on three pedestal legs on a black base with an edge of repeat white triangles and all supporting a black bowl with a white interior.
Marked: Conjoined WK (in a square), KG (with flower cipher in square), 43 (incised under glaze) / 3,1P (painted).
Another example of this same model can be found in the National Gallery of Victoria in Melbourne, Australia.
Illustrated: Wiener Werkstätte Period Photo Archiv, MAK Museum, Vienna, p. 42.Vienna 1900-1930: Art in the Home, Historical Design, Inc., exhib. cat. (New York: 1996) p. 45; Viennese Design and the Wiener Werkstätte, J. Kallir (New York: Galerie St. Etienne, 1986), p. 80; Wiener Keramik, Historismus, Jugendstil, Art Déco, Waltraud Neuwirth (Braunschweig: Klinkhardt & Biermann, 1974), p. 349.
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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